Trenkel is the embodiment of intensity. Almost clinical in nature the sound evolves with great patience. Progression requires the songs to go on for great periods of time as the sounds are refined further and further. With the pieces the songs appears to come into view each and every second. Repetition serves as a welcome ally throughout the album as the songs work together to create a truly beautiful tapestry of sound.
An off-kilter kind of jazz starts off the album. On “Trenkel 1” the percussion serves as the only thing keeping the rest of the sounds in check. For “Trenkel 2” the sound moves into a cavernous state with no clear beginning and no clear end. Gradually more traditionally electronic sounds are brought into the music as they appear to nearly flirt with the idea of a traditional dance track. “Trenkel 3” serves as the anxious heart of the album. Gone are any attempts at softer sounds. What remains is a fast paced insistent glitch. Removing the harshness from “Trenkel 3” the objective of “Trenkel 4” is to let the bass frequencies slowly overwhelm every other possible sound. Incredibly flexible with an odd groove, “Trenkel 5” seems to be constantly scratching. Ending things off on a high note with the album highlight is “Trenkel 6” which neatly bring together all the previous pieces into a cacophony of sound.
Wieman plays Goem is an oddly compelling piece, the kind of thing that reveals its many hidden charms with multiple listens.
http://beachsloth.tumblr.com/post/111831609570/wieman-plays-goem-trenkel-8-2