Tristan Perich’s 1-Bit Symphony stands quite eloquently in contrast to the 21st century’s love affair with the endlessly copyable digital file. While CDs have been traded for the instant gratification of the easily distributed MP3, Perich has shifted the frame and managed to make the fragile plastic jewel case once again worthy of shelf space.
Ben Hackbarth, a product of UC San Diego now working at IRCAM in Paris, is a composer dealing with acoustically and electronically generated phenomena while seeking out meaningful artistic experiences in new territories.
Pitre writes music that just sounds good. The tuning schemes he uses are not the ends themselves; rather, they serve to further open up the acoustic worlds that can be elicited from the instruments, creating a rich, meditative space for listening.
You could call Shodekeh (a.k.a. Dominic Earle Shodekeh Talifero) a beatboxer or a vocal percussionist, if you want to feel a little more refined about it. But what the Baltimore-based musician seems to be more than anything is a chameleon, breathing out entire rhythm and bass tracks and blending them into a borderless range of performance situations.
“I like music that establishes a sound and lets that sound live and breathe and expand and contract and evolve and die,” says composer Richard Carrick.
While there’s certainly a lot of talk about breaking down aesthetic barriers, Ted Hearne is one of the few who really walks the walk.
Connecticut-born David Bruce has been based in England since he was six weeks old but his extremely independent-minded compositions have a great deal in common with much of the music being created here today and continues to grab attention at many of America’s most high-profile venues.
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.