#werner dafeldecker

[garadinervi]

Werner Dafeldecker – Lawrence English, Fathom Tides, (Ltd. White Vinyl with 12" Inlay, Digital album), HG2603, Hallow Ground, 2026

Written and Produced by Werner Dafeldecker & Lawrence English

Werner Dafeldecker: treatments, electronics Lawrence English: field recording and preparations

Lacquer Cut: Andreas Lupo Lubich Design: Remo Seeland

[musicollage]

Lucio Capece + Werner Dafeldecker – Iteration.   2020 : Another Timbre.

! acquire the album ★ attach a coffee !

[trackandhold]

Werner Dafeldecker & Valerio Tricoli - Williams Mix Extended

A1 (Pages 1–96)

[thenewobjective]

Lawrence English / Werner Dafeldecker ~ Fathom Tides

Fathom Tides is an LP of incremental change.  Best heard as a single, slowly-developing piece, the album reflects the pace of nature over that of humanity.  The earth is in no hurry; the trees are not multi-tasking; the streams do have somewhere to go, but save for times of torrent, they are in no rush. The album begins with a trickle of water, a rustle of wood, a suggestion of wind.  One must…

Lawrence English / Werner Dafeldecker ~ Fathom Tides

[zef-zef]

Werner Dafeldecker Berlin, August 10, 2013

source: downtownmusic 📸: ???

[cdlistening]

Polwechsel & Klaus Lang, 'Unseen' CD (ezz-thetics)

Friday, September 3, 2021, 7:36pm (full listen)

Been a fan of this group for quite a few years now, and I always take pleasure in the highly impressive range they offer, a range that is admittedly not surprising given the high calibre of the group's membership, but nonetheless always humbling and fully engaging. This disc is fantastic, a trio of compositions that conjure a big ol' question mark in the "air" (as to exactly what is what as far as composing goes) and feature something that has become (thanks to movers like Aine O'Dwyer and Sarah Davachi) a rewarding facet of modern avant-composed music: the use of the church organ as an "avant-garde" instrument, or at least using it in a manner that does away with any notion of what one might normally associate with the words "church organ" (played here by KL). The thing is so utterly capable of such a huge and intense range of sounds (some of which I would never attribute to "church organ" without knowing it in advance) that the possibilities are endless, and coupled with the huge reverberant acoustics of the church and the amazing abilities of the Polwechsel group, we have a hell of a disc; further listening to come.

[dustedmagazine]

Lucio Capece & Werner Dafeldecker — Iteration (Another Timbre)

Iteration by Lucio Capece & Werner Dafeldecker

Iteration documents two sets from an improvised duo performance between Berlin-based musicians Werner Dafeldecker and Lucio Capece recorded at the “Offene Ohren” concert series in Munich in May 2019. While the two have played together periodically for over a decade, this is the first time they’ve documented the collaboration. Capece is credited with bass clarinet, slide saxophone and mini speakers with feedback and room amplification and that active sonification of the space combines with Dafeldecker’s bass to create richly striated, slowly morphing layers. Both have been deeply focused on these strategies in collective improvisation for years now, Dafeldecker with groups like Polwechsel as well as collaborations with musicians like Lawrence English and Christian Fennesz and Capece with a number of musicians, most recently in a great duo with Marc Baron. That unwavering attention to ultra-nuanced timbral interplay comes through on both of the pieces on this recording.

In an interview with Dafeldecker on the Another Timbre site, the bassist talks about his shared history with Capece. “We share similar interests and a similar history when it comes to content and methodology in improvised music… When I refer to shared history I mean that both of us have been interested in improvisational concepts away from emotional expression and/or jazz-routed music. I think we also share a non-dogmatic approach when it comes to the term “reductionist” music. In my opinion the term is an imposed category which tries to describe a social cultural shift of the values in that specific field of music at that time. Density or emotionality were often replaced by a certain degree of clarity of structure and tonal accuracy. I clearly have been involved in that relocation which, like every change, leaves its mark.” That sense structural clarity and attention to tonal interaction is paramount to these two improvisations. 

Capece has proved himself to be a master at controlling and fine-tuning the way that sound operates in specific spaces. He has talked about being more interested in thinking of sound in terms of diffusion rather than projection. He explains, “I think that [the relationship between sound, space and performance] is fundamental. Sound is a living creature and it’s three moments have to be considered as fundamental in the life of this creature: The way the vibration is produced, the way it travels (space) and the way it’s perceived, listened.” Their collaborative approach to sonic diffusion and attention to those relationships is an apt description of this set. This is improvisation that moves slowly and patiently, built from the accrual of infinitesimal shifts of microtones, feedback and reverberance. The mutable wafts of breath through clarinet and saxophone projected and refracted through the performance space meld with dusky burnished bass overtones, percussive treatments and rasping abrasions of bow against strings. 

The first improvisation, “Iteration Part 1,” begins with shuddering arco harmonics and deep, welling bass clarinet notes, proceeding with purposeful attention to the interactions and amalgamations of timbres and tones. Over the course of the next 23 minutes, the two ride congruent waves of sound which ebb and flow in intersecting arcs, mounting and receding with rapt consideration. “Iteration Part 2” follows, with more active playing from Dafeldecker as he plucks and beats the strings more dynamically, balancing the percussive scraped and scoured textures of the bass against the cavernous reverberance of Capece’s reeds and feedback. Capece provides an enveloping field for his partner’s playing with slowly unfolding gusts of notes and changeable amplitudes, injecting oscillating tones that hang in the mix. While the fundamental sounds of the respective instruments are more evident and the field is more animated, the two are still mindful throughout of the way their collective activity inhabits the unfolding contemplative sonic explorations.

Dafeldecker’s recorded output has slowed a bit over the past few years and it’s great to hear him, particularly in the company of such a complementary partner. Capece continues to push himself with installations, solo recordings and collaborations and this one is a worthy addition. It’s great that this duo was finally documented, particularly with the usual sterling attention to sonic detail that Simon Reynell brings to all of the releases on Another Timbre. 

Michael Rosenstein

[tomdork]

Parallel Darks by Werner Dafeldecker

room40