Dessogia / Queetch / Fauch
Legendary German improviser and instrument builder Limpe Fuchs finds fertile common ground with longtime spar Mark Fell on this eye-wateringly kaleidoscopic 2hr+ extended set, singing and playing an array of percussive instruments, bamboo flute and viola against Fell's singular digital flurries and fictile churrs. Seriously next level gear - don't sleep on it.
Poring thru Fuchs' estimable canon, whether it's her batshit freeform material with Anima (her iconic project alongside sculptor Paul Fuchs) her visionary solo work or her collaborations with artists like Evan Parker, Timo van Luijk and Christoph Heemann, there's really no indication of how this latest collab would actually work. There were clues that it was on the horizon: Fuchs' 'Piano in the Rain' was recorded by Fell at his Yorkshire home, and a tantalizing eight-minute collaboration between the two titans was tacked onto the end of May's 'Amor'. They've been close since Fuchs was wowed by Fell's set at Winnepeg's send + receive festival back in 2015, so in 2022, Fell headed to Peterskirchen, the tiny Bavarian village where Fuchs lives, and the duo began to figure out how to unify their distinctive sounds. Fuchs' approach has long been driven by an ability to "establish silence", using negative space to draw attention to the unusual sounds that puncture the quietude. And Fell's output can be analyzed similarly; even when he's working within ostensibly club music parameters, as Sensate Focus or alongside Mat Steel as SND, it's the judicious use of space and his grasp of dynamic intensity that sets him apart from so many of his peers.
They're both provoked by the potency of percussion, so it's no surprise to find that these punctuating sounds anchor the session. There are few discernible rhythms, but Fell's unmistakable elastic FM twangs start us off on 'Dessogia I', ricocheting off Fuchs' clattering, sometimes eerily resonant metallic prangs, generated by her huge set of microtonally tuned metal tubes. Since the record was dubbed at Fuchs' studio, she had access to her entire arsenal of instruments and sculptures - including many that have never been used during live performance - and switches things up from track to track. She plays what sounds like a marimba on 'Dessogia II', shrieking and wailing while Fell operates in the shadows with oozing, noisy outbursts, and pivots to metal sheets on 'Dessogia III', letting Fell's prismatic electronic dots and loops integrate seamlessly with the spine-chilling chimes. The amalgamation is even more impressive on 'Dessogia IV'; running a drumstick over her metal tubes, Fuchs creates hollow, redolent tonal clusters that melt into Fell's buzzing synths at first, before he shifts into a different mode, creating pinprick digital shudders and FM stings that provide a surprising accompaniment to Fuchs' breathy bamboo flute wails.
And they keep finding ways of surprising us; on the 20-minute 'Queetch III', Fell's chilly microtonal drones move like a swarm of bees around Fuchs' guttural percussive clangs, and the piece concludes with an explosion of noisy trapped loops, while 'Fauch II' is almost an album in its own right, moving from iced electro-acoustic stutters to a beguiling drone/fiddle/voice segment and grinding to a halt with woody shakes and artful white noise interference. It's free improv propelled into the fabric of another reality, and we're completely floored.
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Legendary German improviser and instrument builder Limpe Fuchs finds fertile common ground with longtime spar Mark Fell on this eye-wateringly kaleidoscopic 2hr+ extended set, singing and playing an array of percussive instruments, bamboo flute and viola against Fell's singular digital flurries and fictile churrs. Seriously next level gear - don't sleep on it.
Poring thru Fuchs' estimable canon, whether it's her batshit freeform material with Anima (her iconic project alongside sculptor Paul Fuchs) her visionary solo work or her collaborations with artists like Evan Parker, Timo van Luijk and Christoph Heemann, there's really no indication of how this latest collab would actually work. There were clues that it was on the horizon: Fuchs' 'Piano in the Rain' was recorded by Fell at his Yorkshire home, and a tantalizing eight-minute collaboration between the two titans was tacked onto the end of May's 'Amor'. They've been close since Fuchs was wowed by Fell's set at Winnepeg's send + receive festival back in 2015, so in 2022, Fell headed to Peterskirchen, the tiny Bavarian village where Fuchs lives, and the duo began to figure out how to unify their distinctive sounds. Fuchs' approach has long been driven by an ability to "establish silence", using negative space to draw attention to the unusual sounds that puncture the quietude. And Fell's output can be analyzed similarly; even when he's working within ostensibly club music parameters, as Sensate Focus or alongside Mat Steel as SND, it's the judicious use of space and his grasp of dynamic intensity that sets him apart from so many of his peers.
