Veteran Austrian double bass player and composer Werner Dafeldecker teams up with Italian composer Marco Baldini and m=minimal co-founder Jens Strüver on 'Prismatic', creating cinematic soundscapes from acoustic instruments, field recordings and electronics.
Inspired by the "visual and narrative techniques" of film noir - just check the moody, monochromatic cover art - 'Prismatic' is an album that understands the importance of shadows. Playing bass, electronics and piano, Dafeldecker is joined by Strüver on tapes and turntables and Baldini on trumpet, and the trio extend their notes so they become spacious, dynamic atmospheres, rather than clusters of notes. 'Jenseits I' is 11 minutes of pure tension, just goosebump-inducing tones that sound familiar without resorting to any of the usual trope; bass notes rumble slowly, and muted trumpet blasts are slowed down until they're breathy whispers, while the piano just picks out the patches of light.
Somehow, the trio descend even further into darkness on 'Drehimpulse I', but begin to show some important contrast on its second chapter, introducing evocative, stormy environmental recordings, bells and hazy sampled rhythmic fragments. And as the album comes to a close, 'Jenseits II' brings things together before the credits roll, disturbing the durational drones with unsettling heartbeat sounds and whistling feedback.
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Veteran Austrian double bass player and composer Werner Dafeldecker teams up with Italian composer Marco Baldini and m=minimal co-founder Jens Strüver on 'Prismatic', creating cinematic soundscapes from acoustic instruments, field recordings and electronics.
Inspired by the "visual and narrative techniques" of film noir - just check the moody, monochromatic cover art - 'Prismatic' is an album that understands the importance of shadows. Playing bass, electronics and piano, Dafeldecker is joined by Strüver on tapes and turntables and Baldini on trumpet, and the trio extend their notes so they become spacious, dynamic atmospheres, rather than clusters of notes. 'Jenseits I' is 11 minutes of pure tension, just goosebump-inducing tones that sound familiar without resorting to any of the usual trope; bass notes rumble slowly, and muted trumpet blasts are slowed down until they're breathy whispers, while the piano just picks out the patches of light.
Somehow, the trio descend even further into darkness on 'Drehimpulse I', but begin to show some important contrast on its second chapter, introducing evocative, stormy environmental recordings, bells and hazy sampled rhythmic fragments. And as the album comes to a close, 'Jenseits II' brings things together before the credits roll, disturbing the durational drones with unsettling heartbeat sounds and whistling feedback.
Veteran Austrian double bass player and composer Werner Dafeldecker teams up with Italian composer Marco Baldini and m=minimal co-founder Jens Strüver on 'Prismatic', creating cinematic soundscapes from acoustic instruments, field recordings and electronics.
Inspired by the "visual and narrative techniques" of film noir - just check the moody, monochromatic cover art - 'Prismatic' is an album that understands the importance of shadows. Playing bass, electronics and piano, Dafeldecker is joined by Strüver on tapes and turntables and Baldini on trumpet, and the trio extend their notes so they become spacious, dynamic atmospheres, rather than clusters of notes. 'Jenseits I' is 11 minutes of pure tension, just goosebump-inducing tones that sound familiar without resorting to any of the usual trope; bass notes rumble slowly, and muted trumpet blasts are slowed down until they're breathy whispers, while the piano just picks out the patches of light.
Somehow, the trio descend even further into darkness on 'Drehimpulse I', but begin to show some important contrast on its second chapter, introducing evocative, stormy environmental recordings, bells and hazy sampled rhythmic fragments. And as the album comes to a close, 'Jenseits II' brings things together before the credits roll, disturbing the durational drones with unsettling heartbeat sounds and whistling feedback.
Veteran Austrian double bass player and composer Werner Dafeldecker teams up with Italian composer Marco Baldini and m=minimal co-founder Jens Strüver on 'Prismatic', creating cinematic soundscapes from acoustic instruments, field recordings and electronics.
Inspired by the "visual and narrative techniques" of film noir - just check the moody, monochromatic cover art - 'Prismatic' is an album that understands the importance of shadows. Playing bass, electronics and piano, Dafeldecker is joined by Strüver on tapes and turntables and Baldini on trumpet, and the trio extend their notes so they become spacious, dynamic atmospheres, rather than clusters of notes. 'Jenseits I' is 11 minutes of pure tension, just goosebump-inducing tones that sound familiar without resorting to any of the usual trope; bass notes rumble slowly, and muted trumpet blasts are slowed down until they're breathy whispers, while the piano just picks out the patches of light.
Somehow, the trio descend even further into darkness on 'Drehimpulse I', but begin to show some important contrast on its second chapter, introducing evocative, stormy environmental recordings, bells and hazy sampled rhythmic fragments. And as the album comes to a close, 'Jenseits II' brings things together before the credits roll, disturbing the durational drones with unsettling heartbeat sounds and whistling feedback.