About This Item
It crunches, rustles, whispers, rattles, bubbles - extended playing techniques, preparations, and various everyday materials produce a seemingly endless variety of sounds in Eloain Lovis Hübner's compositions. Hübner does not understand sound as fixed material, but rather as a state or Inchas a living relationship between bodies - instrumental, vocal or electronic,Inch as booklet author Sophie Emilie Beha describes it. InchThe music is constantly in motion, attracting, repelling, tilting, shimmering, breaking apart, and reassembling itself. It creates spaces in which listening itself becomes a physical experience focused, fragile, and yet full of energy.InchTwo series of works are at the heart of the album. Inchcrunch modes 1.0Inch (Schallfeld Ensemble) and Inchcrunch modes 3.0Inch (Spóldzielnia Muzyczna Contemporary Ensemble) initially reveal what is typical of Hübner's composing - they zoom between micro- and macrocosm and move between structure and loss of control, accumulation and decay, and radicalism and delicacy.InchTrauma und ZwischenraumInch [Trauma and Interstice] was composed under the influence of the coronavirus pandemic and features three very different instrumentations in the first part of the work, the ensemble airborne extended plays the recorder, flute, prepared harp, and harpsichord. In the second part, the musicians of the Arditti Quartet swap their bows for whisks, corks, or toothbrushes, creating acoustic metaphors. In the third part, interpreted by the Lange//Berweck//Lorenz Trio, hybrid sound bodies such as accordion plus effects unit or Korg MS 20 Mini with electric guitar are used.In Inch[untitled],Inch the only vocal work on the album, AuditivVokal Dresden deals with nonsense speech, noise imitation, and film language, referring to the legendary airport scene from the film InchCasablancaInch.
