SAWT OUT- REVIEWS

An improv set with two percussionists (Beins and Vorfeld) and a trumpeter (Kerbaj). I'm attracted to that instrumental combination for some reason and the range of sounds created here, the thick matrix constructed between struck and stroked objects and the panoply of breath-derived brass sounds is quite impressive and enjoyable. The aural field is full, active and churning with little regard for silence - in this sense, it's a kind of extension of jazz-derived free improv, though of a thicker aspect, less scurrying, more grinding. 'Solid Water' features an intense, swirling sound the source of which I can't guess - it seems to be electronic, though nothing such is credited, but could be from the trumpet. In any case, it's pretty riveting and when it becomes increasingly embedded in the emergence of multiple cymbals/gongs, the effect is quite strong, made more so by its eventual abrupt cessation. 'Crossfeed' contains some searing bow-on-metal work through which one can just discern pop music from a radio buried in the mix, again developing a rich, unusual tone-world. The finely titled, 'Sore Toad' closes the disc with an engaging clatter of bells and thudding noises. While part of me would have liked to hear more space, more reticence, this set works quite well on its own terms and will certainly be enjoyed by listeners with a taste for active, visceral improv.
- Brian Olewnick, Just Outside -

'How Worried Are We?' Gute Frage. Verbirgt sich die Antwort in einer in ein echtzeitperkussives Sandwich gequetschten Trompete? Kerbaj bringt sich, karikaturistisch gewieft, mit Cartoons jeden Tag ein deutsches Wort bei, und wenn er gleichzeitig mit Karkhana metaorientalisch umeinander bläst und mit dem "A" Trio auch eigene Echtzeit-Abstraktionen kosmopolitisch bekracht, hat das u. a. auch das gemeinsam: Der Teufel, der Witz, steckt im Detail. Nicht zuletzt der Witz, dass in Noise-Musik stört, was man alltäglich mit Löffeln frisst und selber erzeugt: Monotonie und Krach. Hier freilich ist der Krach erstens nicht ohrenbetäubend und zweitens schön crazy gekratzt, geschnarrt, geschabt, geknattert, gekritzt, geharft, gepocht, geklackt, gepaukt, gegongt, geschlürft. Kurz, es ist ein bruitistisch-phantastisches Wimmelbild, wie es eigentlich allen Spaß machen müsste, die sich ihren kindlichen Rasselbanden- und Rappelkistenspirit nicht ganz haben austreiben lassen. Die drei Geräuschemacher überbieten sich mit skurrilen Einfällen: bezirptem und glockenspielerischem Dingdong, tonlosem Pustekuchen, blechernem Getrappel, emsigen Wischern, drahtigem Gefunkel, flatterzungigem Surren. Solid Water' bringt dann tatsächlich eine eiserne Wall of Noise, die aber schnell abflacht. So dass zwitschrige Laute hörbar werden, ein vogelig brodelndes Ichweißnichtwas auf metallisch crescendierendem Resonanzboden. 'Crossfeed' mixt zirpige Spitzen und Triller mit klapprigen, nadeligen und dongenden Klängen und solchen, die metallisch durch Mark und Bein schneiden. Auch 'Sore Toad' pierct fies die Trommelfelle, gefolgt von Gegonge, eifrigem Gekrabbel, rotierendem Klacken, rauem Scharren und basstrommligem Wummern. Hin zu metallischem Klingklang und Tickling, dunklen Tupfern und maulsperriger Trompete. Bis die Pauke den letzten Punkt setzt. Musik zur Zeit. Punktum.
- Rigobert Dittmann, Bad Alchemy -

Experience is (...) something that comes with the next disc, a trio of Burkhard Beins (percussion), Mazen Kerbaj (trumpet) and Michael Vorfeld (percussion). In September 2016 they were two days in a studio in Berlin and recorded four pieces, ranging from eight to seventeen minutes. Beins did the mixing and editing afterwards, which I guess means we never know how much of this we hear is 'as is' or in some way multi-layered. All three have extensive experience playing with people and in their playing together this shows. All three know how to approach their instruments in both conventional and non-conventional manners. You would think this is some rhythm heavy release, with two musicians on percussion, but it's far from it. All three of them treat their instruments, as objects that produce sound and sometimes this can be rhythmical, but most of the time it is not. Throughout these four pieces there is quite some noise to be detected; feedback like (but it may very well be no feedback, just very sharp sounds produced with cymbals or microphones up close to the microphone) and lots of rubbing and scratching of surfaces going on here. The trumpet is very rarely sounding like a trumpet, but sometimes the drums do. I have no idea who is the more conventional drummer of the two (if at all that is the case), but the dynamic range of the music works very well on these pieces. This is another intense release, (...) certainly no easy listening (...).
- Frans de Waard, Vital Weekly -

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