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Let us consider, if you will, solid geometry. It is the branch of geometry that studies figures initially defined in 2D, projected to a three-dimensional space.
Now let us consider three friends. Let us assume they met in New York at the turn of the century and decided to combine their free and radical instrumental expertise. A step-by- step proof would be unnecessary: just a look at how the set that formed – known ever since as Aufgang – has developed will reveal just how endless the possibilities really are.
The trio, based from the start on the notion that all members are equal, has not set itself formal objectives. It has instead focussed on nurturing an ever-renewed interaction. The band’s unusual configuration means that they are left to their own devices, with no benchmark against which to be judged or to judge themselves by. It is from this very risk that this ensemble’s magnificence and power stems from. Everything is up for the taking, nothing is out of bounds. Their favourite pursuit? Leaping into the unknown...
In order to get lines of perspective moving, Aufgang transcend their instrumentarium. From this organic corpus, they manage to extract a hand-stitched, deeply human kind of music. This exhilarating craft builds bridges between disciplines, skilfully pulling together acoustics and electronics while making bold connections between different eras. Ancestral pianos are groovier than any sequencer, the synths they use are antediluvian and the drums are constantly oscillating between metal and skin. They may well be the first truly accomplished and unabashed explorers of the channel connecting various approaches which, so far, had at best only been piled up. Aufgang transcend the confines of time to bring the past back into the future.
Their energy feeds on the communion that playing together generates. They are constantly going back and forth between the studio and the stage, composition and collective improvisation. That’s how they created a new language, their very own, a genuine declaration of non-conformism. Hence this second, much more direct and spontaneous album compared to their previous album and EPs. It is fuelled by a few surprise turns, brought about by their exploratory work, as exemplified by the inclusion, here and there, of vocals.
Halfway between democracy and anarchy, this free system positions itself at the perfect point of equilibrium that is collective freedom. Their configuration calls for spontaneity, control and determination. And this is what enables them to reach beyond their confines, in a spirit of convergence and friendship.
Rami, Aymeric and Francesco have known each other for a while now, having first performed together in 2005, i.e. more than eight years ago. Despite having already covered a lot of ground together, our three hyperactive companions have a thirst for discovery that drives them to constantly forge ahead. As you play their second album, they already have their minds set on the third. Whilst their sound today is much closer to matching their ambitions, they are confident that they can still push it further in that direction.
This of course makes for a whole greater than the sum of its parts and the success of this equation leads them to reach beyond their limits in a slow-burning, epic ascent. Aufgang could be represented as an equilateral trio with right angles, an impossible geometrical figure symbolising a sound that has not yet come into existence, the sound of tomorrow. And yet, from this demonstration we can see that, In Finé, they have squared the circle: the impossible becomes possible even as you listen. QED.

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01 Kyrie04' 57"
02 Balkanik05' 46"
03 Ellenroutir03' 36"
04 Vertige05' 27"
05 Abusement Ride04' 35"
06 African Geisha07' 16"
07 Diego Maradona07' 39"
08 Stroke03' 08"
09 Rachael's Run08' 05"
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01 Kyrie04' 57"
02 Balkanik05' 46"
03 Ellenroutir03' 36"
04 Abusement Ride04' 35"
05 African Geisha07' 16"
06 Stroke03' 08"


01 Vertige05' 27"
02 Diego Maradona07' 39"
03 Rachael's Run08' 05"
04 Ouverture04' 07"
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