electroacoustic

Waiting for me on my doormat when i returned from Vienna a few days ago was a new CD of music by the Estonian composer Age Veeroos. i’ve been doubly excited waiting for it to arrive, partly because i was honoured to be asked to write the liner notes for …

Despite being primarily a chamber music festival, the concerts at this year’s World New Music Days in the Faroe Islands devoted significant time to works involving electronics. Five of these were installations, of which two were noteworthy. One was Ringar í Vatni [Rings in Water] by Faroese musician Heðin Ziska …

Anyone familiar with Björk’s album Utopia – my Best Album of 2017 – will be aware of the ensemble of flutes that features prominently in most of its tracks. Seven of those flautists, Áshildur Haraldsdóttir, Berglind María Tómasdóttir, Björg Brjánsdóttir, Dagný Marinósdóttir, Sólveig Magnúsdóttir, Steinunn Vala Pálsdóttir and Þuríður Jónsdóttir, …

i sometimes wonder whether i’ve come to prize obfuscation in music more than clarity. When things are unclear, things get interesting, the ear and mind work harder, there’s potentially something to be discovered. This is one of the primary aspects that i’ve been revelling in when spending time with Turkish …

For many years i’ve been a keen follower of the work of Noé Cuéllar and Joseph Kramer, better known as Coppice, and have often written about their unique electroacoustic output. There are many things that draw me to it, one of the strongest being the way in which they create, …

Two of the events at this year’s Baltic & Estonian Music Days were especially memorable. The first was given by one of the finest choirs in the world, the Estonian Philharmonic Chamber Choir. Conducted by Mai Simson in the somewhat simple, functional interior of Tartu’s otherwise imposing St Paul’s Church, …

The opening weekend of this year’s Baltic & Estonian Music Days featured the final concert of their annual Young Composer competition, now in its tenth year. It was encouraging to witness that most rare of phenomena: the genuinely best works being the ones receiving the awards. All of the music …

i’m thrilled to be presenting the latest instalment in my occasional series The Dialogues. On this occasion, i’m sitting down with Estonian composer Tatjana Kozlova-Johannes, whose music i’ve been marvelling at ever since first contact at the 2017 Estonian Music Days. We got together at my rented apartment in Tallinn’s …

I want to flag up two recent albums for which i’ve contributed liner notes, both of which focus on music from Norway, and both of which have coincidentally been released around the same time.

Few releases i’ve explored this year have pulled me into their orbit so completely, and so (in the best sense) puzzlingly, as Draw Agreement by the US experimental duo Coppice. i’ve been following the work of Noé Cuéllar and Joseph Kramer for around a decade, and have been consistently entranced …

As well as the intimacy demonstrated in several concerts at this year’s Sacrum Profanum festival in Kraków, many of the other performances provided opportunities for immersive listening, often within the context of large-scale durations. Two of these, both examples of primary colour, bargain basement minimalism, may well have been striving …

Perhaps the most compelling example of the kind of disorientation that border states can engender came in the concert given by Polish ensemble Spółdzielnia Muzyczna, appropriately titled ‘The Borders of Identity’. Here, more than anywhere else during AFEKT 2023, was a concert where none of the five works on the …

Borders are places of confusion, uncertainty and, often, danger, and in this context concerts such as the ones previously discussed at AFEKT 2023 – where most works had strong similarities while one or two were markedly different – raised related questions. Is such similarity attractive and important because it suggests …

Elis Hallik is probably the most interesting Estonian composer who, thus far, i haven’t written much about. During my annual trips to the Estonian Music Days in recent years, she has rarely been featured, so until recently, all i knew of her music were two chamber works, To Become A …

The experience of Christina Kubisch‘s electromagnetic walk around Oslo’s library had a counterpart in her new vocal work, Strømsanger (“electrical singers”), premièred by Trondheim Voices. The piece originated in the electromagnetic sounds made by Trondheim’s tram system; these became the basis for transcriptions that Kubisch developed further. Lasting around 40 …

Oslo’s annual contemporary music festival Ultima is currently in something of a transition, between outgoing artistic director Thorbjørn Tønder Hansen and incoming Heloisa Amaral, who took the helm in February this year. On the one hand, what i experienced during my three days there was broadly comparable to previous years, …

It’s been interesting to compare and contrast three recent releases all of which feature drone at the core of their musical language. (The music is long, so i’m going to keep this quite short.) Drone music tends to operate in one of two ways: either by establishing a literal fundamental, …

Very few performances at Only Connect 2023 failed to impress. Among the exceptions was Caminante by Michael Pisaro, premièred on the opening night by Trondheim Sinfonietta with bassist Michael Francis Duch. Though the work began well, establishing a nicely darkened texture that became almost gritty and dirty, as soon as …

It doesn’t take long to get the measure of a new music festival – aims, outlook, characteristics – but that doesn’t mean it becomes predictable. i’ve found this to be more than usually true of Forum Wallis, which remains one of the most remote festivals i’ve had the pleasure of …

To begin my usual January focus on interesting free music, i’m returning to the ephemeral world of netlabels. Rural Colours appeared in 2010 as a tangential off-shoot from parent label Hibernate, which had begun the previous year. What distinguished them both from other netlabels was the fact that their releases …