Atmospherics

2018/2020
Pentimento Volumes 1 & 2

Listening to Pictures
Seeing Through Sound

​Everywhere here – in the music, in the art – all is suffused with the spirit of my immortal brother, Mati Klarwein – the man and the artist (and the conga player!) I fell in love with in New York almost forty years ago when I saw his paintings.

They seemed to be alive and pulsating with a music whose time had come, a world music (try to imagine you’re hearing those two words together for the first time) that was sensual and spiritual and sexy — all expressed with impeccable classical tempera technique.

After all, what could be expected from a man whose circle of friends included Miles Davis, Jimi Hendrix and Salvador Dali? This boy from Memphis just got lucky to have a friend and teacher like this and some of my most beautiful experiences in the last years were hanging out with him and his (and my) extended family circle in the spectacular coastal Mediterranean landscape of Deya.

Play Video

collage by Arien Walizadeh

I’m extremely grateful to the Mati Klarwein Family for permission to sample motifs from a few paintings – notably Leh, C’est Beau (1976), The Visit (1996) and The Spanking (1997).

A mere “thanks” to Matthew Jones seems inadequate in light of all that he and the Warp team have made possible — not only this recording but also the inception of the new dedicated imprint label – N D E Y A – on which it appears—where all my new recordings will appear along with creatively-curated rereleases from the Fourth World decades.

​Deep appreciation for the unique sound and stylistics of all the contributing musicians. But most especially to my collaborators in the Studio Group — Rick Cox, John Von Seegern, Hugh Marsh — all gifted musical alchemists whose contributions are so intricately interwoven into the textures that the mention of their instrument only hints at the extent of their actual presence in all aspects of the music.

Play Video

Rick Cox must be further singled out not only for his performance genius and musicality but also for making Studio Venice an extraordinary proving ground for interblending the digital and the musical and the cool. And what good luck we have for a long history of working with a master audio engineer – Arnaud Mercier – whose musical and technical sensitivities are present in every second of the recordings.

Embedded somewhere in this recording is sonic evidence of a valued moment of renewed musical connection with my longtime friend, Brian Eno.