Michael Wollny, Eva Kruse, Eric Schaefer - [em] II (2006) скачать бесплатно

These German jazzers aren't the most immediate of groups - but their endless flow of ideas will suck you in, says Stuart Nicholson.
The music biz long ago rendered terms like 'excellent' or 'brilliant' meaningless. It's a shame, because when an album comes along that is genuinely excellent (or brilliant) it's necessary to reach for the kind of superlatives that would barely do justice to the Second Coming. So by saying [em] II announces the arrival of a major young band I realise this may be construed as a monumental understatement, particularly since it's my album of the year.
None the less, like a good movie or book, it takes a while to absorb, so lovers of quick fixes are advised to look elsewhere. But for those who don't belong to the cult of instant gratification, then the time taken to unravel [em]'s highly personal language opens up a richly rewarding world full of unexpected depth and originality. On first listen it may seem like information overload, with ideas spinning every which way - then, gradually, it becomes clear there's a unified musical vision at work here.
Take 'Schneefall' or 'Rice', for example: both are incredibly detailed sound tapestries that are strong on visuals - the ugly beauty of dark gothic tones, dazzling kaleidoscopes of musical colours - but are also full of subtle rhythmic allusions and mystic signifiers. The faultlessly fluent drummer Eric Schaefer locks onto Eva Kruse's popping basslines by way of nodding to hip hop and drum'n'bass, while Michael Wollny on piano uses space and dynamics to frame the endless flow of ideas from his restless imagination.
There's a jarring energy to all this that experimental rock fans can plug into with its edgy themes, shifting rhythms, moods and harmonic density ('Funebre', 'Brizzle', 'Irradians'). Maybe it reflects the pace of life and the ever-changing urban landscape of Berlin, where the band are based? 'Quite probably,' says Wollny. 'It's such an undefined, unfinished city at the moment. Everything is changing all the time; maybe that's something that influences the music.'
It's coincidence, of course, that one of the best tracks is called 'Walpurgisnacht', a reference to that night in German folklore when all the witches are supposed to gather and 'hold revels with their gods'. But since 'Phlegma Phiter', 'Another Mr Lizard' and 'Gorilla Biscuits' burst with dark, supernatural energy, you can't help but think of the aforementioned evening. Truth is, this is devil's music of the highest order which depends on intensity and rapport for its volatile inspiration.
Stuart Nicholson, The Observer, Sunday 12 November 2006

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