A solo for drums and metal objects in five states. With "Extrametric" I show what I am capeable of, with "le temps" I show who I am -Katharina Ernst With LE TEMPS, Katharina Ernst delivers a personal and subtle recording. Classical styles of playing the drums are accompanied by the by use of sticks and instruments from traditional Korean music - those are rooted in old rituals of shamanism and animism, praising the weather and the harvest. In times of heavy climate change, it is becoming clear, in a completely different way tho, how much and in what way human behaviour influences the weather. --- Recording: Adam AsnanProduction: Katharina ErnstMastering: Adam Asnan, Martin SiewertArtwork: Katharina ErnstPublisher: Cien FuegosPhotos: Michael Breyer

the title is inspired from the poem « Nachtlied » by Georg Trakl dedicated to Takayuki Hashimoto (1969 - 2021) --- Makoto Kawashima - alto sax on 1 and 3Harutaka Mochizuki - alto sax on 1 and 2Michel Henritzi - lapsteel on 1 and 3, guitar feedback on 2 Kawashima tracks recorded by himself in TokyoMochizuki tracks recorded by himself in ShizuokaHenritzi tracks recorded by Kevin Le Quellec in Metzmixed by Kevin Le Quellec, Metz, December 2021mastered by Martin Siewert, Vienna, September 2022

Recorded live at Artacts, Alte Gerberei, St.Johann, March 7th 2020Mastering by Martin Siewert --- Isabelle Duthoit / clarinet, voiceFranz Hautzinger / quarter-tone trumpetHamid Drake / percussion, frame drum, voiceMichael Zerang / percussion, frame drum

Recorded by Martin Siewert, in June 16-18, 2020 in Vienna. --- Georg Graewe /  organMartin Siewert / guitars, electronicsDidi Kern / drums --- Mixed & Mastered by Martin Siewert.Artwork by Georg Graewe.

Recorded live at Photobastei Club Zurich/Switzerland during five-day residency by Giuliano Sulzberger, September 22-26 2020. Dominik Blum - hammond organ, voiceMarino Pliakas - e-bassLucas Niggli - drums Mixed and Mastered in March 2021 by Martin Siewertartwork by Albert Oehlen

Recorded at Trost Waldviertel Studios 2020-2021 dedicated to Giacinto Scelsi --- Chra/Christina Nemec / electronics, field recordings, effectsChristian Schachinger / guitar, effects

recorded 17.11.2019 at Roze Tanker, Amsterdam, Netherlandsrecorded by Hayden Michael Zappa Hookmastering by Martin Siewertartwork by Jaimie Branch --- Jaimie Branch / trumpetJohn Dikeman / tenor saxophoneLuke Stewart / bassAleksandar Skoric / drums

The Fool unfolds as a collection of precisely written, produced and arranged songs, but also as a revue of pop’s archetypes. In virtually manic manner, Bruch pulls all styles of music that are suitable for his purposes into an irresistible vortex of grim opalescent emotions and uses them to turn his deep and haunting thoughts into music. While some of Bruch’s songs keep oscillating between cheerful pop/ rhythm & blues and murky hip hop/ industrial, others take the fast lane to the ogre end of the spectrum. A romantic ride in a ferris wheel, as much as being jiggled by a breakneck rollercoaster. The lowest point becomes the climax, bile turns into an elixir of life, a curse into a blessing. The Fool’s mission is striving forwards and disarming: existential intimacy as a strategy and weapon. --- All Music & Lyrics by Bruch.Additional Vocals by Anna Pü.Layout & Design by Kathi Reidelshöfer.Mastered by Dino Spiluttini.

Founded 1995 in London by Austrian trumpeter and band leader Franz Hautzinger as an ensemble for experimental music, the project developed over the years into a mixed style wild fusion band. Various musicians like Fennesz, Tony Buck, Otomo Yoshihide, Burkhard Stangl, Oren Ambarchi, and others were part of this long-time and often changing project, combining jazz, improvisation, brass melodies, guitar rock and electronics. The band developed its specific pulsating and continously evolving "Regenorchester Sound", comparing the constantly changing ways of making music, analogue and digital. Hautzinger and his Regenorchester XII play a kind of “jazz about jazz”, incorporating quite naturally accomplishments of experimental improvisation or drone and noise experiences into the rock jazz sound, pushing the boundaries of sound art and always creating surprises. --- Relics was recorded live at the Klangspuren Schwaz festival in 2019 Franz Hautzinger - quarter tone trumpetChristian Fennesz - guitar, laptop Otomo Yoshihide - guitar, turntables, el. devicesLuc Ex - bassTony Buck - drums, percussion linernotes by Reinhard Kager - translated by Mark Fisher

