Till the Old World's Blown Up and a New One Is Created

This is ripped from the Japanese version. The project (i.e. the 'band') appears to be called Till The Old World's Blown Up And A New One Is Created but I tagged the artist as the individual musicians involved to make things cleaner. The images included aren't the best but the covers are made of tracing paper so were difficult to scan. Still, great music - enjoy! The process: several improvisations are reworked into three brief tracks, one edited by each member of the trio. Then these pieces are mined for a few very short fragments. These, in turn, form the core of a much longer piece, painstakingly assembled around repeated motifs salvaged from the wreckage. Very slowly - over four years of intermittent activity - a long piece comes into being. As it gets longer more space and silence enters the music. The trio's working method on "till the old world's blown up ..." is one of sudden flash and meltdown, followed by a gradual process of cellular division. This inexorable metastatic activity builds a new organism with a peculiar life of its own, far removed from its sources. Ghostly twangs of Americana, Ligeti-esque glissandi, hesitant electronic sputters, luminous vibraphone - all these and more combine and recombine, separated by stretches of nothing at all and driven by an urge to become ever more abstract. By the end of the process the old world has gone for good. Will Montgomery http://www.mosz.org/ Till The Old World's Blown Up And A New One Is Created is the name of the new group project created by Austrian musicians Christian Fennesz, Martin Brandlmayr and Werner Dafeldecker. These three are certainly no strangers to one another's work, having all collaborated together under various improvisational formats, most notably as Polwechsel. This album began life with each member of the trio composing their own short piece of music, edited from a number of improvised sessions. Once these individual tracks had been completed, they in turn were dissected - each one being stripped down to a few key fragments which were then used as the building blocks for a single long composition. This thirty-five minute work took the group some four years of what they call "intermittent activity", ultimately resulting in the incredibly abstract final product, which constitutes the entirety of the first volume on this double-disc release. Far from being a case of tacking together the three constituent parts, this long-form piece is littered with gaps, fissures and dismantled interludes populated by only the slightest glimmers of instrumentation, or at certain points, seemingly nothing at all. Time seems to have a heaviness here, and it's easy to become disorientated by the infinitesimally subtle, labyrinthine network of fragments that seem to rise up and fade from the mix. The three initial compositions are far more readily digestible: the ghostly, disembodied jazz of 'Tau' is sculpted with remarkable subtlety, with cymbal flourishes rising and falling like tides against faintly melodic swells of electronic tones. Taking on a slightly harsher, more drone -based form is 'Jets', full of airy distortion and effulgent ambience. The most overtly rhythmic work is 'Mi Son', which unusually features a full backbone of drums and comparatively unaffected guitar riffs. It's strange hearing guitar on a Fennesz-related project that's been so laid so bare - it's very out of character, but perhaps because of that it's all the more intriguing. This album should help keep your interest kindled for the forthcoming new Fennesz album on Touch, representing a very different side to the musician's work - one where he's not always in full editorial control of his own performances. An engrossing collaborative experiment - highly recommended. http://www.boomkat.com/item.cfm?id=141077