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Daniel Blumberg - Sotto le Nuvole (Pompeii: Below The Clouds)
Release Date: 24/04/26
Daniel Blumberg’s minimal soundscape created for Gianfranco Rosi’s portrait of Naples, Sotto le Nuvole. Created in collaboration with saxophonists Seymour Wright and John Butcher. Praise for the film has come from the Guardian, calling it "a ghostly yet luminous cinematic mosaic of Naples." Blumberg’s score for 2024's The Brutalist won the BAFTA Award for Best Original Music and the Academy Award for Best Original Score. In Gianfranco Rosi’s portrait of Naples, the ground shakes periodically. Between Mount Vesuvius and the Tyrrhenian Sea, the fumaroles of the Phlegraean Fields hiss volcanic gas and steam. Below the sleeping volcano, modern day Naples emerges in black and white and fills with voices, with lives. From the traces of history and the concerns of the present, Rosi documents a city immersed in its continuous past, with Daniel Blumberg’s minimal soundscape hovering in a sonic space between liquid and air. Tasked with creating a soundscape that would suspend space within Rosi’s film, Blumberg called upon the extended technique of saxophonists Seymour Wright and John Butcher to create a gossamer fabric of traces and sounds abstracted from their instruments. Having transitioned from theoretical physics to the saxophone, John Butcher has always deeply considered space in the context of his playing. His concerns are with flow, density and how the saxophone is situated in the living world. Zeroing in on the core sonic properties of the mechanical and acoustic components of the saxophone, Seymour Wright has integrated its every breath, reed vibration, keypad clatter and hissed microtone of his alto into his own, unique improvisational language. In his work with these two seminal players, Blumberg makes his most concentrated soundtrack to date—reinforcing the film's sense of overlapping time and space, and pushing at the limits of experimentation. Initially recorded in Daniel’s flat in London, Butcher and Wright centre themselves around long, consistent tones, so soft that it seems breath is being gently pulled from the saxophone's bell by an invisible hand. Blumberg adds haunting bass harmonica, and recordings of Wright’s launeddas, a traditional triple pipe polyphonic reed instrument from Sardinia. Blumberg then travelled to the volcanic region of Baia, next to Pompeii, using geophones and hydrophones to amplify recordings underwater across the ruins. The music is whispered in the same landscape as the film—volcanic air, lapping waves, steam and bubbles—creating an echo from a suspended time. What emerges is melancholic, tender, subtle and at the edges of audio technology—less a soundtrack than a process of aeration that allows the film’s central message to breathe. Tracklisting: 1. Nuvole I 2. Nuvole II 3. Nuvole III 4. Nuvole IV 5. Nuvole IX 6. Nuvole V 7. Nuvole VI 8. Nuvole VII 9. Nuvole VIII 10. Nuvole X
Daniel Blumberg’s minimal soundscape created for Gianfranco Rosi’s portrait of Naples, Sotto le Nuvole. Created in collaboration with saxophonists Seymour Wright and John Butcher. Praise for the film has come from the Guardian, calling it "a ghostly yet luminous cinematic mosaic of Naples." Blumberg’s score for 2024's The Brutalist won the BAFTA Award for Best Original Music and the Academy Award for Best Original Score. In Gianfranco Rosi’s portrait of Naples, the ground shakes periodically. Between Mount Vesuvius and the Tyrrhenian Sea, the fumaroles of the Phlegraean Fields hiss volcanic gas and steam. Below the sleeping volcano, modern day Naples emerges in black and white and fills with voices, with lives. From the traces of history and the concerns of the present, Rosi documents a city immersed in its continuous past, with Daniel Blumberg’s minimal soundscape hovering in a sonic space between liquid and air. Tasked with creating a soundscape that would suspend space within Rosi’s film, Blumberg called upon the extended technique of saxophonists Seymour Wright and John Butcher to create a gossamer fabric of traces and sounds abstracted from their instruments. Having transitioned from theoretical physics to the saxophone, John Butcher has always deeply considered space in the context of his playing. His concerns are with flow, density