"For Batteries" is a record of spontaneous improvisation, reaching further then typical beat of drummers. These musicians use soft sounds; they operate with unusual techniques, and pay attention to ambient, atmospheric side of their instruments
Moretti / Wirkus Na Baterie
Label: Kilogram Records 2004 Catalogue No: KG 07 Format: CD
at the Off Gallery, October 27th 2002, Warsaw, Poland. Piotr Czerny - recording, Joseph Suchy - mastering.
About:
"For Batteries" is a material recorded by duo Macio Moretti and Paul Wirkus, as part of a djzzapora series.
It was an unusual concert that took place in Warsaw, at the Off Gallery, October 27th 2002. It was the first ever meeting of two remarkable artists and remarkable union - a standard percussion set duo.
"For Batteries" is a record of spontaneous improvisation, reaching further then typical beat of drummers. These musicians use soft sounds; they operate with unusual techniques, and pay attention to ambient, atmospheric side of their instruments. What one can find is a lot of whispers, murmurs and vibrations. Once for a while one can feel a bit jazzy, rhythmical passages that creates amazing tension. It can be said that that record brings an unplugged electronic-ambient.
Reviews:
Despite a certain "equality of the instrument rights", solo records by drummers do not appear too often. It is even more seldom that we have an occasion to listen to a recording created by a duo of musicians using solely standard drum sets but it seems that recommending ‘na baterie" only due to the above would be unjust. That would be unfair not only to Moretti and Wirkus but also towards the music itself which in my opinion is successful and worth listening at least several times. "Na baterie" contains six pieces recorded as part of Djazzpora concert series which took place on 27th October 2002 at the Off Gallery in Warsaw. It was the first meeting of the musicians in such configuration; the music is a result of spontaneous improvisation. Perhaps it is a bit limited by the used instruments but surely not with Wirkus and Moretti's skills. That was expectable, since several times they have presented themselves as talented, creative artists, not limited by stylistic boundaries. I suppose that such is the case this time. Already from the start it can be heard that we are not dealing with regular drumming, display of speed, power, technique, strength, but with joint, weary, meditated intention to create music, devoid of will to accept one's role. Moretti and Wirkus did not limit drums to the role of rhythm instruments, trying to extend the palette of the instrument sounds, thanks to unusual articulation techniques. These attempts are maybe not as radical as the ones we deal with in case of some improvisers but they undoubtedly enrich the sound and structure of the recordings. It should however be stressed that the sonorist explorations do not ornament but simply build several compositions. Despite the fact that they are fruit of improvisation, they may be treated as certain closed forms. Not closed by the musicians – they quite freely used the freedom of improvisation but they seem closed (or at least complete) after fading of the last sound. It may be that this album is not a perfect work, some listeners may feel the lack of some elements others - excessive abundance but it surely is a success and worth several (meditative) listenings, since "na baterie" will definitely not seduce listeners from the start. It lacks distinct melodies or effective licks, the music itself is quite silent and a bit sketchy, moving straight from sonorism to somewhat shaky or maybe pulsating rhythm. However, in my opinion, it is not a fault but an advantage of this – let me stress that – unusual record. Decent sound engineering (Piotr Czerny – recording and Joseph Suchy – mastering) as well as excellent cover (which is usual in case of Kilogram Records), should also be stressed here. Tadeusz Kosiek, GAZ-ETA
*****
Two drummers, two drum sets and… zero sounds usually associated with them. Wirkus and Moretti play as if they wanted to question the natural laws of their instruments. And so the drums hum, hiss, cling, squeak. When there is a cymbal hit it is done to use a certain sound, not to accentuate rhythm. The album lacks traditional rhythms. Lovers of various sonic experiments should be delighted. Similarly to "humming" music lovers. This does not astound but also does not repel me. It draws my attention. I also think it should be considered an important achievement within percussion music range. Let us hope it will. Kilogramg Records should be praised here for their courage in putting out such unusual album as well as for its cover. The record is packed in one of the most beautiful, minimalist covers I have ever seen. Pawel Baranowski, Diapazon
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