"...And we played until our awareness became embedded in the canyon and summoned a ghostly, floating train, an apparition of metal meeting metal, reflected doubly, triply, endlessly from the canyon, from the mind, from the flickering passenger windows, the rumbling ties, OUR EARS FELT LIKE CANYONS. We didn't speak until morning." (Pauline Oliveros)

Inspired by the concepts of “Acousmatic listening” and “Deep listening”, Zwerm proposes an immersive concert setting where the four musicians are in the center, obscured – using adapted lightning – facing each other, with the audience surrounding them. “Acousmatic listening”, as described by the French composer of electronic ‘musique concrète’ Pierre Schaefer, refers to hearing a sound without seeing what it causes. In its original sense “acousmatique” refers to the disciples of Pythagoras who listened to their master from behind a curtain, without seeing him, in complete silence. The American composer Pauline Oliveros' describes “Deep listening” as a very intuitive and encompassing attitude of listening. It is also an album recorded in a large cystern under the ground with a 45' second natural reverb. In Zwerm’s concert the electric guitar, allowing to create complex sounds with little movement, acts as a sort of “pythagorian curtain”, stripping the performers from most of the visual theatrics that go with a live performance and shifting the action more towards the ear and the act of listening. Zwerm asked composers Joanna Bailie, Christopher Trapani and Alexander Schubert to write new pieces with this idea in mind, creating a musical triptych which explores the refined spectral-microtonal roots of New Orleanian Christopher Trapani, in between the pure and minimalist soundscapes of Joanna Bailie and the psychedelic noise of Alexander Schubert. Three sonic tableaux that will, each in their own way, fit this specific soundscape environment and acousmatic context very well.