MAGMA

Magma ****(*)

Ada Rave/ Cecilia Quinteros/ Paula Shocron

Nendo Dango Records

Por algum motivo, a vibrante cena free jazzística da Argentina segue sendo pouco prestigiada por aqui. Quantos artistas argentinos tivemos a oportunidade de ver em ação em nossos palcos na última década? Nada melhor para comprovar a vitalidade dos vizinhos do que este pulsante lançamento. Reunindo três das mais inventivas artistas contemporâneas, este Magma apresenta uma sessão captada em novembro de 2018 no Estudio Libres (Buenos Aires), resultando em oito temas. Reunidas aqui estão Ada Rave (sax tenor), Cecilia Quinteros (violoncelo) e Paula Shocron (piano). Rave, que vive há alguns anos na Holanda, é uma voz sólida e potente; e é ela que abre o álbum, com um robusto tenor dando partida a “Ikeya-Seki”; desenvolvendo um tema sem pressa, logo tem a companhia do piano, já agarrando nossa atenção. “Gemínidas”, na sequência, tem outra fatura, com o violoncelo rasgando o ar enquanto ruidosidades pontuais emergem de sax e piano explorando técnicas expandidas. “Mare Nubium” traz o tenor de Rave mais uma vez a primeiro plano, enquanto “Neptuno” tem nas climáticas linhas de Shocron seu ponto de sedução maior. Em “Hyperión”, Quinteros mostra suas cordas afiadas, rascantes, por sobre as quais o sax balbucia algo estranhamente abafado.  A voltagem máxima do trio, que já havia crescido na faixa-título, nos aguarda em “Limbo”, tema em que as três instrumentistas nos afogam em ruidosidades contagiantes pelos quase cinco minutos da peça, baixando o tom apenas no desfecho. Para completar este vibrante álbum, nada menos que liner notes assinadas por Lotte Anker.

Fabricio Vieira

http://www.freeformfreejazz.org/2019/12/play-it-again_19.html?fbclid=IwAR30qVT1KlHnRiDpLnIBTB9YyQO6rqSgI9jf-VBEPAivM8LmFiB51LAz5m4

Conde, Quinteros, Shocron, Diaz, Drury – “Geograficciones” (Different Track Recordings & Nendo Dango Records 2018)

“Geograficciones” is a new release of “Different Track Recordings”. Album was recorded by Luis Conde (clarinet, bass clarinet, alto saxophone), Cecilia Quinteros (cello), Paula Shocron (piano), Pablo Diaz (drum set) and Andrew Drury (drum set). The music by these great jazz masters is dynamic and adventurous. It’s filled with astonishing musical experiments, bright and moving solos, tremendous culminations, furious scandals or subtle pauses. Each improviser is experienced and talented – the musicians are on the central part of international avant-garde jazz scene for many years now. They are innovative, ambitious and always full of fresh, evocative and interesting ideas. Music is always based on avant-garde and experimental jazz, extraordinary and brave ways of free improvisation, roaring collective improvisations or sparkling solos. The improvisers gently fit together – they improvise individually, but still can fuse together absolutely uncompairable and contrasting episodes or melodies. Together they create luminoous, sparkling and fantastic sound.

