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What is time? Documented here are phone voice memo recordings that range from 2015-2020, re-aligned, chopped up and spliced together. All of us reside in our individually projected reality, but when these individual inner rhythms come into contact with one another, a bigger "time clock" appears. If we can learn to see the world without the constant self surveillance, a new pattern and perception comes into view. And what splendid beauty it is. Dedicated to all the young gods out there.

Post-Plurrian? EG ?? The return of Muslimgauze ??? The strongest active rhythmic noise / drum'n'noise techno girls, shocking Alexandra Atonif!

80s Noise / Industrial Music There is no doubt that you will be fascinated by listeners from the golden age to experimental techno freaks these days! !! Romanian-born and now LA-based female musician Alexandra Atniff advocates the music "Rhythmic Brutalist" inspired by the architectural style "Brutalist" that prevailed during the Cold War.

She doesn't use any vintage synthesizers or expensive equipment, and uses freeware to release just bare concrete-like beats. The track group with its decoration removed already has a terrific sensation reminiscent of great ancestors such as Esplendor Geoméco. While maintaining the functionality of minimal techno, the vibes that noise / industrial music lost after passing club music, the one and only sound that makes you feel ferocious, sets it apart from existing industrial techno. There is.

This time, A.A himself reworked the independent album, and released the newly edited "Rhythmic Brutalist Vol. 1" as EM Records Edition and the sequel "Same Vol. 2" at the same time. The impression is different from the "1st collection", which is closer to minimal techno, and the "2nd collection", which is more abstract and closer to electronic music, but the whole story is full of brutalist architecture. Brin Jones must nod in the shade of the grass! * The CD version is a 2-disc set of "Vol.1" and "Vol.2" (same content as the LP version).

Post-Plurrian? EG ?? The return of Muslimgauze ??? The strongest active rhythmic noise / drum'n'noise techno girls, shocking Alexandra Atonif!

80s Noise / Industrial Music There is no doubt that you will be fascinated by listeners from the golden age to experimental techno freaks these days! !! Romanian-born and now LA-based female musician Alexandra Atniff advocates the music "Rhythmic Brutalist" inspired by the architectural style "Brutalist" that prevailed during the Cold War.

She doesn't use any vintage synthesizers or expensive equipment, and uses freeware to release just bare concrete-like beats. The track group with its decoration removed already has a terrific sensation reminiscent of great ancestors such as Esplendor Geoméco. While maintaining the functionality of minimal techno, the vibes that noise / industrial music lost after passing club music, the one and only sound that makes you feel ferocious, sets it apart from existing industrial techno. There is.

This time, A.A himself reworked the independent album, and released the newly edited "Rhythmic Brutalist Vol. 1" as EM Records Edition and the sequel "Same Vol. 2" at the same time. The impression is different from the "1st collection", which is closer to minimal techno, and the "2nd collection", which is more abstract and closer to electronic music, but the whole story is full of brutalist architecture. Brin Jones must nod in the shade of the grass!

"Rhythmic Brutalism" is the title of this release, available also as a double CD set or two separate 12" vinyl LPs; the title is also a very apt description of the music itself. Romania-born Alexandra Atnif is fascinated by the harsh, grey concrete beauty and minimally repetitive force of the brutalist post-war architecture of her homeland, and this fascination has given rise to the music here. Vol. 1 is an EM Records edition, compiled from an earlier self-released double CD featuring recordings from 2014-15. Vol. 2 consists of previously unreleased recordings from 2015 to 2017. Using elemental, inexpensive technology, Atnifs music is heavy and harsh, stripped down to distressed skeletal frameworks, rhythmic noise, rusting metal and weathered concrete, a distorted DIY realization of her beautifully brutal vision. With a background in European modernist/avant-garde music, Atnif has been influenced by early rhythmic industrial music such as Throbbing Gristle, Esplendor Geometrico and Muslimgauze, as well as later practitioners of rhythm and noise including Pan Sonic, Autechre, Winterkälte, Prurient and Scorn. Across the relatively brief span of years contained within these two volumes, we hear the rhythmic structures begin to fracture and fray, and the outlines darken and become more obscure, with Antif's sensibility evident throughout.

