“The strong passion and extremely varied character of the pieces by ‘Marginal Reset’which at times borders on the chaotic, brings to mind the statement by the greatJohn Cage: ‘I believe that the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments that will make available for musical purposes any and all sounds that can be heard.’
The sonic invention of Lars Graugaard, Sven Hahne, and Matthias Muche, their virtuoso invitation of purposeful coincidence to intermingle samples, events, and rhythms into strong musical statements, and the ease with which they conjur very diverse atmospheres of strong, earthly and suggestive magic places them firmly in this tradition. ‘Blue Dove’ seems initially to be constrained to an intimate room in a small village, with its stone walls and impregnated silence. But soon we are transported into open fields. A forest: drumming turns into large, clashing rocks. The ground is covered with branches with small fires everywhere, in want of air. But they diminish, disperse, and extinguish between the heavy rocks, leaving the landscape marked by streams of hot mercury that attempt to cut out gullies and culverts.
Listening to ‘Black Moon’ we are likewise under open air, but a heavy wind is pushed through roadways with heavy traffic. Cars, trucks, buses, an engine attempting to start, congestion, all manner of sounds intermingle. A fast car passes suddenly by, an old train with its steam engine fed by smoldering coal. Heavy breaking, apprehension, a feeling of foreboding. ‘White Comedy’ brings us unintelligible voices and incomprehensible, hurried currents of air, then sirenes. Murmuring voices of birds and people in discourses that sway and manipulate. Then drums and bells – altereded, whirling, gyrating – take command.”
Pilar Gómez Bedate
(Calaceite, Jul. 2009)
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