9.3
/Experimentalism, Modern classical, Acousmatics, Electro-acoustic, Musique concrète, Avant-garde, Noise/
Comment: this batch of 7 compositions do constitute an outstanding experimental approach due to be interlaced together slihtly opposite elements in the same tracks and frequently simultaneously. More concretely, Spangl behind the piano, and Weinberger behind knobs collaborate in a way to offer up solemn cathedral sounds, though, produced in a filthy way, or lofty piano music backed up by deliberate, inexact electro-acoustic clumps, chamber chords, and concrete music-induced heelers somewhere in the remote background. As a result, the listener can perceive a viable tension emerging at confluent points across these sonic terrains. Furthermore, there are even up some longing-induced monumentum emerging inviolably from piano and noiseful progressions.