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MKM: Jason Kahn / Günter Müller / Norbert Möslang
Instants // Paris
MIKROTON CD 51 | 2016

Edition of 300

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1. Instants // Paris

Günter Müller ipods, electronics
Norbert Möslang cracked everyday-electronics
Jason Kahn analog synthesizer, radio, mixer

Jason Kahn, Günter Müller and Norbert Möslang, all from Switzerland, comprise MKM trio, spontaneously founded in 2006 in Tokyo during their Japanese tour. They immediately achieved very fine results and collaborate since then. Their sound hovers between the at times harsh rhythmic noise of Norbert Möslang’s cracked everyday electronics and the rich sonorities of Günter Müller’s percussion-based samples and electronics. Jason Kahn’s work on analog synthesizer bridges these two worlds, adding high frequency interference and processed short wave radio input. Günter Müller launched Mikroton with his beautiful and rich Cym_Bowl and featured later on Limmat along with Jason Kahn and Christian Wolfarth, which was also Kahn’s second project following Planes with Asher, and later on Five Lines which was Möslang’s second project after Stodgy, a duo with eRikm.

Instants // Paris, their second release after msa in 2008 on For 4 Ears, takes you into the world of thudding pulse, noisy intermissions, tonal atmospheric drones and changing layers of sounds slipping in and out of consciousness.

Reviews

Vital Weekly, Frans de Waard:
Following which it is perhaps time to up the ante again, a bit, with a trio that we haven't heard in quite a while, Günter Müller (iPods, electronics), Norbert Möslang (cracked everyday-electronics) and Jason Kahn (analogue synthesizer, radio and mixer). This is quite a meeting of opposites, I thought. Kahn's own music over the years has become subtler, and Möslang perhaps never went anywhere being silent. This recording, already almost five years old, is still something that is worthwhile to hear. It shows this trio in full force, which means that they are forcefully present most of the time in their sound. Lots of deep bass rumbling and high end screeching and just very few bits really down in volume. Towards the end there is such a passage of quietness; it seems as if the music is already done, certainly after all the noise that was poured over us in the past thirty or such minutes, but not, for at least six or seven minutes we hear very little and this might be, in good jazz tradition, Kahn's solo spot but he keeps his sound alive until the very, noisy, end of this. Unlike Garcia/Costa Monteiro, who keep their sound together during the entire duration of a piece, this trio bounces around all the time, leaping from one massive block of sound to a more detailed version thereof and back again. I must admit I don't remember this heaviness from their earlier releases, which I recalled were a bit more controlled and quiet. Maybe that night in Paris they were in the mood to call out the big guns and play some heavier on the occasion? I am not sure here, obviously, but whatever it is, it surely delivered an excellent release.