Tuesday, April 14, 2015
And now to something not (neo)classical although the general set-up of the recently released "Golden Quinces, Earthed For Spatialised Neo-Bechstein" - 1967-born Piano-player Reinhold Friedl performs on one of the last remaining of 150 ever produced Neo-Bechstein amplified Grand Pianos - might have called for a an epic , approx. 57 minutes journey into this field. But Zeitkratzer-founder Reinhold Friedl wouldn't be Reinhold Friedl if things went on easy and predictable, so instead and according to his special uniques recording techniques he sets out to explore a lot of possibilities of what the slightly enhanced instrument can sound like other than a Grand Piano which - speaking in terms of tiny hammers hitting strings - does not happen very often throughout this composition and if so, only as hypernervous, regularly dissonant background layer appearing within the actual piece. So what's to expect from this Bocian Records release? One track, sporting a runtime mentioned. This basically equals no distractions and a demand for focus in terms of attention which is a challenge in these days so busy but a rewarding one as one can completely get lost in this piece, especially when - approx. halfway through "Golden Quinces, Earthed For Spatialised Neo-Bechstein" - we experience a slow but still essential change in temper and timbre from busy, buzzing and slightly chaotic, elusory (non)structures meandering around the upper part of the sonic spectrum towards calmer, more bass-focused droning and Dark Ambient, interrupted by metallic, intense alien tones reverberating to a crescendo of like a ripping Metropolis, a humongous machine falling into pieces with the last whizzing echoes of apocalyptic turmoil fading into sweet nothingness, smoldering vagueness and plangent silence over the final eight or ten minutes. Intense as intense can get and way too complex to review in all its rich detail after one or two listening sessions.