«Just when you think that electroacoustic improvisational soundwreaking/wrecking had run its abject course, tired, trite and all but begging for global mainstream assimilation, along comes Günter Müller and another prime For 4 Ears issue to upset all critical apple-carts. MKM (or, if you take the lowercase affectation literally, mkm) finds Müller tethered to longtime agent provocateurs Jason Kahn and Norbert Moslang, going exploratory all over our quiescent backsides across a six piece collection hammered out during their 2007 tour of Mexico and South America (hence, MSA). These three have become so simpatico they practically read each others minds before nary a waveform is swapped — that they haven't become the least bit formulaic or predictable speaks volumes about their uncanny and intuitive grasp of sound and soft/hardware, and what such tools can do when placed in the right hands, namely theirs. These gents' individual pedigrees and history aside, this is one helluva fine piece of contemporary sound design, straddling numerous genres and never behaving the way you think it might; turns become detours which become labyrinths continuously unveiling surprises. And who's to say EAI has to tow the onkyo party line, afraid to bring on the noize?…This is music taut as a high wire and balanced effortlessly so; whole new genre appellations might very well have to be invented just to keep up. Masterful stuff.»
D.Bergstein, The Squid's Ear

«…Ces six plages, nommées d’après les lieux où elles ont été enregistrées (de Mexico à Rio de Janeiro), recèlent une activité microscopique et granulaire, délicates particules de bruit blanc enveloppant de lointaines basses métalliques, vrombissement hypnotique parasité par des interférences radio, pulsations en arrière plan donnant des coups de boutoir dans un drone aussi abrasif que statique. La rigueur du minimalisme numérique passée à travers des filtres tempérants et infiltrée par des fourmillements sous haute tension. Du travail de précision et une nouvelle démonstration de polymorphisme sonore.»
J-C.Gevrey, Octopus

«…Unmerklich zieht es einen unter die rauen, unsteten Oberflächen in den fast schon organischen Fluss aus wogendem Subbassunterfutter, statisch knisternden Soundschwaden und pulsierenden Rhythmusfragmenten. Mittels vornehmer Zurückhaltung bei gleichzeitig uneingeschränkter Hingabe an den Moment züchten die drei Musiker Soundscapes von außergewöhnlicher Präsenz. Dass diese auch nach mehreren Hördurchgängen keine Faszinationseinbußen erleiden, macht sie, Kopfhörer vorausgesetzt, zu perfekten Klangrückzugsgebieten aus dem Alltag.»
T.Bolt, Quietnoise

«…Subtilement étagées, les textures ne s’épuisent pas en drones et la féconde corrosion à l’œuvre érode les faisceaux, pousse à l’action. Big beat artériel et prolifération des pouls, c’est le bouillonnement des divers tempi d’un organisme complexe. Boucles courtes autour du crâne, basses dans l’estomac, météorites crépitant doucement : exigez MKM sur votre dance floor habituel!»
G.Tarche, ImproJazz

«…Il trio è ormai una macchina perfetta che riesce ad articolare in modo perfetto suono digitale, materiale preregistrato e cracked everyday-electronics, generando una serie pressoché infinita di microsinfonie elettroniche che non finiscono mai di stupire…»
M.Busti, Blow Up

«…Here the improvisations are less than careful, more present to the ear, away from the super silent mode, but also, a rare thing in the world of improvisation, with the appliance of blocks of rhythm. Rhythms derived from what any of these three can do with their instruments, along with buzzing, hissing and soaring sounds.
Music that sort of defies 'improvised' music as we know it, but that seems to be made out of improvisations, with the end result being something that is highly electronic, occasionally loud and fierce, maybe, dare I say this, even 'industrial' at times. The traditional improv posse might turn their heads away from this, I think its one hell of a daring move. Applause.»
F.deWaard, Vital

I CD della settimana! Fonoteca Nationale Svizzera, 3.09