Here is where I post, at a frequency of about once a week, a list of the new music that has caught my attention that week. All of the releases listed below I’ve heard for the first time this week and come recommended.
Tigersmilk (Mazurek / Roebke / van der Schyff) – Android Love Cry (2007)
Tigersmilk (Mazurek / Roebke / van der Schyff) – Tales from the Bottle (2005)
The Foot Job Band – Pornojazz (2009)
White Hills – H-p1 (2011)
Radian – Chimeric (2009)
Wordless Music, the concert series run by Ronen Givony when he is not overseeing the classical and new-music programming at Le Poisson Rouge, is devoted to showing fans of indie rock and contemporary classical music that the two genres have a common appeal. That argument no longer requires special pleading, partly because Mr. Givony’s thoughtful juxtapositions have made the point so persuasively but also because so many young composers (and some of their elders) draw freely on both their classical and pop antecedents.
ISSUE Project Room is proud to host the third annual Darmstadt Institute, a month long festival of new music and ideas representing a wide spectrum of experimental practices by its tradition’s most compelling practitioners. Called “a provacative tweak for fans and foes alike,” (The New York Times) and “extraordinary, leaving powerful, lasting impressions that mock the concept of taste,” (George Grella), the Institute celebrates its third year through the month of June. This year’s highlights include: the first New York performances of music-theater visionary John Moran [6/24 & 6/25] (The Manson Family opera, Matthew in the School of Life) since his move to Thailand in 2008; a celebration of octogenaraian electronic composer Larry Austin [6/11]; a rare performance-lecture by DJ-producer and outspoken transgender artist Terry Thaemlitz [6/14]; and an evening with David Borden’s pioneering electronic ensemble Mother Mallard’s Portable Masterpiece Company [6/29].
The main focus of Darmstadt Institute’s programming is New York’s cutting-edge ensembles, playing a mixture of essential works from the avant-garde canon and the now-generation of composers: loadbang will perform Alvin Lucier’s Queen of the South [6/2]; Artist-in-Residence Nate Wooley [6/18] and the MIVOS string quartet will premiere a new work by Yugoslavian-born composer Bojan Vuletic; Red Light New Music will execute an evening of mobile forms—Earle Brown, Bruno Maderna—in an evening including up-and-coming composer Mario Diaz de Leon [6/16]; and The DownTown Ensemble [6/23] will interpret sound-text works by Robert Ashley, Jackson Mac Low, and others. In addition, Darmstadt energizes the recital format with concerts by International Contemporary Ensemble’s rock-star flutist Claire Chase and bassoonist Rebekah Heller [6/22]; Gaudeamus Prize winning composer and organist Jacob Adler [6/9] with the music of Tom Johnson and Philip Glass; inimitable improvisor, pianist Thollem McDonas [6/3]; and Dublin-based composer, recent Wire magazine cover girl, and Internationales MusikInstitut Darmstadt faculty member Jennifer Walshe [7/1] to close out the festival. Darmstadt is also pleased to announce a partnership with Make Music New York to present Louis Andriessen’s magnificent and hard-edged Hoketus, performed by the ensemble Yarn/Wire [6/21] on the façade of the New York Stock Exchange Building.