Progressive Switzerland and Netherlands-based trumpeter Silvan Schmid (Gamut Kollektiv, KvG's Bottom Orchestra) delves into risky territory via these avant-garde solo performances. The good news is, that these are not cacophonous screeching, squealing and directionless free-form improvisations, although minor parts include oddball phrasings and upper-register plaintive cries. Yet the artist remarkably induces a polyphonic sound by often producing two or more tonalities in concurrence.
The ball gets rolling quite strangely on "Gamut," constructed with lengthy rest stops in-between phrasings and what could sound like off-centered cavalry calls. Moving forward, Schmid's extended techniques include horizontal planes with dips, spikes and reflective sound-shaping in the lower-registers. He bridges bursting notes with some shrieks and cycles through numerous mini themes while summoning nature with chirping high notes. On "Raumwege" the trumpeter executes repetitive single notes with blurring and breathy treatments. Oddly enough, several instances within these irregular tone poems instill notions of the artist using an analog synth, but such is not the case.
During the final two tracks, "Augmented Space I & II," Schmid uses amplification. However, he jars the listeners' imaginative powers by letting us determine what type of manipulations he is exercising. At times, his trumpet signals the use of an alto sax along with thumping sounds processed through the amp. Regardless, these works are sublimely captivating amid unearthly, splintered, and dusky passages, occasionally spiced with asymetrical percussive movements. Here, Schmid defies reality and takes us to parts unknown.