In several interviews with the performers on this album, most express the same sentiment: a need to force an audience to put everything aside and just listen to what is being communicated. So what does this quintet of Kahn, Korber, Möslang, Müller and Weber have to say? Yamaguchi, as far as Cut releases goes, borders on verbose, each performer busily (again, a relative term here) contributing to the aural tapestry of mostly non-representational sound, Weber’s contrabass being the only instrument you can pick out of the lineup. Improvised, breath-holding textures comprised of gradually ripening cyclical hum, pops and clicks of all colors, receding drones and stray overtones convene at the pace of a sunrise, ruminating long enough to reach their potential before languidly changing angles, adding pigment or dismantling completely. This is the work of masterful veterans, and possibly the most engaging work the label has released.
> Dave Madden, Slug Magazine, 11.2007

Yamaguchi is an excise in shrink wrapped audio dread and paranoid, with the three tracks here building up an suffocating mix of improvised dwellings and barely moving but deeply unsettling and uncomfortable aduio air. To build this tight airless and dread filled atmosphere they utilize the following; analog synthesizer & percussion played by Jason Kahn, guitar & electronics played by Tomas Korber, cracked everyday electronics manipulated by Norbert Möslang, ipods & electronics played by Günter Müller and lastly but certainly not least contrabass played by Christian Weber. Through there are a fair few sound and instrumental textures and elements at play, for most of it’s near on hour life this is stripped down throbbing white neon uneasy, with the odd more building and louder elements here and there. The group aptly building a patch work of tiny sounds taking in; instrumental sawing and plucking, found sound elements, dry panic crackles and static settles and low feedback sufferings. As well as unpleasant ambient hovering, bass throbs and chokings . At points the audio air is almost unbearable tight as they build and build the sound tension to such a pitch you’re almost holding your breath and starting to sweat on your brow. It takes really talent, dedication and musical focus to create such a tangible and threatening atmosphere from very little, making it also rewarding and able to keep ones attention through out. Put this on in the background of a dinner party and it will get your guests twitchy and nervously moving in their chairs unsaw exactly why. It all comes in a rather lovely and innocuous screen printed folder, which indicates none of the nail biting fear and paranoia that lies in wait for you. To buy direct and hear samples slip into this cut.
>Roger Batty, Musique Machine, 7.2007

Das Schweizer SIGNAL QUINTET hat von seiner Japan- tour 2006 Yamaguchi (cut 021) mitgebracht, einen Live- mitschnitt aus der gleichnamigen Stadt an der äußersten Südwestspitze der japanischen Hauptinsel Honshu, genau- er, aus dem dortigen Center for Arts and Media. Das YCAM operiert mit der Agenda, Zugang zu bieten to the world view of the 21st century, that is, a new universe of infor- mation, which is made possible through the fusion of infor- mation society, electronic and networking technologies. Das Quintett, bestehend aus Jason Kahn, Tomas Korber, Norbert Möslang, Günter Müller & Christian Weber, ist elek- troakustisch bestückt mit Analogsynthesizer & Percussion, Gitarre & Electronics, geknackter Alltagselektronik, Ipods & Electronics und Kontrabass. Fasst hätte ich ‚einfach Kontrabass‘ geschrieben, aber was Weber mit seinem In- strument hier macht, ist alles andere als schlicht. Etwas anders zwar als sein Spiel mit Day & Taxi, WWW oder Olaf Ton und anders auch als im Spiel mit Meursault und TGW, mit Kahn oder Yamauchi, wo er sich aufs Feinste auf Dröhnminimalismen einpendelt. Während seine vier Part- ner einen Elektronensturm anfachen, ein anschwellendes Sirren, Knurschen, Zwitschern, Schleifen, Pulsieren, Split- tern und was sonst an subatomaren Delirien, in Schallwel- len verwandelt, denkbar ist, meine ich Weber herauszuhö- ren mit dunklen Plonks. Sie sind nur identifizierbar durch die paar Sekunden an der Rückseite des vorübergezoge- nen Sturmes, als stoische Noten, die Stand hielten, weil sie dem Sturm zugeneigt waren. Der dritte Flügel dieses Mik- ronoise-Triptychons zeigt, wie auch der Auftakt schon, wieder die Alltagsgeräusche am knisternden und wabern- den Ground Zero des Krauchens & Flauchens, des Aasens & Wesens der werdenden und vergehenden Dinge. Und ist fast so prickelnd, wie wenn man das Ohr über ein Glas Sprudel neigt.
>Rigobert Dittman, Bad Alchemy, 6.2007

