This first-time collaboration between Swiss pianist and composer Judith Wegmann – who’s released several superb readings of Morton Feldman’s music in the last couple of years – and French electro-acoustic musician and composer Bruno Duplant was built around a shared admiration for the film and TV work of David Lynch, particularly Twin Peaks (1990-91). Duplant creates two elusive collages of sound marked by diffuse friction and slippery ambience that gently churn and cycle, producing a creepy anxiety far more potent and mysterious than anything by Angelo Badalamenti. His work is then embroidered by Wegmann’s gorgeous playing, which seems to levitate in place when it’s not punctured by delicate internal piano scrapes and groans. At times, her performance reminds me of what Chris Abrahams does in The Necks, exploring little motifs and phrases from every angle, but Wegmann eschews the sort of forward propulsion he favors. That stasis helps foster the fraught mixture of tender beauty and ominous dread that she achieves with Duplant here – something that deftly conjures the Lynch aesthetic masterfully – Peter Margasak, Bandcamp Daily, 1 September 2021
Swiss pianist Judith Wegmann (1975) started to play the piano at the age of six. As a classical player she performs on stage on a regular basis and in different chamber music formations. Her ability to switch between different genres allows her to engage in classical, contemporary as well as improvisation-based projects. She frequently conceptualizes concert programs, taking management responsibilities from the early stages of planning to the public performance. Her first three critically acclaimed solo piano releases were issued by hat[now]ART/ezz-thetics.
For prolific composer, improviser and multi-instrumentalist Bruno Duplant (1968) composing, improvising and playing music is similar to imagining, creating, and sometimes decomposing new spaces/realities and new entities. But it is also a reflection on memory, not the historic one, but memories of things, spaces and moments. His music – strongly inspired by writings of Gaston Bachelard and Francis Ponge, and by composers such as Cage, Luc Ferrari, Eliane Radigue or Rolf Julius – is imbued with sweet melancholy. For some time, his photographic practice and poetry join his musical practice – in many crossings, for many exchanges.
CD is housed in a 6 panel digipak.