Mozes & Kaltenecker Futurized
Two experienced musicians join their forces to create a rich, atmospheric world based on a keyboard with multiple effects, and a human voice.
Tamara Mózes - vocals
Zsolt Kaltenecker - keyboards, fx
About the album
Compositions by Tamara Mózes and Zsolt Kaltenecker, except track 8 (traditional melody, lyrics by Dario Moreno / Jean-Chrétien Delforge) and track 9 (music by Elton John, lyrics Bernie Taupin)
Recorded at BMC Studio, Budapest on 3-4 January, 2022
Recorded, mixed and mastered by Viktor Szabó
Artwork: Anna Natter / Cinniature
Produced by László Gőz
Label manager: Tamás Bognár
Currently out of stock.
Mozes & Kaltenecker: Futurized
Everything is connected to everything. This apparently simple, but on further reflection mysterious and striking statement crops up in countless places, from a description of the butterfly effect, to how chamber music works, to the teachings of Buddhism. At the focus of the debut album of the Mozes & Kaltenecker formation there are undelimitable phenomena, both trivial and insoluble: just as in some tracks, for instance the album’s title song Futurized, planes of time merge together, so in this CD metaphysics, and several cultural allusions and musical genres all fuse together.
The duo’s particular genre might be succinctly characterized as chamber music artpop. In vain would anyone seek traditional roles in it: this is no case of the keyboard player accompanying the singer, or of the singer adding a line to the keyboard playing. Each production, each song that is heard, is the result of a real-time chain reaction and mutual absorption. The two musicians listen to the complete whole, and position themselves within it, note by note, idea by idea. They believe in serving music above all else, even when their individuality is indispensable to understand it and play it.
The first song, Waterbird Waves, sets the mood, helping us to enter into a zone of timelessness, of being beyond time. Blade, which has more abstract lyrics, is an imprint of how childhood memories can flash up, dreamlike, and mingle with the modern world of the present. Choose a Color invokes an effortless riot of color through music, with a tinge of pop. Deux entrées (two entrances) grew out of one of Tamara Mózes’s real experiences: ‘I was standing in front of a mystic brass door on the bank of the Seine, engrossed in the play of light reflected on it, when a taxi full of revellers drew up, who passed through another entrance a couple of metres away.’ It is Open is perhaps the most transcendental song of the album. One of the lines (‘Have you ever thought of moving something with your soul’) alludes to the Tarkovsky film Stalker, to the scene where the protagonist’s daughter moves a glass with the sheer power of her mind, despite not being able to stand up, due to illness. Zsolt Kaltenecker says ‘the most important idea in the lyrics of the song is that nothing in the world exists independently. Everything is linked to everything else. This is a metaphysical cliché, but it is of huge importance to us as people whether we believe that life and the universe is random, or whether we think there is some all-encompassing system. If it is the latter, then we must bear full responsibility not only for our deeds, but for our thoughts, because they too impinge on others and on the whole.’ The lyrics of Futurized took shape on a on an express train tearing from Brussels to Paris, and ‘the dimension of the future momentarily intersected with the present as an unexpected experience – déjà vu, but in reverse,’ as Tamara Mózes put it. One More Sense is free music that leaves large tracts open to joint improvisation. The last two songs on the album are arrangements. Misirlou is a Greek folk song that became famous as the song used in the titles in the film Pulp Fiction, but in a ‘surf rock’ version; on the album the folk song is heard in a free, slow tempo, and we also hear the film title track, but in French. With its swing, its insistent optimism and relevance, the well-known Elton John song I’m Still Standing drags us back and anchors us in the present.
Tamara Mózes divides her time between Brussels and Budapest. After studying classical piano and singing, she began to work in more depth with jazz. She frequently performs and gives masterclasses in Belgium, France, and Hungary, and has been a guest at the Ars Musica Festival, the Crest Jazz Festival, the Bridging Europe Festival, the Music Village and Jazz Station in Brussels, the Sunside Jazz Club in Paris, and Train Théâtre in Valence. Some of her most important international fellow musicians are Vincent Mascart, Pete Churchill, Marie-Sophie Talbot, and Guylain Domas. Since the mid-1990s Zsolt Kaltenecker has been an active figure on the Hungarian and European music scenes as both a soloist and band member, mainly in the genres of electronic music, jazz, and progressive metal. His most important current and past bands are Kaltenecker–Marko, Special Providence, the Kaltenecker Trio, and 1705, whose genre-bending album Zone was released in 2015 by BMC Records.
Tamara Mózes and Zsolt Kaltenecker first collaborated on an electronic music project in 2017, when they wrote some songs together. Three years later they debuted as a duo on the stage at the Opus Jazz Club, Budapest. Work is divided clearly between the band members: Zsolt Kaltenecker provides the keyboard parts and effects, while Tamara Mózes invents the vocal part and writes the lyrics in English or French, then together they work out the final structure and delivery of the number. However, they consider equality and mutual listening essential: they never lose sight of the fact that the music has to be good as a whole, not as separate parts. There are many fixed, composed parts to their songs, and the solos are an integral part of the song as a whole, while the free passages often feature both musicians improvising. The pre-planned and the improvised sections truly flow one into the other, so the listener cannot necessarily discern the difference between the two. Zsolt Kaltenecker thoroughly exploits the possibilities of his instrument: he often employs effects borrowed from metal guitarists, or sound samples reminiscent of bowed and plucked instruments (clavinet, guitar), and he also expands the customary sound-world of keyboards with use of much more, and stronger, low frequencies. All this serves to form a multifaceted, almost 360-degree orchestral sound, with no concessions from the principle that the songs are performed live by one singer and one keyboard player, without any pre-recorded material. This impression is enhanced by the effects applied to the voice, but Tamara Mózes too has the aim of achieving as many colours as possible my natural means. Her voice might soar in high registers, or switch to almost a speaking voice, then she uses her voice as an instrument, exploiting ‘scat’ technique, which then merges even better with the keyboard universe surrounding it.
The music of Mozes & Kaltenecker is not just for those who, awaking from their sleep, recognize the hidden musical devices available to those with refined taste. The concept, and the presence of a vocal soloist, give good grounds for the songs to come close to the public, and the manner of writing of the songs, their duration, and their harmonic world provide music lovers something concrete to grab onto. BMC Records deals basically with contemporary and classical music, and jazz; Mozes & Kaltenecker fit into this profile, and yet they do not. Their musical world falls outside any of the categories taken in the strict sense, though thanks to their broad outlook and their multifaceted inspiration the two musicians are uniquely able to unite popular genres and the features of jazz. On the whole, the program reflects a pop music tendency, but the level of structure, detailed development, and improvisation points towards contemporary jazz. But through Tamara Mózes, the CD fits into the series of BMC Records’ latest and planned vocal albums.
If we submit to music, it is capable of lifting us above the everyday, and of showing us the experiences of our life in a new context. Even particular events, which suddenly seem to open another dimension; even basic and yet abstract experiences, such as the relative construction of time and our own effect on the environment around us. Futurized invites us to enter this fragile moment (which is, however, spun out to infinity), in which music transforms our thoughts, and thus, ultimately, the world.
Translated by Richard Robinson