5

Polwechsel: Traces Of Wood

Glenn Astarita By

Sign in to view read count
Polwechsel: Traces Of Wood Since the late '90s, the European outfit known as Polwhechsel has brandished a strikingly unique sound campaign. Other than the dual-drummer percussionists' attack consisting of polytonal cymbals swashes and soft timbres, the music predominately emanates from the lower register schematic via double bassist Werner Daffeldecker and cellist Michael Moser's earthen-toned string implementations. Nonetheless, the quartet depicts a rather surreal paragon with subtle surprises, as an element of the unknown remains a constant throughout its repertoire.

It's interesting how the band produces otherworldly treatments without using electronics. With buzzing arco lines, creaky cymbals and ricocheting drum patterns, the musicians intersperse antidotes to all things considered conventional. Some of the passages are framed on unnerving quietude and minimalism. They also execute edgy and raw contrasts with moments of understated beauty, employing resonating percussion and the string performers' faintly altered extended notes. In a sense, they weave nearly inexplicable song forms into a tantalizing soundstage.

On "Grain Bending #1," the quartet alternates understated subplots with creaky and foreboding soundscapes, peppered by the percussionists' sweeping snare drum rolls and unforeseen shifts in strategy. But they also lash back with some venomous, saber-rattling breakdowns amid blustery drums and bombastic cymbals crashes, as if an agitated deity has entered the picture. And during "Nia Rain Circuit," either Beins or Brandlmayr use a mallet instrument to add color, sparking an additional perspective to the asymmetrical flows.

Traces of Wood does not reside within the easy listening category but, on the other hand, the program is not over-cooked or gushing with garrulous statements. The musicians' approach could represent the narrative for a scenario, where a master craftsman is sculpting wood, along with the trial and tribulations of designing a priceless piece of art.


Track Listing: Adapt/Oppose; Grain Bending #1; Nia Rain Circuit; S 64° 14” W 56°37”.

Personnel: Burkhard Beins: drums, percussion; Martin Brandlmayr: drums, percussion; Werner Dafeldecker: double bass; Michael Moser: cello.

Year Released: 2014 | Record Label: Hatology


Shop

More Articles

Read Over the Rainbow CD/LP/Track Review Over the Rainbow
by Paul Rauch
Published: February 24, 2017
Read Before The Silence CD/LP/Track Review Before The Silence
by John Sharpe
Published: February 24, 2017
Read Masters Legacy Series, Volume 1 CD/LP/Track Review Masters Legacy Series, Volume 1
by Edward Blanco
Published: February 24, 2017
Read Backlog CD/LP/Track Review Backlog
by Mark F. Turner
Published: February 24, 2017
Read Process And Reality CD/LP/Track Review Process And Reality
by Mark Corroto
Published: February 24, 2017
Read The Picasso Zone CD/LP/Track Review The Picasso Zone
by Franz A. Matzner
Published: February 23, 2017
Read "Rising Grace" CD/LP/Track Review Rising Grace
by Mark Sullivan
Published: October 28, 2016
Read "Big Wheel Live" CD/LP/Track Review Big Wheel Live
by Glenn Astarita
Published: October 17, 2016
Read "Intuitus" CD/LP/Track Review Intuitus
by John Eyles
Published: April 23, 2016
Read "Canto América" CD/LP/Track Review Canto América
by James Nadal
Published: March 7, 2016
Read "Heavy Weather" CD/LP/Track Review Heavy Weather
by Sacha O'Grady
Published: February 15, 2017
Read "Les Deux Versants Se Regardent" CD/LP/Track Review Les Deux Versants Se Regardent
by John Sharpe
Published: February 23, 2017

Post a comment

comments powered by Disqus

Sponsor: ECM Records | BUY NOW  

Support our sponsor

Support All About Jazz's Future

We need your help and we have a deal. Contribute $20 and we'll hide the six Google ads that appear on every page for a full year!

Buy it!