‘Scraffiti’ emerged one warm summer’s day, in a makeshift studio. It is full of the moods of the moment, shifting like the clouds that scuttled by that day. ‘The lyricism and interplay on some pieces make it sound as if it's thoroughly rehearsed or at least pre-conceived, but apparently not’; this is how Splatter’s last album, ‘Music for Misanthropes’ was reviewed, yet it might be an equally accurate description of ‘Scraffiti’. Even although Splatter have included five tracks with written material, the other eleven improvised tracks seemed to emerge fully formed, ranging from the languid ‘High Plains’ where time almost seems suspended, to the frenetic quick-fire interchange of ‘Alarums & Excursions’ where every second is charged with frantic urgency.

Reviewed by the (Free) Jazz Alchemist blog:

"Splatter seems to be a four-bodied one-mind entity, the communication, the mutual understanding, the almost hypnotic ability to follow each other's ideas - it's all here, crystal clear.

This music soothes your soul, it allows you to travel slowly between the stars. In fact it's quite uncanny how subtle and melodic those improvisations are, how accessible this music remains, while mantaining this elusive, emotionally gripping quality of the improvisation. Or maybe the term of a real-time composition would fit better? Never mind the terms, poetry doesn't need words."

Reviewed by the (Luca Pagani @ allaboutjazz.com:

"There is music that creates an environment by using sound more as an element of space than of time. It results in something unique, where the end of a piece does not bring about an end to the listening experience, but expands beyond the confines of time. This is what happens with "High Plains," where long and protracted notes from the saxophone and clarinet create an acoustic wave reminiscent of "Tnoona" on The Art Ensemble of Chicago's Fanfare for the Warriors (Atlantic, 1973), with its depth of sound and deep disorientation of memory. "

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