and how the saxophone is situated in the living world. Zeroing in on the core sonic properties of the mechanical and acoustic components of the saxophone, Seymour Wright has integrated its every breath, reed vibration, keypad clatter and hissed microtone of his alto into his own, unique improvisational language. In his work with these two seminal players, Blumberg makes his most concentrated soundtrack to date—reinforcing the film's sense of overlapping time and space, and pushing at the limits of experimentation. Initially recorded in Daniel’s flat in London, Butcher and Wright centre themselves around long, consistent tones, so soft that it seems breath is being gently pulled from the saxophone's bell by an invisible hand. Blumberg adds haunting bass harmonica, and recordings of Wright’s launeddas, a traditional triple pipe polyphonic reed instrument from Sardinia. Blumberg then travelled to the volcanic region of Baia, next to Pompeii, using geophones and hydrophones to amplify recordings underwater across the ruins. The music is whispered in the same landscape as the film—volcanic air, lapping waves, steam and bubbles—creating an echo from a suspended time. What emerges is melancholic, tender, subtle and at the edges of audio technology—less a soundtrack than a process of aeration that allows the film’s central message to breathe. Tracklisting: 1. Nuvole I 2. Nuvole II 3. Nuvole III 4. Nuvole IV 5. Nuvole IX 6. Nuvole V 7. Nuvole VI 8. Nuvole VII 9. Nuvole VIII 10. Nuvole X
Release Date: 24/04/26
Daniel Blumberg’s minimal soundscape created for Gianfranco Rosi’s portrait of Naples, Sotto le Nuvole. Created in collaboration with saxophonists Seymour Wright and John Butcher. Praise for the film has come from the Guardian, calling it "a ghostly yet luminous cinematic mosaic of Naples." Blumberg’s score for 2024's The Brutalist won the BAFTA Award for Best Original Music and the Academy Award for Best Original Score. In Gianfranco Rosi’s portrait of Naples, the ground shakes periodically. Between Mount Vesuvius and the Tyrrhenian Sea, the fumaroles of the Phlegraean Fields hiss volcanic gas and steam. Below the sleeping volcano, modern day Naples emerges in black and white and fills with voices, with lives. From the traces of history and the concerns of the present, Rosi documents a city immersed in its continuous past, with Daniel Blumberg’s minimal soundscape hovering in a sonic space between liquid and air. Tasked with creating a soundscape that would suspend space within Rosi’s film, Blumberg called upon the extended technique of saxophonists Seymour Wright and John Butcher to create a gossamer fabric of traces and sounds abstracted from their instruments. Having transitioned from theoretical physics to the saxophone, John Butcher has always deeply considered space in the context of his playing. His concerns are with flow, density and how the saxophone is situated in the living world. Zeroing in on the core sonic properties of the mechanical and acoustic components of the saxophone, Seymour Wright has integrated its every breath, reed vibration, keypad clatter and hissed microtone of his alto into his own, unique improvisational language. In his work with these two seminal players, Blumberg makes his most concentrated soundtrack to date—reinforcing the film's sense of overlapping time and space, and pushing at the limits of experimentation. Initially recorded in Daniel’s flat in London, Butcher and Wright centre themselves around long, consistent tones, so soft that it seems breath is being gently pulled from the saxophone's bell by an invisible hand. Blumberg adds haunting bass harmonica, and recordings of Wright’s launeddas, a traditional triple pipe polyphonic reed instrument from Sardinia. Blumberg then travelled to the volcanic region of Baia, next to Pompeii, using geophones and hydrophones to amplify recordings underwater across the ruins. The music is whispered in the same landscape as the film—volcanic air, lapping waves, steam and bubbles—creating an echo from a suspended time. What emerges is melancholic, tender, subtle and at the edges of audio technology—less a soundtrack than a process of aeration that allows the film’s central message to breathe. Tracklisting: 1. Nuvole I 2. Nuvole II 3. Nuvole III 4. Nuvole IV 5. Nuvole IX 6. Nuvole V 7. Nuvole VI 8. Nuvole VII 9. Nuvole VIII 10. Nuvole X
