- 1. Changes II (05:00)
- 2. Ich Hab Die Nacht Getral Umet (02:58)
- 3. HeidenroI Slein (02:00)
- 4. Requiem for Alexander Litvinenko (04:58)
- 5. Ocean #1 (05:10)
- 6. Bird Drone (02:54)
- 7. Es Ist Ein Schnitter, Heisst Der Tod (03:51)
- 8. Improvisation #4 (04:36)
- 9. Ocean #2 (06:44)
- 10. Es Flog Ein Kleins Weldvol Gelein (03:01)
"Hannes Buder - archtop guitar, pump organ, wooden flute"
With this solo LP and Download album, guitarist Hannes Buder continues his collaboration with Umlaut Records after the 2013 duo release "[ro]" with Hannes Lingens. The music finds its counterpart in the strangely beautiful cover art contributed once again by Michal Fuchs.
It's been almost a decade since Buder's self released solo CD "openyoureyescloseyoureyes". In these ten years the Berlin based musician performed a few hundred solo shows around the globe, collaborated with a long list of improvisors, composed for both large and small ensembles and released several CDs with different bands and projects.
Many of these influences found their way into the music documented on this album. The disc features compositions and improvisations by the guitarist himself alongside a collection of lesser known German Folk songs, which reveal themselves as abstract bits of Blues in Buder's hands.
Seemingly simple in its appearance, the music unfolds a stunning complexity the deeper you listen: Although most of these pieces were recorded in one take without overdubs, the work is the result of a long search, a process of trial and error until conditions were satisfied for a clear and deeply felt statement.
To make his point, Buder utilizes a diverse array of means: not only does he treat his 1950s Herbert Wurlitzer guitar with cello bow, effects and preperations, he also makes use of a flute an old pump organ.
In its plain honesty, its clarity and matureness, this recording recalls the great solo guitar albums of John Fahey, Fred Frith, Derek Bailey, Loren Connors et al. We are witnessing an artists dialogue with his instrument, he himself being as much a listener as we are. In the intimacy of this conversation, the music gets to us unfiltered, pure.
Hannes Lingens, January 2015