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Souvenirs

by Christian Wolfarth

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1.
Souvenir from a drum 17:28
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2.
Souvenirs from a cymbal 18:07
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about

This is the sixth solo release by Christian Wolfarth.
One piece is played only with a drum, the other piece only with a cymbal.

'The word souvenir translates from French as the verb “to remember.” Christian Wolfarth’s earliest memories of the drums are memories of disappointment. As a teen growing up in Switzerland, he aspired to be a musician, and he didn’t care very much what he played. So, when a guy showed up at the house to buy his sister’s guitar and let it be known that he was a drummer, Wolfarth naturally offered his services, and then went and bought himself a drumkit. He was dismayed that the assembly of objects before him sounded nothing like what he heard on records. As he learned more about drums, he figured out which ones to leave out of the kit, and learned how to control what was left well enough that they made no displeasing sounds.

Wolfarth has gone on to make several recordings on which he plays one percussion instrument at a time. Souvenirs contains two side-long pieces, one for a children’s marching drum and the other for a cymbal. It is pressed on transparent vinyl, which is an apt metaphor for the music cut into it. Wolfarth’s technique is so exact, and engineer Philipp Schaufelberger’s recording so clear, that there seems to be nothing between the listener and the instruments but air. And while the album is divided into a drum side and a cymbal side, in its first moments, on hears them together.

“Souvenir From a Drum” begins with a cymbal sitting on top of the drum skin, which gives each strike against the drum a warped, metallic sound. A quick switch to a brush results in a passage where Wolfarth’s playing sounds just like a skipping record. Once the cymbal disappears, the music starts fresh, building to a complex combination of broom-like whooshes and repeated beat sequences. Each action is discrete, but their combination is musical as well as demonstrative of just what you can get out of one drum. About 15 minutes into the side, Wolfarth acknowledges the passing of time with another homage to playback devices. He sustains a quick tick-a-tick-a-tick-a pattern long enough for you to check to see if the CD player is skipping, and then realize, oh , yeah, that’s not a CD playing. The LP side isn’t even over and one format has replaced another. Clearly, a master drummer can’t be satisfied just playing time; you need to be able to wrinkle it and punch through the spot where fabric touches fabric.

The flip side of the album proceeds more gradually, which is probably even more demanding. Wolfarth manages not just the splash resulting from each impact of stick upon metal, but the continuous flow of overtones that shimmers like a mirage through the piece. As his playing slows, the overtones receding, forcing you to listen more closely, which has the effect of making quieter music louder in your mind. Once more, Wolfarth plays not only an instrument, but the listener’s perception. How many times have you missed the drum solo so you could hit the head or buy a beer? This is one solo that you’ll remember.'

Bill Meyer (Dusted Magazine, October 2020)

credits

released July 5, 2020

Composed by Christian Wolfarth.
Recorded by Philipp Schaufelberger at Kunstraum Walcheturm in Zürich.
Liner Notes by Jon Mueller.
Cover Art by Urs Freitag.
Inside photos by Christian Wolfarth.
Thanks to the City of Zürich/Popkredit for the financial support.

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about

hiddenbell records image

hiddenbell records Zürich, Switzerland

The Label hiddenbell records was founded by Christian Wolfarth
in Zürich 2009, with the goal to present his solo works, after releasing two solo-CD's "3-3-2" (percaso productions, 1996) and "wolfarth" (for4ears, 2005)

All the releases on hiddenbell records are carefully produced and designed. ... more

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