The Egg Presents: Alessandro Cortini / Rachika Nayar
Music Thursday, October 3 2024 • 8:00pm •$45, $35
Part of the Expansion Series
Alessandro Cortini is an Italian musician, producer, composer, and instrument builder.
Cortini is one of the foremost figures of contemporary electronic music, best known for his haunting, atmospheric work. Alongside being a longstanding member of Nine Inch Nails, he is highly prolific and has released a steady stream of his own heady music on luminary labels including Mute, Hospital, and Important Records for the past decade. Throughout his shadowy rise to fame, he has collaborated with the likes of Lawrence English, Daniel Avery and Merzbow (to name a few). Balancing dark ambience with smokey, pulsing rhythms, his compositions are perfectly restrained, textured and mesmeric.
Cortini was inducted into the Rock and Roll Hall of Fame in 2020 through his work with Nine Inch Nails, making history as the only Italian musician to have ever been honored with this recognition.
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In 2022, he exhibited a high-concept audio installation called “Nati Infiniti” for Sonar 2022 at Museu de Lisboa’s “Fábrica de Moagem.” A live version of “Nati Infiniti” is set to debut at Berlin Atonal in 2023. Alessandro Cortini’s music has been licensed for use in television, film and documentaries, games, and commercials, including FX’s hit show The Bear, “Thank You Very Much” a documentary about Andy Kaufman, Samsung, BMW, Sony, and Netflix. Remixes have also been a part of Cortini’s identity – remixing the likes of Depeche Mode to Mogwai to Death Cab For Cutie, Yann Tiersen to Vatican Shadow, and more between and beyond.
Photo by Emilie Elizabeth
Rachika Nayar is a Brooklyn-based musician whose music has been featured in publications including The New York Times, Pitchfork, New York Magazine, Bandcamp Daily, and The FADER.
Across her first full-length releases, producer and multi-instrumentalist Rachika Nayar reimagined the limits of guitar for modern electronic music. On her debut, Our Hands Against the Dusk, kaleidoscopic grains of guitar collided with orchestral strings and 90s synths to build intimate ambient netherworlds. A year later, its followup, Heaven Come Crashing, expanded her mangled guitar sound with rapturous maximalist fantasies built from colossal supersaw harmonies and glimpses of Amen breaks. Her music takes from a kaleidoscopic range of influences (post-rock, ambient-electronic, neo-classical, trance, and beyond) but across it, a through-line remains—at times haunting and durational, and at others, romantic and reckless with breakneck velocity.