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TROST 262CD
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$16.50
PREORDER
RELEASE DATE: 7/18/2025
Featuring Masahiko Satoh (piano) and Giotis Damianidis (guitar). Recorded live on the 2nd of February, 2024 at Jazz Spot Candy, Chiba, Japan by Kosuke Kohashi. Despite the geographic distance and a 40-year age difference, Japanese pianist Masahiko Sato and Greek guitarist Giotis Damianidis are kindred souls in a certain sense, each possessing a keen understanding of how improvised music can magically erase such boundaries. Thousand Leaves captures their very first meeting in 2024. While Sato sticks with an acoustic piano and Damianidis embraces an amplified guitar sound closer to rock music than jazz, they reveal a strong rapport, entwining, colliding, and considering how their very distinctive threads fit together, in real time. Even as the guitarist produces flinty sparks, distortion, and effects-driven bends and swoop, Sato's quicksilver improvisations manage to draw upon a separate set of modalities, his elegant playing steeped in classical music cadences as much as post-bop runs.
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TROST 256LP
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$29.50
PREORDER
RELEASE DATE: 7/18/2025
LP version. Bruch once again proves to be a grim and bighearted crooner and multi-layered genre-bender between repetitive pulsating electronic music and brilliant organ minimalism, between destructive rock'n'roll and world-embracing pop. Bruch is Philipp Hanich's alter ego as a music producer. Born and raised in Munich, he has been living and working in Vienna as a visual artist and musician for 20 years now. He is equipped with a long pedigree of DIY-counterculture, gathered since the early 2000s whilst touring with different bands, creating off-spaces and co-running the labels Totally Wired Records (2012-2016) and Cut Surface (since 2016).
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TROST 261LP
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$29.50
PREORDER
RELEASE DATE: 7/18/2025
Paul Wallfisch has played in bands like Firewater and Little Annie, while Dana Schechter has logged time with American Music Club, Angels of Light, and her own Insect Ark, among others; both spent time touring and recording with SWANS. They've been friends since meeting in New York in the 1990s. Years later they forged a stronger connection as bandmates in Botanica. They renewed their artistic partnership in 2021, when Paul invited Dana to Vienna to develop the music for a theatrical spectacle called Die Politiker written by Kleist prize winner Wolfram Lotz. The music from the production provides the foundation for the duo's first album, The Heart of A Whale. Across its six intense tracks one can detect a subtle homage to storied Berlin musical traditions, as the pair puts a raw, often brutal veneer on songs steeped in Weimar cabaret (a la Tom Waits) but updated with a visceral mixture of noise, post-punk, and industrial elements. Performed on a panoply of instruments from bass, organ and lap steel to SOMA Synths, Guitaret, a variety of electronics and a grand piano hammered with a shoe, the music reflects the New York/Berlin nexus they've both been part of for decades. Echoes of Swans, Einstürzende Neubauten, and The Birthday Party, but also hints of Throbbing Gristle, Eno and even William Basinski and Michael Gordon. The music can't be contained by any single tradition, with a decidedly experimental bent that ruptures the fixed rhythm of rock for something more theatrical and emotionally harrowing. Lap steel guitar, bass, electronics: Dana Schechter. Piano, organ, soma pipe, guitaret: Paul Wallfisch. Performed live in the spring 2022.
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TROST 256CD
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$16.50
PREORDER
RELEASE DATE: 7/18/2025
Bruch once again proves to be a grim and bighearted crooner and multi-layered genre-bender between repetitive pulsating electronic music and brilliant organ minimalism, between destructive rock'n'roll and world-embracing pop. Bruch is Philipp Hanich's alter ego as a music producer. Born and raised in Munich, he has been living and working in Vienna as a visual artist and musician for 20 years now. He is equipped with a long pedigree of DIY-counterculture, gathered since the early 2000s whilst touring with different bands, creating off-spaces and co-running the labels Totally Wired Records (2012-2016) and Cut Surface (since 2016).
