https://youtube.com/playlist?list=OLAK5uy_lm1G9dHZN3ksU62sIAHCdcdyzWQ121S2s

muzycy:
Robert Dick Glissando Flute, bass flute, piccolo
Nicola L. Hein electric guitar, electronics

Editor's Info:
Aspects and gestures of a percussive, tactile musicality and an atmospheric energy, incisive and pungent at times, at others more soft and airy, but always diffused and pervasive, are the aesthetic signature of the artistic meeting and the mutual sonic intermingling of two extraordinary improvisers. Robert Dick’s and Nicola Hein’s interactional interplay explores what happens in the contingency of sound. The music focuses on the materiality of the timbre, the evolution of formal micro-episodes, and repetitive yet flowing rhythmic architectures that are often broken and fragmentary, like the fragile structures we impose on ourselves through the everyday. Staying and floating in the moment; feeling, absorbing and sonically rendering the lived material temporality of the body: this is the way in which structures of the unreason become music. The sounds we hear do not rely on a predetermined functional logic; rather the musical event – shaped by the individual episode, or emerging out of the encounter/clash between two vectors of forces – follows the directions that it itself produces.
Wonderful are the moments when silence flickers unexpectedly and sound makes its way again rising from empty space. Natural, expressive force: cosmic, yet entirely earthly sound. Indeed, a benthic, deep, submarine voice attached to the bottom: the unison that, growing to a spasm (not realized, only announced), tears the environment and then disintegrates in a swarm of acoustic microorganisms. Something is felt, something announces itself symptomatically; but it doesn’t unfold in an accomplished sense. It remains and manifests itself in the way of its making, which is also an undoing, a fading away. Like a breath, low to the ground.
Sub-merged life. But life, after all.