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.”
A practicing Mormon who is completely attuned to contemporary culture (everything from Thomas Pynchon to videogames and recent pop trends), Steven Ricks creates latter day synchronisms containing some of the most thought-provoking music written this decade.
There’s a certain set of commonalities to abstract yet evocative music that encourages listeners to identify in a deeply emotional and visceral way, and Grouper’s music has these qualities in spades.
There’s a steady stream of sound running through Lukas Ligeti’s head, and this constant state of mental invention keeps him on his creative toes.
The music of Keeril Makan contains multitudes: pulsating rhythmic gestures, noise and abstraction, beauteous slow-moving harmonies, and long-breathed modal melodies.
Whether standing center stage under the spotlights or sitting just across a table while chatting over coffee, American bass baritone Eric Owens only has to utter a few lines to have his audience completely entranced.
Robert Dick is a “musician who happens to play the flute,” with full complementary skills in composition and improvisation.