NEVER-NEVER-NEVER: The ultimate cry for freedom, not a revindication, not a position, but the fullness of dreams: the will to do it, do whatever, the way I want. Not even do, no hopes, no future, just the state of "NOW", will not change will not move, you can do whatever you want I NEVER - JAMAIS! - will and not even shall I listen to you. You can torture me, don't feel the pain, don't even care. NEVER never even was a close cousin to "NO", NO is statement NO is rebellion, NO is a position, against, not good, try something else, no good, a proposition, when NEVER is just pure dreaming, alone in space, no past, no nothing - NEVER lets you change your mind as often you only want, no consequences, since NEVER made it happened, I NEVER said anything like this and who are you and what are you talking about? NEVER puts this sound, any sound, in front of that one, or follows it, just because, no rules, no esthetics, concerts for empty rooms - JAMAIS de la vie! - you have not seen it and maybe there was nothing to see and when was it after all. NIGDY w zyciu, and you can't prove it anyhow. You can't argue with a dream. Never, never in (your) life.
Two pieces, seemingly appearing out of the void, culminate - and fade away. It's at "Station Never in Life" ("Stacja Nigdy w Zyciu" in Polish) where Kasper T. Toeplitz and Anna Zaradny meet for their first duo LP. At the station we experience their music like giant wagon trains slowly passing by. Incredible rich textures emerge and disappear again - a permanent reconstruction, an architecture of loss. The recording features Anna Zaradny on saxophone, playing the instrument in her unique way emanating sounds you might have never heard before and Kasper T. Toeplitz on bass as well as both of them using computers. This is at the same time and old project and a brand new one, or perhaps one in perpetual becoming: the two artists have already played together in many occasions in the past, but this time it is a project for a long-term collaboration, a way to explore the passing of time, trying new forms each time, working on the architecture of the proposed music but also the one of the venue in which the sounds will exist: a perpetual reconstruction of a crushed architecture.
300 copies on 180g vinyl, cut by Flo Kaufmann, cover by Coste-nine.