In the liner notes of her latest recording, Almost Truths and Open Deceptions, Annie Gosfield writes of her “parallel lives” performing music with her own band and writing fully notated compositions for other musicians and ensembles. With both of those worlds represented on this recording, it seems more that her two creative worlds are deeply interconnected, influencing one another and sharing common musical elements and sources of inspiration.

There’s a tension between the different approaches to integrating classical and vernacular traditions on Boiling Point, and that’s why it’s so fascinating to hear Kenji Bunch at work with an ensemble as talented and dedicated as Alias Chamber Ensemble.

Over the years I’ve heard Gene Pritsker’s music both in symphony orchestra halls and clubs. In another era, it would not have fit comfortably in either setting but now it’s at home in both. And yet Pritsker’s chamber opera, William James’s Varieties of Religious Experience, recently released on Composers Concordance Recordings, still manages to sound unsettling to me.

Mother Falcon’s sound is born of instrumentation largely rooted in the world of classical music mixed with a healthy dose of an indie rock aesthetic. Nick Gregg and Matt Puckett to talk about the past, present, and future of the group.

Ion Sound Project is a thoroughly engaging CD from top to bottom. If you’re interested in music that is for the most part harmonically tonal and rhythmically diverse, you’re sure to find a great deal of satisfaction in the world of Jeremy Beck.

Five days after the death of colleague and friend John Cage, I produced and hosted a two-hour tribute broadcast on the New York City radio station WBAI-FM. Only a few of the many, many friends who were also close to him could be invited and the emotions of the moment were still raw. Now, all this time later, it’s hard to believe he’s no longer with us.

Reading the memoirs of Ernst Krenek while listening to a new boxed set of his five symphonies—recorded over the past two decades by the North German Radio Philharmonic Hanover and released in May by CPO—helps rekindle the Austrian-born American immigrant’s world of strength and beauty, revealing the tumultuous life and searing music of an unjustly overlooked composer.

Dyad is that rare musical game that owes nothing to the stagnant glut of Guitar Hero and Rock Band knock-offs—a new and decidedly high-octane way to interact with our senses, both high-tech and deeply expressive of the user experience.

Taken as a whole, the work included on From Japan may stand as a document to Carl’s multifaceted exploration of the intersection between American and Japanese musical culture. In much broader and perhaps simpler terms, however, it is evidence of how careful a listener Robert Carl is, and how generously he invites us all to listen with him.

Questions of “real” or “fake” are dialectically put aside on the Boston Modern Orchestra Project’s new recording of music by Anthony De Ritis, music in which, in a way, everything is real and fake all at the same time. Or, more precisely: this is music which is constantly, enthusiastically directing your attention to the materials out of which it’s fashioned.