Matthias Muche Bonecrusher 12 trombones & percussion

Matthias Muche
Trombone Alone
Col Legno WWE 1CD 26002 

With a history that ranges from reverential to raucous, the textures produced by the trombone can fit many situations. While not always the primary choice for creative music, the slide, bell and valves mechanism can be open to many innovations as well, especially by someone with honed techniques. Köln-based Matthias Muche is one of those individuals and these discs showcase him in group or solo settings.

The title of Trombone Alone’s program is pretty clear, although Densities is more obtuse. Founded in 2020 by Muche, who has also recorded with Elisabeth Coudoux, Philipp Wachsmann, Thomas Lehn and many others, the multi-trombone Bonecrusher ensemble investigates and innovates varied sounds and situations. Grown to a dozen participants here, Matthias Müller, Jeb Bishop, Daniel Riegler, Adrian Prost,  Carlotta Armbruster, Maria Trautmann, Maximilian Wehner, Moritz Anthes, Moritz Wesp, Matthias Schuller and Till Künkler and Muche himself are paced by the snare drum of Etienne Nillesen who collaborates with Muche in the TON trio.

In spite of the 12 to one ratio, the percussionist makes his presence felt with reflective buzzes, abrasive slides across the drum top as well as rugged pops and thumps.  Often tutti and frequently overlapping, the trombonists’ timbral strategy encompasses thick tuba-pitched drones at one extreme and cornet suggesting triplet screeches at the other. As well, a shaking and intertwined antiphony doesn’t prevent pivots to note-bending singular ripples or concentrated interludes that seem to fill every aural space.

During the extended “Brass Breath Brisk” for instance overflowing projections of snores, drones, buzzes and snarks predominate with the concentrated polyphony eventually separated into downward plunger puffs, upwards whistling triplets and barely there sighs.  Respites don’t last long however since the exposition thickens and speeds up at the half way mark and eventually snarls and whooshes into an unexpected collection of gutbucket smears and shuddering slides before collapsing into distant tones at the end. This contrast between breezy brass flutters on one hand and motor-starting rasps on the other is delineated most clearly on “Up & Down”. Decisively interacting with snare drum rumbles, group expressions bent notes turn aggressive until the unsegmented drone fragments enough to reveal timbral differences but not individual roles within the ambulatory narrative.

Singularly experimenting one month later, Muche links each of Trombone Alone’s tracks to a distinct sound experiment. Interestingly two the tracks were like pencil sketches that were reimagined as the equivalent of full color paints when performed by Bonecrusher itself. Processing seems to be applied to “Solo GLEITER” as an internal slide open attachment allows brass textures to echo from one pitch to another. The pumped variables include brittle yelps that oppose squeezed smears with contrast finally resolved by dynamic variables touching on nasal puffs and a surprising lyrical interlude. “Solo QUARTER” is more ferocious with spittle encrusted goads, bugle-like squalls and flatulent snorts predominating. While grace notes also figure in its elaboration, resolving the piece with yearning low pitches is complicated as pinched shakes and sudden brass spurts are also heard.

The initial “Solo BELLER” is a sound art piece that links Muche’s adaptation of a baritone sax mouthpiece and a squeaker to his horn to comment on or to mirror an English vocal recitation. A ear-splitting squall and vibrations are attained, but the variations can’t enliven the prosaic monologue. More memorable “Solo GLOCKEN” captures all the timbres created when balancing a cookie tin on the trombone’s bell. Sonic reflections arising from thick or gentle puffs either fill the entire aural surface or suggest the trombone’s inner mechanism is being eviscerated. Brass power and basement pitches are celebrated by the finale.

Muche has confirmed his role as a s sound explorer and group leader with these discs. They’re in no way easy listening, but should attract more folks than trombone fanciers.

–Ken Waxman

Track Listing: Densities: 1. Butter BC 2. Quater BC 3. Up & Down 4. Brass Breath Brisk

Personnel: Densities: Matthias Muche, Matthias Müller, Jeb Bishop, Daniel Riegler, Adrian Prost, Carlotta Armbruster, Maria Trautmann, Maximilian Wehner, Moritz Anthes, Matthias Schuller, Moritz Wesp and Till Künkler (trombones) and Etienne Nillesen (snare drum)

Track Listing: Alone: 1. Solo BELLER  2. Solo GLEITER 3. Solo QUATER 4. Solo BUTTER 5. Solo GLOCKEN

Personnel: Alone: Matthias Muche (trombone)