electroacoustic

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 …

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, …

When choosing the theme of nature for this year’s Lent Series, one of the first works i knew i wanted to include was Histoires Naturelles, a collaboration for voice and electronics by Ute Wassermann and Richard Barrett. Not to be confused with Ravel’s song cycle of the same name(!), the …

One of the composers i’ve become most fascinated by in recent years is Mirjam Tally. Born in Estonia, but for many years based in Sweden, Tally’s work often draws on elements of folk music and is invariably imbued with allusions to the natural world. This attraction to nature extends throughout …

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 …

NB. At the time when this article was published i only had access to the lossy version of this album; this situation has now changed – click here for an update. [February 2022] We tend to assume nowadays that, once something is put online, it’ll never disappear. But in the …

As has been the custom on 5:4 in recent years, i’m starting 2021 with the financial aftermath of the holiday season in mind, exploring some of the more interesting music freely available online. It’s important to stress that, just because it’s available free, doesn’t mean you can’t choose to pay an …

It was earlier this year that i first encountered the label Elli Records, self-described as “an independent label focused on music made by humans, for humans, with computers”. Nothing particularly unusual about that, but while i’ve only just begun to scratch the surface of their five years’ worth of releases, …

Coincidentally, another project i’ve been involved with also materialised last week. For Gunnar Geisse‘s new CD TRIPTYCH, released on the NEOS label, i’ve contributed an essay to the liner notes. Titled ‘Liminal (un)reality’, my text explores the music’s complex amalgam of reproduced and recreated, supposedly real and actually real sounds, …

Something that comes up a lot in my writing about music is polarities. Perhaps it’s understandable; many composers strive to establish some kind of drama in their work, which often involves the juxtaposition and/or interplay of polarised types of material or behaviour. A lot of the satisfaction and enjoyment from …

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 …

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 …

In addition to purely electronic music, this year’s Estonian Music Days once again featured many works melding instrumental and electronic elements. The most potent collision of old and new technology came at the Arvo Pärt Centre on Saturday afternoon, where Anna-Liisa Eller’s kannel (the traditional Estonian instrument, a form of …

The last couple of years have been unusual for the Estonian Music Days. In 2019 the festival was bloated beyond all recognition and sense due to its assimilation into the World Music Days, making for a horribly hectic and exhausting experience. In 2020, for reasons pandemical, it was the opposite, …

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, …