released August 17, 2016

Liner notes

"When you play a note very long, it will be great. He becomes so big that you can hear more harmonies, and he gets bigger inside.The sound envelops you. " Giacinto Scelsi
These words of the unusual Italian composer Giacinto Scelsi are created to describe the process of "becoming bigger with and in the music." A handful of children on the way to all aspects of their sound. So you can call a company to confront young people with new and improvised music, so that they can do in this rather unusual profession her musical experience.

Other hand, the most original field from which they just develop and will hopefully grow even more. The unbiased natural play with the possibilities that the moment offers. Similar to the "Godfather" of this recording Giacinto Scelsi, the young people draw from the reservoir which feeds them from the improvisation making it reflective tho their vocabulary to apply and further develop awareness.

Scelsi which creates a large number of his compositions through the use of improvisation, the "instant composing" to cust the music then into sheet music abused rather the symbols of the sound. They seemed rather suspicious enough of his philosophy of life all living harden too much, as the "Spirit of Music" is not actually mapped. He saw himself rather than a "Medium" to bring the sound in a "earthly" form. To help, he took it inter alia the tape, which was thus ultimately to the score, the "documentor" from him played music of sensible results. He was pre-goers and developer of a working method that we use today as natural.

"The man behind the Forum Romanum," and "the time between g.s. and f.r. reflect "the way of scelian music which invites each of us through the timeless gesture of the standing and micro-tonality to the" being here". The fact that after all, this is not everything what halfpipe has to offer, but music has also to do very with time, rhythm, sound and emotion do you hear on this multistylistic CD. Echoes of certain forms of jazz as well as on rock and experimental music. We wish you much joy. Hubert Bergmann

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Rezension | Rigobert Dittmann | bad alchemy

Open Curtain steht im Zeichen von Giacinto Scelsi und folgt ihm in der Vorstellung, nur Medien zu sein, die Klänge in eine irdische Form bringen, ins Innere der Töne. Beides sind Stationen in einer längst nicht abgeschlossenen Entwicklung.

Den Jungs gelingen Steinzeitsamba und Dschungelklimbim, noch ohne Angst vor schrägen Tönen, holprigen Beats und wackeligem Tempo. Das Cellogekratze ist herrlich katzenartig, Bermann jun. übernimmt von den väterlichen Anregungen die Courage zum Many Things Go, einen frühreifen Ton hat er eh schon drauf im scratch-orchestralen Plink meets Plonk in einem Bermudadreieck aus New, Now und No.

Die Ambition geht dahin, dem Formlosen nicht die nächstliegende Form zu geben, sondern eine möglichst abenteuerlustige - Stichwort: Dschungel. Andererseits gibt es schon eine Tendenz über bloß kindliches Malen mit Tönen hinaus, nicht nur bei den Vater-Sohn-Trios mit Cello & Percussion.

Open Curtain zeigt ein gewachsenes Selbst-Bewusstsein und jazziges Knowhow der nun 14-jährigen, bis hin zu für Buben untypisch leisen Stücken (‚Buddha Pop‘), aber auch ekaltierter Vokalisation frisch von der unschuldigen Nylund-Leber weg (‚Moersern‘).

Ich fresse meine Kappe, wenn etwa ‚Atlantic‘ oder ‚Halfepipe‘ schon von der ersten oder das wie geträumte ‚The Man Behind the Forum Romanum‘ von der natürlich geübteren zweiten Scheibe nicht einen Blindfoldtest von Paris Transatlantic-Experten als ‚etwas Erwachsenes‘ bestünden.

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