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TROST 243CD
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The six compositions Stumps by Sven-Ake Johansson are based on a variation potential of falling and rising short signals (notes) as a theme. A fourfold repetition of the theme at the beginning establishes the piece and provides a fixed starting material for the following improvisations. The simple repetition of the theme at the end concludes the composition as a kind of return. The basic tempi of the themes are calm; there is no fixed tempo, more a free placement. The rhythm section works in the improvisations according to the principle of free tempo/ dynamic vibration, the result is momentum (swing). Recorded at Haus der Berliner Festspiele, 6th of November 2022. Mastered by Werner Dafeldecker/Martin Siewert. Featuring Pierre Borel (Alto Saxophone), Axel Dörner (Trumpet), Simon Sieger (Piano), Joel Grip (Double Bass), and Sven-Ake Johansson (Drums).
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TROST 254CD
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Ingrid Schmoliner and Alex Kranabetter are pillars of the improvised and experimental music scenes in Austria stretching back more than a decade. Although the former is known primarily as a pianist and vocalist and the latter as a trumpeter, they both possess seriously expansive sonic palettes. Schmolinger works rigorously with sound direction to generate vibrant psychoacoustic and spatialized effects, while Kranabetter routinely deploys electronics to radically transform and expand his sound worlds in solo and collaborative settings. Perhaps no single endeavor captures the full splendor of their aesthetic tendencies like their duo drank, which presents its stellar debut recording Breath in Definition on Trost. The album includes guest appearances by the remarkably versatile drummer Lukas König and Soap&Skin (aka Anja Franziska Plaschg).
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TROST 257CD
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Rotations+ is a trio project with German turntablist Ignaz Schick, Swedish artist Sven-Ake Johansson, and Austrian trumpeter Franz Hautzinger, recorded live at the Berlin experimental venue KM28 in September of 2023. The collective improvisations are instilled with a deep interest in color and timbre, and each track offers a fresh perspective. While Johansson toggles to accordion on the album's final track, squeezing tender lines alongside Hautzinger's moody brass and Schick's scratch-pocked layer of wobbly ambience that climaxes with a warped romanticism, the other pieces navigate the divide between sound and rhythm more viscerally. Scuffed electronic tones, noisy beeps and blorps, and parched and puckered trumpet smears and cries, are accompanied by Johansson's elegant sense of time. In certain places he brings an elegant pulse to the proceedings, providing a structure for his partner's most abstract utterances, while elsewhere he turns his drumming inside out, as if translating the machinations of a tap dancer in slow motion. More often than not the music proceeds with a delicate touch and razor-sharp interplay even within the most fragile moments, delivering a heightened form of spontaneous sound sculpting -- something Johansson has been doing since the early 1970s. Mixed and mastered by Werner Dafeldecker/Martin Siewert. Artwork by Sven-Ake Johansson.
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TROST 260LP
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In the new work Shlimazl by Swiss composer Michael Wertmüller, symphony orchestra and big band merge into a virtuoso, polymetric organism that not only transcends styles, but also a perceived linearity of time. In doing so, he explicitly takes up the rich tradition of the big band, and revitalizes it within the symphonic context under new auspices and allows it to take off. All the soloists act like a picture within a picture within the big band, which oscillates between musical nucleus, place of concentration and utopian space of freedom. Wertmüller illuminates the ambiguity of the Yiddish title "Shlimazl" ("mess") with the structuring phrases "Mazely Shlimazl" ("happiness and mess"). The stylistic carombole and the chaos of polyphony without uniformity harbor not only the overwhelming effect of apparent incompatibility but also the happiness of new possibilities for cooperation: from the power of contradiction and friction towards something that can neither be planned nor imagined. A model that creates the vision of a constructive way out in times of increasing incompatibility and hardening in the world. Shlimazl by Michael Wertmüller was a commissioned composition by Basel Sinfonietta and Ruhrtriennale.