They're both provoked by the potency of percussion, so it's no surprise to find that these punctuating sounds anchor the session. There are few discernible rhythms, but Fell's unmistakable elastic FM twangs start us off on 'Dessogia I', ricocheting off Fuchs' clattering, sometimes eerily resonant metallic prangs, generated by her huge set of microtonally tuned metal tubes. Since the record was dubbed at Fuchs' studio, she had access to her entire arsenal of instruments and sculptures - including many that have never been used during live performance - and switches things up from track to track. She plays what sounds like a marimba on 'Dessogia II', shrieking and wailing while Fell operates in the shadows with oozing, noisy outbursts, and pivots to metal sheets on 'Dessogia III', letting Fell's prismatic electronic dots and loops integrate seamlessly with the spine-chilling chimes. The amalgamation is even more impressive on 'Dessogia IV'; running a drumstick over her metal tubes, Fuchs creates hollow, redolent tonal clusters that melt into Fell's buzzing synths at first, before he shifts into a different mode, creating pinprick digital shudders and FM stings that provide a surprising accompaniment to Fuchs' breathy bamboo flute wails.
And they keep finding ways of surprising us; on the 20-minute 'Queetch III', Fell's chilly microtonal drones move like a swarm of bees around Fuchs' guttural percussive clangs, and the piece concludes with an explosion of noisy trapped loops, while 'Fauch II' is almost an album in its own right, moving from iced electro-acoustic stutters to a beguiling drone/fiddle/voice segment and grinding to a halt with woody shakes and artful white noise interference. It's free improv propelled into the fabric of another reality, and we're completely floored.
Legendary German improviser and instrument builder Limpe Fuchs finds fertile common ground with longtime spar Mark Fell on this eye-wateringly kaleidoscopic 2hr+ extended set, singing and playing an array of percussive instruments, bamboo flute and viola against Fell's singular digital flurries and fictile churrs. Seriously next level gear - don't sleep on it.
Poring thru Fuchs' estimable canon, whether it's her batshit freeform material with Anima (her iconic project alongside sculptor Paul Fuchs) her visionary solo work or her collaborations with artists like Evan Parker, Timo van Luijk and Christoph Heemann, there's really no indication of how this latest collab would actually work. There were clues that it was on the horizon: Fuchs' 'Piano in the Rain' was recorded by Fell at his Yorkshire home, and a tantalizing eight-minute collaboration between the two titans was tacked onto the end of May's 'Amor'. They've been close since Fuchs was wowed by Fell's set at Winnepeg's send + receive festival back in 2015, so in 2022, Fell headed to Peterskirchen, the tiny Bavarian village where Fuchs lives, and the duo began to figure out how to unify their distinctive sounds. Fuchs' approach has long been driven by an ability to "establish silence", using negative space to draw attention to the unusual sounds that puncture the quietude. And Fell's output can be analyzed similarly; even when he's working within ostensibly club music parameters, as Sensate Focus or alongside Mat Steel as SND, it's the judicious use of space and his grasp of dynamic intensity that sets him apart from so many of his peers.
They're both provoked by the potency of percussion, so it's no surprise to find that these punctuating sounds anchor the session. There are few discernible rhythms, but Fell's unmistakable elastic FM twangs start us off on 'Dessogia I', ricocheting off Fuchs' clattering, sometimes eerily resonant metallic prangs, generated by her huge set of microtonally tuned metal tubes. Since the record was dubbed at Fuchs' studio, she had access to her entire arsenal of instruments and sculptures - including many that have never been used during live performance - and switches things up from track to track. She plays what sounds like a marimba on 'Dessogia II', shrieking and wailing while Fell operates in the shadows with oozing, noisy outbursts, and pivots to metal sheets on 'Dessogia III', letting Fell's prismatic electronic dots and loops integrate seamlessly with the spine-chilling chimes. The amalgamation is even more impressive on 'Dessogia IV'; running a drumstick over her metal tubes, Fuchs creates hollow, redolent tonal clusters that melt into Fell's buzzing synths at first, before he shifts into a different mode, creating pinprick digital shudders and FM stings that provide a surprising accompaniment to Fuchs' breathy bamboo flute wails.
And they keep finding ways of surprising us; on the 20-minute 'Queetch III', Fell's chilly microtonal drones move like a swarm of bees around Fuchs' guttural percussive clangs, and the piece concludes with an explosion of noisy trapped loops, while 'Fauch II' is almost an album in its own right, moving from iced electro-acoustic stutters to a beguiling drone/fiddle/voice segment and grinding to a halt with woody shakes and artful white noise interference. It's free improv propelled into the fabric of another reality, and we're completely floored.
Legendary German improviser and instrument builder Limpe Fuchs finds fertile common ground with longtime spar Mark Fell on this eye-wateringly kaleidoscopic 2hr+ extended set, singing and playing an array of percussive instruments, bamboo flute and viola against Fell's singular digital flurries and fictile churrs. Seriously next level gear - don't sleep on it.
Poring thru Fuchs' estimable canon, whether it's her batshit freeform material with Anima (her iconic project alongside sculptor Paul Fuchs) her visionary solo work or her collaborations with artists like Evan Parker, Timo van Luijk and Christoph Heemann, there's really no indication of how this latest collab would actually work. There were clues that it was on the horizon: Fuchs' 'Piano in the Rain' was recorded by Fell at his Yorkshire home, and a tantalizing eight-minute collaboration between the two titans was tacked onto the end of May's 'Amor'. They've been close since Fuchs was wowed by Fell's set at Winnepeg's send + receive festival back in 2015, so in 2022, Fell headed to Peterskirchen, the tiny Bavarian village where Fuchs lives, and the duo began to figure out how to unify their distinctive sounds. Fuchs' approach has long been driven by an ability to "establish silence", using negative space to draw attention to the unusual sounds that puncture the quietude. And Fell's output can be analyzed similarly; even when he's working within ostensibly club music parameters, as Sensate Focus or alongside Mat Steel as SND, it's the judicious use of space and his grasp of dynamic intensity that sets him apart from so many of his peers.
