Press

ENTRAINMENT – „ENTRAINMENT“

An extremely interesting bridge from jazz to post-rock: the Viennese trio ENTRAINMENT impressively demonstrates on their self-titled album, released on Freifeld Tonträger, how to take a seat between the chairs musically in an exciting way. [...] because basically, what they present has hardly anything to do with jazz. 

Of course it is there and shimmers through again and again, but it does not play a decisive role in the trio's sound. It's more the rocking sounds that give the six numbers their note and set the direction. And this they do - and that's the beauty about it - in a very varied, playful and really beautiful way that spans different styles. [...] 

Wide, calm, arcs of tension carried by gentle melodies or slowly building up over floating sound surfaces, meet quite violent and heavily riff-emphasized outbursts, which release their energy rhythmically, sometimes more, sometimes less complex, in an almost irrepressible way. 

What David Gratzer, Philipp Kienberger and Valentin Duit really understand excellently is to set this diverse mixture vibrating and to transform it into an extraordinarily atmospheric affair. The band opens up spaces in which listeners can immerse themselves deeply; one feels invited to let oneself be drawn through the various chapters and to paint pictures of the events. 

Entrainment show on their album that you can create something truly fascinating out of supposed opposites and tell exciting stories with music even without words. Conclusively, one can say that the Viennese band has succeeded in creating a really strong piece of music with “Entrainment”, one that grows more and more and gains in intensity from time to time. Really successful.

MICA – MUSIC information center AUSTRIA, Michael Ternai

 

Can music create knowledge? The music of David Gratzer (guitar), Philipp Kienberger (bass) and Valentin Duit (drums) goes into the head and from there it doesn't get out. [...] Familiar song patterns from rock and pop are contracted by sounds reminiscent of minimal techno. You can loose yourself in the soundscapes, in the meditative expanses as well as on the noisy peaks, which you approach on complex paths. Not surprisingly, these paths run in large parts of the world, for example in the Orient, the Middle East or Africa. [...] Excitement is therefore guaranteed, wherever the musical expedition of the Carinthian ensemble will lead in the future.

DIE BRÜCKE, Michael Herzog

Elements of post-rock, grunge, jazz, minimal music and noise are fused into a non-categorizable sound on “Entrainment”. David Gratzer often creates orchestral surfaces with his guitar (Zett), which, however, always have to give way to an earthy, dirty, distorted sound (Almost there). [...] The compositions seem strict and rhythmically complex, but also leave enough room for the three musicians to improvise. Repetitive patterns appear and disappear again, sometimes as a theme, sometimes as an accompaniment to improvisation by Gratzer or Duit, who spread their ideas over these sound carpets in great detail. [...] Next to the noise-riff ecstasy, there are very quiet, ambient-esque moments on this CD, for example “Bright Gloom”, which only gets a pinch of downtempo rock guitar at the very end. A record of contrasts that oscillates between full volume with a powerful sound and flat, calm, melodious passages.

CONCERTO-Magazin, Xavier Plus

Brought their own compositions: the Carinthian guitarists Primus Sitter and David Gratzer
Requiem & dunkler Sepp

Bold contrasts in the Kultur.raum.kirche: The vocal ensemble “Cinquecento” met two guitarists in the Tanzenberg seminary church.

[...] The six gentlemen specializing in Renaissance music from five different nations, including former Sparkasse laureate, countertenor Terry Wey, who sings with a crystal clear voice, knew how to fascinate from the very beginning: With the greatest possible homogeneity and stylistically perfect interpretation, the lupine tones merged to a floating, lofty beautiful sound that allowed time and again to immerse oneself in meditative moods. This too applied to homophonic Gregorian chant and with pieces by Master Desprez himself. As in the previous year, the concert initiated by kultur.raum.kirche thrived on contrasts. For once again Carinthian artists were invited to carefully contribute to early music. This time two guitarists, the experienced Primus Sitter and the young David Gratzer brought discreet jazzy original compositions for two guitarists including highly virtuoso improvisations, among which Sitter's “Dunkler Sepp” and Gratzer's “Two Hours To Go” were particularly pleasing.
As highlight, everyone played together in a commissioned work specially written for this concert: “Oct opus” by Sitter is an innovative, refined mix of old and new with bold harmonies and high technical demands. Standing ovations!

