GLOTZE love obstacles - preferably ones they build themselves. Instead of surrendering to the musical autopilot, they like to build their own hurdles. A playful form of evasion to open up new sonic terrain. With two new releases on Boomslang Records, they show ways to free themselves from self-made entanglements - with ingenuity, playfulness and a dose of self-irony.

GLOTZE IIb picks up where its previous album left off and leads deeper into the remote sound regions of a jazz formation. The focus is on delicate interplay. Mark Weschenfelder's compositions function as open playing instructions. Textures emerge from points and lines, which are given unexpected structural changes through individual soloistic advances - abstractly conceived and at the same time immediately tangible. The music begins with the elementary components of expression. IIb resembles a course through the unknown - full of twists and turns and sonic discoveries.

GLOTZE III concentrates on the musically specific. The ten pieces by Philipp Martin oscillate in through-composed forms between song structure and serialism. Created in a time of social uncertainty, Brigita Kas and Die Quittung take up this atmosphere lyrically. The “tonality” of some of the titles refers to a need for order, which, however, is constantly being formed anew - open, mobile sound shapes are created between saxophone, bass, synthesizer and drums.