They're both provoked by the potency of percussion, so it's no surprise to find that these punctuating sounds anchor the session. There are few discernible rhythms, but Fell's unmistakable elastic FM twangs start us off on 'Dessogia I', ricocheting off Fuchs' clattering, sometimes eerily resonant metallic prangs, generated by her huge set of microtonally tuned metal tubes. Since the record was dubbed at Fuchs' studio, she had access to her entire arsenal of instruments and sculptures - including many that have never been used during live performance - and switches things up from track to track. She plays what sounds like a marimba on 'Dessogia II', shrieking and wailing while Fell operates in the shadows with oozing, noisy outbursts, and pivots to metal sheets on 'Dessogia III', letting Fell's prismatic electronic dots and loops integrate seamlessly with the spine-chilling chimes. The amalgamation is even more impressive on 'Dessogia IV'; running a drumstick over her metal tubes, Fuchs creates hollow, redolent tonal clusters that melt into Fell's buzzing synths at first, before he shifts into a different mode, creating pinprick digital shudders and FM stings that provide a surprising accompaniment to Fuchs' breathy bamboo flute wails.
And they keep finding ways of surprising us; on the 20-minute 'Queetch III', Fell's chilly microtonal drones move like a swarm of bees around Fuchs' guttural percussive clangs, and the piece concludes with an explosion of noisy trapped loops, while 'Fauch II' is almost an album in its own right, moving from iced electro-acoustic stutters to a beguiling drone/fiddle/voice segment and grinding to a halt with woody shakes and artful white noise interference. It's free improv propelled into the fabric of another reality, and we're completely floored.
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Legendary German improviser and instrument builder Limpe Fuchs finds fertile common ground with longtime spar Mark Fell on this eye-wateringly kaleidoscopic 2hr+ extended set, singing and playing an array of percussive instruments, bamboo flute and viola against Fell's singular digital flurries and fictile churrs. Seriously next level gear - don't sleep on it.
Poring thru Fuchs' estimable canon, whether it's her batshit freeform material with Anima (her iconic project alongside sculptor Paul Fuchs) her visionary solo work or her collaborations with artists like Evan Parker, Timo van Luijk and Christoph Heemann, there's really no indication of how this latest collab would actually work. There were clues that it was on the horizon: Fuchs' 'Piano in the Rain' was recorded by Fell at his Yorkshire home, and a tantalizing eight-minute collaboration between the two titans was tacked onto the end of May's 'Amor'. They've been close since Fuchs was wowed by Fell's set at Winnepeg's send + receive festival back in 2015, so in 2022, Fell headed to Peterskirchen, the tiny Bavarian village where Fuchs lives, and the duo began to figure out how to unify their distinctive sounds. Fuchs' approach has long been driven by an ability to "establish silence", using negative space to draw attention to the unusual sounds that puncture the quietude. And Fell's output can be analyzed similarly; even when he's working within ostensibly club music parameters, as Sensate Focus or alongside Mat Steel as SND, it's the judicious use of space and his grasp of dynamic intensity that sets him apart from so many of his peers.
They're both provoked by the potency of percussion, so it's no surprise to find that these punctuating sounds anchor the session. There are few discernible rhythms, but Fell's unmistakable elastic FM twangs start us off on 'Dessogia I', ricocheting off Fuchs' clattering, sometimes eerily resonant metallic prangs, generated by her huge set of microtonally tuned metal tubes. Since the record was dubbed at Fuchs' studio, she had access to her entire arsenal of instruments and sculptures - including many that have never been used during live performance - and switches things up from track to track. She plays what sounds like a marimba on 'Dessogia II', shrieking and wailing while Fell operates in the shadows with oozing, noisy outbursts, and pivots to metal sheets on 'Dessogia III', letting Fell's prismatic electronic dots and loops integrate seamlessly with the spine-chilling chimes. The amalgamation is even more impressive on 'Dessogia IV'; running a drumstick over her metal tubes, Fuchs creates hollow, redolent tonal clusters that melt into Fell's buzzing synths at first, before he shifts into a different mode, creating pinprick digital shudders and FM stings that provide a surprising accompaniment to Fuchs' breathy bamboo flute wails.
And they keep finding ways of surprising us; on the 20-minute 'Queetch III', Fell's chilly microtonal drones move like a swarm of bees around Fuchs' guttural percussive clangs, and the piece concludes with an explosion of noisy trapped loops, while 'Fauch II' is almost an album in its own right, moving from iced electro-acoustic stutters to a beguiling drone/fiddle/voice segment and grinding to a halt with woody shakes and artful white noise interference. It's free improv propelled into the fabric of another reality, and we're completely floored.