This is Staubgold's second architecturally-oriented release, the first being To Rococo Rot's Kolner Brett, a disc which set about creating a kind of audio simulation of Cologne's Kolner Brett building, situating tracks within a quasi-geometric framework and streamlining the group's austere sound into a series of registers meant to represent different parts of the biulding. Soundchambers is different, more of a commemoration or a traditional response piece than To Rococo's stylized production.
The three seasoned Viennese and German musicians teamed up at the opening of the Museu Serralves in Porto, Portugal for a ceremonial live improvisation, Suchy with processed guitar and laptop, Hautzinger with his trumpet, and Ehlers manipulating piano samples and machine noise via computer. The result feels markedly less site specific than Kolner Brett, with a spaciousness that could be associated with Serralves' sprawling gardens, but feels almost at odds with the building's "chambered" construction.
I've listened to the disc in a number of different spaces trying to gauge the closest approximation, and so far it feels most appropriate in transit, speeding over trainyards on the subway or strolling a city block flanked by walls of glass. Hautzinger's trumpet, with its characteristic breathy flights and hesitant abbreviations, would seem the perfect companion to the microsound noodling of the two computer musicians, yet he delivers a refreshingly lyrical, linear performance for most of Soundchambers. His lush and expansive lines drift through and bisect Ehlers' and Suchy's abstractions like a street musician's horn through the city's mess, warping the mood to make every crushing noise a miniature buttress for the fragile howl of one man's breath.
The computerists do not work against their protagonist, rather covering his lesser moments with warm piano tinker or swirls of guitar that keep the mood buoyant and coolly triumphant. The musicians practice a treacherous kind of hesitant, near-impressionistic playing, drifting across subtle movements and phrases with the threat of dissolution ever-present, especially given the amount of swift processing required to transform so much brushed guitar or industrial noise (Ehlers sourced sound in the heating rooms of Stuttgart) into such coherent, immediate swells. The severe geometry of Serralves, as indicated in the sleeve's graphic component, feels far enough removed from Soundchambers' tenuous construction for me to question whether experiencing the building would be at all emotionally consistent with the music. Luckily, a finer appreciation of the architecture's genesis or deeper implications is not required to fully engage with this beautiful recording.
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