“Geograficciones” is full of dramatic risings, furious blow outs, passionate and sparkling solos and special effects. Five great jazz masters create astonishing and moving sound, which has hot and blowing playing manner, active mood and roaring bursts of energy. Musicians are improvising individually, but manage to find the best way to combine everything in one place. The compositions have difficult structure, open form, are mostly based on spontaneous musical decisions, polyphony, sharp and modern harmony and wild free improvisation. Musical pattern is based on colorful and individual melodies, who are highly contrasting with each other. Jazz masters like to make a sudden twists, rolling turns, unpredictable stylistic changes or eclectic combos of manners, instruments or ways of improvising. Their masterful virtuosity, creativity and wild imagination is a key to tremendous, bright and luminous improvisations. Strict polyphony gently fits together with free improvisation, consonances meet the dissonances, simple and repetitive series – bordering, shocking and spontaneous solos, sparkling passages or dizzy glissando. The contrast is the main element of the musical language – musicians get one against the other absolutely different and scandalous themes, timbres, sounds or their own created playing techniques. Dynamic rhythmic is very wide and always in change – breaking sessions, static and roaring beats, wild fast and free solos, passages or trembling arpeggios are fused together with turbulent free improvisations, gentle, soft, romantic, tight or silent excerpts. The melodic line also is solid and effective. It’s colorful, bright and moving. Luis Conde is a great reeds player. His clarinets and saxophones are rising, tremendous and enchanting. Player creates huge spectre of emotions, moods and expressions, who are strongly expressed in each improvisation. Hot and sharp playing manner, bebop and free jazz synthesis, wild fast solos and passionate melodies are the main elements of his improvisations. Melodies are genuinely brought together – it’s flowing, rising all together to dramatic culminations, furious scandals, bright and turbulent energy’s explosions, romantic excerpts, light and sweet pieces or silent pauses. There’s also many weird timbres, fantastic special effects, exotic combos or simply crazy ideas, who also finds his own place in the music. Paula Shocron piano melodies are moving, scandalous and terrific. Pianist also has hot and sharp sound, which is based on synthesis of bebop and avant-garde jazz. Wild free and flowing passages, colorful glissando, dizzy and blowing melodies are connected together with imaginary harmony, roaring and aggressive breaking sessions, rigorous and sharp repetitive chords sequences, who accompagnie the melodies all the time. There’s also are pauses, sudden abruptions, romantic pieces or relaxing and meditative moods, who are heard in piano music. Piano and reeds contain solid, effective and marvelous melodic section. These two instruments keep active, roaring, scandalous and aggressive mood, create effective and innovative sound of the compositions. Cecilia Quinteros cello is soft, charming and remarkable. Improviser gently fuses together weird timbres, effective special effects, innovative and experimental ways of playing, new ideas of improvising and fresh expressions. Deep and tight tunes contain the bass line – it’s solid and stable. Splashes, twinkles, sparkles, weird timbres, extraordinary musical decisions, bright and moving solos, wild fast and vibrant passages are just a small part of moving, adventurous and multi-colorful melodic line. Improviser tries to express and reveal wide range of experimental playing techniques and demonstrate unheard abilities of cello. That’s managed to do very well – cello improvisations are like different side of the compositions, which is highly contrasting with other instruments. Pablo Diaz and Andrew Drury create a splendid drum section. Sparkling, blowing and roaring drum rolls, breaking rhythmic sessions, repetitive rhythms sequences, weird timbres, special effects, aggressive, hot and crazy explosions or calm, stable and relaxing moods – all these elements contain the main part of drum section. Musicians use inventive and adventurous ways of playing, franzy decisions – their solos are the mix of driving mood, terryfying and bursting energy explosions, wild, expressive and free improvisations and masterful playing technique. The music of this album has expressive, bright and remarkable sound.

https://avantscena.wordpress.com/2019/01/02/conde-quinteros-shocron-diaz-drury-geograficciones-different-track-recordings-2018/?fbclid=IwAR1e1tK45z0I5aW6J9_3sdJpSzxxoXC-_ai1_fpv6rAMxr_C3WpaCd7xv-g

 

Surtectura

(…) Cecilia Quinteros y Marcelo von Schultz, en el álbum Surtectura, ofrecen un inquietante e imaginativo relato musical afincado en la improvisación libre que parece entrelazarse de manera sublimada con el fascinante universo elaborado por Claudio Caveri.

Ese enlace se manifiesta tangencialmente en la intención de alejarse de lo establecido para construir una mirada propia, pero también -y de forma mucho más explícita- en el hecho de que el título del disco proviene del concepto de “Surtectura” desarrollado por Caveri en el libro del mismo nombre y que las cuatro piezas comprendidas en el álbum fueron grabadas durante una sesión llevada a cabo el ocho de febrero de 2018 en una de las obras más representativas del legendario arquitecto argentino: la Parroquia Santa María de Guadalupe, en Moreno, provincia de Buenos Aires.

La unión de música y arquitectura tiene innumerables precedentes a través de la historia. Y esto no debe sorprendernos ya que ambas disciplinas guardan nexos a niveles profundos basados en la geometría y la matemática, pero además debido que las dos corporizan un carácter figurativo-simbólico y pueden destacarse por su naturaleza abstracta y asemántica.

En rigor, la música se relaciona con el mundo construyendo un espacio por donde transcurrir y -parafraseando a Goethe- la arquitectura lo hace congelando el espacio mismo; por lo tanto, ambas deben ser habitadas.