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TROST 254LP
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LP version. Ingrid Schmoliner and Alex Kranabetter are pillars of the improvised and experimental music scenes in Austria stretching back more than a decade. Although the former is known primarily as a pianist and vocalist and the latter as a trumpeter, they both possess seriously expansive sonic palettes. Schmolinger works rigorously with sound direction to generate vibrant psychoacoustic and spatialized effects, while Kranabetter routinely deploys electronics to radically transform and expand his sound worlds in solo and collaborative settings. Perhaps no single endeavor captures the full splendor of their aesthetic tendencies like their duo drank, which presents its stellar debut recording Breath in Definition on Trost. The album includes guest appearances by the remarkably versatile drummer Lukas König and Soap&Skin (aka Anja Franziska Plaschg).
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TROST 259LP
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The music for Kranetude, a performance by Florentina Holzinger that premiered in Berlin in June 2023, was composed by Katharina Ernst and Schne. The powerful composition for four drums and electronics, a collaboration between the artist and drummer Katharina Ernst and Schne, Florentina Holzinger's longtime musical partner, forms the sonic foundation of this unique choreography. On Berlin's Müggelsee, eight performers and a crane merge on the water to create a performance where mechanical precision and organic movement meet. Complex rhythmic structures guide the movement, creating a fascinating interplay between sound and action. Recorded live at Müggelsee Berlin, in the frame of the Leisure & Pleasure Festival on June 29th, 2023. Conducted by Sibylle Fischer.
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TROST 247CD
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The second volume of the perfect pairing Brötzmann & Nilssen-Love, recorded at Zuiderpershuis in Antwerp, August 2015. The music is less frenzied and aggressive than listeners may be used to, as the musicians shared their exploration of new tools with a more contemplative approach. To be sure, both Brötzmann and Nilssen-Love summon the usual energy here and there, but it's a genuine revelation to hear them feel out new sounds in real-time, whether it's the former caressing the rheumy nasality of the contra-alto clarinet, or the latter reveling in the sustained resonance of his new gongs. Still, even if they were trying out new tools, their rapport and level of engagement was just as strong and deep as ever. Colliding schedules prevented them from ever wrapping up the production on the album, but they began planning for it during the pandemic. Sadly, it fell to Nilssen-Love to shepherd the project at home, but it was worth the wait. This duo album represents a major statement from both musicians. Artwork by Brötzmann, design by Lasse Marhaug. Liner notes-transcription of an interview with Peter Brötzmann. Peter Brötzmann: tarogato, contra-alto clarinet, bass saxophone. Paal Nilssen-Love: drums, gongs, percussion.
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TROST 247LP
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LP version. The second volume of the perfect pairing Brötzmann & Nilssen-Love, recorded at Zuiderpershuis in Antwerp, August 2015. The music is less frenzied and aggressive than listeners may be used to, as the musicians shared their exploration of new tools with a more contemplative approach. To be sure, both Brötzmann and Nilssen-Love summon the usual energy here and there, but it's a genuine revelation to hear them feel out new sounds in real-time, whether it's the former caressing the rheumy nasality of the contra-alto clarinet, or the latter reveling in the sustained resonance of his new gongs. Still, even if they were trying out new tools, their rapport and level of engagement was just as strong and deep as ever. Colliding schedules prevented them from ever wrapping up the production on the album, but they began planning for it during the pandemic. Sadly, it fell to Nilssen-Love to shepherd the project at home, but it was worth the wait. This duo album represents a major statement from both musicians. Artwork by Brötzmann, design by Lasse Marhaug. Liner notes-transcription of an interview with Peter Brötzmann. Peter Brötzmann: tarogato, contra-alto clarinet, bass saxophone. Paal Nilssen-Love: drums, gongs, percussion.