"There are rare bands that succeed in materializing a sonic and poetic vision at the right time and at the right location as Disquiet does. Disquiet is a quartet formed and lead by Kurzmann for the 2018 edition of the Konfrontationen festival and featuring vocalist Sofia Jernberg (of Mats Gustafsson’s Fire! Orchestra), drummer Martin Brandlmayr (of Radian) and double bass player Joe Williamson. Disquiet, obviously, refers to the power of art to move us - emotionally and politically, but the title of the band and the album addresses the selfish and unhumanitarian policies of the reactionary leaders in Austria, Hungary and Italy towards the refugee movements to Europe. The location of the performance, in the far East of Austria and close to the Austrian-Hungarian border, and in festivals where there are no boundaries between musicians and the audience and where people from all Europe pilgrimage every year, deepens Disquiet humane vision.Kurzmann created an unsettling and deeply emotional work that weaves a speech by Belgian Member of the European Parliament, Guy Verhofstadt, reprimanding the European Council President Donald Tusk and Austrian Chancellor Sebastian Kurz for their opportunistic “not in my backyard” policy; an inspired borrowing of ABBA’s pop hit “S.O.S.” and the obscure “Think Small” of the New Zealand rock band Tall Dwarves. These quotes and songs are delivered by Kurzmann’s fragile but touching voice, devoid of pathos, but a voice that frames brilliantly the current, selfish political climate, and later concluded with a cover of Joe McPhee’s sober “Song for Beggars” (“this song won't feed the starving, / nor will conferences of hunger / with a fortune spent on TALKING / nor will it house the homeless, / or quench the thirst of millions / who will die of lack of water, / while the vampires drink THEIR blood…”), which Kurzmann, Jernberg, and Brandlmayr already covered before (Trost Jukebox Series #2, Trost, 2014). The wordless, moaning vocals of Jernberg, the imaginative drumming of Brandlmayr, and the deep-tones of Williamson intensify the disquieting, tense but poetic atmosphere of this 47-minutes piece. Guy Peters, who wrote the liner notes, observed that this fantastic work offers a “receptive attitude” for a much-needed change. “Each worthwhile collaborative endeavor - whether it is political, musical or anything else - starts with a simple but crucial act: listening”. Disquiet may be one of the most important, impressive and rewarding listenings you may experience in 2021." - Eyal Hareuveni, Free Jazz Blog —  Recorded live at Konfrontationen, Nickelsdorf on 22 july, 2018 --- Artwork By – Jimmy DrahtDouble Bass – Joe WilliamsonDrums – Martin BrandlmayrLiner Notes – Guy PetersMastered By – Martin SiewertMixed By – Martin BrandlmayrRecorded By – Hans HollerVocals – Sofia JernbergVocals, Electronics – Christof Kurzmann

Recorded 1995 at Wollf 281 Studio, Basel, by Manuel LiebeskindVocals recorded 2018 at Ruminator Audio, San Francisco, by Monte VallierMixed, mastered and produced 2018/19 by Alex BuessEdited by Roger GrafCut at Centraldubs, Bern, by Adi FlückArtwork by Marco Papiro --- Alex Buess - reeds, electronicsDamian Bennett - bassMichael Wertmüller - drumsRoger Graf - guitarEugene S. Robinson - voiceKasia Meow - voice

"A long desire of extraordinaire saxophone player Peter Brötzmann was a studio recording of some of his favorite jazz tunes and his own music -- a grand bridge over the music important for his life and his musical career in the past and present. Trost invited him to Martin Siewert's studio in Vienna to do so in summer 2018. The result is intense, beautiful and touching. Features compositions by Harry Barris/Gordon Clifford, Sigmund Romberg/Oscar Hammerstein II, Herbie Nichols, Dizzy Gillespie, George Gershwin/Ira Gershwin, and Sonny Rollins. Personnel: Peter Brötzmann - tenor saxophone. Recorded, mixed, and mastered by Martin Siewert. Liner notes and artwork by Peter Brötzmann."

"Bariton saxophonist Luca T. Mai is best known for his membership in the mighty Italian avantrock trio ZU. On his solo debut album he is shifting his probing and powerful saxophone artistry from energetic sound scapes to celestial layered drones. Immersive and deep." --- Recorded: Sep 2018 at ZK squatt Riot Studio by David C. And Luca T.M.Mix/Mastered by Lorenzo Stecconi at Mobile Cosmic Digital Sound EntertainmentCover: Francesca CarlsArtwork: David “Seekktt0“ C

