Subtitled “Multi-Track Works-In-Process Miniatures”, this is a collection of pieces for overlaid saxophones, vocals and exotic percussives, although the latter are not present in all the tracks. Kuntz appears very interested in the generation of ritualistic moods through the concurrence of different pulses, the presence of the Javanese gamelan adding evident metallic/melodic tints in episodes like the opening “Celestial Forest”. But if we pretend to be transported in a parallel dimension, this recipe leads to the magnification of an innocent-sounding density, a child playing with a series of reed instruments in a room full of clocks. The segments where only amassed saxes are featured are more comparable to the gathering of seagulls fighting for food on a beach, kind of a semi-chaotic superimposition of pattern-within-pattern designs which translates into a peculiar type of entrancement, a bunch of Poppy Nogoods who have had a few too many. Massimo Ricci, Touching Extremes Continue reading →