Pareidolia (violist João Camões, reedist Gabriel Lemaire and pianist Yves Arques) take a mere half an hour to walk us through their alluring improvisational vision. During the trip they show both the naive curiosity of the casual wanderer and the need to stop and reflect where certain lights or colors attribute entirely different meanings to what is found.
“Himmelskino” starts like a gentle, if slightly tense exploration of flimsy timbres. Arcoed harmonics, whispered pitches and secluded reverberations define chiaroscuro settings whose intensity grows almost imperceptibly, the louder textural matter intelligently handled by the players. A sort of amorphous, sometimes entrancing harmony is felt throughout, never allowing the listener an actual relief; obscure rumbles, perplexing knocks and thuds, insistent rubbing of strings are just a few of the components. The result is a satisfying hybrid of “enhanced lowercase” and more evident physicality.
“Herzkino”, though rooted in the same ground, sees the musicians looking for spots of individual contemplation without betraying the music’s collective pneuma. The trio is here augmented by double bassist Alvaro Rosso, whose presence in the lower frequency regions is obviously noticeable in terms of pulse and overall body. We witness a gradual shift towards the realm of genuine free improvisation, always with the lingering sensation of an implicit contrapuntal consciousness; no chaos whatsoever. Ultimately, the whole flows into a superimposition of quieter figurations: the dissonance becomes assuaging, the breathing is calmer. Escorted by the joint resonance, we can’t remember a single moment of distraction.