This Germany-based trio artfully expresses the lower register realm, framed on a program that enables the musicians to share equal ground and incorporate a concentrated focus, cloaking a major portion of the album. With growling basses, sinewy arco-passages and the use of objects to alter sounds and provide an ethereal framework, the musicians uncannily tender motifs that could sometimes allude to the use of background electronics. In a sense, the trio plays tricks with your psyche, abetted by darkly resonating notes and supple passages. They often intimate a sacred rite of passage amid several spikes and interconnecting movements, signaling understated buoyancy.
While playing the bass flute, Gebhard Ullmann amid the bassists' shrewd use of space and contrasting effects, conjure notions of a solemn vista, including delicate treatments and hallowing auras. On various pieces, the musicians radiate craggy tones, complemented by otherworldly extended notes and dense frameworks. Armed with a consortium of concepts, they touch upon minimalism and offset the undulating currents with lashing breakouts.
The piece titled "Berlin is Full of Lonely People (Part One)" is aggressive and inward-looking. They present striking disparities encapsulated by Ullmann's haunting flute phrasings and the bassists' angular statements. Here, they navigate through darkness as blithe settings coalesce with fleeting themes. And at various points throughout the set, they inject a coarse edge where Ullmann's bass clarinet work serves an instigator and prompts the slicing and dicing three-way interactions.
As it might be anticipated, the artists do not simply indulge in wanton cacophony or purposeless improvisation. Hence, it's a cohesive engagement that digs deep into the soul and proposes a surfeit of compelling persuasions.