Electronic
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In the 1980s, I was lucky enough to study radio documentary production with Stuart McLean as part of my journalism training. Besides being one of Canada’s great storytellers, McLean regularly pushed the radio doc format in unexpected directions. (Terribly afraid of heights, he once recorded himself climbing up into the operator booth of a skyscraper…
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Listening to Martina Bertoni’s debut long-player, it’s not difficult to imagine her embraced by classical music audiences around the world. Despite being a skilled cellist however, All the Ghosts Are Gone is more an electronic than a new classical work. It is a combination of the two, to be sure. It is also, arguably, the…
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If you’ve put any time and energy into promoting a project via email recently, you know that it’s difficult to put together a note that doesn’t look and feel like a phishing trip. In all likelihood, the recipient has never heard of you. They’re unfamiliar with the project. And you’re asking them to click on…
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Coming as it does, in the last month of this decade, Lee Yi’s remarkable new album provides us an opportunity to recognize both his talent and the larger implications of the genre of music he is a part of. Sorrow’s Self-Portrait shares a good deal in common with many of the most interesting releases produced…
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Composer Tomas Korber and Konus Quartett both have a decade and a half under the musical belts. In 2011, Konus commissioned Korber to write a concert-length work for saxophone quartet and live electronics. That invitation resulted in the well-received Musik für ein Feld, recorded in 2014. Their new collaboration is a challenging work entitled Anschluss.…
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It is not an overstatement to say that South London’s William Emmanuel Bevan is more than simply an influential artist. He is one of a small number of music makers who have defined this decade. Two LPs – his 2006 self-titled debut and Untrue a year later – along with a string of EPs have…
The Moderns 