Tiner/Phillips/Schoenbeck Trio: Breathe In, Feed Out

Phillips stretchy metal dominates Tiner’s “Skujellifeddy.” Tiner and Schoenbeck play long unisons while Phillips buzzes and shreds. After the active opening, Tiner and Phillips play counterpoint with Schoenbeck, going out pensive. Tiner uses soulful phrasing on “A Wind Shift,” engaging Schoenbeck in conversation, with Phillips dropping distortions and sneaky notes.

Beginning with a three-way pyrotechnic display, the edgier “Clocks and Maps” slows with Phillips’ sonic sketches, and Tiner and Schoenbeck swap tales to the otherworldly electric effects. Sly, slippery sounds from Phillips open “Like Red Flowers,” a luscious, sultry ballad. Tiner plays it blue and lonesome, shading and phrasing. Schoenbeck blows her warm woody tone through some stormy passages before Tiner drops his supportive mute to cry like a gifted baby

Spontaneous instrument sounds and noises open ”Winddrone, Water Drying,” which shifts into high gear like a truck coming apart. Then the trio strikes gold on Tiner’s “Road from Kumasi.” Phillips repeats a simple hopeful figure and Tiner laces it with expressive, melodically strong variations. Schoenbeck follows, like her fellows, exploiting her instrument’’s richest range, shaping, bending, rounding notes.

After the fanfare intro, “In This Dull City” retreats and revives with trills and dramatic voicings. The intriguing “They Mistook Time For Line” features an oozing solo from Phillips, soon joined by Tiner’s tart mute. All three explore unusual voicings on “Metal Skin,” from Phillips' buzz and drones to Tiner and Schoenbeck’s multiphonics and toneless blowing. All three explore raw ragged tones to start “Force a Smooth Thing.” Phillips employs a number of effects boxes to achieve effects unintended by their designers. As Phllips samples radio Tokyo, Tiner and Schoenbeck come looming back, then Phillips sprays distortion.

With their first release, Tiner, Phillips, and Schoenbeck establish themselves as sound scientists of the heart.

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