Chris Abrahams: pipe organ; Sabine Vogel: flute

Six improvisations recorded in German churches (Zepernick and Potsdam). Uncomplicated structures – at times with non exactly memorable gentle rhythmic hiccups – basically consisting of juxtaposed tones, related upper partials, breathy sounds and, in a single juncture, added “vocals-inside-the-tube” (by Vogel in “Floating Head Over”). Thus the trick lies in appreciating the importance, or lack thereof, of the textural tissue. Most everywhere, the recording environment adds an expected third dimension to the parallelisms between the pitches; what transpires is a non-indulgent type of minimalism enhanced by the movements of the flute in the right occasions (for example, “Handwriting”). Equally obviously, the droning profundities – occasionally dilated by well perceivable subsonic frequencies coming from the organ’s lower neighborhoods – are the place where we tend to get lost in absence of detailed geometries (“Companions For The River Journey”). Overall, an experiment whose results are not that emollient for the nerves; contrariwise, some of the rougher spots might even bother those who would prefer a little more of… something. Not enough motionless/soft for the zealots of trance, no virtuoso practices of the “show-off” kind, unclassifiable in the archives of muteness. A feel of timbral impotency emerging here and there. At the end of the day, it all depends on how this will work on contrasting varieties of audience; despite the earnestness of the involved performers, I – for one – can’t envision my player spinning this CD for years to come.

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