The disjointed yet seamless flow of Grosses Wasser recast for a 12- part chamber music suite.
Originallly released as Fruhling and since repackaged by Prudence as Romance in the Wilderness - neither of those titles quite nails this ill-assorted yet ravishing suite. Wild tangles of free jazz and blossoms of just-so piano segue into tacky synth creations. The radiant watercolours of "Klee" lead you into a dream of yellow trees and violet skies before the howling subterranean drums of "Beneath Blooming Trees" raise the dead. Sure, we're now familiar with these displacement tactics, but there's an unusually deft sleight of hand in the track sequence. Perhaps Orpheus might have made a better title since this composting of historical and modern style yields a death-into-life vitality that makes sense of his vocal intonation in the closing track of Rilke's XXVII Sonnet to Orpheus: "Gibt Es Wirklich Die Zeit?" (Is it real, this destroyer time?)
Source: Stephen Iliffe