Alinea, by Manja Ristić / Giovanni Di Domenico

Alinea

by Manja Ristić / Giovanni Di Domenico

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Dave Aftandilian There is something deeply immersive, hypnotic, and often haunting about these original classical compositions. Ristic and Di Domenico’s performances on piano, violin, and more are sensitive, nuanced, and empathic. And the compositions themselves beautifully portray how it feels to be caught in the constant currents of life flowing all around and through us, sometimes weighing us down, sometimes buoying us up, always leaving us transformed.

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Compact Disc (CD) + Digital Album
Comes in a stylish 6-panel digipack

Includes unlimited streaming of Alinea via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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Streaming + Download

Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Aphanite, Two Lives, Melodica Duets 5-9, Dry Mountain, Duos And Solos For Four, Continents, Zwei, Interspace, and 61 more. , and , .

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	1.	Lune Di Giove, Part 1 09:39
	2.	Lune Di Giove, Part 2 06:26
	3.	Lune Di Giove, Part 3 08:02
	4.	Fantasmi Appiccicosi, Part 1 05:05
	5.	Fantasmi Appiccicosi, Part 2 05:42
	6.	Fantasmi Appiccicosi, Part 3 04:49
	7.	Fantasmi Appiccicosi, Part 4 06:10

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Compact disc housed in stylish 6-panel digipack with transparent tray are available to order from 1 October 2022

Manja Ristić: violin, objects, electronics, field recordings
Giovanni Di Domenico: piano

All music by Manja Ristić & Giovanni Di Domenico (SABAM)
Recorded at various locations across Korčula island, Croatia and at Studio W in Brussels, Belgium between May 2020 and February 2021
Edited, mixed and mastered by Giovanni Di Domenico
Liner notes by Ksenija Stevanović
Cover artworks by Lazar Marković (Untitled #1 & #2, 2010, acrylic on canvas, 35×50 cm)
Graphic design by László Szakács
Produced by László Juhász

In the past two pandemic years we have experienced turmoil that has in a way redefined our relationship towards the human community as such. Our social skills and our ability to share the time and space with others have been seriously crippled, and in some instances made redundant. We have enclosed ourselves in safe spaces, usually in family units, stopped extensive travelling and meetings. The physicality of existence and of being with others changed to encompass different sanitary dispositives such as masks. The barriers were built and maintained. We have become voluntarily isolated and socially incoherent, except in the realm of digital communication. There, a great progress has been made to facilitate new modes of living together through data and streaming. We became digital creatures more than ever before. Safe maybe, but not quite.

In the domain of experimental, improvised and electronic music remote collaborations have been “de rigueur” for many years now. Like-minded people tend to create together with the help of technology from our server and cloud based world. In this sense, while the pandemic has changed the way we communicate, in this specific corner of our human creative universe, artists used already established “concert-less” spaces to make, interrogate, publish and cooperate. In other words, they tried to be with one another through listening and sharing their artistic thoughts and sounds. To breathe the same sounding time.

Listening to Alinea, it seems that we are in the middle of a conversation between Manja and Giovanni. We feel a strong spiritual bond between them which is forged by their collaborations and playing together for many years now. The closeness and understanding between their musical minds is palpable and real. There is a keen sense of trust between the artists and between them and the audience.

This is why the sound world of Alinea envelops the listener into a tight, friendly embrace from the very beginning. Manja and Giovanni merge their respective sound worlds fluidly, yet we can discern them individually. While Giovanni’s piano forms a sometimes rhythmical, sometimes lyrical pillar for every track, Manja’s violin swirls around, answers to its motivic calls, multiplies its lines, gives new trajectories and propels it to move and to grow. And yet, in the background of it all, there are field recordings of water, sea, nature, human voices and movements, rain, birds, storm, insects, small accidental noises – the sound of everyday life and surroundings, whose effervescent mystery is delicately captured. As we know, Manja Ristić works with the materiality of sound in her oeuvre, manipulating it and putting it in a wider musical, conceptual and political context. Usually she communicates with these snippets of captured lived time with the help of violin, as her inner, abstract and lyrical voice. Therefore on Alinea, we actually have three layers of conversation: between soundscapes and violin, between their “ensemble” and piano, and between all of them at once. This is why the interplay between them feels fluid and seamless, allowing for a deep, exciting and ever changing listening experience. And yet, if we are thinking of Alinea as a whole, we are experiencing something akin to a wave, that starts in the relative sparsity and grows to a strong energy pulsation, before returning to the slippery, watery calmness of its emerging sounds.

Alinea within its abstract and lyrical narrative is best understood as a sound letter between friends who are separated by real and lived distance. Its epistolary nature runs deep. The little offerings of everyday life that they give each other, invite us to participate, to meditate on the fragility of existence in these uncertain times of pandemic giving away to yet another brutal war. Alinea is a small island of peace in this unsettling moment of many unknowns and maybe the emotional essence of this recording is what we all should strive for – to be with people we love, however far or close they are, and to ask them how they are faring in their everyday journey on this small and fragile planet.

Ksenija Stevanović
April 2022

Belgrade-born violinist, sound artist, curator and researcher Manja Ristić (1979) graduated from the Belgrade Academy Of Music in 2001, then awarded at the Royal College Of Music, London with PGDip Solo/Ensemble Recitalist in 2004. Her sound-related research, besides contemporary performance in the field of instrumental electro–acoustics, is focused on interdisciplinary approaches to sound and field recording as well as experimental radio arts. She signs a number of independent theater and movie productions as author, composer and performer. / manjaristic.blogspot.com

Brussels-based Italian pianist Giovanni Di Domenico (1977) has majored in jazz piano at music school, and he further built on an encyclopaedic technique: his rhythm, harmony and tone are informed by non-western traditions, yet equally sensitive to Debussy's Préludes or Berio's Sequenzas, to the 'ambi-ideation' heard in Borah Bergman's Soul Note recordings, Cecil Taylor's polissemic density, Paul Bley's bruised transparency, and of course, the most radical manifestations stemming from the underworld of pop music, invariably tied together by his own original praxis. He has founded his own label, Silent Water, home of an eclectic and occasionally unclassifiable production.

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released October 1, 2022

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Inexhaustible Editions Ljubljana, Slovenia

Inexhaustible Editions is a tiny bedroom label for acoustic and/or electronic improvisation, modern composition and other strange and beautiful sounds we’d love to see released.

Please note: at this point Inexhaustible Editions is not accepting demo materials and other proposals for future releases - thank you for your kind understanding. ... more

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