The founding members of the Trummerflora collective sweep in through the sounding space with short breaths out of unidentifiable instruments, somewhat in the vein of some wind instrument, while a sturdy rhythm grabs hold of you, moving you locomotively down the track of the CD. It’s track 1; “Dziggetai”. This is just keyboard and electronics, but it sounds pretty much, but then again, “electronics” can mean virtually anything… It is a scratchy, smoothly scratchy, event, shooting off in a jolting, staggering way, displaying, at times, an array of short wave sounds, like connoisseur static out of the receiver in the good old 1950s.

Track 2 – “Piso Mojado” - moves my Ernesto Diaz-Infante ear forward, ‘cause that guitar picker teaming up with the Ingalls clarinet is making justice to that association. This is free form improvisation for sure, and beautifully conveyed to my rural Swedish listening space. These guys demonstrate a sensitivity of expression that naturally is in intense demand among improvisers but not always present…

“Clementine” adds turntables to the keyboards and the electronics, and the piece displays many sprawling characteristics, bordering on sound poetry, machine hall electroacoustics, Australian aborigine didgeridoo vibrations and so forth, making it completely impossible to stash this bit into any known bag, which is a very good judgment from my end, believe me! I just love stuff that cannot be categorized!

“Salon” is the longest work on the CD, starting off like some highbrow electroacoustics from the likes of Jean Schwarz and Lars-Gunnar Bodin. The spatial aspects swoop around you in the artificial woodwind sounds, and a stubborn rhythm splits the floor down the middle, baring hidden basement secrets to the unsuspecting listener. Then the guys let drops of molten metal fall from the sky, hitting the ground all around you, where the sunlight reflects of the suddenly solidifying metal, covering the surroundings with a shiny layer in a science fiction setting, where, after a while, a fairy tale melody comes piping in, until it is all crushed in some force out of the bottomless voids of space…

“Single hitch pleasure ride” opens like a Horacio Vaggione saxophone vent event, as if the closing and openings of the vents had been amply amplified and randomly dispersed across the time line. Much of this stems from the guitar, I’m pretty sure, and then the careful electronic treatment does the rest, working wonders here. Maybe this is my favorite piece on this set. Exciting! Turn the volume up!

“Barrel Filler” is no. 6. Here we enjoy the violin for the first and only good old time on the CD. It’s Matt Ingalls again (he played clarinet on “Piso Mojado”). Evidently this boy has learned a few lessons from wizard and elf Malcolm Goldstein in Vermont and Montreal. How could anyone otherwise play the violin this magnificent way? It’s great that Malcolm has a following in the performance practice of gifted musicians. Malcolm just recently told me he was starting to feel old, when talking about touring, so a following is necessary! The violin scrapings are appearing through a denser, revolving sound curtain of undetected depths. The violin emerges dry, while the other sounds are echoing far and wide.

The concluding work is “Oddities from the bridge”, emerging in a dreamy, slithery, smeary fashion, with sharp static-like electronics scratching your neck, eventually cutting through your skull like a saw-blade, finally parting your brain-halves, falling aside like the parts of a cauliflower. It’s very nice, bird-on-the-lake-like, as the ferry of Charon delivers you across the Styx to the bewildering place between lives, which you can study in the Bardo Thödol; the Tibetan Book of the Dead – or maybe this is just an everyday occurrence behind somebody’s garage in the state of Wyoming; it’s hard to tell!