2020 WhyPlayJazz (WPJ054), CD + MP3 Album Download
Biliana Voutchkova (violin), Lucy Railton (cello), Christian Weidner (alto saxophone), Joris Rühl (clarinet, bass clarinet), Elias Stemeseder (piano, synthesizers, composition), Max Andrzejewski (drums, composition)
deux, cinque, héritage, quatre composed by Max Andrzejewski. maß, tied light I, tied light III - gamut, tied light III - ambit, cc/choral composed by Elias Stemeseder. Produced by Max Andrzejewski and Elias Stemeseder for WhyPlayJazz. Recorded by Antonio Pulli at Studio Börne Berlin, February 18th - 20th, 2019. Edited by Max Andrzejewski, Elias Stemeseder and Martin Ruch. Mixed and mastered by Martin Ruch at Control Room Berlin. Additional mixing on quatre, héritage, tied light I, cinque and maß by Max Andrzejewski. Photos by Dovile Sermokas. Design by Michael Schultz. Supported by Musikfonds.
"light/tied" radiates a stellar calm. Sensitivity and fragility stream through the compositions, the improvisations and the production. Thus, the album creates an intense electro-acoustic experience. Despite the complexity of some of the compositions, Andrzejewski’s and Stemeseder’s brilliant ensemble never uses their virtuosity purely for show. Because of this unpretentious attitude, the album moves the listener in a most unusual way.
One could ascribe Elias Stemeseder and Max Andrzejewski to a post-genre movement. Because of their extraordinary ability as soloists, improvisers and composers, they both have been sought after to work in a variety of overlapping contemporary musical styles. Over the years, the two have collaborated intensively on numerous projects (including Anna Webber’s Percussive Mechanics and the KIM Collective); in 2018, they decided to collaborate on their own musical project. The two musicians pursued a compositional challenge with a chamber-music quality, in which improvisation and composition face each other as equals.
"light/tied" features a sextet of strong, like-minded soloists. Stemeseder and Andrzejewski composed the pieces independently of each other, but the compositions were, in part, based on the same source material. In post-production, the separation between Andrzejewskis and Stemeseder's compositions was partially offset. Pieces were taken apart, electronically distorted and reassembled into detailed components.
The music emits an inner radiance. It evokes calmness and reflection. Sound elements break out into fine, lyrical movements. Rugged sound citadels and refined counterpoint intertwine with sweeping harmonies and rhythmic microstructures. Fascinatingly crisp sections of composed “noise” allow alto saxophonist Christian Weidner's crystalline lines to shine even brighter. Everything on this album is seamlessly intertwined, luminescent, essential.