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TROST 253CD
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The second album from the high-caliber improvising trio Fictional Souvenirs captures a visceral meeting between three of todays improvised music's most idiosyncratic, elusive figures. On Volatile Object, Pat Thomas (piano and electronics), John Butcher (saxophones), and Ståle Liavik Solberg (drums) were recorded live at London's Café Oto in January of 2023. Since emerging in the 1980s, saxophonist John Butcher has been one of the most important figures in a second wave of British free improvisation, adapting the innovations of pioneers like Derek Bailey and Evan Parker for a new generation. His musical language adapted those practices with a new emphasis on pure sound, including the use of amplification or reverb-rich spaces. Thomas and Butcher first played together on a Derek Bailey Incus night in 1993. Solberg has been performing with Butcher for more than a decade, often in duo settings, but also alongside figures like bassist Barre Phillips and pianist Kaja Draksler. Still, their connection with Thomas stands out. In 2019 Astral Spirits released the album that gave the trio its name, Fictional Souvenirs, a live session from the beloved and deeply missed London venue Iklectik, where Thomas eschewed piano in favor of a Moog Theremini and electronics. The results from the Oto concert captured on Volatile Object reinforce the special rapport of these musicians, elevating the connection heard on the debut album into something truly sublime. The new album includes both sets from that thrilling evening, with Thomas on grand piano during the first half, electronics for the second. The instrumentation obviously alters the sound of each set, with the piano providing a more familiar thrust as Thomas injects thunderous left-hand patterns and skittery upper register runs with his other hand to illustrate the group's deep engagement with free jazz history. As much as Butcher is known for his original language, his roots in swing-driven sound peak through the proceedings, with forceful tenor blowing that locks in with Solberg's deliciously off-kilter propulsion. The electronics used in the second set reveal a radically different side of the trio, pushing towards a steadily evolving flow of sound-rooted abstraction. Of course, what binds the two sets together is the fierce commitment to spontaneity and heightened listening. The members of the trio push one another out of any comfort zone just as much as their sounds magically coalesce.
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TROST 248CD
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The trio of Japanese saxophone legend Akira Sakata with the Scandinavian rhythm section presents already his fifth album! While the trio was on a Japan tour in 2019, Sakata arranged for a handful of special collaborations, with some of Japan's most important artistic figures. Featuring the avantgarde dancer Min Tanaka, the pianist Yuji Takahashi and a heavyweight veteran of Japanese experimental music -- drummer Takeo Moriyama. Moriyama was playing with Sakata in the Yosuke Yamashita Trio and is his unflinching sparring partner on the explosive 2022 Trost duo recording Mitochondria. Japanese saxophonist and improviser Akira Sakata turned 79 in February of 2024, but this singular musician shows no little sign of age. Over the last 15 years or so, as he neared the typical retirement age, he formed a couple of searing working bands that finally earned him a devoted international following despite his crucial role in establishing his homeland as key center for free jazz as a member of the Yosuke Yamashita Trio in the 1970s. Arashi, with Norwegian drummer Paal Nilssen-Love and Swedish bassist Johan Berthling, has become his primary touring group, a fiery unit operating with a collective improvisational drive that lifts his white-hot alto saxophone and clarinet playing to new heights and provides the ideal platform for his over-the-top vocal exhortations. While the trio was on a short Japanese tour in 2019, Sakata arranged for a handful of special collaborations, bringing his two younger Scandinavian colleagues face-to-face with some of Japan's most important artistic figures. They performed with Min Tanaka, the singular experimental dancer, who famously improvised with guitarist Derek Bailey and pianist Cecil Taylor, as well as the legendary new music pianist Yuji Takahashi. The concert documented on this phenomenal recording features the third veteran of Japanese experimental music Arashi worked with on that tour, drummer Takeo Moriyama, the third member of the Yamashita trio. As the present recording makes patently clear, Moriyama fit right in. The percussionists melded beautifully, driving the music but also clearing space for one another and forging astonishing feats of interactivity. Rather than canceling one another out or laying it on too thick, they quickly find a method to co-exists, tapping history without the slightest hint of nostalgia. The trio nonchalantly becomes a quartet, absorbing more history, more ideas, and more energy, spitting it back out with greater concentration and focus than ever.
