Mama Rosin on the road to Mississipi!

image(1)On n’est pas parti là-bas avec en tête le rêve américain, oh non ! On les connaît bien les histoires des groupes européens qui se cassent les dents dans les bars US. Mais la tournée de 10 jours (dont 2 jours en studio sur la fin) qui s’amorcent nous a déjà emporté très très loin. Sur la carte mais surtout dans nos têtes. D’abord St Louis, Missouri puis Memphis, Tennessee ! On longe le Mississippi jusqu’à La Nouvelle Orléans puis on tourne à l’ouest jusqu’au Texas.

Sous jetlag violent et extrêmes burgers

Des salles pleines, des promoteurs (musiciens, ou disquaires locaux) ravis et concernés … Rares et précieux.

Un lundi et un mardi américain qui se passent à merveille. Sous jetlag violent et extrêmes burgers. Les quartiers des clubs sont en voix de gentrification, donc burgers avec pousses de soja ! Les mêmes qu’on se refuse à manger à Genève dans ces nombreux lieux qui fleurissent partout !

Une fleur sur la tombe de Jessie Mae Hemphill

image(2)Mais s’il y a quelque chose à retenir de ces premiers jours, c’est le niveau de classe ahurissant des groupes avec qui on joue. Juste des gens de n’importe quel âge, shootés au son des radios locales et aux LPs par milliers, pour qui la musique est une seconde nature. Deux baffes dans la gueule monstrueuses ! En deux soirs. Au point où ça devient gênant de jouer après eux … Et de recevoir leurs compliments … Et de vendre autant de disques. Ce soir c’est le Siberia à New Orleans où deux groupes ouvrent pour nous. Autant de baffes en perspective.

imagePeu de dodo. Et des kilomètres sur les routes sans virage, excepté peut-être celui qu’on a fait aujourd’hui pour aller poser une fleur sur la tombe de Jessie Mae Hemphill, une de nos déesses à Como, Mississippi.”

Mama Rosin

The Who Trio presents “The Who Zoo”

The Who ZooFrom the opening, assured double bass note and urgent cymbal tapping to piano notes peeking shyly out, the quality of The Who Zoo is apparent. The acoustic side of this limited release, double album uphold the trio’s aim: to respectfully work on the art of improvisation.

It sounds like a whale singing of unrequited love

The track Rembellarun stands out for feeling like an actual composition, all be it a dreamlike one with Michel Wintsch at his melancholic best and Gerry Hemingway providing an edge by literally scraping the side of a cymbal. It sounds like a whale singing of unrequited love. Just when the percussive ideas begin to dominate, in rides a piano rebuff – a few notes delivered with confidence and defiance.

Hemingway is a constant imaginative presence sensitively patting out ideas and allowing cymbals to whisper sweet nothings around the hook line in Demmpa. Bänz Oester tunes in, but asserts his own ideas with an intimate knowledge of strokes, caresses and pulls of his bass strings. The inventiveness of his playing borders on the magical.

I like it when they get raw and primal

I didn’t like Sloeperr to begin with, then at nine minutes in, on maybe the third listen, I got goosebumps and almost tears in my eyes as the warped hymn lines and piano poundings, bass vibrations and beatings and rattling drum funk entangled me in an emotional net. I like it when they get raw and primal. They can handle it without resorting to cliché. There are times when I’m certain Hemingway could get in chops and licks but he keeps it organic, all three staying riveted to the present moment. This favouring of the integrated ‘group solo’ enables an uninterrupted onslaught.

Hemingway was a name in the ‘loft scene’ of 1970s New York where free jazz had laid the foundation and was developed by new creatives such as Joe McPhee, Don Pullen and David Murray. His presence is powerful but his depth of experience is matched by Oester and Wintsch. Michel embroiders the music with runs that sound like glass beads scattering and exquisite melodies that seem to trickle from a Peter Greenaway film soundtrack.

How I’d love to hear Oester on electric bass

The second CD is mis-titled as ‘Electric’. I was expecting Wintsch on Fender Rhodes and how I’d love to hear Oester on electric bass, but in fact at the core of these longer improvisations are the acoustic instruments with what seems to be decorative strokes of synthesiser, electric sound effects and noodlings. ‘Acoustic Plus’ may have been a better description.

This release has a multitude of textures and thoughts: dry, scraping grief, assertive fury and vulnerable beauty. Although I wouldn’t have complained at even more variety, it’s quite an achievement to capture improvised music as it should be heard – live. The Who Zoo is an exploration of the potency of improvisation and all venues interested in such music should book them now.

The WHO Trio, The Who Zoo (Auricle Records / Nagual Music)
The Who Trio
Auricle Records

Egopusher @ tHBBC, Cully

EgopusherPreisig plays like an anti-violinist with a violin

I have never seen a drum and violin duo before and, despite a set up of delay and reverb pedals, a mini Moog bass synth and samples, Alessandro Giannelli and Tobias Preisig focused on their actual instruments. These are clearly accomplished musicians.

Preisig plays like an anti-violinist with a violin. He attacks his strings with rhythmic stabs and warped slides, sawing his bow across his instrument as if a maniac cutting off his own leg. Notes get higher and higher, searching for an exit for the impending explosion. Such a moment had my spine-tingling, the music slipping and warped as it ascended; it was faintly erotic.

