Turra’s response is to treat each score as a field of possibilities rather than a plan to be executed. Within this space of indeterminacy, sound does not “realise” the notation so much as traverse it, brushing against its edges and dwelling in its gaps. Using a reduced electroacoustic language - isolated tones, close‑mic’d textures, filtered noise, tiny percussive events - he brings every element to the threshold of its own possibility. A single sound might be stretched until it frays; a faint rustle might be amplified until it becomes a landscape. Internal tensions in the drawings are translated into dynamics of proximity and distance, presence and withdrawal. The scores become devices that activate listening and response, not blueprints to be followed.

Across the album, Turra continues the trajectory that has marked his work for years: a commitment to precision, subtraction and a pared‑back elegance. Diastima defines a space in which music and listening effectively coincide; what you hear is as much the act of attention as it is any “composition” in the traditional sense. The title - “Diastima” as interval, distance, suspension - is central. These pieces inhabit the space between two presences: between mark and sound, intention and reception, event and memory. Rather than building through accumulation, the music proceeds by articulating voids, waits and minimal signs. It is in those intermediate spaces that the work takes shape, asking the listener to lean into the almost‑nothing where, unexpectedly, a great deal is happening.