CD/Digital releases

If you’re in the mood for something a bit left-field to liven up your summer, you could do worse than check out Aggregate, a double album featuring “new works for automated pipe organs”. i know, right? i’ve experienced my fair share of automated organ music, and it invariably tends toward …

Another year, another Grażyna Bacewicz portrait CD. CPO’s series Complete Symphonic Works, begun in 2023 and featuring the WDR Symphony Orchestra, concluded after three volumes with the wildly inaccurate claim that they’d released the lot. The BBC Symphony Orchestra’s Orchestral Works series on Chandos, also begun in 2023, has only …

Often, when i’ve written about music from the Faroe Islands, i’ve remarked on the fascinating way they make diverse genres blend and mingle. What often emerges is a unique kind of hybrid, comprising elements from prog rock, jazz, contemporary, experimental and electronic. But not always, and certainly not in the …

i started smiling even before i started listening. There’s playful and there’s joyful – and then there’s actual play and joy. To spend time with Alex Paxton‘s music is to enter a soundworld that’s all about the latter. It’s a world where the idea of being embarrassed, reserved, sensible or …

It’s always good to hear new music from Birmingham composer James Dooley, aka Formuls. He’s recently put out two releases that are essentially siblings. It’s been a while (too long) since i last wrote about Dooley’s work, but on that occasion i was exploring music that sat in various levels …

My first impression of Toivo Tulev, established nearly a decade ago during my first few sojourns to Estonia, was of a composer whose language was one of polarised extremes. The more i’ve got to know his music over the years, the more that first impression has been confirmed: Tulev’s is …

Hot on the heels of the recent Estonian Music Days, there have been several interesting new releases of Estonian music. Among them is a new recording of Violin Concerto No. 2 “Angel’s Share” by one of the country’s most accessible composers, Erkki-Sven Tüür, featuring soloist Hans Christian Aavik with the …

The aim of this year’s 5:4 Lent Series has been twofold: first, to celebrate the work of US composer and sound artist Christopher McFall, and second, in collaboration with McFall, to re-release his work after many, many years of languishing completely unavailable. In the early stages of planning this series, …

One of the more beguiling things to have entered my ears recently is Figure Pieces, a new 22-minute EP from Danish composer Mads Emil Dreyer. Two of Dreyer’s Forsvindere pieces were featured on his album Disappearer, released last year, and Figure Pieces demonstrates the same fascination with the permutational possibilities …

Familiarity can go a long way to diminish the effects of ambiguity. By now, 40 days into this Lent Series, we’re accustomed to the fact that immersing oneself within Christopher McFall‘s work is to enter a dark world of shapes moving in shadows, where sounds hint, suggest and allude, but …

After the unexpected tangibility of An Eris 23, explored last time, Christopher McFall‘s 2012 album Epilog (Recombinant) isn’t just a return to his more familiar umbral soundworld, but to a degree that is way more than usually abstract. It takes as its starting point the materials he used when creating …

It seems fitting that the unique acousmatic music of Natasha Barrett, a composer whose life and work have encompassed the UK (originally, for a while) and Norway (later, for much longer), should have been primarily served by labels from those two countries. In earlier times it was the Oslo-based Aurora …

When exploring This Heat Holds Snow, i mentioned how Christopher McFall’s music features passages i call ‘in between’, states where things are more than usually elusive and / or blurred. The conclusion of that album took the three discrete elements in McFall’s work – pitch, rhythm and noise – and …

i often find myself thinking of the word ‘concrete’ when listening to Christopher McFall’s music. It’s because of the way that word’s meanings have a contradictory presence: many of the sounds McFall uses feel solid, firm; yet the soundworlds he creates tend toward vague, allusive and abstract environments. Concrete, yet …

One of the defining features of Christopher McFall‘s sound art is the ambiguity with which his source materials are handled. There’s at most a liminality to it – enough clarity (or ostensible clarity) to suggest something tangible – yet more often we’re left to fend for ourselves in worlds of …

i’ve been looking forward to this one. The City of Almost was the first of Christopher McFall‘s albums that i heard. i can’t remember what led me to it, but somehow in 2008 this CD, wrapped in a protective case of thick transparent paper, arrived at my door, and my …

i wrote previously about Christopher McFall‘s tendency to construct his work via smooth fades and transitions, rather than abrupt changes. That’s overwhelmingly the case, perhaps more than anywhere else, in his 2008 album Sensuality May Be Found At The Mouth Of A Snake. Though released as one 31-minute track, the …

Four Feels For Fire was Christopher McFall‘s first physical release, put out on CD by renowned Belgian label Entr’acte in 2007. At 50 minutes’ duration, it was also his longest work so far, structured in five sections, the first four titled after the points of the compass, with a closing …

20 years ago, US sound artist Christopher McFall quietly emerged via a Spanish netlabel with his first release, A Starved-Strafe Lancing Machine, an album i wrote about in 2022. Throughout his career, McFall’s output has deeply and consistently impressed me, and his releases have featured in many of my Best …

Of the four portrait discs i’ve been spending time with lately, the most successful overall is Aletheia, a new album of choral works by Lithuanian composer Žibuoklė Martinaitytė, performed by the Latvian Radio Choir conducted by Sigvards Kļava.