Press
„With the fantastic singer Bruno Amstad, the group also
includes possibly the most tremendous and original vocalist
to be found on our continent.”
Halle “Turm” (preview Christy Doran’s NEW BAG)
“The extreme sounds that emanate from Bruno Amstad’s vocal
chords literally take one’s breath away.”
Facts 02. 03
The stupendous musical cooperation between Doran’s virtuoso
guitar and the voice of Bruno Amstad is simply
staggering. With him we discover a human voice, that lets us
forget any artificiality, possesses a magnificent range
and can perform not only the miracle of singing from the heights
of an Arabian minaret, but also transport us with
seamless embedded overtone to the natural talents of the
Tadzhikian steppe.
Christoph Hegi, Tagesanzeiger
…And finally a mention for a flamboyant character in the best,
and widest senses. Experimental vocalist Bruno
Amstad, from Lucerne, Switzerland, has moved beyond his
original Swiss surroundings to master the world
beyond with his solo debut “Culture Shock”. With only his
voice and his electronic equipment, he travels to
Africa and New York creating atmospheric landscapes of sound
of both archaic beauty and pulsating
contemporaneity. Swingende Schweizer Weltmusik im
Taschenformat WOZ Vocal Witchcraft Bruno Amstad
solo in the Jazzclub Moods, Zurich The audience’s eyes saw
one man, standing alone on stage - the distinguished
Swiss Jazz singer Bruno Amstad. But their ears registered
something completely different. Over the full beats of a
springy groove, dozens of stops and timbres unfolded, giving
the impression of a choir of voices snorting,
swallowing, sobbing and sighing. But as if that were not
enough - into this vocal symphony, seemed to blend noises
from the street - screeching brakes, droning motors - as well as
sounds of the forest and of springtime. Amstad’s
throat seems to contain an inexhaustible cornucopia of sounds,
precise as they are technically in complete control,
as he arranges the manifold resonances of his body - from
belly-deep growling to a whirring head voice. What’s
more, over a mixing console and several pedals and buttons,
he makes use of electronic equipment that allows him
to sample short phases, slur them and prepare them with, for
example, echo or filter effects. Loop for loop Amstad
layers his music, and shortly before the sounds threaten to
froth over, he pauses - just to cross over the voluptuous
texture in the manner of a rock, jazz, or soul musician, at times
reminiscent of Betty Carter, at others of David Bowie.
Amstad’s repertoire in the well-attended Moods club consisted
without exception of improvisations. At times, his
paths were repeditive, and one might ask whether the virtuous
use of effects would exhaust. But - absolutely not!
In the second set, the great singer reduced the sound figures
now and then, to work on perfecting each single
vibration and noise, until they bewitched the enthusiastic
audience with a mercurial brilliance and technoid gravity.
Zurich, Jazzclub Moods,
30 Januar 2001, Ueli Bernays, NZZ