Marielle Jakobsons and Agnes Szelag exist concurrently as string players, computer programmers, and Eastern European dronemongers. Their duo Myrmyr is the result of this consanguinity.

Bloland’s pieces are like Italo Calvino’s Invisible Cities: they share many attributes and loose categorizations, but are superficially quite different from one another.

by Trevor Hunter
The legendary trumpeter releases a two-disc set of new pieces on Firehouse 12. In short: this is one of the best CDs of the year.

By Trevor Hunter
If you’ve ever seen an episode of The Venture Bros., you’ve probably noticed how good JG Thirlwell’s music is.

In the context of John Wiese’s previous works, Circle Snare might be a bit more on the tame side, although it’s still experienced like a punch in ear.

Whether as a solo artist or a member of Battles, Tyondai Braxton has spent his career creating thick, multi-layered sounds with minimal means; but on his newest album Central Market, he ups the ante with his new backing band—an orchestra.
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Roberto Carlos Lange has one of those quintessentially American stories, at least for a certain segment of the population. As the son of Ecuadorian immigrants and a native of southern Florida, he and his music are clearly informed by his heritage, but would it sound anything like this without its incubation in an American cocoon?

Chris McIntyre’s work within the field helps codify a disparate mass into this thing that we call “the new music community”.

Michael Jackson had a charisma that compelled even the most cynical sots to get off their asses and dance.

But past the The Listen’s straightforward concept of thinking and writing about nine different pieces of music, what authors Christopher Jon Honett and Peter Gilbert are really engaging in here is a new type of criticism—and it’s actually kind of subversive.