“The Concert” is the first discographic collaboration between percussionist Alexandre Babel and visual artist Latifa Echakhch. The record is intimately linked to the eponymous exhibition presented at the Swiss Pavilion during the 59th Venice Art Bienniale. For her exhibition in the Swiss Pavilion, Latifa Echakhch created an orchestrated and enveloping experience, a rhythmic and spatial proposal that allowed the visitor a complete perception of time and of his own body. What is the origin of rhythm? How does the body perceive time? How does the mind rearrange it? Can we substitute one perception for another, the visual for the sound? Can fragments of memory go back in time and recreate a different story? Her proposal entered a dialogue with the building around it, designed by Bruno Giacometti. The artist revisited its architectural programme as well as the prototypical progression of these exhibition spaces, originally defined for the display of classical art. She appropriated the entirety of the spaces, simultaneously exploring continuity, movement and sequence. Their relationship to light, and the different sounds that emerge from them. Yet the exhibition was entirely silent and the musical composition “The Concert” functions as its sound rendering, by following a similar path. This one-sided vinyl is a complementary and inseparable partner piece to the exhibition and its eponymous catalogue, the latter having been published in April 2022 by Sternberg Press. The music features field recordings made at the Swiss Pavilion itself as well as pre-recorded percussion sounds and significant contributions by the Berlin-based musicians Jon Heilbronn, Rebecca Lenton, Theo Nabicht, Nikolaus Schlierf. The record, available only after the closing of Latifa Echakhch’s exhibition offers a concluding phase to the project. The resonance of its sensory score. It reactivates the experience of the physical journey of the installation, without imposing itself as a transcription or an illustration. Through texture, temporality and its totality, the record stands as a resonance of the rhythms that have structured the pavilion, the harmonies that have composed it and the sounds that have inhabited it.

The first LP released by Lima pianist Alfredo Linares under his own name is brimming with tropical hits from the mid-sixties (including a Frank Sinatra classic.) By the time he recorded his version of El Pito in 1966, Alfredo was already an accomplished musician. He studied music in parallel to his schooling, attending the Conservatoire in the afternoons and soon went on to lead Alfredito Linares y su Salsa All Stars, a continuation of the orchestra founded by his father. In 1966 the song El Pito became a hit in the United States, which is why Distribuidora Peruana Sudamericana, associated with MAG, released the single as well as Joe de Cuba's sextet LP. MAG's next step was to suggest Alfredo Linares record the song, which he did in August 1966, with lead vocals by Raul Ducós Domínguez from Chalaco and backing vocals by Tony de Cuba, Benny del Solar and Rolo Bernal. The lyrics include references to the effects of marijuana that Ducós improvised during the recording in just one take. Charlie Palomares plays the vibraphone, accompanied by "Negro" Santos on bass and "Cheverin" Miguel Villanueva on the bongos. It is one of the few songs on the album where there are no trumpets. "Strangers in the Night" topped the Billboard charts in 1966, which was a powerful reason for Manuel Guerrero to suggest including the song. This cover version features brass instruments and the participation of Peruvian crooner Lalo Bisbal. The first of the two guarachas on the album, "Qué Mala Fue Esa Mujer" is a composition by Chivirico Dávila, a globetrotting tropical singer who lived in Lima at different times. While the Peruvian singer Benny del Solar is the lead vocalist on the second, "Sin Tu Querer". The album closes with the boogaloo "Maggie". The record also includes two extraordinary compositions by Linares: "Descarga" and the son montuno "Cadenciosa", where the flute solo was played by Cuban Alberto Castillo, who also performs on the guaguancós "María La O" and "Mi Guaguancó", both recorded a year earlier by the Harlow Orchestra. The album was finally released in the summer of 1967, and "El Pito" and "Strangers in the Night" made it into most of the charts. Critics were quick to praise the new sounds on El Pito

The musician and spiritual seeker Alice Coltrane was much more than just John Coltrane's second wife. One of the few harpists to feature prominently in jazz, she was also a renowned pianist and composer and her interest in spiritual matters greatly helped steer her husband deeper into Krishna consciousness, which had significant bearing on his music, most notably evident on A Love Supreme (1965). This mesmerizing performance, held at Carnegie Hall four years after John's untimely passing as part of a benefit event for Swami Satchidananda's Integral Yoga Institute, comprised a stunning and largely improvised rendition of Coltrane's "Africa," with Alice's subtle piano and harp expressions excellently framed by the wailing saxes of Pharaoh Sanders and Archie Shepp, Cecil McBee and Jimmy Garrison trading non-standard bass lines, a dual drum onslaught from Clifford Jarvis and Ed Blackwell, along with members of the Institute on harmonium and tamboura.

