CD/Digital releases

Back in 2017, when writing about the fifth and, at the time, latest in Catherine Lamb‘s ongoing series Prisma Interius, i talked a lot about consonance and dissonance, the way that its pitches began life around a central point from which they emerged and split off, ultimately creating a harmonic…

At the more intriguing end of the Icelandic contemporary music continuum is HĪBER, a new album of electroacoustic pieces by Bára Gísladóttir. When writing about Bára’s performance at this year’s Dark Music Days (with Skúli Sverrisson), i remarked how “what we heard in the first five minutes … was essentially…

One of the aspects of contemporary music from Iceland that i find most fascinating is its tendency to position itself at extremes, rooted either in slavish convention or daring unorthodoxy. It’s a polarity that’s revealed itself again in some recent releases of Icelandic music, the results of which have been…

In recent years i’ve realised that, more than with most artists, i tend to listen to each new Autechre release in the context of what came before. i know it’s hardly a mistake to listen like that – and it obviously makes sense for anyone wanting to appreciate it on…

Another electroacoustic collaboration that’s been impressing me lately is Black Earth / Red Earth by composer Andrew Leslie Hooker and trumpeter Nick Janczak. The nature of the collaboration, involving methods being developed as part of Hooker’s ongoing PhD, is interestingly back-and-forth. The starting point comes from an electronic “sound-object” created…

One of the most interesting things to emerge amid the massive glut of stuff released last Friday – in order to coincide with Bandcamp’s latest fee-waiver day; interesting how this has come to dictate so many musicians’ output during 2020 – is something that, once upon a time, would have…

It would be disingenuous to downplay just how laugh out loud funny is so much of John Oswald’s music. And this is surely one of the main reasons why he has fallen foul of the more simple-minded legal “brains” in the pop industry, since a casual encounter with his later…

To return to the theme of reissues that i was exploring recently, another composer whose work has hitherto been languishing relatively unheard is the Canadian John Oswald. i first encountered his music around 25 years ago, at a Birmingham Symphony Hall concert where the Kronos Quartet included his astonishing electroacoustic…

Released tomorrow is a new album of eight works by Icelandic composers, all of which have been curated by – and in some cases created in collaboration with – cellist and vocalist Gyða Valtýsdóttir. The general tone of these works, all of which are quite brief, is meditative in nature,…

Despite being located at opposite ends of the aesthetic / behavioural spectrum, i’ve recently been finding that two new releases pose the same questions about the distinction between long- and short-term listening. In the case of Arboreal, the latest album by Canadian musician Jamie Drouin’s alter ego Liquid Transmitter, this…

A couple of years ago i wrote about the world première of Erkki-Sven Tüür‘s Symphony No. 9, subtitled ‘Mythos’. It was a fantastic performance of what turned out to be a marvellous piece (i often find myself marvelling while listening to Tüür’s music), so it’s exciting to see that original…

The most fascinating – and the most extensive – campaign of reissuing earlier work that i’ve ever encountered is by US artist Matt Waldron, better known as irr. app. (ext.). His earliest releases date from the late 1990s, a time when Waldron’s access to and capabilities with technology were apparently…

Another composer who has been polishing off, smartening up and reissuing old works recently is Canadian Paul Dolden. It always surprises me how underappreciated and even unknown Dolden’s music continues to be, particularly as it’s among the most extreme stuff i’ve ever encountered (and, for good or ill, people love…

A few months back i wrote about about the appearance of various releases by The Hafler Trio on Bandcamp, which quite apart from being highly unexpected (hitherto Andrew M. McKenzie had seemed opposed to his output being released in a digital format) is a very good thing indeed, since most…

A noticeable musical side-effect of the lockdown has been to take the opportunity to reissue composers’ earlier work, usually in some newly-polished or otherwise revised form. Four artists in particular – Roland Kayn, The Hafler Trio [Andrew M. McKenzie], Paul Dolden and irr. app. (ext.) [Matthew Waldron] have reissued work…