Heyl plays soprano and tenor trombones, while Wright is an acoustic bassist. They emphasize microtonality, “because that’s the music we hear in our heads”, writes Kurt in the liner notes. Inspired by a wealth of contemporary composers and improvisers (they quote Xenakis, Berio, Stockhausen, Rose, Minton, Butcher among the others) the duo presents twelve improvisations sounding as pure as you can find; natural machinations and plucky assertions find their way in an effervescent compound where Heyl’s phrasing depicts the emergence of new necessities for alternative ways of expressing the core of his mind, also with the help of vocal utterances and strange phonemes; on his way, Wright privileges rather oblique speech patterns but he, too, is ready to explode in belligerent flare-ups and scorching arco dissonances to complement his partner’s agitation in the best possible fashion. Even if quite long at 72+ minutes, the album never skips a beat of interest, adding one lively element after another in an almost ferocious will to find an unequalled sound – which, sure enough, is right there.


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