CD Rothenberg Hein Tammen – Bird Saw Buchla
TO BE RELEASED ON SEP 14, 2018
David Rothenberg – clarinet, bass clarinet, contralto clarinet, iPad
Nicola L. Hein – guitar, circular saw
Hans Tammen – buchla music easel
Rothenberg / Hein / Tammen create a meeting point of different aesthetic languages, processes of thought and approaches to sound.
David Rothenberg has worked extensively around the relation of music, nature and philosophy, developing a highly idiosyncratic work around these fundamental constellations. Nicola L. Hein is focused on the intersection of sound art, music and philosophy, often investigating sound as kinetic phenomena and tactile happening. Hans Tammen likes to set sounds in motion, and then sits back to watch the movements unfold. Using textures, timbre and dynamics as primary elements, his music is continuously shifting, with some layers floating into the foreground while others disappear.
On “Bird Saw Buchla” these three voices come together to form a trialogue within a field of differential forces, which brings forth creative confusions and aesthetic dissent as well as mutual agreement upon discursive sonic objects. The music wanders in between driving rhythmical structures, flowing layers, melodic elements and a myriad of other musical topographies.
Cover art by Jaanika Peerna.
Composed by David Rothenberg (Mysterious Mountain Music, BMI), Nicola L. Hein (GEMA) and Hans Tammen (GEMA).
Bruce Gallanter / Downtown Music Gallery
Featuring David Rothenberg on clarinets & ipad, Nicola L. Hein on guitar & circular saw and Han Tammen on Buchla Music Easel. This is a unique trio of three musicians from different backgrounds, each of whom has appeared here at DMG on occasion. David Rothenberg plays clarinets, recorded a duo CD with Marilyn Crispell for ECM, an author of books about animal sounds. He spoke here at DMG a couple of weeks ago, discussing an upcoming book by Elliott Sharp… German guitarist, Nicola L. Hein is currently a visiting scholar at Columbia University. Over the past year, he has played at DMG several times with a diverse cast of partners: Chris Pitsiokos (outstanding!), Robert Dick, Viv Corringham and Mia Zabelka. He played differently for each duo. Hans Tammen also plays guitar (on his lap or table top), leads an orchestra and has a guitar quartet. But here he is playing an ancient (?) Buchla Sound Easel, one of the earliest synthesizers. An odd trio, nonetheless… This is an extraordinary trio: Mr. Rothenberg is an incredible clarinetist, fluttering soft waves of notes, his tone often pure while Mr. Hein adds a stream of percussion banging on his guitar with a object and small circular saw. Mr. Tammen also provides a soft cushion of electronics underneath. At times, it sounds as if Mr. Tammen is on the verge of exploding with select bursts of distortion. The further that Hein on guitar and Tammen on synth push things out, the more Rothenberg adds a more natural balance with his most acoustic playing. All of the song titles have sad natural themes like “Then Cry All Birds and Fishes”. Is there an imbalance between Mother Nature and Technology or between acoustics and electronics sounds??? This is is a perfect example of the way these extremes can work so well together. On one level, very hopeful indeed.
Original post here.
BAZE.DJUNKIII / Nitestylez.de
“Bird Saw Buchla” [is] a collaborational album effort created by the triumvirate of David Rothenberg, Nicola L. Hein and Hans Tammen which created a conjunctional six track journey spanning over 57 minutes on this longplay piece, employing an array of instruments including a variety of clarinets, iPad, guitar, circular saw and the legendary Buchla music easel in the compositional process. Opening with “Must Springtime Fade?” the three artists bring forth a free floating Jazz Noir-like approach contrasted by a harsh take on ultra-electronic background Funk, “Then Cry All Birds And Fishes” gravitates more towards experimental DarkJazz territories and “Cold Pale Eyes Pour Tears” sees the bird mentioned in the title coming into play before the Buchla provides a clean retrofuturist sound environment for all sci-fi scoreists out there, building up maximum tension with minimalist bleeps, busy tweets, moving fluids and raw vintage bass pulses for those who know. With “Now In Sad Autumn” the three composers bring forth more deep Jazz melancholia, “As I Take My Darkening Path…” sees lively clarinet movements in combination with spiraling modulations and the final cut “A Solitary Bird” weighs in more dark’ish, swampy atmospheres accompanied by seemingly field recorded clangs and percussive elements, seductive bass movements as well as bits and bops of, oftentimes mutated, background Jazz blown over from faraway venues. Well interesting, this.
Original post here.