An orbit entails a fine balance between two objects—one trying to pull in another that in turn is trying to escape that pull with forward motion. Through the tension between these invisible opposing forces an equilibrium is struck.
The play of invisible forces between two orbiting bodies provides the conceptual background for José Guillén’s Órbitas, a concise collection of six electronic pieces. Each composition is made of a base recording to which a second track is improvised and overlaid. The layered drones, chords and tones approach and recede from each other, seemingly moving in and out of proximity; this, combined with the rising and falling dynamics, evokes changes in an orbiting body’s altitude. Guillén’s choices of sounds and textures reflect the workings of a subtle sensibility.
NPR reviews Tomeka Reid’s new album.
The latest issue of The Wire features Christian Vander of Magma
Maya Beiser in NY is reviewed.
Eyvind Kang has left Seattle to teach at the California Institute of the Arts.
Michael Gordon’s Rushes will premiere in NY this weekend.
The Medium has an article of the overall devaluation of music in society.
October 16, 2015
Experiments In Opera: The Travel Agency Is On Fire performed by The Anagram Ensemble, The Stone
Nathaniel Adams Sarah Bernstein Jason Cady Brian Chase Pauline Kim Harris James Ilgenfritz Michael Douglas Jones Amirtha Kidambi Nathan Koci Charlie Looker James Moore Megan Schubert Aaron Siegel Jonathan Singer
October 13, 2015
Malcolm Goldstein Solo, ISSUE Project Room
October 12, 2015
The Ghost, 65Fen
Connor Baker Michael Foster Henry Fraser
October 12, 2015
Jaimie Branch, Paul Giallorenzo, Anton Hatwich, Wolfgang Reisinger, 65Fen
Jaimie Branch Paul Giallorenzo Anton Hatwich Wolfgang Reisinger
Source: ROOM40, newish material:
Janek Schaefer + DJ Olive + Lawrence English – Three By Three By Three
Sustainer – Radiolas
Norman Westberg – 13
Rafael Anton Irisarri – A Fragile Geography
Tim Hecker – Norberg/Apondalifa LP
Erik Griswold – Pain Avoidance Machine
Source: The New York Times.
Composers often highlight the strengths of particular soloists or ensembles. Saturday’s lineup, part of the Sonic Festival and directed by Brad Wells, fully exploited the ability of these versatile singers, who have studied Inuit throat singing, yodeling, belting and traditions from countries including Georgia, Korea and India. A polyphonic Sardinian folk style based on overtone singing (when one person sings two notes at the same time) inspired Missy Mazzoli’s joyous, raucous “Vesper Sparrow.” During one section, the soprano voices soared in a long line over the clipped notes that swelled and ebbed in the lower voices.