Aleks Kolkowski: stroh violin, stroh viola, stroh cello, musical saw, edison phonograph
Ute Wassermann: voice, palate whistle, bird calls, noseflute

From the first moments of Squall Line it’s clear that the austere-looking lineup of voice and violin/viola on this CD doesn’t give much of an impression of the variety and richness of its contents. How are these sounds made? More mysteriously, how do they constantly fuse and separate to generate a sound-counterpoint of such intricacy and coherence? From the liner notes by Richard Barrett