Released in 1976, Eternity was Alice Coltrane's first album for Warner Bros. after eight wondrous records on Impulse! Combining the drones and textures of India, the gospel and R&B of her Detroit youth and the dissonance of modern classical composition, Coltrane's music in the '70s would become increasingly difficult to categorize. Having moved a few years earlier to California (where she founded the Vedantic Center, an Ashram for spiritual studies), Coltrane stretches out on Eternity – incorporating various musical styles, including a stirring adaptation of Igor Stravinsky's The Rite of Spring – and the results are dazzling, both in sonic scope and emotional range Opener "Spiritual Eternal" sways between Alice's exploratory organ and the dramatic swell of lush strings. A meditative solo piece for harp, "Wisdom Eye," precedes the rollicking rhythms of "Los Caballos," which showcases some of her finest soloing. "Om Supreme" is the album's first track to be built around bhajans (Hindu devotional songs). Featuring graceful keyboards backed by an angelic choir, this piece hints at the ecstatic devotional music that she would later make with members of her Ashram. While Coltrane would delve deeper into her spiritual journeys and continue to expand her musical interests on subsequent LPs, Eternity remains a vivid and compelling display of her unique vision, myriad talents and passions.

Alice Coltrane had an enormous legacy to overcome in her late husband-- her debut album, "A Monastic Trio" stuck pretty close to what John Coltrane's last bands were doing the studio, "Huntington Ashram Monastary" finds her branching out. Recorded in mid-1969, a year after her debut and two years after the death of her husband, Coltrane performs on piano and harp and is backed by bassist Ron Carter and drummer Rashied Ali. Musically, it's a bit more relaxed than before, with Coltrane's playing a bit less dense and significantly looser. At its best, this looseness translates into inventiveness in ideas with Ali's gentle percussion and Carter's stunning virtuosity holding things nicely together-- the opener and title track is a good example of this-- Carter sets up a deep groove, Ali frames everything, and Coltrane and suprisingly nimble on harp. Likewise, "Paramahansa Lake" and "IHS" find Coltrane surprisingly inventive-- escaping the stereotypes of the harp on the former and playing in a bluesy, Monk-like piano on the latter, with Carter and Ali anchoring ("IHS" also features some superb arco playing from Carter).

Ptah, the El Daoud, recorded and released in 1970, is the third solo album by Alice Coltrane. The album was recorded in the basement of her house in Dix Hills on Long Island, New York. This was Coltrane's first album with horns (aside from one track on A Monastic Trio – 1968 - on which Pharoah Sanders played bass clarinet). Sanders is recorded on the right channel and Joe Henderson on the left channel throughout. Coltrane noted: "Joe Henderson is more on the intellectual side, while Pharoah is more abstract, more transcendental." All the compositions were written by Alice Coltrane. The title track is named for an Egyptian god, Ptah, "the El Daoud" meaning "the beloved". "Turiya", according to the liner notes, "was defined by Coltrane as "a state of consciousness - the high state of Nirvana, the goal of human life", while "Ramakrishna" was a 19th-century Bengali religious figure and also denotes a movement founded by his disciples. On "Blue Nile", Coltrane switches from piano to harp, and Sanders and Henderson from tenor saxophones to alto flutes.

John Coltrane's wife, Flying Lotus' aunt, and Alice Coltrane (1937–2007), a practitioner of Indian music and Hindu philosophy, a quest for truth. In 1982, the extremely rare cassette sound source "Turiya Sings", which was distributed only to friends, was the first recording of her singing voice with organs, strings, synths, and some minimal sound effects. bottom. And "Kirtan: Turiya Sings" released this time from Is the intention of the son Ravi Coltrane who worked on the production, and only Alice's song and organ part are recorded. This mix was discovered by Ravi Coltrane around 2004 and hadn't been heard until the final album "Translinear Light" was produced. I was impressed by the clarity of the intention that I felt from. " Alice plays nine traditional Hindu chants called Bhajan with prayer only on the Wurlitzer organ, and it is a precious song that you can fully enjoy the sublime songs. Unpronounced source! !!

