Recorded at EMS studio, Stockholm 20191016, Mixed by Bröndum.

Reviws:

Gert Derkx, Opduvel, may 1 (translated from Dutch to English with Google translate)

Random Variations
A month later than Far Out, Bröndum, Gärdin and Dimming recorded Random Variations in the same studio. This release also has three pieces, of nineteen, fourteen and twenty-one minutes respectively. The musical wealth is great and one listen is not enough to comprehend everything.
The first part concerns "Variation 3". It starts with penetrating electronics and rubbing sounds. Gärdin's timbre has a little more depth than in "Far Out!" discussed pieces and his solo playing is a real pleasure to listen to. Electronics and bass act as jammers, unruly and, percussive and intuitive, giving the saxophonist's soloist performance more cachet. Ahead, the bass plays deep tones over simmering electronics. The course changes around the eighth minute. Bröndum lays out a futuristic drone and Dimming explores the high regions of his instrument. The pulsating drone gets heavier and louder, while the professor adds new sounds to it. The melodic side of the music has disappeared for a while, although Dimming makes some fragmentary attempts. Gärdin briefly plays a repetitive motif, but it is Bröndum who is firmly in control. However, the other two are regaining ground, because it is after all the total improvisation that counts. Dimming is inventive and makes his bass buzz and grunt. Gärdin is his inimitable self. The electronic man then makes a courageous attempt to regain control with loud sounds, but he is now counterbalanced by sax and bass. The loud and exciting passage is followed by a lock full of restrained tension.
"Variation 1" starts with a more open sound, with more breathing space between the notes, even if it's not quiet for a moment. An uncontrolled rhythm is the basis on which Gärdin plays seemingly undisturbed. A little later, Bröndum fills the open space with a drone, present but not too intrusive. Bass and sax are in balance. Although the piece is certainly not always played modestly, it does have more peace than the previous variation. More time is being taken for sound research, it seems, with slightly more minimal means. Exemplary is the single repetitive bass note that heralds a new phase after about five minutes. Then the tension gradually increases. Dimmings bass sometimes approaches the sound of a cello. The spatial effect that Bröndum creates with some sounds moving through the studio is also beautiful. Or so it sounds. Gärdin's performance in the top register is magnificent. The climax at the end is loud and intense.
Variation 2 starts with a robust electronic surface. Gärdin also proves to be able to play monotone, although it doesn't take long before the fast runs get the upper hand. Dimming moves his bow firmly across the strings. The sounds fly around for a while, until suddenly a moment of rest is found. The acoustics of the studio play a role in this section, in which a reverberation from the studio can be heard. The distinction between bass and electronics is sometimes difficult to make. The repetitive motifs of Gärdin are the grip while Bröndum and Dimming rummage creatively. With a loud drone the next part starts. Gone is the apparent peace, because the musicians have left for a new unpredictable but exciting journey. It is clever how a kind of balance is kept in all hectic; no matter how boisterous it may be, nowhere do the sounds get bogged down in a tangle or degenerate into an impenetrable cacophony. The sudden transition from a noisy drone to bouncing electronic sounds with no underlying layer is simply stunning. That layer follows a little later and it is very penetrating. The bass struggles underneath and the sax squeaks above. That has results, because the drone retreats, taking the bouncing sounds along on the way back. In the following section, the music is centered around a loud bass. The electronics later report to the front again. It doesn't seem to bother Gärdin; he does his thing steadfastly.

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