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.”
It’s always exciting to find a “new” favorite piece of music or music maker, but digging deeper into a known artist’s catalog offers its own myriad rewards. This week we apply that to new releases from Chris Campbell, David T. Little, and Aaron Irwin.
Music makers must place a high priority on and devote precious resources to being effectively present in this general music marketplace—to being where music fans are, so that those who are interested in what’s available can find and enjoy it.
In the two audio/visual compositions by Ingram Marshall (composer) and Jim Bengston (photographer) included on a recent surround-sound DVD release from Starkland, the artists offer an especially effective marriage of these two realms. Taken together, they arrive like a series of postcards relaying vivid, complex impressions of places—perhaps sent by residents now long gone.