Alice Coltrane Turiyasangitananda’s devotion to spirituality was the central purpose of the final four decades of her life, an often-overlooked awakening that largely took shape during her four-year marriage to John Coltrane and after his 1967 death. By 1983, Alice had established the 48-acre Sai Anantam Ashram outside of Los Angeles. She quietly began recording music from the ashram, releasing it within her spiritual community in the form of private press cassette tapes. On May 5, Luaka Bop will release the first-ever compilation of recordings from this period, making these songs available to the wider public for the first time. Entitled ‘World Spirituality Classics, Volume 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda,’ the release is the first installment in a planned series of spiritual music from around the globe; curated, compiled and distributed by Luaka Bop.
This powerful, largely unheard body of work finds Alice singing for the first time in her recorded catalog, which dates back to 1963 and includes appearances on six John Coltrane albums, alongside Charlie Haden and McCoy Tyner, and 14 albums as bandleader starting with her Impulse! debut in 1967 with ‘A Monastic Trio.’ The songs featured on the Luaka Bop release have been culled from the four cassettes that Alice recorded and released between 1982 and 1995: ‘Turiya Sings,’ ‘Divine Songs,’ ‘Infinite Chants,’ and ‘Glorious Chants.’ The digital, cassette and CD release will feature eight songs. The double-vinyl edition features two additional songs, “Krishna Japaye” from 1990’s ‘Infinite Chants, and the previously unreleased “Rama Katha” from a separate ‘Turiya Sings’ recording session.
Luaka Bop teamed with Alice’s children to find the original master tapes in the Coltrane archive. The recordings were prepared for re-mastering by the legendary engineer Baker Bigsby (Ornette Coleman, Sun Ra, John Coltrane), who had overseen the original sessions in the 80s and 90s. The compilation showcases a diverse array of recordings in addition to Alice’s first vocal work: solo performances on her harp, small ensembles, and a 24-piece vocal choir. The release is dotted with eastern percussion, synthesizers, organs and strings, making for a mesmerizing, even otherworldly, listen. Alice was inspired by Vedic devotional songs from India and Nepal, adding her own music sensibility to the mix with original melodies and sophisticated song structures. She never lost her ability to draw from the bebop, blues and old-time spirituals of her Detroit youth, fusing a Western upbringing with Eastern classicism. In all, these recordings amount to a largely untold chapter in the life story of Alice Coltrane Turiyasangitananda.
In addition to the recordings, GRAMMY-winning music historian Ashley Kahn has written extensive liner notes on the collection. The package also includes a series of interviews with those who knew Alice best, conducted by Dublab’s Mark “Frosty” McNeill, and an as-told-to interview between musician Surya Botofasina (who was raised on Alice’s ashram) and journalist Andy Beta. 2017 marks what would have been Alice’s 80th year of life, as well as the 10th anniversary of her passing. Alice will be celebrated at events throughout the United States, Europe and South America in the coming year. With this in mind, the time is right to bring this meaningful piece of Turiyasangitananda’s legacy into focus.

Morning Trip & Yoga Records are proud to finally reveal one of the ultimate lost masterworks of new age music: Alice Damon’s Windsong. Gently propelled by Damon's haunting breath-of-life vocal winds reminiscent of Joan La Barbara underscored by field recordings and Damon's fretless bass sound calling to mind mid-70 Joni Mitchell, Windsong is traveling music, for the roads or for the skies. Instantly moving, it conjures vistas both romantically familiar and cosmically mysterious — waterfalls and wind, the voice of the earth, as heard through heavenly prisms. Damon attended college in Massachusetts, where she formed and fronted the all-female garage band called The Moppets in the late 60s. The band began to garner national attention, but Damon moved instead to the wilds of northern Vermont to homestead and raise a family. In 1981 or thereabouts she was able to gain use of an early Sony digital home recorder, and created her masterwork, Windsong. But Damon waited until 1990 to release a packaged version of this album, now titled "Windsong II", and sent samples to regional distributors like Vermont’s fabled Silo-Alcazar, where a copy of the album was first discovered, but little evidence exists of a proper commercial release. Alice Damon passed on in 2011 and remained essentially unknown until the landmark I Am The Center: Private Issue New Age In America 1950-1990 first revealed her genius to a wider audience two years later. Now, just in time for the recording's 40th anniversary, Alice Damon's Windsong may at last be heard as one of the most singular, moving and profound examples of new age music's psychedelic essence. Morning Trip & Yoga Records proudly present Windsong.

