Era scritto nelle stelle, no? Otomo plays Marclay. 

"Christian Marclay's work taught me to 'question where I stand' and 'to think from the outside'. And it taught me to put that into practice in my works and performances. At the same time, when I was young, I was desperate to escape from the strong influence of Marclay. I ended up doing a performance method that focuses on the sound of the turntable itself without using records. A lot of time has passed since then, and now I think it doesn't matter whether I use records or not. To be honest, I don't mind playing music influenced by Marclay. But unfortunately, no matter how much I'm influenced by him, I realized once again that I can't play like him. Still, I made this album because I wanted to pay tribute to Christian, who is also an irreplaceable friend. At the same time, it also contains my own history that I have built up over the past 30 years through my encounters with him. In that sense, it may be an autobiographical album."

https://otomoyoshihide.bandcamp.com

Un pregiato pianoforte a coda viennese di inizio '900 lasciato per anni a deteriorarsi all'aperto sotto le ingiurie di sole vento pioggia e neve in un giardino a Vyžlovka nel cuore della Boemia, mai accordato, mai riparato, divenuto - anche per questo - oggetto di azioni Fluxus e decrepito destinatario di composizioni ad hoc concepite tra gli altri da Gordon Monahan, Elliott Sharp, Terry Riley e Philip Glass. Ci ha messo mano, a proprio rischio e pericolo, il giovane pianista ceco Miroslav Beinhauer e Sub Rosa ne ha prontamente tratto un album: Pieces for Broken Piano.

https://subrosalabel.bandcamp.com/pieces-for-broken-piano

L'incontro ardentemente desiderato da Fred Frith con lo specialissimo universo sonoro di Karen Stackpole abitato quasi esclusivamente da percussioni metalliche, piatti, cimbali orientali e gong si è alfine realizzato qualche tempo fa in Nature, sessione spontanea ambientata fra le colline di California ora documentata dalla belga Sub Rosa: "I have been fascinated by the sound and potential of gongs since I first heard Stockhausen's Mikrophonie 1 in the late 1960s. When I moved to Oakland in 1999 I discovered the work of Karen Stackpole, one of the few percussionists in the world specializing entirely in gongs, and attended several of her performances. I always tried to imagine how I could combine my own sonic vocabulary with her incredibly rich array, and we enthusiastically agreed to a musical meeting which somehow kept being postponed, year after year. Finally, as my teaching career at Mills College was winding down, we succeeded in making an appointment to record together at Karen's home studio in the Californian hills. As a seasoned professional recording engineer, she had her vast and beautiful collection of gongs meticulously placed and amplified. It was a joy! Guitar as gong, gong as harmony and everything in between, an interweaving that left me breathless."

https://subrosalabel.bandcamp.com/album/nature