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This meeting, recorded in studio in June 2019, is a raw, muscular, and brutal one, a natural atmosphere for both Brötzmann and Lonberg-Holm, and the titles of the pieces, all named after obscure sea creatures, intensify this spirit. Brötzmann and Lonberg-Holm sound energetic, charged with a ton of fresh, urgent ideas and eager to comment on each other’s gestures. The dirty, distorted electronics effects and pedals of Lonberg-Holm, often sounding like a battered electric guitar or some out-of-tune industrial machine, with his aggressive cello playing fit perfectly the anguished wailing and shouts of Brötzmann.
Lonberg-Holm knows how to avoid sliding into sentimentality when Brötzmann tries one of his angry, lyrical cries, especially on the last piece “Stolidobranchia”.
Brötzmann takes in this tough and rough meeting the role of the responsible adult, maintains a strong and clear voice, sometimes angry and sometimes gentle and openly emotional. Lonberg-Holm is the wild and anarchistic card here, injecting subversive noises, ironic tones of a haunted guitarist or simply enjoying the role of an experimental sound artist. But these contrasts and this kind of nervous tension generate the best out of Brötzmann and Lonberg-Holm, as both feed each other’s moves and ignite many intense, explosive moments. Eyal Hareuveni