New York based producer Marc Urselli had the idea to bring people together who had never met before and let that meeting of minds create beautiful soundscapes. Film director and musician Jim Jarmusch, Sonic Youth co-founder and guitarist Lee Ranaldo shared space with versatile drummer Balázs Pándi for a night session at Urselli's EastSide Sound studio in downtown NY. These are the unfiltered results. Absorbing instrumental patterns of cinematic sounds and improvised rhythms. No overdubs, no editing. All was recorded live and analog, produced and mixed by Marc Urselli. The front/back coverfotos were taken by photographer William Semeraro in Norway. That is why Marc Urselli gave all the songs titles inspired by Norwegian mythology. --- Lee Ranaldo / guitar, pedals, bellsJim Jarmusch / guitar, pedals, midi-synthesizerMarc Urselli / bass, laptopBalazs Pandi / drums

"There is complexity in simplicity, and Sparrow Nights is Peter Brötzmann and Heather Leigh's most enduring record to date, and their first studio album. A series of emotionally rich and boldly elucidated tonal and timbral exchanges played like compositions on pedal steel and reeds, the tracks (released as a 6 track LP and 10 track CD) are cold-forged minimalist blues motifs dragged from instrumental laments.   After three years playing together Brötzmann/Leigh's connection and understanding is by now both cerebral and deeply invested in the physical and sensory possibilities of their combined sound, while retaining a melancholic distance. Within this duo there is fluidity – neither is the anchor – and these recordings sound with as much variety as the sea. At times Sparrow Nights carries the clarity and poeticism of still water and open horizon ("This Word Love"), and at others it contains the elemental and ferocious roar of white water breakers on black rocks ("This Time Around").     On their previous three live albums (Ears Are Filled With Wonder, Sex Tape, Crowmoon) the duo have developed an intimate and intense language that manifests here as a focus on power and control, where figures blasted of unnecessary decoration are drawn from the shadows and smoke of collapse. The studio setting also allows Brötzmann to bring a broader range of reeds than in live scenarios: where previously he has played primarily tenor, clarinet and tarogato with Leigh, here he delivers the heat of alto and the low pressure of bass saxophone and clarinet.  Brötzmann’s duo with Leigh continues to trace a fresh new arc in his trajectory, and this release also falls at a time when Leigh releases Throne, her most song-based record to date. Here as a studio duo they play a new-old blues for times of complexity, noise and chaos, continuing to redefine and re-sound possibilities for improvised music."

At The Hill Of James Magee presents the duos complete performance at the extraordinary monument "The Hill" in the Chihuahuan Desert in the middle of nowhere in Texas. John Butcher and Joe McPhee had never shared a stage before which ended up being an attentive collaboration, starting with a long duo, alternating solo performances, and closing the atmospheric set with another duo. "The four solo pieces are advanced clinics in saxophone technique, again supplemented by architecture and wind and weather. Each performer invited the desert into their sound, giving the listener the feel of sand between our toes and the visual of sage brush rolling by." - All About Jazz --- Joe McPhee / alto saxophone John Butcher / tenor saxophone

"Bassist Joëlle Léandre and pianist Elisabeth Harnik have only been playing together since 2016 but this debut CD – a recording from their third ever performance – reveals a duo who have already developed a highly simpatico and sophisticated approach to spontaneous composition that draws equally on elements of free improvisation and contemporary classical music. Rather than the waxing and waning 40 minute set that presently constitutes a lot of live recordings, there is an adroit attention to form in operation here, as the duo present half a dozen perfectly shaped and finely delineated miniatures, ranging from six to 11 minutes long. For much of the time, Léandre favours a high, tightly controlled arco full of fragile harmonic overtones that often sounds more like a cello than a double bass. When Harnik responds with pellucid splashes and rippling hazes, the two are capable of creating sustained moods of gentle wonder and delicacy. Léandre adds an element of enigma with her slightly off-mic vocalising: somewhat absent-minded, more overheard than performed, it´s ephemeral, transitory and soothing in its wordless calm, evoking the private musings of a washerwoman at work or a nursing mother cooing her love. One almost feels compelled to lean in and strain the ears, searching for fleeting meaning in her mysterious mutterings.Many of the pieces are so balanced and sensitively executed that they possess a kind of inevitability. Call it perfection if you prefer. By contrast, the more abstract and experimental gambits gleefully ride a puckish unpredictability: the scritch-scratch of agitated piano strings and polystyrene squeak slotting into Léandre´s multiphonic gossamer arco textures; dirge-like dabs of unhurried bass with arachnoid scuttlings in the body of the piano. But, even at its furthest extent, this music emanates a warmth, a patience and, yes, as the title suggests, a tenderness that´s rarely heard." - Ken Vandermark --- Elisabeth Harnik / piano Joëlle Léandre / double bass --- Mastered by Jean-Marc Foussat. Artwork by Lasse Marhaug.