Daniel Blumberg’s minimal soundscape created for Gianfranco Rosi’s portrait of Naples, Sotto le Nuvole. Created in collaboration with saxophonists Seymour Wright and John Butcher. Praise for the film has come from the Guardian, calling it "a ghostly yet luminous cinematic mosaic of Naples." Blumberg’s score for 2024's The Brutalist won the BAFTA Award for Best Original Music and the Academy Award for Best Original Score. In Gianfranco Rosi’s portrait of Naples, the ground shakes periodically. Between Mount Vesuvius and the Tyrrhenian Sea, the fumaroles of the Phlegraean Fields hiss volcanic gas and steam. Below the sleeping volcano, modern day Naples emerges in black and white and fills with voices, with lives. From the traces of history and the concerns of the present, Rosi documents a city immersed in its continuous past, with Daniel Blumberg’s minimal soundscape hovering in a sonic space between liquid and air. Tasked with creating a soundscape that would suspend space within Rosi’s film, Blumberg called upon the extended technique of saxophonists Seymour Wright and John Butcher to create a gossamer fabric of traces and sounds abstracted from their instruments. Having transitioned from theoretical physics to the saxophone, John Butcher has always deeply considered space in the context of his playing. His concerns are with flow, density and how the saxophone is situated in the living world. Zeroing in on the core sonic properties of the mechanical and acoustic components of the saxophone, Seymour Wright has integrated its every breath, reed vibration, keypad clatter and hissed microtone of his alto into his own, unique improvisational language. In his work with these two seminal players, Blumberg makes his most concentrated soundtrack to date—reinforcing the film's sense of overlapping time and space, and pushing at the limits of experimentation. Initially recorded in Daniel’s flat in London, Butcher and Wright centre themselves around long, consistent tones, so soft that it seems breath is being gently pulled from the saxophone's bell by an invisible hand. Blumberg adds haunting bass harmonica, and recordings of Wright’s launeddas, a traditional triple pipe polyphonic reed instrument from Sardinia. Blumberg then travelled to the volcanic region of Baia, next to Pompeii, using geophones and hydrophones to amplify recordings underwater across the ruins. The music is whispered in the same landscape as the film—volcanic air, lapping waves, steam and bubbles—creating an echo from a suspended time. What emerges is melancholic, tender, subtle and at the edges of audio technology—less a soundtrack than a process of aeration that allows the film’s central message to breathe. Tracklisting: 1. Nuvole I 2. Nuvole II 3. Nuvole III 4. Nuvole IV 5. Nuvole IX 6. Nuvole V 7. Nuvole VI 8. Nuvole VII 9. Nuvole VIII 10. Nuvole X
$38.91
Daniel Blumberg - Sotto le Nuvole (Pompeii: Below The Clouds)—
$38.91
Description
Release Date: 24/04/26
Daniel Blumberg’s minimal soundscape created for Gianfranco Rosi’s portrait of Naples, Sotto le Nuvole. Created in collaboration with saxophonists Seymour Wright and John Butcher. Praise for the film has come from the Guardian, calling it "a ghostly yet luminous cinematic mosaic of Naples." Blumberg’s score for 2024's The Brutalist won the BAFTA Award for Best Original Music and the Academy Award for Best Original Score. In Gianfranco Rosi’s portrait of Naples, the ground shakes periodically. Between Mount Vesuvius and the Tyrrhenian Sea, the fumaroles of the Phlegraean Fields hiss volcanic gas and steam. Below the sleeping volcano, modern day Naples emerges in black and white and fills with voices, with lives. From the traces of history and the concerns of the present, Rosi documents a city immersed in its continuous past, with Daniel Blumberg’s minimal soundscape hovering in a sonic space between liquid and air. Tasked with creating a soundscape that would suspend space within Rosi’s film, Blumberg called upon the extended technique of saxophonists Seymour Wright and John Butcher to create a gossamer fabric of traces and sounds abstracted from their instruments. Having transitioned from theoretical physics to the saxophone, John Butcher has always deeply considered space in the context of his playing. His concerns are with flow, density and