"Tempo and rhythm are constantly changing, permanent instability and always on the edge!" saxophonist Mark Weschenfelder says about the band.

Mark Weschenfelder, Philipp Scholz and Philipp Martin are GLOTZE. They have recorded an album with the same name. It came out on 25.10.2020. And it's on Boomslang Records! This is an Austrian label, where the attitude matters - not the genre. At least that's what it says on the label profile of a blue and white social network that starts with 'f'.

The attitude is already right, you notice that immediately when you talk to Mark Weschenfelder. He is the saxophonist at GLOTZE. A musician with experience. He has played a major role in 16 albums, has received several scholarships and played a tribute to Ornette Coleman at the last Leipzig Jazztage. Together with his band mates Philipp Scholz on drums and Philipp Martin on bass, they put together what can be described as an uninhibited mix of jazz, new music and punk. Or as they call it: Metajazz! It is precisely this antipodal interplay of different types of music that makes what they hear and experience at live performances so extraordinary. As contrasting as that sounds, it's surprising that it then comes back to you with the phrase "Oh my! Spicey tuness!" off the stool. Here sometimes Scholz, sometimes Weschenfelder, sometimes both together push the cart forward and back. And Martin acts as stabilizer and lubricating oil at the same time. Because it's pretty wild in this confusing brew of percussion, beats, broad and pointed saxophone sounds and just this devoted bassline that jumps around wildly as if it were freshly in love.

The creative process, says Weschenfelder, is an interesting and thoroughly funny affair with the three of them. They meet, each with their own composition - each of a very different nature. And in the end, the effect is somehow very similar. Martin, for example, writes more new-music-heavy, so complex at times that blurring and opacity occur quite automatically when playing. Weschenfelder, on the other hand, writes with a strong rhythmic orientation, but in a more jazzy-traditional way. What comes out? "Tempo and rhythm are constantly changing, permanent instability and always on the edge!" says Weschenfelder.

The album, long overdue to whiz through all auditory canals, makes eardrums vibrate. It provokes, stirs up and puts everything together even better than it was before. Will we manage to do the same after this pandemic? Oh, I don't know and I don't want to end this text with this topic. Sorry for that. Better: GLOTZE came along, GLOTZE paralyzes, GLOTZE should be listened to and watched! When the time comes again. So now!