zakè ~ Tide Requiem for the Low Sea
Summer is ending. We must not say this out loud; it is a hard pill to swallow. For many people, summer has already ended; vacations are over, classes have begun, the water has cooled. zakè‘s Tide Requiem for the Low Sea is
zakè ~ Tide Requiem for the Low Sea
Summer is ending. We must not say this out loud; it is a hard pill to swallow. For many people, summer has already ended; vacations are over, classes have begun, the water has cooled. zakè‘s Tide Requiem for the Low Sea is
Mo Farzaneh ~ Aerial Roots
There are places that become so closely associated with geopolitics that it is easy to forget they are still inhabited landscapes, with their own geology, ecosystems and daily rhythms. Qeshm Island, in the Strait of Hormuz, Iran, is one such
Mo Farzaneh ~ Aerial Roots
There are places that become so closely associated with geopolitics that it is easy to forget they are still inhabited landscapes, with their own geology, ecosystems and daily rhythms. Qeshm Island, in the Strait of Hormuz, Iran, is one such
Vladislav Delay Quintet ~ vd5
One of my hobbyhorses I love to beat—likely familiar to longtime readers—is that percussionists often make the most interesting composers: Steve Reich, Egisto Macchi, Iannis Xenakis, Edgar Varése, John Cage, Lou Harrison, Karlheinz Stockhausen, Art Blakey, Max Roach, Paul Motian,
Vladislav Delay Quintet ~ vd5
One of my hobbyhorses I love to beat—likely familiar to longtime readers—is that percussionists often make the most interesting composers: Steve Reich, Egisto Macchi, Iannis Xenakis, Edgar Varése, John Cage, Lou Harrison, Karlheinz Stockhausen, Art Blakey, Max Roach, Paul Motian,
Музична Шкатулка [Muzychna Shkatulka] ~ Donbas in Memoriam
“The silence of the Donetsk steppe is deceptive. Amid complete stillness, you begin to hear a powerful symphony rising from deep beneath the earth.” One should be careful not to romanticise the Donbas. It has never been an easy place
Музична Шкатулка [Muzychna Shkatulka] ~ Donbas in Memoriam
“The silence of the Donetsk steppe is deceptive. Amid complete stillness, you begin to hear a powerful symphony rising from deep beneath the earth.” One should be careful not to romanticise the Donbas. It has never been an easy place
Maryam Rahmani & David Esser ~ Santur & Kamancheh for Electronics
It would be easy to describe Santur & Kamancheh for Electronics as an encounter between Iranian classical instruments and electroacoustic music. Fortunately, that is not what this album is about. Rather than treating tradition and experimentation as opposing worlds, Maryam
Maryam Rahmani & David Esser ~ Santur & Kamancheh for Electronics
It would be easy to describe Santur & Kamancheh for Electronics as an encounter between Iranian classical instruments and electroacoustic music. Fortunately, that is not what this album is about. Rather than treating tradition and experimentation as opposing worlds, Maryam
Sarah Davachi ~ The Will of Tongues
Sarah Davachi has topped our year-end chart twice, in 2018 and 2022 ~ sonically and mathematically, this may be her year yet again. Ambitious, immersive and enveloping, The Will of Tongues seems like the natural successor to Two Sisters, despite the fact that
Sarah Davachi ~ The Will of Tongues
Sarah Davachi has topped our year-end chart twice, in 2018 and 2022 ~ sonically and mathematically, this may be her year yet again. Ambitious, immersive and enveloping, The Will of Tongues seems like the natural successor to Two Sisters, despite the fact that
Alessandro Ciccarelli / Milena Punzi Anfossi ~ Improvisations for the Land
Improvisations for the Land proceeds with unusual patience. Alessandro Ciccarelli and Milena Punzi Anfossi never seem in a hurry to introduce new material. Instead, they linger over individual sounds, allowing them to exhaust their possibilities before searching for another direction.
Alessandro Ciccarelli / Milena Punzi Anfossi ~ Improvisations for the Land
Improvisations for the Land proceeds with unusual patience. Alessandro Ciccarelli and Milena Punzi Anfossi never seem in a hurry to introduce new material. Instead, they linger over individual sounds, allowing them to exhaust their possibilities before searching for another direction.
fold/interval ~ S/T
Across eight untitled pieces, fold/interval develops a musical language in which guitar dyads, granular electronics, filtered resonances and microscopic digital artefacts coexist within carefully articulated sonic environments. By directing attention towards the behaviour of sound itself, its texture, spectral balance
fold/interval ~ S/T
Across eight untitled pieces, fold/interval develops a musical language in which guitar dyads, granular electronics, filtered resonances and microscopic digital artefacts coexist within carefully articulated sonic environments. By directing attention towards the behaviour of sound itself, its texture, spectral balance
a closer listen 