Ceaseless sound explorer Stefan Schneider (Kreidler, To Rococo Rot, Mapstation, +++) engages Susanna Gartmayer for a 2nd So Sner album curiously, patiently uncoiling insectoid polyrhythms and mannered yet free-flowing arrangements for clarinet
‘The Well’ is So Sner’s slower, more spongiform, and skewed answer to their 2021 debut LP ‘Reime’. The duo’s subtle change of direction and pacing can be attributed to a deepening of their creative binds developed during extensive tours of Europe, and the new ingredient of Martin Siewart’s meticulous co-production and absorbing treatments in the mix. Not to detract from Detlef Funder's efforts on the first album, but Siewart highlights a gooey yet brittle fluidity and the rich acoustic timbres of the music in a more spellbinding and harmonious democracy of the elements here.
The 10 tracks succinctly capture the quintessence of So Sner’s live-honed style and structures more candidly, framing their music as sorts of quietly spirited avant-jazz dialogue or purring motorik and kosmiche soundscaping of a particularly Düsseldorfer verve. Gartmayer, who recently collaborated with Joe McPhee and Maria Portugal - aside to her ongoing role in Vegetable Orchestra - articulates lyrical lines of extended melodic thought that sweep and dip in cadence with Schneider’s rhythmelodic drums and electronics.
In tandem they chase a dragon of innovation from what sounds like a chorus of insects at dusk chiming with a clarinet on ‘That Welcome’, thru the standout airborne halfstep and quizzical clarinet of ‘Bus Train Bus’, into eyes-shut vibe operating on bat-like 6th sensory perceptions in ‘Glek Forst’, and a scene of trippiest, heavy-lidded romance in ‘New Sad City’. They show their fangs on a gnarlier sort of jazz noir powered by sloshing motorik pulse in ‘Pugs Lament’, and lull to superb conclusion in the lights-out couplet of ‘Golden Numbers’ into the radiant diffusions of ‘Goodnight Dreamer’, one of those cuts you may not even reach if their sandman magic has done its thing already. Cue a hushed round of applause.
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Ceaseless sound explorer Stefan Schneider (Kreidler, To Rococo Rot, Mapstation, +++) engages Susanna Gartmayer for a 2nd So Sner album curiously, patiently uncoiling insectoid polyrhythms and mannered yet free-flowing arrangements for clarinet
‘The Well’ is So Sner’s slower, more spongiform, and skewed answer to their 2021 debut LP ‘Reime’. The duo’s subtle change of direction and pacing can be attributed to a deepening of their creative binds developed during extensive tours of Europe, and the new ingredient of Martin Siewart’s meticulous co-production and absorbing treatments in the mix. Not to detract from Detlef Funder's efforts on the first album, but Siewart highlights a gooey yet brittle fluidity and the rich acoustic timbres of the music in a more spellbinding and harmonious democracy of the elements here.
The 10 tracks succinctly capture the quintessence of So Sner’s live-honed style and structures more candidly, framing their music as sorts of quietly spirited avant-jazz dialogue or purring motorik and kosmiche soundscaping of a particularly Düsseldorfer verve. Gartmayer, who recently collaborated with Joe McPhee and Maria Portugal - aside to her ongoing role in Vegetable Orchestra - articulates lyrical lines of extended melodic thought that sweep and dip in cadence with Schneider’s rhythmelodic drums and electronics.
In tandem they chase a dragon of innovation from what sounds like a chorus of insects at dusk chiming with a clarinet on ‘That Welcome’, thru the standout airborne halfstep and quizzical clarinet of ‘Bus Train Bus’, into eyes-shut vibe operating on bat-like 6th sensory perceptions in ‘Glek Forst’, and a scene of trippiest, heavy-lidded romance in ‘New Sad City’. They show their fangs on a gnarlier sort of jazz noir powered by sloshing motorik pulse in ‘Pugs Lament’, and lull to superb conclusion in the lights-out couplet of ‘Golden Numbers’ into the radiant diffusions of ‘Goodnight Dreamer’, one of those cuts you may not even reach if their sandman magic has done its thing already. Cue a hushed round of applause.
Ceaseless sound explorer Stefan Schneider (Kreidler, To Rococo Rot, Mapstation, +++) engages Susanna Gartmayer for a 2nd So Sner album curiously, patiently uncoiling insectoid polyrhythms and mannered yet free-flowing arrangements for clarinet
‘The Well’ is So Sner’s slower, more spongiform, and skewed answer to their 2021 debut LP ‘Reime’. The duo’s subtle change of direction and pacing can be attributed to a deepening of their creative binds developed during extensive tours of Europe, and the new ingredient of Martin Siewart’s meticulous co-production and absorbing treatments in the mix. Not to detract from Detlef Funder's efforts on the first album, but Siewart highlights a gooey yet brittle fluidity and the rich acoustic timbres of the music in a more spellbinding and harmonious democracy of the elements here.
The 10 tracks succinctly capture the quintessence of So Sner’s live-honed style and structures more candidly, framing their music as sorts of quietly spirited avant-jazz dialogue or purring motorik and kosmiche soundscaping of a particularly Düsseldorfer verve. Gartmayer, who recently collaborated with Joe McPhee and Maria Portugal - aside to her ongoing role in Vegetable Orchestra - articulates lyrical lines of extended melodic thought that sweep and dip in cadence with Schneider’s rhythmelodic drums and electronics.
