It's no longer [em], but Michael Wollny's [em] (pictured, below, left), but don't read anything into that. “A lot of people have been confused things harder for them?’ So we did what most piano trios have done and named the band after the pianist.” So a marketing issue then, since the band remain as they always have – a co-operative with everyone contributing equally. And nothing to be read into the album's title, “It just sounded a good name for an album,” says Wollny. But what has changed is the disposition of the music, the inclusion of covers for the first time and hiring a producer for the first time. So this album represents a significant step in the evolution of the band, which is on track to becoming one of the major draws on the European circuit. The music is often more rhythmically equivocal than previous albums, as the title track reveals while the producer has used the-studioas-an-instrument (for example, the heavenly host choir making a ghostly appearance in Mahler's “Symphony No. V”). In their use of covers, such as the successful re-working of Kraftwerk's ‘Das Modell’, they have challenged themselves to impose their own imprimatur on material other than their own. Quite how all this works out in live performance can be heard on the bonus CD that comes with the album (make sure you get the Limited Edition), where the band perform their new repertoire at Jazzfest Berlin last November for the first time ever. It's heady stuff, and reveals a band that is clearly going places.