CD/Digital releases

Five years ago i was getting excited by an album of orchestral music by a Chinese composer previously unknown to me, Xiaogang Ye. That excitement has been rekindled recently by the coincidentally-timed release of three new albums of Ye’s music in the last few weeks, which together provide an excellent…

A few years ago, in a book about ambient music that i co-edited with Monty Adkins, i wrote a chapter where i proposed the possibility of ‘meta-ambient’, the idea that a great deal of music not necessarily immediately heard as being related or even connected to ambient – as it…

This week i’ve been spending time with a couple of new albums that could each be described as being “devotional”. By that i don’t simply mean ‘religious’, although both of them are fundamentally informed by that attitude, one explicitly, the other implicitly. Listening to them has been a thought-provoking experience,…

What’s the difference between consistency and tautology? It’s a question i’ve returned to repeatedly over the last few years primarily in relation to the music of both Rebecca Saunders and Autechre, and it seems to be pertinent to Clara Iannotta as well. Last year, when exploring the previous album of…

Not so long ago i revisited an old favourite of mine, William Walton’s Façade, a work that takes sublimity and absurdity and wonderfully manages to make them gel – or, at least, engage in a weirdly (un)comfortable coexistence. Both the character and the attitude of Façade have been brought instantly…

In my last article i explored a CD featuring an overview of the string music of Penderecki, and it’s been interesting to reflect further on aspects of that in relation to Filz, a new album devoted to German composer Enno Poppe – featuring Ensemble Resonanz, and conducted by Poppe – which…

A couple of years ago, in my annual ‘Free internet music’ series i explored the work of US electronica artist Rob Lioy, better known as Access to Arasaka. At the time, one of the drawbacks to accessing his work was that it was mostly only available in low resolution lossy…

It must have been a strange experience for anyone smitten by the music of Krzysztof Penderecki during the 1960s and early 1970s, falling in love with the bold, abrasive, raw abstract shapes and sound forms unleashed in works such as Emanations (1959), Threnody to the Victims of Hiroshima (1960), St…

It’s often felt a bit strange for me that the composer about whose music i’m the most passionate, whose music occupies the largest percentage of my music collection, and whose music i’ve analysed and studied in more depth and therefore know more about than any other composer, is someone i…

Three years ago, the Proms festival featured the first complete performance of The Brandenburg Project, a large-scale undertaking by the Swedish Chamber Orchestra, who commissioned six composers to write a work responding to one of J. S. Bach’s Brandenburg Concertos, with the aim that they should ideally also use the…

The Sono Luminus label’s ongoing commitment to Icelandic music continues with Moonbow, a new album featuring five works by Gunnar Andreas Kristinsson. Hitherto, my only contact with Gunnar’s music has been via his 2013 release Patterns, showcasing a variety of his earlier output for piano and organ. That album had…

It’s always exciting when a new album of music by Natasha Barrett appears, and it feels like it’s been a long wait since her last release, the dazzling Puzzle Wood (one of my Best Albums of 2017), came out four years ago. While that album explored her earlier output –…

The act of listening, at its best, often seems to suggest a form of ‘inhabiting’ the music, and that’s particularly true of Splitting, a new 26-minute work by UK composer Paul Obermayer. i’ll come back to this a bit later. It’s perhaps best to start not at the beginning but…

It’s rare these days to find new additions to the sphere of ambient music that go beyond being merely extended, superficial, one-dimensional platitudes. So it’s been a relief to spend a mixture of active and passive time with Verdant, a recent album from US composer David Dunn, which taps into…

Considering that most of us have been spending the last 12 months in varying forms of isolation, it seems a fitting time to focus on music for solo instruments. German label Kairos clearly feels the same way, as they’ve recently brought out a short series of five albums, each titled…

Early last year, before life on earth tilted over into abject abnormality, i experienced a performance at the Dark Music Days in Reykjavík that, in hindsight, i perhaps summed up a little too succinctly. On the one hand, it was completely true when i wrote, of the performance given by…

i’ve been catching up with the latest pair of releases from the always interesting Neu Records label. In the process, i’ve been contemplating the fact that both of them pull the rug out from under you in terms of what’s certain and uncertain about the music, which often appears to…

One of the first new releases of 2021 to catch my attention is Occurrence featuring the Iceland Symphony Orchestra. According to conductor Daníel Bjarnason, this is “the third and last album of the ISO project” which, if true, is a shame in both a positive and a negative sense. Positive:…

For the last two years, in the final week of January i’ve been heading off to Iceland for the annual Dark Music Days festival. Like pretty much all festivals at the moment, DMD has been postponed for a few months, but as a small consolation i’m going to conclude this…

As i’m sure i’ve lamented previously, the organ is a bit of a neglected instrument in the world of new music. No doubt that’s due in part to its historical associations and also the site-specific nature of so many of them, but all the same, considering the range, power and…