The fact that any Kirschner release or collaboration has no title except the date on which it was composed, provides us with a significant insight into his operational parameters, each piece forming an audible diary of activity. This, in turn has provided us with a series of releases over a host of influential labels that serve to catalogue his output, and he has assembled a body of work that in turn lends itself to consistency and continuity, as well as offering insights into his experiments and thought processes, sometimes utilising pure composition, and at others, more exploratory works.
Kirschner’s use of piano on “July 29 2004”, is restrained, yet precisely positioned, and with leerraum’s [ ] Zimoun included in this collaboration, becomes an exercise in audible spaciality. With a singular chord as the central axis around which other notes and gestures rotate, the composition is captured in suspended animation, but is subtly shifted around the auditory scene, giving a tangible sense of movement, and dramatic nuance. The net effect is a fluid, transitional piece, a mesmeric sequence of evenly paced piano events, drenched in subtle reverb, a sombre, reflective work, that is cautiously constructed, with moments of sublime and understated drama. Given that the piece comes in a small edition of 60 copies, Kirschner / leerraum [ ] adherents are advised to purchase as soon as possible.