"Whereof one cannot speak, thereof one must be silent."- Ludwig Wittgenstein, Tractatus Logico-Philosophicus, 7

"As near as I can determine, despite having written and having had performed a number of works (see Li's site here), this is Li's first recording. The title track is performed twice, each with Stefan Thut (viol and voice on the first version, only voice on the second) and the composer (voice on the first, voice and qin--a kind of Chinese zither--on the second). In each instance, the surrounding environments, Manhattan and Gimmelwald, Switzerland, play a major role. The four-word text is spoken, often with many minutes between words, in English and/or Chinese, the instruments briefly played, perhaps mimicking the cadence, such as it is, of the phrase. In the wooly atmospherics of Gimmelwald, Thut begins the first rendition by saying, "I am here". His viol is briefly bowed a handful of times as the phrase, a word at a time, is spoken over 15+ minutes, I believe alternately by Thut and Li. The sound fades out completely once, then returns with the final word, "here", said immediately, a little startling, like being awakened in a park after an unbidden nap. The ambience is more intense on the second version, which lasts over 43 minutes, all birds and blurred traffic (though it fluctuates throughout the piece), Li (or maybe Thut?) speaking in Chinese with the odd pluck of the qin, loud in context. There are near-complete cessations of sound, the faintest of fuzz. Pileated woodpeckers and airplanes on the sound's return. Again, toward the end of the work, there's that abrupt awakening. The title of the final work is phonetically transliterated as "you" but means, "also", therefore carrying some of the meaning of the title track while also serving, to an English speaker, as a kind of mirror reflection to it. Li plays (again, sporadically) the hichiriki, Japanese double-reed instrument heard in gagaku. He seems to be intoning the syllable, "you", with its Chinese inflection, playing the instrument breathily and, at the piece's conclusion and in contrast to the instruments on the rest of the disc, with a rush of soft tones over a relatively long period. An absolutely fascinating set of music--I'm eager to hear more."-Brian Olewnick, Just Outside

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The Squid's Ear!