Label: Mikroton Recordings - mikroton94

90年代初頭から音盤をリリース、ジャズ・ギタリストとして活動しChristian FenneszやJohn Butcher、宇波拓ら多くの音楽家とコラボレーションをしているBurkhard Stangl、主にクラリネットとコンピューターを使いエレクトロポップから即興と幅広い活動を展開しているChristof Kurzmann、過去に何度か活動を共にしてきたオーストリアのベテラン2者がデュオユニットSchneeとして発表した1stアルバム。Burkhard Stanglの柔らかなギターの旋律&ボーカルに、ポツポツという点描的感覚でノイジーな音響を落とし込んでいくChristof Kurzmann。気持ちの良いダウンテンポとしても十分に機能する面白エレクトロ・アコースティック。DLコード付き。

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“I love plainness in colour, monotony, snow is rather a monotonous tune. Why should colour not give an impression of singing? White is like a murmur, a whisper, a prayer." (Robert Walser). The first Schnee record appeared in 2000. 20 years later their fourth album, the first coming on vinyl (!), on Mikroton. In between these years, the laptop player, saxophonist and singer Christof Kurzmann and guitarist Burkhard Stangl went different ways, but met again and again in projects such as Schnee, together with the American spoken word recording artist Ursula Rucker or in the context of Bernhard Fleischmann's “The Year Of”. Guitarist Burkhard Stangl was a member of the electroacoustic supergroups Polwechsel and efzeg and collaborated among others with Christian Fennesz as well as with Taku Unami, Taku Sugimoto, Angélica Castelló or Mario de Vega. Besides his fantastic reinterpretations of several Robert Wyatt numbers, Christof Kurzmann is known as the founder of the Orchestra 33 1/3 and the legendary label charhizma and — together with Fennesz — the forefather of electroacoustic improvisation music in Austria. Among many others he currently works regularly with John Butcher, Mats Gustafsson or Ken Vandermark. Schnee is concerned with the actual sensory non-cerebral experience: the relationship between colour, image and sound. Schnee sets music to imaginary films or makes music that relates to films that have not yet been shot. The invisible film as a drama of a possibly liberated life, embedded in the soft, cold dress of sound creative avantgarde or experimental electroacoustic improv. Furthermore, songs are also repeatedly implemented in the instrumental electroacoustic dispositive of Schnee, which reveals references to literature, pop culture, politics and writing conceived as speaking about the unspeakable. “If there was ever a battle, it must have been the one between the guitar and the computer”. Schnee has long fought the battle and maybe even won it. Why? Because poetry and resistance revolve in the record groove.