Translation of the German review:  

If you like music that is as light as a summer breeze and of exquisite recording quality, then you should investigate this tape edition, even if it is very short with a playing time of 22 ½ minutes. Sound engineer Dominique Klatte has succeeded very well in achieving a spherical sound. He met with Trio Böe in the church of St. Maria in Stuttgart for the recording. The carefully selected and minimalist microphones were wired directly to the Studer 961 analog mixing console and recorded with a Studer A807 without any further intermediate steps. The result sounds as natural as if you were sitting in a church with the trio in front of you.

The music is calm, meditative and flowing. The melodies seem simply knitted. What is remarkable, however, is the linking of the notes and how they are integrated into the rhythm. This gives the compositions, all of which were written by the band members, a special charm. Lisa Wilhelm provides the musical basis with her drums, together with Charly Härtel on double bass. Ewoud von Eetvelde joins in with his electric guitar and comes up with some amusing gimmicks.

The tracks The Watchmaker and Puss och Kram involve me directly in the musical action. However, not all the tracks are on this level. The song Mixed Greens remains in a simple loop and, in my opinion, cannot keep up with its predecessors. The short Interlude and the last two tracks, Regen in Kiel and Dovdna, largely continue the pattern of the first two tracks. For the good moments, I can say that the music of this young trio is quite capable of keeping me pleasantly entertained.

I put some questions to the sound engineer Dominique Klatte:

Claus: You met for the recording in the church of St. Maria in Stuttgart. How did you manage to get the balance right between the direct sound of the instruments and the reverberation of the church?

Dominique: That's art. I walk through the church snapping my fingers and clapping my hands. Then I listen to the direct reverberation and the diffuse (reflected) sound components and find the best position for the main microphone. In an echo chamber like a church, I always position the microphones asymmetrically, i.e. not exactly in the middle between the walls. In this way, the reverberation of the church is used creatively in the recording.

Claus: How did you record the electric guitar?

Dominique: I positioned Ewoud Van Eetvelde's guitar loudspeaker in such a way that the sound particularly stimulates the reverberation of the church, and the musicians can still hear every note. I positioned a Schoeps MK 41 (more directional) and a Neumann KM84i (cardioid) at different distances in front of the diaphragm of his guitar amplifier so that the reverberation of the church mixes optimally with the main microphone. The time differences between the microphones also created a special sound.

Claus: The album is very short at 22 ½ minutes. Isn't that a bit short to go into marketing with the full tape price?

Dominique: We recorded more than 30 minutes of music. Afterwards, the band noticed mistakes in one of the tracks in the selection, so they decided against this track. As it turned out to be very beautiful and interesting recordings and the effort and production costs were particularly high, we didn't want to just let the project die. What's more, it's an exclusive tape recording that doesn't exist anywhere else. This tape has already sold several copies despite the short playing time.

Claus: Thank you very much for your answers.

Translated with www.DeepL.com/Translator (free version)