I’m delighted to announce the release of my duet album with David Fenech, TomorrowStartsTonight. The album has been released on CD on the KlangGalerie label. This is our first duo album. I’m very happy to have recorded this album with David. It was a wonderful musical and human encounter. We composed a long piece in a minimalist spirit, where our two guitars meet and merge with my trumpets, flutes and voice and David’s small percussion instruments. The record was mastered by James Plotkin.
Here is a link to an excerpt from the album: Click here
David Fenech is a French composer, guitarist and singer. His style has been described as ‘a kind of punk musique concrète’ He uses the studio as an instrument, using a large panel of recording techniques. He has played and recorded with musicians such as Nurse With Wound, Felix Kubin, Jad Fair, Tom Cora, Pascal Comelade, Jac Berrocal, Ghédalia Tazartès, James Plotkin, Shugo Tokumaru, Ergo Phizmiz, Pierre Bastien, and many others.
He also plays improvisation on electric guitar with musicians such as Gino Robair, Tom Cora, Jac Berrocal, Andrea Parkins and has also played duets with musicians like Felix Kubin, Jad Fair, Ergo Phizmiz, Klimperei, James Plotkin, Shugo Tokumaru, Ghédalia Tazartès, etc. He has also worked as a software developer at IRCAM and more recently at L-Acoustics
He has run a micro-label Demosaurus that has published 2 cds (Ghédalia Tazartès and Frank Pahl).
In 2009, David began working with the cornetist Jac Berrocal. This collaboration resulted in a record as a trio with Ghédalia Tazartès (Superdisque, on Sub Rosa) and more recently trios with Jac Berrocal + Vincent Epplay (3 albums) or with Jac Berrocal + Jason Willett (Christmas in March – Megaphone / Knock Em Dead)
David (left) and Rhys 6 October 2023 at Café de Paris, Paris 11 – Photo: Ben Lx.
In the shimmering spectacle of modernity, where the play of simulacra masks the disintegration of the authentic, Rhys Chatham emerges not merely as a musician but as an architect of sound, crafting a sonic narrative from the shadows of late twentieth century Manhattan, now wandering the streets of the Latin Quarter of Paris. He stands as a testament to the metamorphosis of rock’s very essence, weaving the ethereal minimalism of a forgotten era with the raw, unrestrained rage epitomized by the Ramones. It is in this collision that one witnesses the avant-garde’s intricate dance with the primal scream of punk, electric guitar in hand.
In the decaying glow of the 60s, the electronic symphonies of Morton Subotnick whispered secrets of composition into Chatham’s eager ears. As the seventies dawned, La Monte Young’s teachings resonated with him, and soon, the Theater of Eternal Music echoed with Chatham’s presence, alongside figures like Jon Hassell and Terry Riley. In these corridors of sound, the minimalist maestros like Tony Conrad and Charlemagne Palestine played their role in molding Chatham’s ethos, with the spectral touch of the French virtuoso, Eliane Radigue, lingering on.
As the echoes of ‘Guitar Trio’ from the 1970s merged into the vast sonic horizon of ‘A Crimson Grail’ for 200 electric guitars in 2009, it became evident: Chatham had embarked on a transcendental journey, spanning decades, summoning electric guitar legions in mystical tunings to bridge the temporal vastness of the 60s and 70s with the pulsating heart of hard rock.
Now, as the holographic present unfolds, Chatham traverses the soundscape as a solitary figure, serenading with versions of ‘A Pythagorean Dream’, borne by the UK’s Foom Records. Yet, in his duality, he intertwines with guitarist David Fenech, their symphonies crystallized in a CD from the Austrian alcove of Klang Gallery Label. The simulation continues, the hyperreality intensifies.