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TROST 248LP
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Double LP version. The trio of Japanese saxophone legend Akira Sakata with the Scandinavian rhythm section presents already his fifth album! While the trio was on a Japan tour in 2019, Sakata arranged for a handful of special collaborations, with some of Japan's most important artistic figures. Featuring the avantgarde dancer Min Tanaka, the pianist Yuji Takahashi and a heavyweight veteran of Japanese experimental music -- drummer Takeo Moriyama. Moriyama was playing with Sakata in the Yosuke Yamashita Trio and is his unflinching sparring partner on the explosive 2022 Trost duo recording Mitochondria. Japanese saxophonist and improviser Akira Sakata turned 79 in February of 2024, but this singular musician shows no little sign of age. Over the last 15 years or so, as he neared the typical retirement age, he formed a couple of searing working bands that finally earned him a devoted international following despite his crucial role in establishing his homeland as key center for free jazz as a member of the Yosuke Yamashita Trio in the 1970s. Arashi, with Norwegian drummer Paal Nilssen-Love and Swedish bassist Johan Berthling, has become his primary touring group, a fiery unit operating with a collective improvisational drive that lifts his white-hot alto saxophone and clarinet playing to new heights and provides the ideal platform for his over-the-top vocal exhortations. While the trio was on a short Japanese tour in 2019, Sakata arranged for a handful of special collaborations, bringing his two younger Scandinavian colleagues face-to-face with some of Japan's most important artistic figures. They performed with Min Tanaka, the singular experimental dancer, who famously improvised with guitarist Derek Bailey and pianist Cecil Taylor, as well as the legendary new music pianist Yuji Takahashi. The concert documented on this phenomenal recording features the third veteran of Japanese experimental music Arashi worked with on that tour, drummer Takeo Moriyama, the third member of the Yamashita trio. As the present recording makes patently clear, Moriyama fit right in. The percussionists melded beautifully, driving the music but also clearing space for one another and forging astonishing feats of interactivity. Rather than canceling one another out or laying it on too thick, they quickly find a method to co-exists, tapping history without the slightest hint of nostalgia. The trio nonchalantly becomes a quartet, absorbing more history, more ideas, and more energy, spitting it back out with greater concentration and focus than ever.
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TROST 240LP
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In this quartet, Rodrigo Amado gathers three of his strongest longtime influences: German pianist Alexander von Schlippenbach, Norwegian double bass player Ingebrigt Håker Flaten, and American drummer Gerry Hemingway. For Amado this band represents a deep dive into his own formative roots, something he has been dealing with more and more in these last few years. With Schlippenbach, Håker Flaten and Hemingway by his side, Amado has the perfect context to explore the classic materials he considers to be the basis of his journey as a musician, an impulse that is part him and part history. This is a quartet whose name really represents, aside from a direct homage to Sonny Rollins, a bridge between different languages, backgrounds and generations, all united through improvisation. Recorded by Bartosz Szkielkowski at Pardon To Tu, Warsaw, October 3rd, 2022. Mixed by Joaquim Monte and Rodrigo Amado. Master by David Zuchowski. Produced by Rodrigo Amado/Konstantin Drobil. Cover painting by Miguel Navas. Design by Rodrigo Amado and Travassos. Liner Notes by Guy Peters.
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TROST 237CD
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Flute, harp, drums: a rare combination that this trio turns upside down. In the wake of John Zorn's experiences on the borders of jazz and noise, the collaboration between Delphine Joussein, Rafaëlle Rinaudo, and Blanche Lafuente aims at pushing their instruments beyond their limits, with the enthusiasm of a mad scientist. It is no coincidence that the three musicians, considered the missing link between Nirvana and Sun Ra, have already aroused a big curiosity and are constantly touring across Europe. Featuring Delphine Joussein (flute, voice, drums), Rafaelle Rinaudo (electric harp, drums), Blanche Lafuente (drums). Also featuring guests Mats Gustafsson (baritone sax) and Benat Achiary (voice).