how the saxophone is situated in the living world. Zeroing in on the core sonic properties of the mechanical and acoustic components of the saxophone, Seymour Wright has integrated its every breath, reed vibration, keypad clatter and hissed microtone of his alto into his own, unique improvisational language. In his work with these two seminal players, Blumberg makes his most concentrated soundtrack to date—reinforcing the film's sense of overlapping time and space, and pushing at the limits of experimentation. Initially recorded in Daniel’s flat in London, Butcher and Wright centre themselves around long, consistent tones, so soft that it seems breath is being gently pulled from the saxophone's bell by an invisible hand. Blumberg adds haunting bass harmonica, and recordings of Wright’s launeddas, a traditional triple pipe polyphonic reed instrument from Sardinia. Blumberg then travelled to the volcanic region of Baia, next to Pompeii, using geophones and hydrophones to amplify recordings underwater across the ruins. The music is whispered in the same landscape as the film—volcanic air, lapping waves, steam and bubbles—creating an echo from a suspended time. What emerges is melancholic, tender, subtle and at the edges of audio technology—less a soundtrack than a process of aeration that allows the film’s central message to breathe. Tracklisting: 1. Nuvole I 2. Nuvole II 3. Nuvole III 4. Nuvole IV 5. Nuvole IX 6. Nuvole V 7. Nuvole VI 8. Nuvole VII 9. Nuvole VIII 10. Nuvole X
Daniel Blumberg’s minimal soundscape created for Gianfranco Rosi’s portrait of Naples, Sotto le Nuvole. Created in collaboration with saxophonists Seymour Wright and John Butcher. Praise for the film has come from the Guardian, calling it "a ghostly yet luminous cinematic mosaic of Naples." Blumberg’s score for 2024's The Brutalist won the BAFTA Award for Best Original Music and the Academy Award for Best Original Score. In Gianfranco Rosi’s portrait of Naples, the ground shakes periodically. Between Mount Vesuvius and the Tyrrhenian Sea, the fumaroles of the Phlegraean Fields hiss volcanic gas and steam. Below the sleeping volcano, modern day Naples emerges in black and white and fills with voices, with lives. From the traces of history and the concerns of the present, Rosi documents a city immersed in its continuous past, with Daniel Blumberg’s minimal soundscape hovering in a sonic space between liquid and air. Tasked with creating a soundscape that would suspend space within Rosi’s film, Blumberg called upon the extended technique of saxophonists Seymour Wright and John Butcher to create a gossamer fabric of traces and sounds abstracted from their instruments. Having transitioned from theoretical physics to the saxophone, John Butcher has always deeply considered space in the context of his playing. His concerns are with flow, density and how the saxophone is situated in the living world. Zeroing in on the core sonic properties of the mechanical and acoustic components of the saxophone, Seymour Wright has integrated its every breath, reed vibration, keypad clatter and hissed microtone of his alto into his own, unique improvisational language. In his work with these two seminal players, Blumberg makes his most concentrated soundtrack to date—reinforcing the film's sense of overlapping time and space, and pushing at the limits of experimentation. Initially recorded in Daniel’s flat in London, Butcher and Wright centre themselves around long, consistent tones, so soft that it seems breath is being gently pulled from the saxophone's bell by an invisible hand. Blumberg adds haunting bass harmonica, and recordings of Wright’s launeddas, a traditional triple pipe polyphonic reed instrument from Sardinia. Blumberg then travelled to the volcanic region of Baia, next to Pompeii, using geophones and hydrophones to amplify recordings underwater across the ruins. The music is whispered in the same landscape as the film—volcanic air, lapping waves, steam and bubbles—creating an echo from a suspended time. What emerges is melancholic, tender, subtle and at the edges of audio technology—less a soundtrack than a process of aeration that allows the film’s central message to breathe. Tracklisting: 1. Nuvole I 2. Nuvole II 3. Nuvole III 4. Nuvole IV 5. Nuvole IX 6. Nuvole V 7. Nuvole VI 8. Nuvole VII 9. Nuvole VIII 10. Nuvole X
