Hear Harnetty talk about his discoveries in the Berea College Appalachian Sound Archives, plus full tracks from his recent release, Silent City.
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.
Steve Lehman’s synthesis of hard bop and spectralism has taken him into uncharted territory that is all his own.
Combining her own powerful voice with her arsenal of electronic gear and the talents of The Cello ChiXtet, Amy X Neuburg has put together 13 songs that, each in their own unique way, speak to “the inane and perpetually unfinished business of love and war—and New York.”
Ruby Fulton radiates a sort of “ask me anything” energy, so when the Baltimore-based composer stopped by the Counterstream studio to chat about her work, questions were fired and she unloaded the details behind some of the stories that have inspired her and the philosophies underneath the musical choices she’s made.
Chris McIntyre’s work within the field helps codify a disparate mass into this thing that we call “the new music community”.
Cenk Ergün and Jason Treuting have a history of musical familiarity that goes back to their days studying at the Eastman School of Music. Now, after a decade of collaboration, they put each other on the spot.
Whether you’re a believer in fate or not, you kind of have to think Kirsten Broberg was meant to be a composer.
These days, Angélica Negrón has settled into a way of working that allows her to reach out in many directions without losing her center of gravity, no matter what genre umbrella she happens to be standing under. “In the end, the music that I like to write is the music I want to listen to,” she says. “And it’s something that you can’t control and you can’t escape.”