This album comprises four improvisations for oboe and French horn (Bruckmann), guitar and percussion (Dafeldecker), synthesizers and baritone sax (Hauf). The mixture of electronic and acoustic sounds works pretty fine, with the synthetic element often in evidence in the form of fat low-frequency bubbles and classy pulse-waving functioning as a brain-massaging tool. As opposed to the rarefied seductions of certain reductionism – by now partially abandoned by various members of that movement – this music subordinates to a logic made of soft-and-loud continuums and sequences of organic-sounding events. Bruckmann’s split harmonics and fluttering ghost notes constitute the only truly “irregular” presence in an otherwise pretty delineated scheme, while Dafeldecker’s applications of strings and percussion on the curved surfaces generated by Hauf remain quite discreet, if instantly noticeable. A high degree of cohesion among the musicians notwithstanding, the single elements remain perfectly separated so that one can choose where to focus the attention during the listening session – a subsonic caress or the crossroad hits between the most acute timbres. Yet, even in the most frictional sections, the whole remains without a real cutting edge, a soothing picture of semi-tranquillity to which we can surrender or react. Either way, the musician’s sensitive approach makes “Wane” a much appreciated ear cleanser, very useful for those moments of mental standstill where one would never want to get up from the couch.