** Edition of 80 copies. LP + Artist’s Signed Drawing "Aura" and "Bagatelle", "Continuum", "Pieghe", "Matinèe" and "Note" Artworks. ** On L’Entretien Infini, HeghL push their ongoing project Il Fuori raccontato al Drago (“The Outside Told to the Dragon”) into a fully musical dimension, asking what happens when a conceptual performance about “the Thought of the Outside” is reimagined as sound alone. Clarinetist Francesco Chimienti, violinist Eloisa Manera, pianist Luca Pedeferri and double bassist Luca Pissavini respond with two extended improvisations – “L’Entretien Infini” and “Dehors du son” – that treat philosophy, translation and spatial movement as compositional materials. Instead of illustrating a script, they let the discussion’s structure and displacements seep into their playing: timbres circling and breaking off, motifs passing from one instrument to another like questions, silences that feel as charged as statements.

The music grows out of a performative sequence staged at Villa Giulia. It begins with a narrator, a poet, a teacher and a philosopher lying on a double bed, talking around a single question: “The Thought of the Outside”. Their conversation sits in the shadow of twentieth‑century reflections on the “Outside” by Heidegger, Blanchot, Foucault, Deleuze and others, for whom exteriority isn’t just a theme but a way of thinking – a pressure that unsettles the idea of a contained subject, a closed text, a finished work. In the Villa Giulia piece, that philosophical pressure becomes the “inside” of the scene, its invisible motor, while the bodies and voices on the bed trace its contours in real time. The quartet’s improvisations echo this dynamic, hovering between intimate exchange and forces that seem to exceed the room.

From there, the sequence literally moves outward. A woman appears in the doorway, trying to translate the dense Italian dialogue into English as it unfolds. Her effort to keep up – to carry nuance across languages without losing it – turns translation into a precarious, performative act. The conversation, now doubled and refracted, spills into the corridor and reaches a Thai girl, who is addressing a small cobalt‑blue rag creature suspended from the ceiling, a kind of battered dragon staring “outside” toward the garden, toward what it cannot see. Its stubborn otherness and indifference act as a strange buffer: the Thai translation, apparently meant for the dragon alone, bounces off and lands in the next room, where a young Arab man tries to insert himself into the audio recordings emanating from a large white table that fills almost all the space. Each link in the chain displaces the previous one, multiplying languages, bodies and thresholds; “outside” becomes not a single elsewhere but a series of partial crossings, mishearings, failed or unfinished transmissions.

L’Entretien Infini – titled after Maurice Blanchot’s book of fragmentary dialogues and meditations – is the third link in this trajectory, following Phyi and dehors, which HeghL Studio inaugurated in 2022. Here, though, it is the instruments that perform the infinite conversation: clarinet lines that hover on the edge of speech, violin harmonics tugging at the upper air, piano figures that sketch and erase harmonic ground, bass resonance anchoring and then undermining any sense of centre. The music doesn’t offer illustrations of specific scenes so much as parallel them structurally: entrances and exits, overlapping voices, sudden shifts of perspective, moments when communication fails and something more oblique, less graspable, slips in.

The project is conceived by Lisa Baume, Martina Gre and Francesco Trabattoni, with texts by Baume and Alima Zada, and paintings and photographs by Baume and Trabattoni providing a visual and narrative echo to the sonic work. Recording took place at Trai Studio; mixing was handled by Fabio Intraina and Trabattoni, with Intraina also acting as mastering programmer, giving the album a detailed, close‑mic’d presence that keeps every breath, scrape and resonance in play. Rather than closing the circle of Il Fuori raccontato al Drago, L’Entretien Infiniopens it wider: a document of four musicians listening into an already crowded field of voices, and choosing to answer not with explanations, but with another, inexhaustible conversation.