Jérôme Noetinger (Revox tape machine, electronics), Robert Piotrowicz (synthesizer, electronics) and Anna Zaradny (saxophone, computer) recorded this improvisation in 2016 at Krakow’s Sacrum Profanum festival. A summit of invulnerable operators tied by the urge to scrutinize divergent timbral combinations down to the very core of their enigmatic character.
There’s nary a moment of respite in the music, subdivided in two pieces of 19+ and 12+ minutes respectively. Quasi-chaotic harmonic magmas barely leave a chance for the listener to clutch at concrete straws: in between a distressing instability and the progressive oppressiveness of charged tension, we keep floating without a clue on the final destination. Considering the complexity of most amalgamations, finding clear paths inside the textural mass is nearly miraculous. Each participant appears focused on the ultimate outburst of individual needs, which – for some sort of magic trick – is often coincident with what the others try to express on the other sides. If you choose to follow the pictorial vividness of a given source, a vicious aural attack will likely materialize from alternative gamuts of the sonic spectrum. There’s really no time left for rumination as one is forced to surf the raging waters of an unpredictable brutality.
Even after having become relatively accustomed to the pitilessness of the overall scene, forget about islands of peace. The rare pseudo-quiet spots are ephemeral breathers before an uproarious anarchy rises again, as finely controlled by the players as it may be. With the need to identify the instruments definitively gone, the realization of an irreparable damage to conventional “freedom” ultimately emerges. Only the strong survive in the land of analog disfigurement.