Those who view New York artist Lea Bertucci as a bass clarinetist are missing the bigger picture.  Fresh from her residency at Brooklyn’s ISSUE Project Room and already preparing for two other residencies, Bertucci has proven herself to be a visual artist, sound designer, improvisor and curator.  She seldom plays the bass clarinet without electronic manipulation; and sometimes, she doesn’t play it at all.

Those familiar with Bertucci’s work from our past reviews, or even from her live performances, should throw out everything they know when considering the new release.  To start, the opening cut is a flute piece: a sound collage that incorporates “an earworm from the Bulgarian folk song Dragano Draganke.”  The collage imagines the process of forgetting, or at least trying to forget, a melody that is already embedded in the mind.  As one can imagine, the process fails, while the composition does not.  The more Bertucci alters…