The Signal Quintet, convened in 2004 to perform Jason Kahn’s composition for improvisors, Timelines, has continued as an improvising ensemble, and their current recording was made at the studio of the Yamaguchi Centre for Arts and Media, Japan, during a 2006 tour. The group work with layers of sound, placing considerably greater emphasis on gradually evolving textures than on architecture, and blurring the distinction between electronic and acoustically generated sounds. But although double bassist Christian Weber is capable of making sounds that approximate the electronics of bandmates Norbert Möslang, Günter Müller, Kahn and Tomas Korber, he also favours woody, resonant arco work and fruity bass ostinatos that bottom out the music. And, of course, Kahn’s fleeting, delicate cymbal play, often the merest shimmer or hiss, is occasionally discernible within the massed ranks of electronics. All of these musicians have made strong recordings in their own right, but Yamaguchi must rank as one of the best things they’ve done. Of its three untitled improvisations, the second and by far the longest piece provides the greatest surprise by gaining steamroller momentum and reaching a thrilling climax. The others, though no less successful, are more carefully modulated. Sometimes, as during the closing minutes of the third piece, the music gradually ceases to flow and meander, and instead coalesces into a deep, richly detailed pool of sound into which the listener is drawn. At times like this, there’s a hint of beauty in the music, which is all the more satisfying for having been arrived at unaffectedly, without calculation.
>Brian Marley, The Wire, 8.2007

Signal Quintet was formed in 2004 by Jason Kahn to record "Timelines", and they have remained active as an improvising entity until the present day. "Yamaguchi", titled after the Japanese Centre for Arts and Media where this recording was made, is the document of their first tour. Consisting of Kahn (analog synthesizer, percussion), Tomas Korber (guitar, electronics), Norbert Möslang (cracked everyday electronics), Günter Müller (iPods, electronics) and Christian Weber (contrabass), this is probably the most illuminated conjunction of electroacoustic improvisers - born or living in Switzerland - that we can enjoy nowadays. It is almost futile to look for new terms able to describe what the cognoscenti are already aware of. These artists know the meaning of the words "measure" and "restraint", and those are exactly the main features of this music, which is finely tuned to a rational balance between the "microbiotic" boiling of the electronic sources and the evocative dances between the drone and the low-string tolling that Weber fathers, giving the music an aura of imperturbability and menace at one and the same time, besides gifting it with the most evident touches of acoustic consciousness. From this radiating cauldron, in between semi-natural deprivations of light and amidst cyberfaunae living in the mud, muted invocations - prayers that are too shy to get out of a mouth - are summoned forth during several bewitching states of altered reality. In those moments, one feels lucky to have the chance to experience something like this.
>Massimo Ricci, Touching Extremes, 7.2007

Signal Quintet originally was founded by Jason Kahn in order to record his graphical scores of ‘Timeles’. Then Tomas Korber, Günter Müller, Christian Weber, and Steinbrüchel [this latest didn't participate in this disc] have worked as an improvising ensemble.
This is a recording regarding the tour they did in 2006 to Japan with Jason Kahn on percussion, analog synthesizer, Tomas Korber on crack everyday electronics, Günter Müller, ipods, electronics and Christian Weber, contrabass.
The CD consists of three improvisations tracks of that were recorded live in studio at the Yamaguchi Center for Arts and Media.
Microscopic digital sounds, vibrating flourish on the contrabass, pulsating rhythm, cosmic dust as a backdrop of this space of interaction, field recordings with ambience sounds. The intensity towards the end of tracks becomes powerful, the contrabass produce drone with a note that sounds like a cello, abstract and confuse images evoke this music. Noise, pure noise, sonic chaos and pure experimentation!
>Guillermo Escudero, Loop, 7.2007

