"Mono Fluido' collects two major compositions from Christina Kubisch which, until now, have been unreleased. Extensive liner notes and & photographs detail the origins of the work. Heavy drones and deep emotions run through these newly discovered pieces." In 1980, the deeply fascinating sound artist Christina Kubisch made some professional recordings in an Italian studio for the soundtrack of Fabrizio Plessi's 'Liquid Movie'. She returned to the sounds in '81, mostly field recordings of swinging plastic tubes, windscreen wipers, breathing and so on, at her own studio, arranging them into an acoustic instrumental landscape, using no electronics. The 31 minute piece is essentially a tract of quiet, simple ambient sound, with a subtle appreciation of time and slight, organic tonal fluctuation which defines the best of her distinguished body of work. 

"In 1980 I had the possibility to make some professional recordings on an eight track tape in an Italian sound studio for the sound track of the film Liquid Movie by Fabrizio Plessi. Some months after having finished the sound track I listened to the material again and suddenly felt the desire to make a new piece out of the material, which would be free of the limitations of a cinematic sound track. I made several new downmixes of the eight track tape and treated some of the sounds with a speed control device, one of the few tools which I had available in my own studio at that time. The sound sources are flute (alto and bass flute) played by myself, the sounds of swinging plastic tubes in the air, the recordings of the windscreen wiper ('tergicristallo') of my old car, the sampled sounds of glass and of my own breathing. Just pure instrumental sounds and some 'field recordings,' no electronics. The piece is a quiet piece of ambient music, an acoustic landscape, unspectacular and yet intense. I called it 'fluido,' which is the Italian word for liquid or fluid. Then I forgot about it. The tape was in my archive all these years with the remark Mono Fluido on the spine. Only recently I decided to digitize it, despite the mono tag, and I listened to it again. Eventually I thought the piece deserved to be published after almost 30 years. Although mono is kind of a dinosaur in the world of multichannel fiction I like the simplicity and clarity of it and I hope the listener might share this experience." -- Christina Kubisch, December 2010