Recorded after a long-running collaboration at the DRS Radio Studio Zürich (May 2007), am(vr)ee stages a vivid dialogue between piano (Kleeb) and vintage turntables (Arrizabalaga: Lenco & Philips from the ’50s/’60s). Except for Franz Schubert’s “Prelude 231” and Duke Ellington’s “Freedom”, the pieces are composed by the duo and braided with loops, scratches, and time-warped playbacks drawn from sources like Jimi Hendrix, John Coltrane, Arthur Honegger, Igor Stravinsky, Herbie Hancock, and Sofia Gubaidulina. Overtone-rich harmonies from the piano interlock with needle-borne frequencies; rapid clusters mirror scratch techniques; composed forms (“plastik,” “prelude 231,” “josepslap”) face off with structured improvisations (“granit,” “martillo contra aguja,” “conversaciones nocturnas”). Speed-altered vinyl becomes a compositional field where timbres morph—female voices turning canine over a relentless pulse that nods to Ravel’s “Le Gibet.” Elsewhere, the piano fronts a “trio” with bass and drums cut from records, minimalist figures hover through a futurist sound-net, and Satie’s two chords bloom into “satin.” The title am(vr)ee—coined by Geneva artist/poet Vincent Barras—plays with sonic neologisms (âme/ombre/free/ambre…), fitting for a record that blurs boundaries between citation and invention, composition and collage, gesture and groove.