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 Fellowship CD/LP/Track Review Fellowship
by Dan Bilawsky
Published: February 22, 2017
Read E.S.T. Symphony CD/LP/Track Review E.S.T. Symphony
by Karl Ackermann
Published: February 22, 2017
Read June CD/LP/Track Review June
by Dan McClenaghan
Published: February 22, 2017
Read The Invariant CD/LP/Track Review The Invariant
by Mark Sullivan
Published: February 22, 2017
Read Akua's Dance CD/LP/Track Review Akua's Dance
by Dan Bilawsky
Published: February 21, 2017
Read Daylight Ghosts CD/LP/Track Review Daylight Ghosts
by Mark Sullivan
Published: February 21, 2017
Read "Mediterrana" CD/LP/Track Review Mediterrana
by Franz A. Matzner
Published: July 14, 2016
Read "Koan" CD/LP/Track Review Koan
by Mark Corroto
Published: August 12, 2016
Read "Another Day in Fucking Paradise" CD/LP/Track Review Another Day in Fucking Paradise
by Glenn Astarita
Published: September 6, 2016
Read "Dancing Our Way To Death" CD/LP/Track Review Dancing Our Way To Death
by Mark Sullivan
Published: December 16, 2016
Read "Streams" CD/LP/Track Review Streams
by Mark Sullivan
Published: October 2, 2016
Read "Left" CD/LP/Track Review Left
by John Sharpe
Published: November 22, 2016

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!