here comes the sun!

here comes the sun
:.:k:a:i:.:.:f:a:g:a:s:c:h:i:n:s:k:i:.: (c(l(a(r(i(n(e(t( . )))))

h e r e   c o m e s   t h e   s u n kai fagaschinski (kreuzberg) | clarinet
barbara romen (starkenbrühel) | hackbrett
gunter schneider (starkenbrühel) | contraguitar

kreuzberg meets starkenbuehel – the tyrolean musicians couple barbara romen and gunter schneider have been working together for many years in different areas of contemporary music. in either, the composed and the improvised fields, they have proved to be sensitive partners with and of unheard sounds. the berlin based clarinetist and multiphoner kai fagaschinski is fairly known as subtle researcher into sound with long breath.
the trio met for the first time in berlin, at raumschiff zitrone in 2006. after a second, magic encounter at echoraum in vienna it was clear, that there was a common future. over the years they have played a dozen of concerts mainly in austria and berlin, among other at music unlimited (wels) and kaleidophon (ulrichsberg). in 2008 they did a micro-tour with special guest turntablist philip jeck. in the same year - back in their initial trio formation - they came together at the amann studios in vienna for the recordings of their debut album, which hopefully spins now in your cd player.
the three musicians sound the mergening options of their actually really different instruments. in constant togetherness, they weave homogenous harmonic fields and structures. their secret lore of the commonly conceiled abysses of their instruments allows them to find beauty in the fragile. the soft sounds count. the necessary traps they set themselves with a fine sense of the absurd. a filigrane, psychedelic chamber music. here comes the sun.

gunter's thoughts on here comes the sun:
from all things that fascinate me about this trio, the first is the unspoken selfunderstoodness about what we do and how we do it.
it is a music without melody, yet full of motion, without chord progressions, yet full of harmonies without rhythm, yet full of drive and groove, without hierarchic structures and functions, yet complex, loose and concentrated.
the first impression of our music might – or should i say will - be slow, down tempo. but this just opens, like the view through a microscope, to a sonic world rich of changes, motions, and synaptic relations.