In addition to conventional acoustic and electronic music, there was the opportunity to explore a variety of audiovisual work during my time in Tallinn. This was primarily due to COMMUTE, a fringe festival run by the Estonian Academy of Music and Theatre, with late evening concerts each day, after the …
electronic
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Even before my plane touched down at Tallinn airport, i knew that this year’s Estonian Music Days was going to feel a bit different. Last year marked the 20th anniversary of Estonia’s independence from Soviet occupation, and one of the effects of Russia’s ongoing war against Ukraine is that Tallinn …
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i feel like i’m emerging from a bomb shelter. For the last two days i’ve been immersed in the Golden Dolden Box Set, a huge self-released compilation by Canadian composer Paul Dolden. Usually, the task of retrospective falls to curators and writers, but in the case of this box set, …
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In my series of articles focusing on free music last year, i explored Nikita Golyshev‘s remarkable album 15 Songs from Glass, Oil and Other Sources. Originally released in 2007, and long since vanished from the web, at time of writing i was only able to share the MP3 version of …
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Among the plethora of releases i’ve received in recent times there’s been a number of especially noteworthy items, either in the form of sizeable box sets or otherwise ‘unusual’ editions, so throughout the course of this month, alongside other things, i’ll be exploring some of them. Surely the strangest (and, …
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US sound artist Christopher McFall first started putting out work in 2005, on a variety of netlabels, and his output since then has consisted of a pretty equal split between CD releases and a generous quantity of free music. However, the last decade has seen McFall’s output reduce considerably: just …
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i’m delighted to present the latest instalment in my occasional long-form conversation series The Dialogues. My guest this time is UK-born, Norway-based composer Natasha Barrett, whose music i’ve deeply admired for at least 20 years. Barrett is both a veteran and a pioneer of electronic music, utilising a convoluted mixture …
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The next freely-available music i want to explore in this series is by Man:Sha, an artist whose work suggests them to be Japanese, and based in France. i’ve not been able to find out any meaningful additional information about them, and only discovered their work in the first place due …
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Despite the fact that, a few years ago, i wrote a 10,000-word monograph about the music of Kenneth Kirschner, supplemented by a 5,000-word conversation with the composer, both of which should indicate in-depth knowledge and understanding of my subject, i’m always aware of the degree to which Kirschner’s work continues …
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As usual, i’m going to start the new year, in deference to the festive season’s financial repercussions, by exploring a few interesting releases that are available free online. Wolftöne is the nom de guerre for Australian musician Keith W. Clancy, whose output to date is limited but, at its best, …
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i’ve written previously about my love of large-scale compositions, so it’s been fascinating to spend time with Temp Tracks, the latest album by Austrian composer Wolfgang Mitterer, which explores music at the opposite end of the continuum. Taking its title from the film scoring practice of using extant music as …
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Not everything i heard at Ultima 2021 was bound up in convolutions of meaning. Ryoji Ikeda‘s forays into the world of percussion (which i previously explored in 2018) are a sidestep away from his more central work in multi-layered representations and interpretations of data, instead concerned much more directly with …
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The saying goes that you don’t know what you’ve got until it’s gone, but in the case of the Ultima festival in Oslo, the latter half of which i experienced last week, i don’t think i truly realised how much i’d missed contemporary music festivals until i was back in …
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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 …
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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 …
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Despite its name, it’s important to note that not everything performed at this year’s inaugural Baltic Music Days originated in the Baltic (though all of the performers did). Among the most striking of the international pieces was Spur by Austrian composer Beat Furrer. Composed in 1998, it was especially interesting …
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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 – …
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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 …
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Norway’s annual Borealis festival is more than just a conventional sequence of concerts primarily concerned with the way music sounds. Its aim is evidently toward a more holistic experience, one in which words and visuals are just as important – often, more so – than what we’re hearing. As such, …
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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 …