Attention, this concert report is improvised to 100 percent, that is, formulated without consideration, and I just anticipate this only briefly, so that you do not wonder when reading. Articles are usually well thought out, this is not! I add word to Word, and re is no back, no cuts, no subsequent Overdubs. In a way, you can watch me write, and that doesn’t necessarily have to be pleasant.
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An experiment, well, how do you get to it? Guilt is a band that has now occurred in Elbphilharmonie without rehearsing. Piano, double bass and drums are on stage, three elderly men enter light and go to ir instruments. First of all, nothing happens. The drummer sorts his cutlery, bassist agrees with his instrument, which he could have done before. The pianist sits motionless in front of his wing. A fiddly event is a poor while. Then no one will budge.
They have not only not rehearsed; They also don’t know what y’re going to play now. Everything that comes now comes completely from moment. For this y are famous, in Australia and on all continents, that is why y were invited to Hamburg, in this most famous concert house in world or at least in norrn Germany, which is sold out as always, although a few places in front third of small Rooms are free, probably because of cold wave. If someone coughed now!
But it remains silent, and question is, who starts from three, because all three of m start at same time, seems to be excluded, because re is a need for a sign that no one can give in a band that renounces any organization.
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The pianist starts with a few notes in upper register, which he repeats repeatedly. And so re is structure: a sound may stand for itself, two are already in relation to each or and open up a room for furr notes and players also. The bassist saws with bow on strings, drummer lets Bells glide through his fingers.
So it starts, and one gives or, or, repeated, repeated. No melodies, no harmonies, no rhythms, Tremololololo, saws, saws, bells, bells, bells. Can you write a concert report without verbs? You’d have to. This music does not jump between thirds and fifths, does not vary mes. It rises on spot from repetition, bonding, compression.
Now strange things happen, things, saw, saw, bells, bells, rubbing, rubbing, on drums and Eardrums, drummer stiff behind his pelvis, pianist unmoved, a sounding bookkeeper, attention, attention, tax examination!
No pieces, no interruption, furr, farr, louder, louder. Unmoved also audience, except for those who go. Elbphilharmonie seen and Bye.
What was that?
At some point, my attention is blurred. I am in sound, in a cloud of sounds. I float in me, I döse, I sleep for a moment. Look briefly at clock, perhaps at moment when bass drum beats for first time, clock shows an eternity.
The music swells in meticulously slowness to a minimal tantra, UMWÖLBT by thousand bosoms that tireless carpenters have milled into wooden walls of small hall, ostensibly for purpose of perfected sound diffusion.
A carpenter’s fantasy or pure acoustics? The thousand-fold vaulted Saalwand © Ulrich Stock
After a three quarters, Tonschwall suddenly collapses, re is an organic ending. My goodness, what was that?
“Thank,” says someone behind me. He’s going now. The three musicians recommend mselves to break. Then play anor piece, I don’t think it’s as good as first one. But who am I, and what is good?
Afterwards y sell ir music in foyer, great demand. The bassist can barely sip on his red wine. I buy first record you’ve ever taken, and that’s a long time since you’ve been playing toger for 31 years. The three older gentlemen sign album under her photo, which shows three young men: pianist Chris Abrahams, bassist Lloyd Swanton, drummer Tony Buck. The record is called sex.