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TROST 231LP
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From the outset this ad hoc quartet hit the gas, launching into a frenzied, high-octane set with alto saxophonist Rasmussen engaging in a furious tightrope-walk of upper register screams while O'Rourke unspools some of the most gnarly guitar noise. The entire recording is a testament to refined listening. Even at the most scorching peaks each player is deftly attuned to one another's sonic projections. Bridging generations, continents, and individual aesthetics, Rasmussen, Corsano, Sakata, and O'Rourke find common cause, convening for an evening of galvanic sound that's simultaneously exhilarating and spiritual. Recorded on May 20, 2017 at Superdeluxe, Tokyo by Joe Talia. Mixed and mastered by Joe Talia. Ceramic artwork "Red Form" from 2003 by Torbjørn Kvasbø.
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TROST 244CD
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Since emerging in the early 1980s the French bassist, composer, and vocalist Joëlle Leandre has ignored the gaps between improvised and composed music, jazz and new music, inventively braiding post-Cagean concepts with the free jazz ferment she witnessed first-hand growing up in Paris. Accordion master and fellow countryman Pascal Contet was initially rooted in contemporary music, helping to bring it back as a viable, versatile instrument in experimental music, but throughout his long career he's also increasingly embraced free improvisation. Those diverse backgrounds and shared curiosity has made them natural artistic partners, a relationship that has endured for 30 years. Together they have forged a unique duo language built from deep experience and wide-open ears. Their joint practice is all about creating connections in real-time, but that development has only been documented on recordings a handful of times, each new transmission providing bracing updates on their collaboration. The duo tried something different with Miniatures, their fifth album together. Recorded in November of 2022 at Arsenal, Metz, France, the pair imposed a slight restriction on this set of improvisations, deciding from the outset to stick with shorter pieces, hence the title. Leandre and Contet have displayed an uncanny rapport from the beginning, but while most of their work has followed intuitive exchanges, with each musician coalescing or pushing against the flow to create new openings, the music on the new album generally finds them latching on to single spontaneous idea, exploring each nook and cranny. On a piece like "Miniature 2" the bassist begins with shadowy arco figures that seem straight out of a vintage suspense film, and soon she's shadowed by Contet's abstractions, which deliver creaky, wheezing textures and key noises more than the squeezebox's typical chordal swells. On the following piece Leandre sculpts a beautiful sequence of sighing arco melodies, with Contet cushioning and expanding those shapes with a delicate flow of chords that suggests that the fully improvised piece had been composed beforehand. On "Miniature 7" the duo walks a tightrope of fragile upper register gestures, a context further defined by Leandre's wordless vocals. Whether engaged in tumultuous interactions or more contemplative exchanges, the elasticity, listening ability, and generosity of Contet and Leandre has never been more profound.
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TROST 246LP
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LP version. Peter Brötzmann collaborated with many artists in his career, regularly adding new compatriots into the fold, and Norwegian drummer Paal Nilssen-Love became one of his staunchest allies after the percussionist joined the Chicago Tentet in 2004. They worked in various contexts, including this inexhaustible, hard-hitting duo. Most of the albums they've issued have captured live performances, but in 2015 they made this stunning studio recording. As Nilssen-Love says in the liner notes, "Peter had acquired a contra-alto clarinet and was very enthusiastic about the sound of this instrument. I had also bought several Korean gongs which I hadn't used yet." They met up for a two-day session in Antwerp that August, and from the outset it feels different from much of their work.
