The Best Is Yet To Come (2020), by Daniel Lercher & Henrik Munkeby Nørstebø + Audrey Chen

The Best Is Yet To Come (2020)

by Daniel Lercher & Henrik Munkeby Nørstebø + Audrey Chen

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	1.	Is 12:08
	2.	Yet 03:55
	3.	To (featuring Audrey Chen) 10:52

about

"The Best Is Yet To Come" was recorded and produced by Daniel Lercher and Henrik Munkeby Nørstebø from June to November 2020, utilizing the power of the internet to exchange sound files and project folders between Vienna and Berlin.

Tracks 1 and 2 are based on acoustic recordings by Henrik, reworked by Daniel, while track 3 started off with Daniel's electronic material, rearranged by Henrik. Each track was then sent back and forth several times for various edits, splices and mixing steps, before reaching its final form.

Track 3 features the unique voice of Audrey Chen, who plunges into the depths of her lower register. Select parts of the material was then weaved into the mix, lusciously contrasting the electronics.

This is Lercher and Nørstebø's fifth collaborative release, following duo albums "TH_X" (Chmafu, 2014) and "Off the Coast" (SOFA, 2019, featuring Julie Rokseth), live concert online release "Stillverk, Sula adaptation" (2019) and Lercher's "dhalang | hoax" (2019). The release is an unofficial celebration of the duo's tenth year of existence!

credits

released December 1, 2020

Daniel Lercher - electronics
Henrik Munkeby Nørstebø - half clarinet (1), breath piano (2), trombone (3)
+ Audrey Chen - voice (3)

Recorded, edited and composed in Vienna and Berlin by Daniel Lercher and Henrik Munkeby Nørstebø, June to November 2020

Mixed and mastered by Daniel Lercher

Cover by Henrik Munkeby Nørstebø

lercher.klingt.org
henriknorstebo.com
audreychen.com

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about

Henrik Munkeby Nørstebø Berlin, Germany

HMN is a musician and sound artist based in Berlin and Trondheim, focusing on trombone performance and a wide range of compositional and cross disciplinary projects. He chose the brass tubes already at the age of eight, and has done extensive research into both the boisterous side of the instrument, as well as its counterpoint in microscopic sound, utilizing deselection as a central process. ... more

henriknorstebo.com

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