OK, so I know my concept of what constitutes a "week" is starting to drift a bit, but I'll realign my compass soon, I promise. At least this time around I have a semi-substantial amount to say about a daunting Euro-improv all-star ensemble known as the Signal Quintet. I'd read about Jason Kahn's graphical score "Timelines" a while back, and how he had put this five-piece together specifically for it, and then how they'd decided to stay together and do other stuff because, well, shit - the lineup is really too good to be stopped: Kahn, Tomas Korber, Gunter Muller, Christian Weber, and my particular fave, one-time Voice Crack genius Norbert Moslang. I'd read, but I hadn't heard, and luckily the kind folks (actually, Mr. Kahn, I believe) at Swiss label Cut sent us a copy, part of a two-fer package with Sean Meehan's latest (a nice duo effort with Ellen Fullman that I suggest you order, as long as yer ordering this one, right?).
The disc is called Yamaguchi, and it contains three exclt improv-noise environments recorded in Japan during a tour there last year. Now, not to be regionally prejudiced or anything, but since this is quite distinctly a European affair, one might - if one were as lazy and unfair as me - expect it to have a certain, uh, "reserve" often found in the improvised noise of that fine assemblage of countries. And the pieces here do have points that could be called "restrained" or even "mellow" (they also have points of fiery all-out noise most Americans would be lucky to match), but the catch is that even Signal Quintet's quietest moments have a tension, creepiness and just plain scarily thick atmosphere that makes the whole record seem as sinister as any all-out screech fest.
Now that all my stupid biases and even stupider surprises at said biases being overturned are outta the way, here's what Yamaguchi has: rumbling low tones, scratchy surfaces, pregnant negative spaces, thick slabs of dissonance, crunching distortions, and lots of other sounds one might not expect from percussion, synths, guitar, electronics, and good ol' contrabass. Each piece manages to sound both like an aggressive aural confrontation and a lulling, picture-less mood-film, often at the same time. I think the first of the rec's three untitled pieces mixes those semi-warring/semi-brotherly factions best, and is also the best at building its sounds into arcs that are natural and stunningly organic, as if the participants were following some kind of unspoken treasure map to get to an bottomless chest of sparkling sonic rewards. (My metaphors still need help - send any spare ones to the address on the right).
>Marc Masters, Noiseweek, 6.2007

It's a bit unclear what happened in Yamaguchi in 2006, when a bunch of Swiss people landed. So far we already reviewed two CDs of improvisational work, and here it's under the banner of Signal Quintet that they perform some more music. The Quintet was founded in 2004 by Jason Kahn to get his graphic score 'Timelines' (see Vital Weekly 464), but that was still as Jason Kahn. Now in a formal way a group, it features five of the six original players (Steinbrüchel wasn't there): Thomas Korber (guitar, electronics), Norbert Möslang (cracked everyday electronics), Günter Müller (mini disc, ipod, electronics), Steinbrüchel (laptop), Christian Weber (contrabass) and Kahn on analog synthesizer and percussion. Many electronics at play here, but the acoustic side of the matter is of equal importance. They blend here together in quite a natural manner. Huge clouds of sounds stroll by, with electric charges as well as mild explosions of bass strumming and guitar sounds. Quite vivid music that
never derails. Each of the players is aware of their role in the bigger picture, holding back when necessary or full on when needed. Great CD.
>Frans de Waard, Vital Weekly, 6.2007

The line-up of the Signal Quintet presents an interesting, if weighted, balance between electronic and acoustic instruments: Jason Kahn (percussion, analog synthesizer), Tomas Korber (guitar, electronics), Norbert Moslang (cracked everyday electronics), Gunter Muller (percussion, ipod, electronics) and Christian Weber (contrabass). In practice, as heard both here and on the two consecutive nights I recently caught them in performance (augmented by percussionist Tim Barnes and often broken into several sub-units), the electronics tend to dominate although Weber does his darnedest to shift the weight his way. While he’ll entertain a number of extended techniques, his basic love appears to be rich, tonal playing out of both the avant jazz and classical traditions. When Kahn’s impressive percussion work (often consisting of fingers on cymbals or gongs) is left untreated electronically, a fine yin/yang can occur where one forgets about the instrumentation as such and loses oneself in the collective sound.
Three tracks here, recorded in Yamaguchi, Japan in March of 2006. The first strikes me as very typical of the path these musicians tend to follow: one or two of the electronicists generate rhythmic pulses (I think Moslang is often responsible for this, though Muller will often create similar sounds), Korber adds more abstract, “rougher” textures, Kahn generates patterns almost too rapid-fire to call “rhythms” and Weber contributes coloration via, this time, quick arco work. I often find that I could do with less of the overt beat-driven elements but, that being said, the piece coalesces very well into a convincing, solid slab. The second track is the one that expands into more varied territory and is, for me, the most successful one on the disc. An evocatively gaseous, hissing beginning leads into areas reminiscent of radio static, Weber’s bass tolling dolefully. The quintet keeps things at a low simmer for a delicious long while before allowing the mix to boil over in a manner that suggests only a minimum of control, all harshness and spatter. It’s very good to hear from a group where elements are sometimes under too tight a rein; an excellent piece. The final cut recedes back into a lulling, burbling calm that verges on a slightly spiced ambient approach, something they can pull off easily but is less satisfying to this listener.
In sum, a mixed success. Fans of the musicians involved will likely be quite happy and those of us wishing they’d push matters more are given a nice taste of potential in that direction. More music heading out from the territory established in the second piece would be a joy to hear.
>Brian Olewnick, Bagatellen, 6.2007

