Boris Hegenbart oraz:
Oren Ambarchi (głos, gitary, dzwony, organy, instrumenty perkusyjne, mechanicznie wzbudzane talerze perkusyjne), F.S. Blumm (gitara), Martin Brandlmayr (perkusja), Christophe Charles (skrzypce, kamienie, gitara, wokoder), Sascha Demand (gitara), Fred Frith (gitara), Bernhard Günter (elektryczna wiolonczelo-gitara), David Grubbs (banjo tenorowe), Boris Hauf (rhodes), Ulrich Krieger (saksofon), Felix Kubin (organy elektroniczne), Hanno Leichtmann (perkusja), Stephan Mathieu (perkusja), Ed Osborn (gitara), Martin Siewert (gitara), Hannes Strobl (gitara basowa), Jan Thoben (perkusja), Michael Vorfeld (instrumenty perkusyjne), Marc Weiser (gitara, gwizdek)

I'm measuring my words: “Instrumentarium” is the opus magnum of Boris Hegenbart and his new focus on the formal coordinates and techniques of Dub music. It never sounds like this idiom is coming from the reggae tradition in Jamaica, but even if we leave aside the style considerations, it's the essence of Dub itself that we find here in all its transformative power. Listening to this collection of masterpieces is a reminiscence of those occasions where we lay down on the beach, or in the forest, aware of all the sounds made by
insects, birds and little animals around us, once in a while capturing the echoed music of distant car radios and CD players, everything confused in one moving acoustic cloud.

Hegenbart used the exclusive recordings of 19 invited musicians and sound artists from several tendencies of the present creative scene (improvisers, electronicists and exploratory instrumentalists) and the results are not simply a remix or a processing of the material. He dissects everything in detail and brings the more obscure components to the foreground, like in a zooming operation. The most astonishing thing is that I know he goes through exactly the same process in live, real-time performances. So, this is not the product of slow
laboratorial manipulation, but the sketches resulting from instant reactions to the musicians input.
The aural constructions here are mainly abstract, but it's with an astonishing naturalness that concrete and figurative elements emerge from the textures in constant flux: a guitar
used in a non-intentional way, like the hazardous found sounds that are involved, a repeated rhythmic cell similar to those of some club music, a distorted harmony recognizable as rock.
These contradictory materials keep us alert and make us smile with intriguing surprise. Nothing is forbidden, and the consequence is an incredibly rich concept and praxis, complete with the unique Boris Hegenbart mark.<.......
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