In tandem they chase a dragon of innovation from what sounds like a chorus of insects at dusk chiming with a clarinet on ‘That Welcome’, thru the standout airborne halfstep and quizzical clarinet of ‘Bus Train Bus’, into eyes-shut vibe operating on bat-like 6th sensory perceptions in ‘Glek Forst’, and a scene of trippiest, heavy-lidded romance in ‘New Sad City’. They show their fangs on a gnarlier sort of jazz noir powered by sloshing motorik pulse in ‘Pugs Lament’, and lull to superb conclusion in the lights-out couplet of ‘Golden Numbers’ into the radiant diffusions of ‘Goodnight Dreamer’, one of those cuts you may not even reach if their sandman magic has done its thing already. Cue a hushed round of applause.
Ceaseless sound explorer Stefan Schneider (Kreidler, To Rococo Rot, Mapstation, +++) engages Susanna Gartmayer for a 2nd So Sner album curiously, patiently uncoiling insectoid polyrhythms and mannered yet free-flowing arrangements for clarinet
‘The Well’ is So Sner’s slower, more spongiform, and skewed answer to their 2021 debut LP ‘Reime’. The duo’s subtle change of direction and pacing can be attributed to a deepening of their creative binds developed during extensive tours of Europe, and the new ingredient of Martin Siewart’s meticulous co-production and absorbing treatments in the mix. Not to detract from Detlef Funder's efforts on the first album, but Siewart highlights a gooey yet brittle fluidity and the rich acoustic timbres of the music in a more spellbinding and harmonious democracy of the elements here.
The 10 tracks succinctly capture the quintessence of So Sner’s live-honed style and structures more candidly, framing their music as sorts of quietly spirited avant-jazz dialogue or purring motorik and kosmiche soundscaping of a particularly Düsseldorfer verve. Gartmayer, who recently collaborated with Joe McPhee and Maria Portugal - aside to her ongoing role in Vegetable Orchestra - articulates lyrical lines of extended melodic thought that sweep and dip in cadence with Schneider’s rhythmelodic drums and electronics.
In tandem they chase a dragon of innovation from what sounds like a chorus of insects at dusk chiming with a clarinet on ‘That Welcome’, thru the standout airborne halfstep and quizzical clarinet of ‘Bus Train Bus’, into eyes-shut vibe operating on bat-like 6th sensory perceptions in ‘Glek Forst’, and a scene of trippiest, heavy-lidded romance in ‘New Sad City’. They show their fangs on a gnarlier sort of jazz noir powered by sloshing motorik pulse in ‘Pugs Lament’, and lull to superb conclusion in the lights-out couplet of ‘Golden Numbers’ into the radiant diffusions of ‘Goodnight Dreamer’, one of those cuts you may not even reach if their sandman magic has done its thing already. Cue a hushed round of applause.
Edition of 400 copies, including printed inner sleeve and download code
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Ceaseless sound explorer Stefan Schneider (Kreidler, To Rococo Rot, Mapstation, +++) engages Susanna Gartmayer for a 2nd So Sner album curiously, patiently uncoiling insectoid polyrhythms and mannered yet free-flowing arrangements for clarinet
‘The Well’ is So Sner’s slower, more spongiform, and skewed answer to their 2021 debut LP ‘Reime’. The duo’s subtle change of direction and pacing can be attributed to a deepening of their creative binds developed during extensive tours of Europe, and the new ingredient of Martin Siewart’s meticulous co-production and absorbing treatments in the mix. Not to detract from Detlef Funder's efforts on the first album, but Siewart highlights a gooey yet brittle fluidity and the rich acoustic timbres of the music in a more spellbinding and harmonious democracy of the elements here.
The 10 tracks succinctly capture the quintessence of So Sner’s live-honed style and structures more candidly, framing their music as sorts of quietly spirited avant-jazz dialogue or purring motorik and kosmiche soundscaping of a particularly Düsseldorfer verve. Gartmayer, who recently collaborated with Joe McPhee and Maria Portugal - aside to her ongoing role in Vegetable Orchestra - articulates lyrical lines of extended melodic thought that sweep and dip in cadence with Schneider’s rhythmelodic drums and electronics.
In tandem they chase a dragon of innovation from what sounds like a chorus of insects at dusk chiming with a clarinet on ‘That Welcome’, thru the standout airborne halfstep and quizzical clarinet of ‘Bus Train Bus’, into eyes-shut vibe operating on bat-like 6th sensory perceptions in ‘Glek Forst’, and a scene of trippiest, heavy-lidded romance in ‘New Sad City’. They show their fangs on a gnarlier sort of jazz noir powered by sloshing motorik pulse in ‘Pugs Lament’, and lull to superb conclusion in the lights-out couplet of ‘Golden Numbers’ into the radiant diffusions of ‘Goodnight Dreamer’, one of those cuts you may not even reach if their sandman magic has done its thing already. Cue a hushed round of applause.