Cosmic American Music from the far flung reaches of rural Oregon. Issued in 1979 on Allan Wachs' own True Vine imprint, Mountain Roads and City Streets gathers a decade of songs written while hitchhiking up and down the west coast. Screeching pedal steel, lilting flute, and tingly dulcimer are peppered throughout Wachs' tales of brief affairs, invisible dogs, and getting lost in a changing America.

Allen Ginsberg, the voice of a generation, fierce, gentle, profound and profane, paired with music created especially for his work, by some of the guiding lights of Jazz in the modern era - Mark Bingham, Bill Frisell, Arto Lindsay, Marc Ribot, and others. All masterfully coordinated and produced by the mad scientist of collaborations, Hal Willner.First released in 1989, this time capsule surges forth into the now with 8 additional tracks never included on the original release. These are timeless works, a garden of eden on vinyl to wander through repeatedly, guided by the founding father of Beat Poetry. Graced by an irresistible coda co-written with Shimmy-Disc founder Kramer, his lyrical mantra of "Don't Grow Old".

Genre-defining 1975 township jazz from South African pioneers • Allen Kwela, the legendary guitarist and composer central to the story of South African jazz, channels Wes Montgomery and overlays home-grown marabi, setting the benchmark for what became known as “70s township jazz”. • Black Beauty features four tracks composed and led by Kwela with a stellar line-up of musicians including Kippie Moeketsi, Barney Rachabane, Gilbert Matthews, Dennis Mpale, Sipho Gumede and others. • First ever vinyl reissue, a deluxe 180g edition with printed inner sleeve pressed at Pallas in Germany. Audio mastered and cut for vinyl by Frank Merritt at The Carvery. • Liner notes by Kwanele Sosibo featuring key musician interviews, new insights and unseen photos. The cream of Johannesburg’s jazz musicians gathered at state-of-the-art Satbel studios to create Black Beauty for the “Soweto” label. Led by guitarist extraordinaire Allen Kwela and featuring the godfather of South African jazz Kippie Moeketsi, the album successfully straddles producer pressure to emulate the commercial success of Abdullah Ibrahim’s Mannenberg, against the musicians’ own impetus to play a jazz they wanted. While the title track “Black Beauty” nods at Ibrahim’s stylings, the magic happens in the three remaining tracks where Kwela and his top-notch band lay down new directions. Producer Patric van Blerk, sounded disappointed when asked about the sessions, saying that Kwela was his usual strong-willed self, unwilling to be nudged towards the pop trends of the day. “He was a monster talent and deserved much more than he got at the time.” Matsuli is proud to restore this special album to its rightful place in the pantheon of South African jazz.

Emerging from a live recording at St.Mary's Episcopal Cathedral in 2021, Alliyah Enyo’s ‘Echo’s Disintegration’ is a transformational project; a coded reflection on loss, metamorphosis and rebirth. It’s a work of two parts, each incarnation informed by the parameters of the recording environment. In the initial live performance, Alliyah harnesses the organic echo and reverb formed by the vast open space of the cathedral. Her luminous vocals break through a dense sea of layered noise, a reverberating wailing drenched in heartache. Her words are fractured and frayed, broken into segments, and enshrouded in mysticism. Yet through the ambiguity, there’s an innate spirituality to the work; iridescent melodies are heightened by the imposing presence of the surroundings. The five studio tracks, made in retrospect, carry the live performance within the DNA of their reinterpreted sounds and loops. Recorded in Glasgow’s renowned Green Door Studio, constructed reel-to-reel tape loops further fragment and transform compositions, evoking the intoxicating tape feedback of Eliane Raidgue and the harrowing loops of William Basinski. There’s a radiant clarity to the recordings, Alliyah’s voice implemented as the guiding instrument, the heady sensuality of her vocals layered and echoed in enchanting formation. Through the agony and longing, we reach reincarnation in the culminating euphoria of ‘the healer’. We’re left amongst the blissful reverberations of an awakened soul.