Kleine Zeitung, Helmut Christian

 

 

Carinthian of the day
Musical border crosser

[…] What do jazz and traditional Persian music have in common? […] … David Gratzer: “In both styles of music, it is important to improvise and be spontaneous.” The 26-year-old from Klagenfurt spent August as “Artist in Residence” at the “Austrian Cultural Forum” in Tehran. [...] Oriental music has always held a fascination for the 26-year-old from Klagenfurt. “It is profound and comforting. Often the lyrics speak about continuing fight despite defeat."
Despite the difficult political situation in Iran, the cosmopolitan from Klagenfurt experienced a warm-hearted and accommodating civil society. "I was overwhelmed by the generosity and helpfulness of the people." [...] Music means everything to the talented musician. “I am fascinated by the energy that emanates from it. It is like a door to another world." And it is boundless.

Kleine Zeitung, Julia Braunecker

 

Wordless speechlessness
Theater Waltzwerk brings Köhlmeier Text to the stage: an experiment.

There is nothing fairy-tale-like about this story by Michael Köhlmeier, whose title brings to mind Hans Christian Andersen and Co: “The girl with the thimble” is anything but sentimental. [...] The images that arise in the mind are cold and sometimes nightmarish. […] Director Valerie Voigt-Firon together with designer Thomas Garvie, place the two childlike anti-heroes in a cold stage world with styrofoam snow and neon light, dominated by oversized Russian matryoshka dolls. [...] The eleven-member girls' choir JAMzi and David Gratzer's music set coherent emotional accents in an ambitious staging, ... [...]

Kleine Zeitung, KP

"Girl with the thimble": hard and pitiless like sad reality
The cry for human dignity

Three refugee children: abandoned in a foreign land, defenseless and alone. For the Austrian premiere, WalTzwerk accompanies “The Girl with the thimble” in her struggle for survival: a disturbing experience worth seeing, hard and pitiless like the sad reality.

Based on the grandiose novel by Michael Köhlmeier, Sarah Rebecca Kühl and Markus Achatz are so intense and haunting at Wednesday's acclaimed premiere in Klagenfurt's Künstlerhaus that the 90-minute odyssey of the refugee children on the fringes of a European isolationist society often scrapes hard against the edge of the bearable. Good thing! For the normal madness that takes place in front of affluent eyes unfolds a coldness that leads into a merciless parallel world in the polyphonic location-free narrative space to David Gratzer's bitter-melodic live music. […] …, wonderful the swan song of the JAMzi girls' choir under Eduard Oraže. An absolute must! [...]

Kronen Zeitung, Irina Lino 

Klagenfurt: Theater KuKuKK brings cinema film to the stage
Full speed through life

[…] … Sarah Rebecca Kühl … […] With live guitar sound by David Gratzer, as well as the skilful use of microphones and sound collages, she perfectly captures the drive that a film can generate and picks up speed with precisely set suspense arcs only to let off the gas at the right moment. [...]

Kronen Zeitung, Tina Perisutti 

[…] World premiere: Theater KuKuKK brings a novel by Doris Knecht to the stage

[…] Director Sarah Rebecca Kühl relies on black and white aesthetics, the (electric and acoustic guitar) soundtrack by David Gratzer and sophisticated stage lighting . [...] Abstractly choreographed, partly synchronous, partly in slow motion and with frequent repetitions of gestures and movements, the stage action seems almost dreamlike, associative, unreal - entirely different from the film. Conclusion: tough material, simple plot, imaginatively implemented for the stage. 

Kleine Zeitung, Karin Waldner-Petutschnig

[...] Sarah Rebecca Kühl created a theatrical version of Doris Knecht's “Gruber geht”.

[...] Her “mixture of narrative and dialogue” intends to maintain Doris Knecht's humor and rhythm of speech. The play is given an additional dimension by the stage music composed by David Gratzer, which the 28-year-old from Klagenfurt will play live: “It will be a very spherical soundtrack. In some parts the music lays the carpet for the plot, then again the music tells the story, ” explains the Vienna-based musician.
The role of John Gruber will be played by Philipp Stix, known among other things from the ORF series "Vorstadtweiber" ... [...]

Kleine Zeitung, Marianne Fischer

 

[…] The 26-year-old jazz guitarist from Klagenfurt spent a few months this year as artist in residence in Iran, where he combined modern jazz with ancient Persian music. He is fascinated by repetitive, meditative sound carpets. "For me, the sound is right at the top," says Gratzer.

Die Brücke, WRO 

 

[...] Architect of calm soundscapes
[...] Pentecost Mass

[...] Elisabeth Wolf will be heard on the harp. “There are a number of jazz elements and some improvisations in the composition. From the dialogue between harp and guitar, which interweave wonderfully, emerge very meditative soundscapes,” says Gratzer.

Kleine Zeitung, Bettina Auer

 

[…]… Pentecost. […] … a lot of space for meditation; therefore, he leans his composition on Gregorian chants: "I use techniques such as loops, that is, repeating musical passages."

Kronen Zeitung, Serina Babka