PHACE | ACCESSING PLEASURE

Lars Mlekusch
Alexandra Dienz, double bass
Maria Chlebus, percussion

PHACE
Doris Nicoletti, flute
Walter Seebacher, clarinet
Reinhold Brunner, clarinet
Michael Krenn, saxophone
Mathilde Hoursiangou, piano
Ivana Pristasova Zaugg, violin
Petra Ackermann, viola
Roland Schueler, cello
Maximilian Ölz, double bass
and many more …

SOUND DESIGN
Alfred Reiter

Sounds jump into consciousness in a short, fragmented and concise way. It is an irregular dance of sonic particles that becomes music in Scrap by Annesley Black. The smallest possible fragments compete for dominance over hearing and memory, each in an effort to replace the previous one. However, they cannot help but communicate with each other and transform each other in constant interaction.
This kind of spectral-temporal economy is probably absent in Bernhard Gander’s new work. With his pieces, the sounds often come into close contact without great distance and join together to form dense, physically perceptible structures.
In Alessandro Baticci’s Luminal Mirage natural and virtual sounds merge. The instruments imitate the sound of electronics, doubling rhythm and timbre up to the point, where in the hyper-fast, mechanical atmosphere, in which endlessly ascending and descending lines flow like through a stairwell by M.C. Escher winds, it is no longer possible to distinguish between what is played and what is generated.
With I wonder if I should start accessing pleasure a whole lot, Giorgia Koumará asks the question of identity and belonging in the distorting mirror of social norms and values. The areal, smoldering electronics, repeatedly interrupted by wild rhythmic excesses and incisive sound events, serve as an amplifying basis for a series of alienated text passages by Audrey Lorde, Gillian Flynn and others that address the role models of women in society.