El poderoso vínculo entre arquitectura y música nos ha entregado en el territorio de la composición escrita paginas monumentales (pensemos, por citar un ejemplo, en los paraboidales hiperbólicos del Pabellón Phillips usados por Iannis Xenakis en su obra orquestal Metástasis); pero en el campo de la improvisación libre la arquitectura del lugar en donde se lleva a cabo cobra otra dimensión, ya que al diálogo entre los músicos se añade su interrelación con el entorno acústico y arquitectónico. Es decir, que -como afirma Wade Matthews en Claves para entender la libre improvisación– “la obra improvisada es también capaz de integrar el lugar en ella”.

Este último concepto, justamente, aparece subrayado en el álbum Surtectura  porque la notable propuesta ofrecida por Cecilia Quinteros y Marcelo von Schultz no puede -ni debe- separarse del mágico entorno que propone la Parroquia Santa María de Guadalupe, con su forma plegada y curva, el laberíntico espacio interior y un sugestivo tratamiento de la luz de color amarillo ámbar que invitan -como aspiraba su arquitecto- a conectarse en otro plano pero desde la condición propia de nuestra tierra, desde “el estar ahí”.

El álbum abre con Escuchar desde aquí, título que de inmediato nos remite a las ideas concebidas por Claudio Caveri en su libro Mirar desde aquí… de 2001. En el hipnótico curso de la pieza se irán concatenando, con naturalidad, diferentes climas y estadios sonoros en donde confluyen la variada gama de recursos que imparten desde la batería -más accesorios y objetos- de Marcelo von Shultz y las imaginativas frases e ideas desarrolladas por Cecilia Quinteros en cello. Todo eso aparece realzado -aquí y en el resto del álbum- por un excelente trabajo de Sam Nacht en el grabado, mezclado y masterizado.

Si somos espaciosos evoluciona a partir de trazos austeros y sutiles acentos para luego acumular tensión hasta alcanzar, paulatinamente, un catártico clímax sonoro en donde el cello de Cecilia Quinteros brilla con luz propia.

El profundo compromiso auditivo que requiere Volante resulta compensado por el acceso a una atmósfera embriagante en cuyo centro se ubicará la protagónica labor de Marcelo von Schultz en batería y accesorios percusivos.

En Esqueleto -pieza que da cierre al álbum- se yuxtaponen pasajes de conmovedor ascetismo, profundos silencios, segmentos de significativa elocuencia instrumental -con el cello de Cecilia Quinteros alternando el uso del arco y el pizzicato, mientras Marcelo von Schultz combina de manera ejemplar escobillas y baquetas desde la batería- y una epifanía resolutiva de temperamento ritual.

En síntesis: la música, la arquitectura, el pensamiento de Claudio Caveri, la Parroquia Santa María de Guadalupe y el valiente alegato musical elaborado por Cecilia Quinteros y Marcelo von Schultz se unifican en Surtectura para entregar un relato de improvisación libre desde la perspectiva argentina pleno de magia y poesía.

 

Hacer música o arquitectura es crear, engendrar ambientes que envuelven sonora o visualmente, poemas (Iannis Xenakis)

 

Sergio Piccirilli

Reseña completa: http://elintruso.com/2018/08/14/cecilia-quinteros-marcelo-von-schultz-surtectura/

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Surtectura  ****

Cecilia Quinteros / Marcelo von Schultz

Independente

O violoncelo tem fortalecido seu espaço na música livre neste século. E a argentina Cecilia Quinteros é um dos nomes que vai se destacando trabalho após trabalho. Ao lado do baterista Marcelo von Schultz, seu parceiro também no empolgante trio Haití, Quinteros apresenta aqui quatro temas de muita vitalidade improvisativa. (…) O tema de abertura, “Escuchar desde aquí”, parece fazer uma conexão temática com Caveri: do hemisfério sul, um aceno aos centros da música livre, mas com uma voz própria, uma particular forma de abordar esse universo criativo.

Fabricio Vieira

http://www.freeformfreejazz.org/2018/11/jazz-al-sur-novidades-argentinas.html?fbclid=IwAR2-z1fR0GevznSB9zBtHcPhDmkgI5-NQPrNTRAjbmxCmDb2LAzt0YOOcsY

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Cecilia Quinteros y Marcelo von Schultz: música sin concesiones

Ya se sabe. El arte verdadero no entrega certezas. Es sorpresa y riesgo. Es desafío y búsqueda. “Surtectura”, el reciente disco a dúo entre Cecilia Quinteros y  Marcelo von Schultz abona estos preceptos en cada uno de los cuatro surcos que lo integran y recompensa la escucha atenta, con una música pasional e inclasificable.

