This Czechoslovakia based quartet displays several contrasting musical forces, as they combine electro-acoustic guitars with bowed string instruments amid rhythms that generally don’t sit still. At times, the quartet conveys a slight resemblance to a few of the progressive “Rock In Opposition” groups, such as Univers Zero and others. Although, these folks have designed a signature style of their own.
The ensemble fuses European folk with chamber-like themes amid fiercely woven passages and much more. Three quarters of the ensemble share vocal duties. Many of these pieces feature complementing strings and guitar episodes in concert with the artists’ foreboding and sometimes whispery vocals. However, the element of surprise surfaces on more than one occasion. Essentially, they cover quite a bit of ground, largely due to coherently organized arrangements, joyful musings, and climactic overtures. On “Sabah,” the musicians create a paradox of sorts as they intertwine haunting balladry with jubilant choruses. With “Knecht,” Martin Alacam and Richard Deutsch’s dark, mystical electric guitar movements provide an otherworldly edge to a work brimming with celebratory wordless vocals. Thus, a magical beauty permeates this superb offering! And while others have done it before, few have attained the far-reaching realizations that this ensemble brings to the table. To that end, this band’s heterogeneous approach speaks volumes. (Vigorously recommended)
I love jazz because it's sophisticated, international, atmospheric yet free, cool and warm.
I was first exposed to jazz through the sultry voice and flawless swing of my mother.
I met Mark Murphy, David Linx, Kurt Elling, and Youn Sun Nah.
The best show I ever attended was Youn Sun Nah in Paris.
The first jazz record I bought was Native Dancer by Wayne Shorter and Milton Nascimento
My advice to new listeners: open your mind and your ears, forget about structure, feel the textures.
Go see live music and keep buying CDs!