Pianist Marit Schlechte, currently based in Berlin, studied composition with Berthold Tuercke and Friedrich Goldmann before assuming an important role in the new music scene in Stuttgart, where she founded the ensemble Unterton and organized various events and concerts, as well as performing with the likes of Boris Baltschun, Alessandro Bosetti, Alfredo Costa Monteiro and Michel Doneda. The nine tracks on her debut album, the last three short inside piano explorations, are fine examples of what the NNN press release describes as “short motives and intervals [..] repeated consciously – repetitions are altered just in the moments when they start manifesting themselves”. The “regular” improvisations often start from tenuous if obstinate repetition of one or two notes, setting out towards a destination we lose soon sight of as the addition of more tones complicates matters and provokes unpredictable harmonic shifts. What begins as a series of innocent droplets is soon transformed into a squall of dissonant minimalism, impenetrable in its sombre asymmetry yet demonstrating a rare flair for instant composition. A case in point is the chordal-cluster resonance study “1 1/2″, which confounds the laws of expectation and resolution and leaves grey shades and metallic ambiences to fight for our attention. The bowed strings and overacute multiplications of the closing inside piano miniatures indicate there’s much to look forward to from Schlechte in future.