Image No. 68

“Different Every Time”

San Defendente 


iPhone 6 Plus, “Noir” camera mode, AE lock with -0.7 underexposure, file treated (as less as possible) with Lightroom and Instagram app tools


Helmut Lachenmann: Schwankungen am Rand (ECM New Series 1789)

between sound and space: ECM Records and Beyond

Helmut Lachenmann
Schwankungen am Rand

Ensemble Modern
Peter Eötvös conductor
Recorded November 1998 at Alte Oper, Frankfurt (Schwankungen am Rand); November 1994 at Radiostudio Hessicher Rundfunk, Frankfurt
Engineers: Rüdiger Orth and Wolfgang Packeiser (Schwankungen am Rand); Udo Wüstendörfer
Produced by Manfred Eicher

“Enigmatic” doesn’t even begin to describe the music of Helmut Lachenmann, a composer who had for decades been charting a most distinct path in the world of sound unknown to most listeners outside of Europe until this, his first New Series release. Like the work of mentor Luigi Nono, Lachenmann’s sonic project seems bent on sidestepping tradition, all the while plumbing its very depths for inspiration and raw material. His polemics are genuinely concerned with their origins, of which the compositions surveyed here constitute a solid mythos.

Despite its porous structure, Lachenmann’s music is not something one enters into lightly. Take, for instance, the disc’s eponymous…

View original post 424 more words

Image No. 63

Cisterna d’Asti

“Another Brick in the Wall”? We are nothing if we consider our life without the others. Aristotle in “Politics” focused the attention to the social connotations of our lives, on our being rooted in the relation with the other. What are we alone? We can be a useless brick. Thogeter we are a wall, safe and sound. 

Contax T3 at f:5.6, -0,3 exposure compensation, Ilford FP4 Plus 125 ISO film

Nate Wooley, Sonic Explorer

Bandcamp Daily

Nate Wooley
Nate Wooley. Photo by Ziga Koritnik.

Trumpeter Nate Wooley admits there are moments when his far-flung musical activities make him feel a bit scattered. While he’s at the center of an expanding circle of daring musicians, including saxophonist Steve Lehman and percussionist Tyshawn Sorey, who thrive upon moving freely and rigorously through disparate traditions, Wooley’s voracious appetite for exploration stands apart. Although he grew up playing straight-ahead jazz in Portland, Oregon, since moving to New York in 2001, he’s fearlessly opened up his practice to include contemporary classical, experimental, and underground rock.

“Earlier this year I did a tour with Mats Gustafsson’s Fire Orchestra, came back for two days, and then played Eliane Radigue, and that was really tough,” Wooley says of the Swedish free jazz ensemble and austere French composer. “To go from smoke machines, multi-colored lights, and a screaming big band, to being a guy in…

View original post 1,060 more words