A fine selection of unpublished tracks from the pioneering British roots dub duo. "Ancient A&O is a selection of unreleased tracks and dubs we like from our old DAT tapes all created during our early years between 1989 and 1993. It includes Here For A Reason, a rare unreleased track featuring Nishka. We're very pleased the great Lantern Rec are releasing the vinyl and we hope you like it, many thanks... A&O"

Sly & Robbie also participated! A rocker's reggae album with a fresh mix of songs and DJ style!

Trippy free jazz and organic disco are a shocking fusion. Our underground hero, Alz, has completely remodeled and rebuilt Roland P. Young's "Isophonic Boogie Ugi". Featuring live drums and percussion by Muneomi Senju (ex-Boredoms), DJ Kensei also participated in a crossover deep session that transcended time and space with Roland, which is no longer an easy-to-call remix. This is Alz's album and another "Isophonic Boogie Ugi"!

Initially released in 2006, ‘Revep’ is the third collaboration album between Alva Noto and Ryuichi Sakamoto and the third installment of V.I.R.U.S.’s five albums series. Remastered in 2021 in collaboration with Calyx Studio, the album’s recordings are accompanied by three new compositions titled ‘City Radieuse’, ‘Veru 1’, and ‘Veru 2’. ‘City Radieuse’ was composed for the 2012 short cinematic essay titled ‘Cité Radieuse’ and part of Carsten Nicolai’s ‘future past perfect’ series. The video shot at le Corbusier’s Unité D’Habitation in Nantes (called ‘cité radieuse’) takes the viewer through the modular system and design applied to the residential buildings. The film’s narrative unfolds through a sequence of images tracking the apartments’ indoor space and details, and points to the different benchmarks of standardized production as they correlate to their environment and its inhabitants. The album’s original recordings resulted from musical exchanges that began with ‘Vrioon’ and revolved around a collaborative arrangement of Sakamoto’s classic ‘Merry Christmas Mr. Lawrence,’ the theme music to the 1983 movie starring David Bowie, Takeshi Kitano, and Ryuichi Sakamoto himself. In ‘Revep,’ the piano takes the lead while the padded bass and pitched electronic frequencies mark sudden change. Deeply evocative and effortlessly colliding worlds of analog beauty and digital mastery, this album is considered another indispensable record from the duo’s ongoing collaboration. ALBUM ART DESIGNED BY CARSTEN NICOLAI MASTERING BY BO @ CALYX TRACKLIST:

SUMMVS IS THE FIFTH COLLABORATION ALBUM BETWEEN ALVA NOTO AND RYUICHI SAKAMOTO. THE RECORD WAS FIRST RELEASED IN 2011 AND IS THE FIFTH AND FINAL INSTALLMENT OF THE ‘VIRUS SERIES’. THE TITLE SUMMVS REFERS TO THE LATIN WORD “SUMMA” (ENG. SUM) AND “VERSUS” (ENG. TOWARDS), AND SERVES AS A METAPHOR FOR THE WORK BEING ORIENTED TOWARDS A COLLABORATIVE RESULT. THE ALBUM FEATURES “MICROON” COMPOSITIONS CONTAINING RECORDINGS OF A 16TH TONE INTERVAL TUNING PIANO—PIANO METAMORFOSEADOR CARRILLO EN DIECISEISAVOS DE TONO. THE ALBUM ALSO FEATURES TWO COVERS OF THE TRACK “BY THIS RIVER” ORIGINALLY COMPOSED BY BRIAN ENO, DIETER MOEBIUS, AND HANS-JOACHIM ROEDELIUS IN 1977.

'alvo noto + ryuichi sakamoto . vrioon 2001-2002' Remastered with extra track. Remastering by bo @ calyx/berlin. 'landscape skizze was originally recorded for 'MATADOR I: ORIENTE' - high quality photographic edition by spanish specialised art house la fabrica thanks to kab america inc. and ryuichi sakamoto.

Released for the first time in 2009, ‘utp_’ is the third installment of Alva Noto and Ryuichi Sakamoto’s V.I.R.U.S.'s series. It was commissioned for the 400th anniversary of Mannheim, Germany. The flowing 10-section multimedia work derives its shape from a rasterized structure of the southwestern city, founded in 1608. The recording documents the work’s debut performed by Ensemble Modern at the National Theatre in Mannheim. The music embraces the electronic, piano-based palettes, an expanded array of avant-garde chamber instrumentation and natural timbres. It combined the digital visual score created by Carsten Nicolai and Simon Mayer, and lighting design by Nigel Edwards.