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TROST 246CD
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Peter Brötzmann collaborated with many artists in his career, regularly adding new compatriots into the fold, and Norwegian drummer Paal Nilssen-Love became one of his staunchest allies after the percussionist joined the Chicago Tentet in 2004. They worked in various contexts, including this inexhaustible, hard-hitting duo. Most of the albums they've issued have captured live performances, but in 2015 they made this stunning studio recording. As Nilssen-Love says in the liner notes, "Peter had acquired a contra-alto clarinet and was very enthusiastic about the sound of this instrument. I had also bought several Korean gongs which I hadn't used yet." They met up for a two-day session in Antwerp that August, and from the outset it feels different from much of their work.
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TROST 238LP
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An avantgarde music drama composed by Alexander von Schlippenbach and Sven-Åke Johansson, performed and recorded at Hebbel Theater, Berlin on November 12, 1994. Featuring Shelley Hirsch (vocals), Sven Åke Johansson (vocals, accordion), Tristan Honsinger (cello), Anne Le Baron (harp), Paul Lovens (percussion, drums), Alexander von Schlippenbach (piano), and Wolfgang Fuchs (sopranino saxophone, bass clarinet, contrabass clarinet). Libretto, text, cover, and drawings by Sven-Ake Johansson. The double LP comes in a printed cardboard box with DVD, libretto, and 16-page booklet. DVD format is European PAL, region free.
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TROST 251CD
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Gush is the trio project of Sten Sandell, Raymond Strid and Mats Gustafsson, founded in May 1988 -- now reactivated and again touring. Free improvisation has always been the focus of the group after the initial drone experiments -- drone-based structures, with clear harmonic centers. In 2024, the members celebrate 36 years together as a group and present this live recording 25 years after it was made.
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TROST 245CD
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Akira Sakata & Entasis present Live In Europe 2022. Featuring: Akira Sakata (alto saxophone, clarinet, vocals, bells); Giovanni di Domenico (piano); Giotis Damianidis (electric guitar); Petros Damianidis (double bass); Stephanos Chytiris (drums); Balázs Pándi (drums); Aleksandar Skorić (drums). Mixed by Giovanni Di Domenico. Mastered by Martin Siewert.
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TROST 241CD
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"After many years of going deeper into folk music traditions of the past, I finally saw the possibility of creating my own contemporary reading of the traditions I am so deeply inspired by. I was very impressed and inspired by deeper ethnic music from around the globe. Not 'understanding' it. But feeling it. Being blown away by it. Being completely speechless. Flabbergasted. Overthrown by it. Inside and out.... The initial idea behind Ensemble E was to combine traditions of contemporary music, noise, improvised music, free jazz and other experimental music fields and traditions with the deeper music traditions from where we all arrive.... Occasional instant conductions, instructional pieces and graphic scores balancing it all up into new forms of expression. New experiences. New memories. New knowledge. With old tools. Old knowledge. Sharing. Every player of Ensemble E was asked to bring in older (and contemporary) folk music songs that have affected them in some deeper ways, into the body of the Ensemble E. Sharing it. Together. Togetherness. Putting the older materials into new contexts. Bringing extreme diversity into play. This is deeper research/re-search of traditional and non-traditional ways of expressing folk music of Scandinavia, Portugal, Poland, Ukraine and more. Much more. By putting them next to each other/on top of each other/inside of each other. Creating new ways. The instrumentation of Ensemble E is spectacular in my ears, eyes and soul. Avoiding traditional prejudices. This is all about how it is shared. And with whom. And WHO we are. Creating old and new dreams together with the extraordinary playing by Sylwia, Arne, Susana, Daniel, Maniucha, and Helga. Traditional acoustic instruments in direct interactions and deeper tactility of complexities, where only the acoustic colors, interferences and spectrums from each individual instrument are communicating, without filters and electronic processing. Just perfectly balanced by sound genius Mikael Werliin in the live situation. The instant interaction between each individual player and the collective urge, perspectives and needs of the music will create a new platform, new possibilities, and new perspectives...." --Mats Gustafsson
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