If a picture is worth a thousand words, a handful of images from NewMusicBox in 2008 seemed like great way to illustrate the year that was.
There were so many new and shiny ways to share our inner monologue in 2007. In honor the information acceleration that marked the year, let’s take a deeper look at just a few mile markers.
A chair is a terrible thing to waste, and in 2006 any and all vacancies were weighing heavily on our minds. Venue was a central variable in the new equations, but long-term solutions meant more than just locating a cooler landlord with a liquor license.
If 2004 had a genre-busting vibe, by 2005 we were embracing friends old and new as barriers cleared. The questions at the intersection of music and digital delivery, however, were getting much more complex as the novelty of what we could do careened into what music was worth and how we were going to pay for it.
With all the serious reflection that’s been going on around here of late, it seemed like it was time to pop some popcorn and re-watch a few of the mini artist documentaries NewMusicBox has produced.
Sure, Mark Zuckerberg and pals launched Facebook in 2004, but NewMusicBox was already cruising into its 5th anniversary by that point. For the traditionalists in the house, the appropriate gift is wood, which we needed because the year was rife with arguments over genre fence lines.
May 1 marks NewMusicBox’s 15th anniversary! To celebrate the occasion, we decided to stop looking forward toward new music for a moment and instead consider the lessons of what we’ve heard so far.
Composer Dave Malloy took NYC musical theater by storm with his Natasha, Pierre & The Great Comet of 1812, but his path to Off-Broadway success began in San Francisco’s experimental theater community—and he’s holding on tightly to that non-traditional approach.
For as much as it stirs the pot when a “serious music” review mentions the soloist’s hem line, it turns out things get even more heated when pop goes under the cold lens of the theoretical magnifying glass.
The Belgian/Dutch electric guitar quartet Zwerm presents a fascinating collection of one-page pieces by American composers that rely on everything from more-or-less traditional notation to what one might characterize as “Marvel comic super heroes battle a graphic score.”