Korber (guitar, electronics) and Weber (contrabass), namely two thirds of the Mersault trio, are here flanked by saxophonist Yamauchi in a typically restrained setting recorded in Japan in 2006. The initiated ones will immediately figure out that the most recognizable instrument is Weber's bass which, incidentally, is slowly but steadily becoming one of the most notable voices in this field, thanks to its combination of fibrous growl and radical subtlety that fuse pure acousticity and exploration of impenetrable low frequencies. Korber mostly tends to catch glimpses of elusive harmonics and keep them visible in the haze for a long time, to the point of recalling the luminous vibration of a Tibetan bowl during the most concentrated parts. On the other hand, Yamauchi preferrably releases hissing statements and

almost silent nods, only rarely making an attack or a proper note heard just to reassure us about the original nature of his machine. One of the most intriguing aspects in this kind of electroacoustic consciousness is that we've come to a point where we do know exactly what to expect from the artists, yet this is perceived more as strength than weakness. The musicians' deftness in modifying their soundfields, giving life to bewitching spectra with a few basic moves and preparations, is the reason that makes this album so beautiful, standing as it is on the border line between complexity of significance and instant enlightenment. A confirmation of how deep the Swiss school of EAI has been digging in the last decade.


Massimo Ricci