In der Art von »Tim und Struppi im Lande der Sowjets« sehen wir es kommen: Das Mysterium von schweizerisch-japanischen Akkorden– gefährlich und ohne Netz. Zuerst Solo, Duo, Trio oder überhaupt gemischt –jetzt ein Quintett (Der Club der fünf: Jason Kahn, Günter Müller, Norbert Möslang, Tomas Korber und Christian Weber). Die gleiche Tournee (»Signal to Noise«: Schweiz, Japan und Korea im Frühjahr 2006) und das nunmehr traditionsreiche Studio des Yamaguchi Center for Arts and Media, diesmal aber am 3. März. Die Logik verlangt (auf die Gefahr hin, dass man jedes Konzert, jeden Tag und jedes musikalische Element dokumentiert), dass man all das auf ein und dieselbe CD brennt, bevor man es auf mehrere–befreundete oder feindliche ? Labels verteilt. Liest man übrigens die einzelnen Biographien, so reicht eigentlich eine aus, denn man findet bei den wenigen Ereignissen fast immer dieselben Namen (Die Ausnahme: Christian Weber). Und was ist jetzt mit der Musik, fragen Sie? Sie ist wie ein Universum, ein Gefühl, wie die dumpfe Empfindung, dass man sich in den Wäldern verliert, in einem geschlossenen, isolierten Raum (–in der Schweiz, wo doch nie ein Horizont ohne Berge zu sehen ist?) Drei Einstellungen von Alain Tanner, zwei von Fredi Murer, aber noch keine Scheidungen oder Konflikte wie bei Godard. Schritt für Schritt gewinnt man Terrain auf der Karte, geht blindlings drauf los, über seltsame Böden und hört den leisesten Ton, den geringsten Lärm, das kleinste Zeichen. Ein Hauch von Feindseligkeit liegt in der Luft, vielleicht ein Reflex auf eine latente Unsicherheit, ein mangelndes Vertrauen. Ein voller Gesang liegt über dem Tal, ein Lichtstrahl ? und dann bleibt man mit beiden Beinen im Schlamm stecken, kalt und feucht. Der Vorteil der Zahl (Quintett) liegt darin, das er das Wer-tut-Was durcheinander wirft, während die Quellen sich multiplizieren und die Interpretationen sich vervielfältigen. Allein Weber zerschneidet, überträgt, übersetzt und formalisiert jeden Kontext mit einer sehr strukturierten musikalischen Stimme–die Materie des Spiels. Er ist unter den fünf Musikern auf jeden Fall derjenige, der–nach meinem Geschmack–die Dramaturgie, die Narration und die Antizipation am besten einsetzt. Da ist also ein hochkarätiges Quintett, das ein nunmehr relativ bekanntes und gut etabliertes Genre bespielt, in dem die Rollen wie auf dem Theater verteilt sind. Aber von Meta über Mikro hin zur Dialektik müsste man eigentlich noch einen Schritt weiter gehen. Einen Schritt, der meines Erachtens nach diesen Stücken immer wieder fehlt. Ein Theater ohne Brecht, ohne Beckett, ohne Heiner Müller. Aber das liegt sicher an der Frage: »Was spielen wir nach dem Regen?« Ein gutes Album also, dessen Form man indes bezweifeln möchte.
>Noël Akchoté, SKUG, 6.2007

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