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Articles by Lea Bertucci
Lea Bertucci and Lawrence English Channel Their Inner Kate Bush
Lawrence English is an artist and composer from Brisbane; Lea Bertucci is a composer and performer based in NYC. Lea’s latest record, The Oracle, will be out tomorrow, and to celebrate, she and Lawrence got on a call to chat about it and much more. — Annie Fell, Editor-in-chief, Talkhouse Music Lawrence English: Good morning from Australia. Lea Bertucci: Good evening from North America! [Laughs.] Lawrence: We’ve just got a large ocean between us and and a bit of landmass, but that’s good.
The Sacrifice, by Flora Yin Wong
In 2020, a year shaped by stringent COVID-19 restrictions, many of us paused for thought about our collective futures. For First Light Records, this reflection, plus the support of Sound and Music’s Composer-Curator programme, led to the development of Unbuilt Sound, a new series of commissions centred around acoustic ecology; the relationship between listener and environment.
Plays Well, by Alan Licht
1. Recorded live at NYU, November 1997. 2. Recorded live at Lounge Ax, November 1995 & Transmissions Festival, July 2000. Listen to both pieces in their entirety, but separately first; then both consecutively if you like. released May 5, 2001 Edited and Mastered by Tim Barnes at Quakebasket NYC, Winter 2000. Thanks to Ethan Clauset, Tim Harper, Paul Oldham, and Jordi Wheeler for original recordings. Thanks to Rick Brown, Sue Garner, Chuck Johnson, and Aaron Mullan for technical assistance.
A Visible Length of Light, by Lea Bertucci
Streaming + Download Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Purchasable with gift card $10 Color Vinyl Record/Vinyl + Digital Album Clear vinyl. Includes unlimited streaming of A Visible Length of Light via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Sold Out Color Vinyl + 'Threshes' Loop Cassette Bundle Record/Vinyl + Digital Album Clear vinyl + clear cassette.
Alvin Lucier: Navigations, by Quatuor Bozzini
CQB 2128_NUM FR «Ce n’est pas assez de simplement jouer les bonnes notes au bon moment et de la bonne manière; il faut aussi avoir la bonne conscience. Cela place l’interprète dans un rôle d’explorateur de l’intérieur pour produire, et lui demande de rester tranquille pour être actif.» — Pauline Oliveros Ces mots de Pauline Oliveros nous parlent de l’influence fondamentale qu’a eu Alvin Lucier sur le développement des musiques nouvelles et de leur interprétation.
Touch Currents, by James May
• Includes high-quality download in MP3, FLAC and more. Paying supporters also get unlimited streaming via the free Bandcamp app. These four improvisations were performed by myself using a live processing patch developed in Max/MSP. While the patch contains some familiar effects (vocoders, auto-tune, and a freezer) I control it in atypical ways. I can set a register, but can't choose a pitch. I can sing multiphonics, but can't know how the auto-tune will interpret that information.
William Basinski by Lea Bertucci - BOMB Magazine
By my third year of living here in New York City, I became interested in the possibilities of using magnetic tape in tandem with my already established woodwind instrument practice. I procured a few semi-functional reel-to-reel players for experimentation and quickly became fascinated by their materiality—an appreciation that then turned to the aesthetic and conceptual significance of using the recording medium itself as a method for compositional abstraction.
Charlie Looker: Complex Ideas and Simple Answers
Over that four-year stretch, Psalm Zero put out Stranger to Violence and The Drain. Synthesizers and drum machines are crucial components to PZ’s metal/synth-pop-centric sound, and Simple Answers, even with its 17-piece chamber orchestra, veers on a similar aesthetic path. Classical contemporary, metal, pop, and electronic music are all represented.
Suzanne Ciani: Universal Rhythms from the Soul of the Machine
I was watching your interview on David Letterman, and it seems like you are often in the position where you have to explain what you do to people who really had absolutely no clue about electronic instruments and music – just no point of reference. How do you handle this? What is your strategy? I can tell you that I was always very very patient, and that’s why I’m still a little bit didactic, because in those early days my role was really as an ambassador to the public.
BOMB Magazine - Field Recording by Lea Bertucci
On a crisp morning in March, we approach the site. It appears in the distance on the windswept beach just as the sand gives way to dunes. The ocean roars to our right. The structure itself is buried beneath decades of sand accumulation and covered with seasonally dormant plant life. The point of entry yawns in the dunes—a square black aperture interrupts the otherwise organic landscape and leads us underground. We enter the structure, which appears as one long corridor initially.
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