Fernando Ríos

http://www.argentjazz.com.ar/cecilia-quinteros-y-marcelo-von-schultz-musica-sin-concesiones/

Reseña de HAITI

“El free jazz y la música improvisada por sus características no concesivas y anti comerciales han sido siempre expresiones minoritarias a nivel mundial. Sin embargo, en nuestro país cuentas con decididos cultores, muchos de los cuales están entre los músicos más interesantes de la escena jazzística nacional. Este disco es un buen exponente de lo mencionado, a cargo del cuarteto integrado por el baterista Marcelo von Schultz, de los más libres del medio, la cellista Cecilia Quinteros, capaz de extraer los sonidos más insólitos de su instrumento y Sergio Merce en saxo tenor, a los que se unió como invitado el notable saxofonista suizo Christoph Gallio, quien permaneciera en Buenos Aires varios meses. El disco no está dividido en temas sino en regiones (cuatro en total) y el resultado es un intenso despliegue de creatividad sin límites. La Región 1, la más breve, muestra un potente solo de Merce, con el sonido distorsionado de Quinteros detrás. En la Región 2, tras una intro de la batería, aparece Gallio en un dueto con Merce y la pieza cambia de tiempo en varios momentos. La Región 3 es la más extensa (más de 20 minutos) y tras un comienzo grave se desarrolla un poderoso crescendo del trío hasta la entrada de Gallio y Quinteros propone todos los sonidos que se pueden extraer de un cello mientras que von Schultz desarrolla un gran trabajo en la batería. Los dos saxos vuelven a entablar una lucida batalla en Región 4, gran final de un disco excelente que estará sin duda entre los más arriesgados y creativos del año dentro de la escena jazzística local.”

Por Jorge García – El Amante – http://www.elamante.com/home/el-rincon-del-viejo-canalla-62/

 

HIKEN! – Cecilia Quinteros & Alex Elgier

Pan y Rosas presenteert ‘€˜Hiken!’€™, een vrije improvisatie van bijna een half uur door het Argentijnse duo Alex Elgier en Cecilia Quinteros. Na het uitroepen van de titel zet het tweetal meteen hard in met volkomen vrij en fel spel op piano (Elgier) en cello (Quinteros). Na een minuut of twee daalt de rust in en zet Elgier donkere, kalme tonen neer, waar Quinteros met korte piepende en knarsende streken op antwoordt. Zo ontrolt ‘€˜Hiken!’€™ zich verder. Rustige, bedachtzame passages en opgewonden spel komen organisch uit elkaar voort; bijna stiltes – af en toe slechts een bijzonder zachte tik op de snaren – en fel, nerveuzige fragmenten wisselen elkaar af. Zoals je mag verwachten bij een goede improvisatie luistert het tweetal goed naar elkaar, reageert het op elkaar en slepen Elgier en Quinteros elkaar mee in hun bewegingen. Een enkele keer zet met name Elgier fragmenten van suggesties van een melodie neer, die al even snel weer uiteenvallen. Een mooie passage: hoe langer de streken van de celliste worden, hoe meer er felle aanvallen op de pianotoetsen bijkomen. Als geheel een mooi resultaat, met evenwicht in inbreng, dat misschien niet bijzonder verrassend of onderscheidend is, maar absoluut met smaak kan worden genoten. Ook bij herhaalde beluistering. Gratis of tegen vrijwillige bijdrage te downloaden vanaf de site van Pan y Rosas.

Por Gonzo Circus

 

Reseña de Rerum Novarum

Rerum Novarum  ****

La Corporación

Pan Y Rosas

La Corporación é um trio radicado em Buenos Aires que apresenta uma música de intrigantes e densas explorações acústicas amparadas em baixo (Amanda Irarrazabal), violoncelo (Cecilia Quinteros) e sintetizadores (Cecilia López). Das três instrumentistas, apenas Irarrazabal não é argentina (vem do Chile), mas vive atualmente em BsAs. O trio apresenta aqui cinco temas, registrados ao vivo em 24 de agosto deste ano, em que adentram a improvisação livre em possibilidades desafiadoras. “Poder emissor” abre o registro apresentando o tom geral do trio, com o celo rascante em primeiro plano quase que perfurando o espaço, sendo logo respondido pelo baixo, enquanto o sintetizador risca o ar, em um diálogo rude, quase incômodo. “Temperatura Efectiva” é um pouco mais sussurrada e prepara os ouvidos para a inquietante “Directorio de Sacrificantes”, marcada pelo toque em arco de poderosa intensidade crescente e sufocante.

