Mitte Juli bringen Editions Basilic eine neue gemeinsame Arbeit von Giovanni di Domenico, Pak Yan Lau und John Also Bennett als schön gestaltete LP in dreihunderter Auflage heraus. Die vier Tracks auf “Tidal Perspectives”, von denen das kurze, in seiner meditativen Ausgerichtetheit allerdings ausgesprochen eindringliche “Vernal” bereits erhältlich ist, entstanden in einer einzigen Aufnahmesession vor anderthalb Jahren im Brüsseler Les Ateliers Claus auf der Basis von Rhodes Piano, “sizzling ceramics, and liquified bass flute, a rare meeting of three unique voices from the contemporary music landscape that manages to flow with the effortless inevitability of the oceanic tides”, wie es vom Label heißt. Das Album ist auch digital erhältlich.
“Giovanni Di Domenico, an accomplished composer and prolific collaborator who has released albums with Jim O’Rourke, Eiko Ishibashi and Akira Sakata, among many others, initiated the collaboration with Bennett after the two met at a record fair in Saint-Gilles, Belgium and bonded over a shared inquisitiveness for unconventional sonic combinations. Along with Pak Yan Lau, a Belgian-born sound artist and improviser who has developed her own rich and unique sonic footprint, the trio entered the studio with little, if any, discussion beforehand, jumping right into playing without preconceived structures. The resulting recordings had a depth of sound and emotional resonance surprising even them, with finished pieces emerging from single live takes and minor edits.
Bennett, known for his solo work as well as his collaborations with Christina Vantzou as CV & JAB, gives us here a taste of his bass flute in free flowing form. Unconstricted by concept, joyfully and lazily bouncing off the melodic shimmers of Di Domenico’s Rhodes, Bennett uses his flute’s pitch information to trigger long tones that emerge like rays of light piercing through low hanging clouds – moments of clarity among a clicking world of sonic stimuli. Meanwhile, Lau’s crackling and sometimes dissonant contributions on prepared piano, live hydrophone, and custom ceramic sound objects balance out the triangle, adding a sense of microcosmic intrigue that allows the music to seamlessly ebb and flow between moments of comfort and foggy uncertainty.” (Editions Basilic)