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