Por Fabricio Vieira  – FreeForm, FreeJazz

Hiken!

“It starts with a shouten “Hiken!” and the Argentinian duo Elgier and Quinteros immediately let fly. He plays piano, she plays cello, and together they make more racket than most quartets, their chaotic improv conducted with a jerky energy that verges on the comedic. Explosive moments are balanced by subtler pasagges where the pair hunker down, working microscopicaly at their instruments with the surprising grace of a contortionist folding himself into a suitcase”. The Wire

Hiken!

Por “the modern folk music of america”

alex elgier and cecilia quinteros – hiken!

hiken!‘ is a long form improvisation for cello and piano by the argentinian duo of alex elgier and cecilia quinteros. it’s an abstract and energetic piece of music, starting with a vocal exclamation before diving into the languages and possibilities of the two versatile instruments involved. the textures and moods vary throughout the length of the song from chaotic to meditative, with moments that celebrate the maximum presence of sound and spans that revel in its near absence.
i especially enjoy the passage from roughly 5 to 9 minutes in, a middle-intensity rumble that foreshadows a lull in the piece, as well as the stately, dissonant climax around minute 14, which is followed by a meticulous study in melodic and rhythmic decay. there are tons of beauty to be lifted across the length of this song, with the potential to manifest itself differently with repeated listens. highly recommended for fans of free jazz and contemporary classical music.

AMN Reviews: Cecilia López / Amanda Irarrazabal / Cecilia Quinteros: La Corporación [Pan y Rosas pyr201]

la-corporacion1-768x768The collaboration of acoustic strings with synthesizer can be a challenging. Both strings and electronics are capable of great timbral range, but of qualitatively different sorts. Combining them in real-time performance opens up many different possibilities, and therefore requires some judgment on the part of the collaborators. One such possibility is to set out a contrastive juxtaposition in which each contributor retains its characteristic voice. That is the possibility realized by synthesizer player Cecilia López in her collaboration with double bassist Amanda Irarrazabal and cellist Cecilia Quinteros in a set of pieces recorded live in Buenos Aires this past July.

Over the course of six tracks and 31 minutes, López, Irarrazabal and Quinteros work a creative parataxis in which strings and synthesizer occupy distinctive spheres. Both string players explore expanded sound palettes, but no matter how extended the techniques drawn on, the rasp or creak of bowhair on string, the snap of metal against fingers or wood and the physical thump and projection of pizzicato passages all serve to announce the quintessentially acoustic presence of double bass and cello. The sonic balance of these pieces tends to tilt toward the strings, but those moments when the synthesizer comes through are notable for introducing characteristically electronic colors into an otherwise predominantly acoustic weave of sound.

http://www.panyrosasdiscos.net/pyr201-cecilia-lopez-amanda-irarrazabal-cecilia-quinteros-la-corporacion/

Daniel Barbiero

 

fuente: https://avantmusicnews.com/2016/11/28/amn-reviews-cecilia-lopez-amanda-irarrazabal-cecilia-quinteros-la-corporacion-pan-y-rosas-pyr201/

ERIZA – arde –

Eriza – Arde

By: Will Pinfold

https://i2.wp.com/echoesanddust.com/wp-content/uploads/2016/09/Eriza_Arde-wpcf_300x300.jpg

Released on July 18, 2016 via Pan Y Rosas Discos

The poet Philip Larkin once, somewhat uncharitably, described Ornette Coleman’s great Free Jazz as a ‘patternless reiterated jumble’, but whereas to modern ears the Coleman double quartet’s sax/trumpet/bass/drums/clarinet lineup sounds quintessentially jazzy, the texture of Argentinian-based improvisational trio Eriza’s piano/bass/cello is far less easily identifiable by genre. The music too, is closer to Larkin’s description, but here, as in its original context, whether it constitutes a criticism is purely subjective. Arde certainly feels patternless, but Eriza’s is (on this album at least) essentially an expressive rather than reflective approach and when it succeeds it does so on an intuitive, primal level.

