The music on Blank is only for the most seasoned experimental music lover. That being settled, it has a lot to offer. Oliver Augst, Rüdiger Carl, and Christoph Korn use electric guitar, electronics, drum machines, percussion, and accordion to create short (under four-minute) improvisations that can range from free-form noisemaking to proto-song structures. Amidst the layers of electronics, Carl's accordion provides crystal-clear notes, order within chaos. Korn's electric guitar work lies somewhere between René Lussier and Hans Tammel, at times razor sharp, at others very atmospheric. When he is not manipulating electronics, Augst sings strange lyrics, only half-decipherable because of the effects in his voice. The result evokes images of both postmodern German cabaret and the German-Austrian school of electronic free improvisation of the late '90s. Song structures become clearer after a few listens; beginning to apprehend all that is happening, the listener suddenly feels like a wall has crumbled down. At first, there doesn't seem to be much in common between the syncopated beat and harsh sound textures of "Termini" and the soft crooner-like ballad "Nelly." Yet, as Blank comes to an end, there remains an undeniable feeling of cohesion. In many ways, this trio proposes a turn-of-the-century, post-postmodern version of Cassiber. Strongly recommended.
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AllMusic Review by François Couture