“It gives me energy”

Preisig describes this band as a chance for ‘controlled vomiting’, getting stuff out of his system in the least contrived way possible. He can be more immediate and free than with his quartet purely because the logistics of a duo are simpler. He can also explore influences from rock and electronica. ‘It gives me energy,’ he told me.

Giannelli’s physique (I wouldn’t want to pick a fight with him) gives a clue to his sound. He’s a workhorse who can bang a drum with such force I thought he might gash the skin. But he wasn’t thrashing, his sound was controlled and clean. I could sense him tuning into Preisig and he was able to shape-shift between smashing out a rock line, feeling the funk or neatly tap dancing on a drum rim.

This was only their eighth live appearance

Occasionally Preisig would fall in with the rhythm of the drum to make a powerful coupling, or allow a scrap of melody to emerge before repeating it until he flogged into silence. Sometimes I was even reminded of the melancholic fury of ’80s New Wave bands like Magazine, and I wanted more of that.

This was only their eighth live appearance so these are early days especially in terms of use of sound effects and samples. My note of caution would be that whilst ‘spewing’ is probably fun there could still be space for the exquisite aesthetic the violin is capable of. Preisig does not need to be ‘hard’ or loud to engage a different audience; true power always lies in being open, revealing vulnerability. He could take a note from Giannelli’s seamless moves through texture and colour.

Egopusher played as part of the I Ha Nüt festival at tHBBC in Cully. This club is a one-off. Firstly, there are pebbles (stones) on the floor! It is one of the friendliest venues I’ve been to and most importantly it’s a place where musicians can ‘get down’ – let themselves go, try out new projects. The fact that 15 people make it feel crowded also helps. If you live anywhere nearby, I order you to visit and say hi to the sparkling hosts – Gilliane and Nicolas Rosazza.

[vimeo http://vimeo.com/104851854]

Egopusher website
tHBBC website

14.10.14 La Catrina, Zurich
6.11.14   Kurzfilmtage, Winterthur
6.11.14   Zukunft, Zurich
8.11.14   Up State, Zürich (Vernissage Marianne Müller)
21.12.14 Trabant Echo LP Release, Hive Zurich

 

Ein heisser Abend mit Me, Valentin & You

mvy_2014_1_big_01

Bereits durch die schweren, sperrigen Vorhänge hört man, dass im Innern vom Eldorado mehr los ist als auf der menschenleeren Strasse an diesem Sonntagabend. Kaum drinnen zieht mich sogleich eine markante Stimme in den Bann. Auf der Bühne steht die Berner Band Me, Valentin & You – das Konzert hat bereits begonnen. Die Menschen in der vollen Bar in Zürich bewegen sich kaum, was vermutlich an der Hitze liegt – oder am fiesen Kater vom Vorabend. Zumindest auf mich wirkt das abwechslungsreiche Set belebend.

MVY_eldorado_2014Anfänge als Strassenmusiker

Frontmann Valentin Kugler war auf den Strassen von Bern als Solomusiker unterwegs, als er dort auf seine zukünftigen Bandmitglieder traf. So hat man manchmal das Gefühl, dass die Songs durchaus auch ohne Band funktionieren könnten. Allerdings würden dann die Dynamik und Spannung fehlen, welche das perfekte Zusammenspiel der vier Musiker erzeugt. Die Stimme von Kugler wird dadurch in den richtigen Momenten hervorgehoben – eine Stimme, die live kantiger und echter rüberkommt als auf den Aufnahmen.

Nie hoffnungslos

Als der Song «Heading Home» angestimmt wird, komme ich nicht umhin, an das phänomenale «Spanish Sahara» der britischen Band Foals erinnert zu werden. Die atmosphärischen Klänge werden von Kuglers eindringlichen Stimme in einen Refrain geführt, der Licht in die recht düstere Klangwelt bringt. Überhaupt versinken die Lieder nie in übermässigem Schwermut: Ein wenig Hoffnung schimmert stets durch.

[youtube=https://www.youtube.com/watch?v=TQBUqUz296Y]

 

Album «If» für das deutsche Publikum

Nächste Woche macht sich Me, Valentin & You auf, auch die Indie-Herzen in Deutschland zu erobern. Das Album «If» wird dort am 10. Oktober 2014 veröffentlicht. Begleitet wird das Album-Release von einer kleinen Deutschland-Tour, welche die Berner Band in sieben deutsche Städte bringt. Idealerweise kommt man pünktlich zum Konzertbeginn; über meine Verspätung habe ich mich nach dem schönen Konzert im Eldorado arg geärgert.

Daten der Deutschland-Tour:
09.10.14   Haldern Pop Bar, Haldern
10.10.14   Auster-Club
, Berlin
11.10.14   Milla – Live Club
, München
13.10.14   Live Club, Bamberg
14.10.14   Blue Shell
, Köln
15.10.14   Prinzenbar
, Hamburg
16.10.14   Ponyhof
, Frankfurt

Das Album «If» (Oh, Homesick) ist in der Schweiz seit dem 28. März 2014 erhältlich.