Izvajalec: Zauss
Založba: Fazzul Music
Izid: year
Trajanje: 64:56
Ocena: 4/5
Zauss je še eden projekt, ki ga je uresničil švicarski diamant, vrhunski saksofonist Markus Stauss. Za to priložnost se je odločil združiti moči z nadobudnim italijanskim kitarskim virtuozom, Francescom Zagom, ki je pred tem sodeloval z The Night Watch, zdaj pa je v glavnem član Yugen, nastopal pa je tudi že z Picchio dal Pozzo. Na tem skupnem dosežku sta se odločila za niz bolj meditativnih in v glavnem improviziranih skladb, ki nosijo naslov Neulich Neben der Grenze (blizu meje).
Namen tovrstne glasbe je, vsaj po mojem mnenju, ustvariti bolj ambient kot pa predstaviti kakšno pravo kompozicijo. Pogosto se slišijo dolga kitarska brnenja, ki jim na pomoč priskoči nežen saksofon. Kitarski zvok je očasno spremenjen z rahlimi efekti. Zago občasno s kitaro ustvari tudi loope in učinek je podoben Frippovim klaviaturskim in kitarskim soundscapeom. Večina albuma je storjena na ta način, a so tudi odstopanja. Zago občasno uporablja več distorzije, igra bolj trdo. To zajamči, da glasba ne zveni preveč monotono, čeprav se mnogim lahko to zdi moteče, še posebej, če se izgubijo v meditativnem svetu glasbe dvojca Zauss. Dodatne izjeme se nahajajo v delih, ki jih je skladal Stauss. Tam je očitno večji vpliv jazza napram improviziranim delom, a to zopet pomeni prijetno spremembo in ne zmoti toka glasbe.
Tako kot pri Yugen, Zago tudi tokrat pokaže na kitari prave dobrote. Igra v zadržanem slogu, ki bi ga spet lahko primerjali z Robertom Frippom. Prav tako uporablja loope, ki pogosto zvenijo kot klaviature. V glavnem igra na zelo mehek način, a lahko tudi gre prestavo višje in igra bolj trdo. Če že Zago napravi dober vtis, kaj lahko potlej rečemo za Staussa? Zopet dokaže, da lahko igra praktično vsak stil, ki mu pade na pamet. Lahko je zadržan, eksperimentalen, jazzovski,… Mislim, da je ravno njegov doprinost tisti, ki album naredi za mnogo več kot le meditativen soundscape projekt. Njegove solaže so ponovno brezhibne in vedno na pravem mestu, njegove melodije pa so popolne.
To je še eden dosežek, ke ga je vredno slišati. Lahko ga uporabite tik pred spanjem. S tem ne mislim nič slabega, ni tako dolgočasen, da vas bo uspaval. Glasba je pač tako sproščujoča in pomirjujoča, da te lahko ponese v nežen spanec, kjer pa glasba še vedno lahko preide v tvojo podzavest med temi sproščujočimi trenutki. Album dvojca Zauss je vsaj tako dober kot katerikoli Frippov soundscape album, zame celo boljši. Glasba je bolj pisana, stilsko razgibana, ne da bi bila zaradi tega kaj manj osredotočena. Stauss je še enkrat dokazal, da se vsi njegovi projekti med sabo razlikujejo. Ta se bo prikupil ljubiteljem Frippovih soundscapov, oboževalcem eksperimentalnega jazza, meditativne elektronske glasbe in na splošno ljubiteljem eksperimentalne glasbe.
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Zauss is another project masterminded by the Swiss dynamo, sax player supreme Markus Stauss. On this occasion, he decided to link up with the up-and-coming Italian guitar maestro, Francesco Zago, formerly of the Night Watch and more recently a collaborator with Yugen and Picchio dal Pozzo (live). For their joint effort, they decided to do a more meditative series of mostly improvised compositions entitled Neulich Neben der Grenze (Close to the Frontier).
The purpose of the music, as I see it, is to create more of an ambience rather than to present any real composition. We can often fear long guitar drones, aided by light saxophone. The guitar is sometimes processed. Zago also occassionally does loops of his guitar melodies and the effect is quite similar to Fripp’s keyboard (and guitar) soundscapes. Most of the album is done in this fashion, however, there are some discrepancies. Zago sometimes plays with a bit more distortion, in a harder style. This ensures that the music does not remain monotonous, although some may find it disturbing if they get too lost in the meditative world of Zauss’ music. Another exception is the composed parts provided by Stauss, which have a clearly jazzier style to the improvised segments, but again, this only makes for a nice change and does not disrupt anything.
Just like with Yugen, Zago again delivers the goods on guitar here. He plays in a reserved style, not unlike that of Robert Fripp. He also uses a lot of loops, which often sound like keyboards. Mostly his playing is pretty mellow, but he can crank it up and get heavy as well. If Zago’s impressive, what can we say about Stauss? He again proves his ability to play just about any style imaginable. His playing can be reserved, experimental, jazzy. I think it’s his contribution that makes this album much more than a meditative soundscape record. Again, his solos are flawless and hit the spot and his melodies are impeccable.
This is yet another worthwhile effort that could represent the soundtrack to your dreams. I don’t mean this in a bad way, but only that the music is so soothing and comforting that it transports you into a gentle slumber where the music can still seep into your mind during this relaxed period. The Zauss album is every bit as good as anything I’ve heard Fripp do with his soundscapes. For me, this is probably even better. There’s more variety, it’s stylistically all over the map (but without losing focus). Stauss has yet again proven that every one of his projects sounds nothing like the other. This project will appeal to fans of Fripp’s soundscapes, to fans of experimental jazz, meditative electronic music and general experimental fans.
Zasedba
Francesco Zago – električna kitara, loopi
Markus Stauss – sopranski saksofon
Produkcija
Zauss
Seznam skladb
1. Senza eleganza 12.47
2. Nuages 6.50
3. Short breath 6.49
4. Sülz 7.02
5. Rondo senza un centro 9.55
6. Heartbeat 9.02
7. Immer grüner 3.16
8. Spastic blues 6.21
9. Tremori 2.54
