What was your biggest musical challenge of 2013? What was your favorite record, or favorite thing to listen to, this year? What are you most looking forward to in 2014? Seven Chicago musicians share the best of the year that was and prepare for the challenges ahead.
Thank baby Jesus for Weirdo Records. And not just for the Monday concert series (called, unsentimentally, “The Series on Mondays”), although the December 16 installment was the occasion for this particular redemption. An unusually paltry three-person audience—Sawyer, Michael Rosenstein (another Boston-area modular synth guru), and an interloper, me—was transformed by the tight quarters into something respectable; the music made its own multitude.
Chicago-based composer Carolyn O’Brien’s path to becoming a composer wasn’t a typical one. She taught in public schools for ten years before she took her first composition lesson at 32, disappointed with the contemporary music repertoire for public school students and imagining she might create music for that medium. She’s now is a doctoral candidate at Northwestern University
This fall, Other Minds released Sarah Cahill’s recording of works that have come out of her A Sweeter Music commissioning project, developed as a response to the Iraq War. Innova released High Art, a collection of pieces that San Francisco-based percussion/electric guitar duo The Living Earth Show has been performing regularly which were written for them by a younger generation of composers than those represented on Cahill’s disc.
An exclusive new music-themed crossword created just for NewMusicBox readers. De-stress from the holiday crush and review the year that was…
Kevin Puts’s new work, How Wild the Sea, premiered in Austin by the Miro String Quartet and the University of Texas Symphony Orchestra. And Los Angeles-based composers Sepand Shahab, Colin Wambsgans, and Michael Winter battle fierce winter weather to bring their own music to a small Austin club.
This Tuesday, the Los Angeles Philharmonic finally took the leap and programmed a concert of works all by Los Angeles composers—Sean Friar, Julia Holter, Andrew McIntosh, and Andrew Norman. It was an extremely eclectic program that showcased the range and depth of talent here.
What is it with people and singing along? No really, what is it? Here, I offer four possible explanations for a phenomenon that, for anyone who celebrates live performance, doesn’t make much sense.
A Secret Rose fulfills one’s expectations of 100 electric guitars playing simultaneously in the same 45,000 square-foot room—that is, tongue-lollingly loud shredding that triggers involuntary head bobbing—but Chatham covers far more ground than that.
Put down that taco, Austinites! Whether it’s a delicate touch with nail and flesh or vicious pick scrapes run through seven stompboxes, there are whole worlds of great sounds being created by guitarists you’ve never heard of…yet.