E T = ELISABETH FLUNGER / TOMÁS TELLO – Labor – CD – CS206CD

12,00 

1 / Miracle Merchants / 4:19
2 / Closer To The Sky / 4:23
3 / Tor And Feather / 4:48
4 / Wat Mutt Dat Mutt / 5:44
5 / Otro Tormento / 3:21
6 / Se Fué / 3:54
7 / Katze Wss Tust Du? / 4:34
8 / Imminente / 2:27

Events often move so quickly in 21st Century music that the electronic manipulators featured on these fine European sessions can be considered throw-backs because both insist on using analog devices, many of them DIY. Yet the key to exultant Free Music is its adaptability. The ET duo for instance pairs these primitive electronics with primordial percussion consisting of cast off junk, tools and found objects. Meanwhile the electronics on Acid Rain are paired with the 20th Century’s two most popular instruments – the electric guitar and the drum kit. In both cases the result is as mesmerizing as it is unique.

(…)

With a tougher row to hoe, almost literally, ET’s Elisabeth Flunger rolls, grinds, smacks and quivers sounds from tools, trash, toys, souvenirs and any other non-stationary object. Born in Bolzano, Italy, since 2005 she has lived in the Grand Duchy of Luxemburg, a country so affluent and unsoiled that one would think junk doesn’t exist. Bringing the same DIY and inventive ideas to electronic devices is ET’s other half, Lima, Peru-native Tomás Tello, who has lived in Luxemburg since 2009. Labor’s eight tracks were pieced together during sessions in Tello’s kitchen throughout 2011.

Unattached to musical niceties, sounds on Labor may be affiliated or alienated, but the clashes, grinds, scrubs, buzzes and vibrations are usually repeated often enough to create unforeseen but memorable patterns and narratives. Tello’s home-made electronics produce tones that range from tremolo melodica-like trills to warbling pulses, while Flunger beats are defined as everything from grinding rubs against unyielding material to springs exploding every which way. Occasionally there’s even a suggestion of historical time displacement as on “Imminente” when the thickened timbre miasma consists in equal parts of futuristic signal- processing including blurry oscillations and Paleolithic percussion created by whacking un-tempered wood and stones.

(…)

Without exactly defining what has happened, abstract improvisations have managed keep the track consisting fascinating while reference many sonic streams in split-second bursts. In an aleatoric fashion that too happens on Labor. If suspension of a need for regular tempo, timbre and tone is acceptable, either session can be appreciated for what it is.

Ken Waxman / JazzWord

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