Hughes/ Scherzberg/ Wiese

(…) Ein guter Einstieg also vom Titel her an diese Musik heran zu gehen, die zwar als Improvisation entsteht, aber ganz klar nachkonturiert und konstruiert ist und wohl dadurch ihre Wirkung entfaltet. Saxophon, Kontrabass und Sampler/Computer im launigen Zwiegespräch.
Zipo in aufabwegen (Germany)

(…) Die Drei agieren - fast hätte ich gesagt natürlich - geräuschhaft, hingebungsvoll kakophon und betont quick, wobei Wiese, flexibel genug, gut mithält. Er bestreitet 4 (relativ kurze) der 9 Tracks als Mixer oder besser De/Konstrukteur des gemeinschaftlichen Materials allein, womit klar gestellt wird, dass seine Electronics kein Fremdkörper, vielmehr die Attraktion, letztlich sogar der Blueprint des Ganzen sind. Zu klingen wie‚ der Krikelkrakel einer anderen Macht, zu plinkplonken, zu knurren, zu spotzen und zu keckern so ich-los wie möglich, ganz im informellen Fluxus von Impulsen und Geräuschen. So sehr, dass mir der Wechsel zum Remake-Konstrukt kaum auffiel, es scheint schließlich auch die letzte Konsequenz des gemeinsam Gewollten zu sein.
Rigobert Dittmann in Bad Alchemy (Germany)

(…) Quivering and clanging massed signals vie for space along with squeaking reed bites and tongue slaps plus sul ponticello slices and string pumps throughout discard’s nine tracks. Yet while some timbres are obvious from first, others are so opaque that solos must develop for instrumental attribution to be made. Upfront grainy pulsing and popping textures swell to meet cumulative arco bass strokes or warbling reed bites. Meanwhile – without disrupting the foreground – shards of Morse code-like intimations plus blurry, signal-processed swirls pulse as the backdrop. Prominent among these eruptions of corkscrewed, processed and modulated tones are the tracks "choke chameleon choke" and "discard". On the later, processed sound curlicues resemble both a computer rebooting and outer-space tracking signals. All the while however, Hughes is sounding traditional string slaps and Scherzberg repetitive reed tones expose the underlying sonic grain. By the climax, Scherzberg’s jagged expression is figuratively poking a hole in the fabric of computer-generated processed tones.
"choke chameleon choke" is another brainteaser where the initial timbres could be created by a ring modular but are soon revealed as smacked double bass strings. Soon the saxophonist’s renal cries and growls squall above Hughes’ subterranean-pitched sul tasto movements, in anticipation of Wiese’s fiddly and fuzzy oscillated wave forms finally creating a three-way dialogue. Mutating his electronic pulses to pipe-organ-like accelerations and irregular clangs, further textures arise from the bassist’s tremolo and the saxman’s trills, both of which reflect back onto the root sounds. Although studio-bound, discard’s sonic coloration is wide enough to encompass not only waveforms from the cosmos, but synthetic landscaping that suggests both the ocean and solid land. (…)
Ken Waxman in JazzWord (USA)

(…) Live improvisations by the three musicians alternate with Wiese’s further remixes of the improvs. The result mixes the abrasive humanity of the saxophone and bass with jarring electronic sounds in stirring, physical ways that range from distinct melodies to punishing white noise, all of which makes for a bracing listen.
Jerome Wilson in Cadence Magazine (USA)

(…) Well thought out balance between the improvised material and the composed result. Throughout a very nice CD, simply because its more than 'just improvisation'.
Frans de Waard in Vital Weekly (Netherlands)