​pentimento volume ​two

​seeing through sound

​Album art​:
​Arien Valizadeh

Listen as if you were being told a secret - Federico Fellini 

​Executive Producer  Matthew Jones  
Produced by
Jon Hassell  
Rick Cox  

Recording Engineer, Production Consultant​
Arnaud Mercier
Moons of Titan  Michel Redolfi
Recorded at Studio Venice, California

Art direction  
Dan Kuehn​
Arien Valizadeh​
Taska Cleveland  

Album art sources​
​moon-and-stars motif courtesy the Mati Klarwein family

Al Carlson, New York  
Additional mastering  
Arnaud Mercier

Art direction
Dan Kuehn,
Taska Cleveland

Buy it HERE.

​Jon Hassell


20​20    3​9:​00

​SCENE 1 (8:04)
Jon Hassell
- trumpet, electronics
Rick Cox - electric guitar, bass clarinet, sample orchestration
Eivind Aarset - electric guitar, sampler
John Von Seggern - electric bass, synth, keyboard samples
Kheir-Eddine M’Kachiche - violin, sampler

Arnaud Mercier - recording engineer, Paris Radio Studio
and Minoroten Kirche, Vienna, Austria

SCENE 2 (4.23)
Jon Hassell
- trumpet, electronics
Michel Redolfi - electronic textures
Christoph Harbonnier (Lightwave)
Christian Wittman (Lightwave)

Arnaud Mercier - recording engineer
Recording Studio, Radio France, Paris

SCENE 3 (2:53)
Jon Hassell
- trumpet, keyboard
Peter Freeman - electric bass
Rick Cox - guitar
John Von Seggern - sampler, percussion

SCENE 4 (4:02)
Jon Hassell
- trumpet, keyboard
Rick Cox - guitar, percusion, samples
Hugh Marsh - violin orchestrations
John Von Seggern - sampler, percussion

SCENE 5 (2:16)
Jon Hassell
- keyboard
Rick Cox - guitar with electronics
Jan Bang - live sampling
Peter Freeman - bass

SCENE 6 (1:41)
Jon Hassell
- keyboard
John Von Seggern - keyboard, electronics
Rick Cox - guitar, electronics

SCENE 7 (6:38)
Jon Hassell
- trumpet, chordal harmonics
Rick Cox - guitar, choral electronic background spatialization.
Sam Minae - rhythmized bass samples, percussion.

Background textures inspired by
Christopher O’Riley’s performance of
Guirlandes (Garlands) Prelude for Piano  by Alexandere Scriabin

SCENE 8 (8:11)
Jon Hassell
- keyboard, electronics
Hugh Marsh - electric violin and orchestration
John Von Seggern  bass, keyboard, percussion samples
Adam Rudolph - African drums and orchestration

​Listen as if you were being told a secret - Federico Fellini

A companion piece to 2018’s Listening To Pictures, this second volume in the pentimento series presents eight new tracks by the music visionary, continuing his lifelong exploration of the possibilities of recombination and musical gene-splicing. 

Pentimento is defined as the “reappearance in a painting of earlier images, forms, or strokes that have been changed and painted over” and this is evident in the innovative production style that ‘paints with sound’ using overlapping nuances to create an undefinable and intoxicating new palette. 

In classic Hassell fashion, the title can be interpreted in a myriad of ways, but perhaps the most pertinent at the moment is the human instinct to sing and play through a rain of difficulties. A future blues of indeterminate and ever-shifting shape. The album is buffered by two 8-minute plus epics at the beginning and the end - the hypnotic “Fearless” with it’s metronomic, almost Can-like rhythm, and blurry, noir-ish texture of sound emerging like car headlights from the fog; mirrored at the end of the record by the beautiful sci-fi lullaby of “Timeless”, a track with a gaseous, billowing quality as electronic clicks and bubbles float over a landscape of shimmering, glacially paced complexity.

The bridge between those two worlds is no less compelling, from the frantic, spidery IDM sketch of “Reykjavik” to the collapsed-time ballad of “Unknown Wish”. Whilst containing seeds of classic ‘fourth world’ fusion, this record finds the artist still questing to create new forms and mutations of music, a thrilling window into what music could sound like in a world to come.


All text, images and sound not otherwise attributed are protected by
copyright © 2017 Nyen Music.
All paintings by Mati Klarwein © 2017 Klarwein-Archives.
Used by permission of the Klarwein family.

A childhood in Memphis, a classical conservatory education, composition and electronic music study with Stockhausen in Cologne; a passage through the New York minimalist sphere with Terry Riley, Reich, Glass; having a window opened onto the world's music and a new approach to the trumpet via vocal master Pandit Pran Nath; a questioning and deconstruction of the European dichotomy between classical and popular, sacred and sensual; a pioneer of digital transformation and sampling—all of this led to Fourth World—the unique blend which Jon has described as "worldly music" to underline a more subtle equation at work and discourage the simplistic labeling of "world," "jazz," "classical," "minimal," or "ambient."