TAKAAT ~ Is Noise, Vol. 3
By the third instalment of their Is Noise series, TAKAAT [pronounced tuh-cot and meaning “noise” in the Tuareg language Tamashek] have moved further from the raw collision of Tuareg guitar and punk that initially defined the project. The trio has
TAKAAT ~ Is Noise, Vol. 3
By the third instalment of their Is Noise series, TAKAAT [pronounced tuh-cot and meaning “noise” in the Tuareg language Tamashek] have moved further from the raw collision of Tuareg guitar and punk that initially defined the project. The trio has
Giorgi Koberidze ~ Crude Walnut Taste
Listening to Crude Walnut Taste, it is tempting to focus on Giorgi Koberidze‘s compositional rigour: the electroacoustic transformations, the dialogue with Western classical forms, the microscopic attention paid to the behaviour of sound. Those elements are certainly there, but they
Giorgi Koberidze ~ Crude Walnut Taste
Listening to Crude Walnut Taste, it is tempting to focus on Giorgi Koberidze‘s compositional rigour: the electroacoustic transformations, the dialogue with Western classical forms, the microscopic attention paid to the behaviour of sound. Those elements are certainly there, but they
Yara Mekawei and Amir Rezk ~ 33
33 takes the traditional age of Christ at his death as the axis of a twelve-part electroacoustic cycle concerned with creation, incarnation, suffering, death and renewal. Yara Mekawei and Amir Rezk draw on biblical passages, Coptic Orthodox liturgy and Arabic
Yara Mekawei and Amir Rezk ~ 33
33 takes the traditional age of Christ at his death as the axis of a twelve-part electroacoustic cycle concerned with creation, incarnation, suffering, death and renewal. Yara Mekawei and Amir Rezk draw on biblical passages, Coptic Orthodox liturgy and Arabic
Arshan Najafi ~ Zenosyne
Arshan Najafi‘s Zenosyne takes its title from John Koenig’s neologism describing the unsettling sensation that time seems to accelerate as we grow older. The album focuses on the paradox behind that sensation. As Najafi explains in the accompanying interview, the
Arshan Najafi ~ Zenosyne
Arshan Najafi‘s Zenosyne takes its title from John Koenig’s neologism describing the unsettling sensation that time seems to accelerate as we grow older. The album focuses on the paradox behind that sensation. As Najafi explains in the accompanying interview, the
Toni Geitani ~ Wahj
Across its seventeen tracks, Wahj brings together electronics, industrial textures, processed strings, Arabic vocal traditions and fractured rhythms in combinations that keep changing shape. Individual elements remain recognisable without settling into familiar forms, while images of voice, disappearance, radiance and
Toni Geitani ~ Wahj
Across its seventeen tracks, Wahj brings together electronics, industrial textures, processed strings, Arabic vocal traditions and fractured rhythms in combinations that keep changing shape. Individual elements remain recognisable without settling into familiar forms, while images of voice, disappearance, radiance and
Tony Njoku ~ A World of Bodies on Fire
Tony Njoku‘s recent work has moved between open-ended instrumental composition and song. A WORLD OF BODIES ON FIRE continues this movement in a more intimate setting. Across four pieces, piano, synthesisers and space provide the foundations of the music. The
Tony Njoku ~ A World of Bodies on Fire
Tony Njoku‘s recent work has moved between open-ended instrumental composition and song. A WORLD OF BODIES ON FIRE continues this movement in a more intimate setting. Across four pieces, piano, synthesisers and space provide the foundations of the music. The
Calum Builder ~ Although Changed, I Arise the Same
A saxophonist by nature, Calum Builder couldn’t help but think of the brass instrument while salvaging old church organ pipes in Northern Denmark, regarding the organ as “another aerophone working with a different kind of breath.” Honoring the prophecy of his surname,
Calum Builder ~ Although Changed, I Arise the Same
A saxophonist by nature, Calum Builder couldn’t help but think of the brass instrument while salvaging old church organ pipes in Northern Denmark, regarding the organ as “another aerophone working with a different kind of breath.” Honoring the prophecy of his surname,
al niente ~ S/T
In musical notation, al niente means “to nothing”: a gradual fading until sound disappears. The title suits this debut by Beatrice Miniaci, Cosimo Fiaschi, Gabriele Pagliano and Luca Venitucci, a quartet whose music is shaped by subtraction. Three collective improvisations
al niente ~ S/T
In musical notation, al niente means “to nothing”: a gradual fading until sound disappears. The title suits this debut by Beatrice Miniaci, Cosimo Fiaschi, Gabriele Pagliano and Luca Venitucci, a quartet whose music is shaped by subtraction. Three collective improvisations
