Double bass and contrabass clarinet meet in a program of duos that cross the borders between a pulsating corporeality and the partial absence of organisms made of bona fide “notes”. Dafeldecker and Nabicht are long-time collaborators, but only in recent times they decided to set the results of their conjunct searching on record. In that sense they rehearse the music with the clear intent of developing structures from which they can move head-first into improvisation, thus attributing the work with a functional cohesion defined by elemental consistency and basic forms of beauty. The nine tracks are all titled “Vessels”, their large part revolving around the stylistic coordinates that had rendered EAI such an important progress a few years back; a still legitimate hypothesis when selected artistic specimens are involved. The instruments – except perhaps in the fourth and seventh parts, as we’re overcome by a potent joint drone and a correspondence of quaking and percussive energies respectively – are often voluntarily weakened in their vibrational properties, the artists inclined to the exaltation of microscopic partials and husky pitches. But this is not a “blow-air-and-scrape” kind of aesthetical backwardness. The pair is constantly aware of the implications deriving from tangible matters, and this fastidious analysis of a precise timbral ambit – totally deprived of staleness, always producing aurally gratifying substance – reveals a will of discarding conventional phenomena that elsewhere would be saluted as exceptional. The ninth episode closes the album with a juxtaposition of humming connectedness and whispered investigation of a limited scale of frequencies, ideally depicting the couple’s fundamental interest.