Sounds Heard: Graham Reynolds—The Difference Engine

Austin, Texas-based composer Graham Reynolds’s The Difference Engine: A Triple Concerto does not waste notes getting your attention and it keeps a firm hold on it. His language is evocative and direct: It is as if Reynolds is delivering to your ear a mysterious and ambiguous tale in sound—wildly open to interpretation, of course, but it’s a page-turner nonetheless.

Sounds Heard: Mike Vernusky—Music for Film and Electro-Theatre

Sometimes “soundtrack” CDs can invite a degree of skepticism, in that often the music composed for film or video does not stand alone as effectively as when paired with its accompanying medium. However, the second release from Austin, Texas-based composer and sound artist Mike Vernusky is an example of such a format that does not suffer from being presented as audio alone. This is a collection of music composed both for film and “electro-theatre,” defined as music for live actors with electronic sound, which creates a vivid radio play-like journey through sculptural forests of sound.

Sounds Heard: Dickie Landry—Fifteen Saxophones

One-time Philip Glass Ensemble saxophonist Dickie Landry’s own music from the 1970s, which is finally available again in a re-issue both on CD and LP, is a fascinating amalgam of minimalism, free jazz, and psychedelia that shows the omnivorousness of the music of Downtown Manhattan in its heyday.

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