LOS ANGELES
Alessandro Cortini
Live improvisational set from the Nine Inch Nails synthesist & guitarist
Friday, March 1, 2024
Immanuel Presbyterian Church
7pm (doors) 8pm (performance)
with Faten Kanaan
presented with Synth History
All ages
︎︎︎GET TICKETS
Join Reflections for an evening of immersive light and sound at a neo-Gothic church in Koreatown, LA, with Italian composer Alessandro Cortini. Faten Kanaan opens the night with a set of Renaissance-inspired electronic pieces. Designer Eric Epstein performs a 3D projection-mapped visual experience for both sets.
Cortini will share a series of atmospheric works made with the Make Noise Strega, the instrument he co-designed with synth company, Make Noise. We love Cortini’s delicate balance of stark minimalism and lush textures, hovering between ancient and modern sensibilities – math and magic, intertwined 🌙
We’ll honor all tickets for the original date. Send questions to info@ageofreflections.com.
Alessandro Cortini
Italian musician, producer, composer and instrument builder Alessandro Cortini is one of the foremost figures of contemporary electronic music. A longstanding member of Nine Inch Nails, Cortini has released several albums on Mute and Important Records, often in collaboration with luminaries such as Daniel Avery, Lawrence English, and Merzbow.
Balancing dark ambience with smokey, pulsing rhythms, his compositions are both restrained and mesmeric. In 2021, iwith boutique synth builders Make Noise, Cortini released his own, custom designed, semi-modular synth, Strega (Italian for ‘witch’). He used Strega to build his latest full length, Scuro Chiaro (Mute Records), which Pitchfork described as “pitched somewhere between purgatory and the planetarium... consistently managing to thrill and surprise.”
Faten Kanaan
Born in Walsrode, Germany, Faten Kanaan is a Syrian-Palestinian-Jordanian-Lebanese composer, musician, and producer. She grew up between Europe and the Middle East, and is currently based in New York. She uses counterpoint as a narrative tool to create music that is mysterious, smudgy, and deeply melodic.
From the repetitive structures of modern minimalism and early music/baroque influences - to more languid textural ebbs & tides, there's a warmth in her use of synthesizers that gives her work a curiously timeless feel. Composing intuitively, her music has often been described as 'strange', mostly because it creates its own world- one that isn't easily categorised.
In symbiosis with technology is an appreciation for the vulnerability of human limitations and nuances, and her live performances highlight her use of the keyboard as an extension of the self.
From the repetitive structures of modern minimalism and early music/baroque influences - to more languid textural ebbs & tides, there's a warmth in her use of synthesizers that gives her work a curiously timeless feel. Composing intuitively, her music has often been described as 'strange', mostly because it creates its own world- one that isn't easily categorised.
In symbiosis with technology is an appreciation for the vulnerability of human limitations and nuances, and her live performances highlight her use of the keyboard as an extension of the self.
Immanuel Presbyterian Church
Designed by Los Angeles architect Chauncey Fitch Skilling and modeled after French Gothic cathedrals, Immanuel Presbyterian Church was completed in 1929 in what’s now known as LA’s Koreatown district. The building's stone-clad corner tower soars 205 feet above Wilshire, supported by a steel frame that allows for a strikingly spacious interior. The building is an ADA accessible space.
3300 Wilshire Blvd, Los Angeles, CA 90010
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