The three longish (12, 9 and 17 minute) pieces (culled from two live performances, in November 2015 and June this year) are varied in tone, but all share a sometimes frenzied, unmusical (or even anti-musical) unpredictability that makes them hard to assimilate, but also hard to enjoy as music; the appeal is far closer to that of a harsh noise project like Merzbow, although the texture and technique are entirely different. Having said that it’s patternless, a methodolgy of sorts does emerge in the three pieces, each of which begins with an audibly tentative section as the musicians feel their way into the improvisation, and each piece at some point builds to a peak of manic intensity. It’s a remarkably Dionysian, ritualistic experience, especially given the absence of any kind of regular rhythm or tempo, and it’s a testament to the skill of the players, Tatiana Castro Mejía (piano), Amanda Irarrazabal (bass) and Cecilia Quinteros (cello) that they generate so much expressive power without drawing on any traditional musical forms.

The downside of this approach is that the three pieces, though all intermittently powerful are also fairly similar, especially the first two (both from 2015), since the ambience and acoustics are identical on both. ‘November 11, 2015 Part One’ opens with unpromising assorted squeaking and sawing from the stringed instruments and maintains an edgy tension throughout, enhanced by a sinister piano figure that emerges a few minutes into the performance. Although without traditional percussion, there are a plethora of knocking, slapping, scraping and smearing noises that punctuate each performance. At their most powerful, Eriza make a strongly atmospheric, unified if not harmonious noise, but the first track, though interesting throughout (especially in its last, actually quite jazzy passage) never really establishes a mood that lasts beyond its duration.

The second track is taken from the same performance and embodies even more strongly the strengths and weaknesses of Eriza’s approach. Opening with an onslaught of bustling, clattering percussive noise made apparently by battering the stringed instruments (with their bows?) while the piano plinks in exactly the way it would if an untrained person was thumping it, it’s extremely energetic, but initially (on the recording at least) not hugely gripping. The track moves into extreme territory with the introduction of some visceral (and perhaps cathartic) vocals, with two bellowing/shouting/screaming voices which segue into an almost manaical sopranissimo; for the unengaged listener it’s a bit silly, but it does add another texture to the strange and distinctive cacophony.  Much better is the tense, slow last passage where the violin, bass and cello scrape ominously against tentatively struck piano chords, creating an airy ambient reverberating quality that yet becomes extremely oppressive before its abrupt ending.

At seventeen minutes, the third piece (dating from June 2016) is the longest, but in its initial phase, the least successful of the three, while also having the best actual sound. For a good seven minutes, it seems to capture the trio as they wheeze and prod around but never quite gel with each other as they do in their more coherent moments. After a brief pause they reconvene with what is possibly the most ominous but also one of the most affecting passages on the album. Grim and at times even beautiful in a stark, bleak kind of way, it exemplifies Eriza’s apparent tendency to actively shrink away from anything that could be perceived as pretty or sentimental. There is a brief section lasting for around a minute, where Cecilia Quinteros’ cello is played with an almost formal ‘cleanness’, but, as if rebelling against this moment of conventionality, she brings it to a close with a vicious scraping noise before the group again joins in a kind of competition to reach the most extreme noise capable in an acoustic instrument; an orgy of scrapes, bangs and jittery wails that reaches a kind of manic peak as the album ends, leaving in its wake a rather blissful silence. Again, the comparison that springs to mind is not avant garde jazz or classical music, but noise, or the noisy ‘chamber doom’ of Mohammad, although Eriza’s work is mostly less dense and oppressive and naturally less ‘composed’.

Arde then, is an extremely dynamic and inspired work, but one to be approached with caution unless untrammelled, unfettered creativity at its least compromising and tuneful is your thing.

 

http://echoesanddust.com/2016/09/eriza-arde/

 

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“eriza is an argentinian improvisational jazz trio featuring cello, bass, piano and vocals. their latest release, ‘arde‘, is a collection of three free improvisations recorded live. the music is visceral, free and aggressive, coming on like a blinding storm with clacking, grinding and pounding, accompanied by screams and shouts.

the wailing gives way over the course of the pieces to brief glimpses of delicate melody and long, breezy, melancholy passages. the composition of the trio, with low registered strings,wide ranging piano and the guttural vocals gives this music a feeling like the weather; profoundly outside of human control. all the more fantastic that it is made in an extremely organic manner by human beings.”
http://www.themodernfolk.net/2016/07/eriza-arde.html