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text by Kayo Fushiya 伏谷佳代

Aestate Records (2020)

Maria Craffonara (vocals/violin)
Thom Castaneda (piano)
Lukas Lauermann (cello)
Joerg Mikula (drums/tombak)

1. Good Bye Vienna
2. Le Papillon
3. Toa
4. Relief
5. Nussdorf
6. Nemophilia
7. Jump ‘N’ Run
8. Close
9. Ibra Him
10. Der Himmeel ueber Imsterberg
11. 4K

Total time; 47:12

All music composed by Donauwellenreiter:
Thom Castaneda 1,2, 5,6,9,10,11; Lukas Lauermann 4,8; Joerg Mikula 7; Maria Craffonara 3
Arrangements: Donauwellenreiter

Recorded in August 2019: Werner Angerer, Franz Schaden, Wavegarden Retz, AUT
Mix: Werner Angerer, Thom Castaneda
Master: Martin Scher
Foto: ©Andreas Jakwerth
Graphic design: Schultz+Schultz-Mediengestaltung
All music performed by Donauwellenreiter:
Thom Castaneda p, vocal on 9; Maria Craffonara vl, voc, p on 11; Lukas Lauermann vc,voc on 9, p on 11; Joerg Mikula dr, perc, voc on 9, p on 11


Having excellent compatibility of melody with sensation, but simultaneously mature as an instrumental music —the brand-new album “Delta” published for the first time in three years by Vienna based band ,“Donauwellenreiter” , provides me this kind of feeling as ever. However, their sound image is getting refreshing clear and tight furthermore in comparison with the last album. Bordering various elements like minimal, classical, pops, and folkloric, their musical toughness and flexibility are constantly on the move, get all the elements under their originality, and let us listen deeply into their unersetzbar (irreplaceable) world. To describe polyphonic background of Vienna will be beyond the scope of this opportunity, but I cannot help but feeling fundamental power that the city has nurtured. Their music flows simply natural; lively phrasings and serene tone-colors bring fresh sensibility to the listener’s heart; while realizing multi-layered vibrancy, elaborated arrangements let us feel the charm of the instruments as they are, essentially in the tactile dimension. Relaxing into their music is close to such an intimate experience involving affection and nostalgia as tracing back one’s own memory. The sound direction which accentuates each player’s virtue is also superb. Lyrical tone-quality of Thom Castaneda’s piano increases the impact of reverberation; experienced materiality of violin and cello are vividly brought up by capturing the contrast of the techniques, arco and pizzicato; Joerg Mikula’s tactful drumming drives contemporaneity in the whole music and avoids going into conventional chamber music taste; the range of voices sometimes inserted by Maria Craffonara takes also approximate tone range of other instruments. As a whole, middle-low tone ranges are thickly fulfilling although keeping transparency— it may inspire the listeners strong sense of relief. Their music is full of generosity and the sum of finely honed sensibility without falling into any excessive sentimentality. In today’s world circumstance, in which returning to localism is becoming unavoidable tendency even if temporary, their music embodies glaringly “urban music” which is in the shadow of globalism.
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伏谷佳代 (Kayo Fushiya) 1975年仙台市出身。早稲田大学卒業。幼少時よりクラシック音楽に親しみ、欧州滞在時 (ポルトガル・ドイツ・イタリア) に各地の音楽シーンに通暁。欧州ジャズとクラシックを中心にジャンルを超えて新譜・コンサート/ライヴ評、演奏会プログラムの執筆、翻訳などを手がける。