'The compositions on Lost Daylight' by John CAGE and the almost-forgotten American Fluxus composer Terry JENNINGS date from between 1958 and 1966. Yet in the hands of John Tilbury and Sebastian Lexer they sound astonishingly modern. JENNINGS' solo pieces couldn't be more conventional in using only pure keyboard notes, but they could hardly be more radical in the way in which the notes are reduced, isolated and surrounded with silences. As Michael Pisaro's sleevenotes say, 'It is music of simplicity and great mystery. There are bar lines, but nothing feels counted: things happen in moments not measures The sounds drift, suspended in a dense medium of some kind. The shape of a piece emerges gradually, like the hills appearing as the marine layer burns off. Each piece feels like a small event extended in time.' The score for John CAGE's Electronic Music for Piano' is nothing more than a few sketchy suggestions for ways in which David Tudor might combine CAGE's Music for Piano' with the use of electronics. On Lost Daylight' Sebastian Lexer has transformed John Tilbury's performance with an alchemical array of electronic techniques, using as CAGE had suggested - star charts and other random processes to determine the editing of the 40 minute interpretation. The result is the first recording of the piece that really sounds like electronic music for piano' rather than piano music subjected to a minor electronic treatment.' - Metamkine
THE WIRE'S BEST OF 2010:
"Across these terse, intense interpretations of compositions by John Cage and Terry Jennings, AMM pianist John Tilbury’s minimalist discipline was thrillingly inscribed with Sebastian Lexer’s digital edits and treatments. We said: “The recording takes you completely outside the performance space, and into different colours of silence… No Cage disc rises to that challenge more boldly, and with such revolutionary results.” (February/312)"