The intense physicality that causes Peter Evans to produce such formidable spittle is backed up by his prodigious technique.
Ken Ueno is a man comfortable with a gear shift—a composer of music that thrills with its interior complexity in one case and probes the ear deeply with a simple overtone vocal line in the next. He is also as likely to pick up the inspiration for his work inside a candy store and a childhood memory as in the text of Calvino, Beckett, or Joyce.
On stage, Molly Thompson’s music comes across as honestly raw and yet sophisticatedly crafted, filled with intimate lyrics and intriguing cross-genre influences. Off stage, she’s disarmingly forthcoming—the kind of woman you could easily think of as your best friend after a 15-minute conversation. Still, her musical personality seems to draw a curtain around some more mysterious internal characters, and it keeps her audiences on their toes.
A move to Amsterdam precipitated a burst of activity from Ned McGowan, turning him into a musical polymath whose diversity of interests is perhaps his greatest asset.
Whether it’s the grandiose sweep of a Chopin etude or a defiant new piece by a little-known young composer, Jenny Lin dedicates every ounce of her musical prowess to deliver knock-’em-dead performances.
Alex Mincek’s melting pot mentality creates something very American, but also distinctly individual.
As a child growing up on an Alabama agricultural station, composer Elizabeth Brown may not have been able to envision a future life in music for herself, but she could already hear it playing in her head.
Just as we ate before microwaves and were polite before cell phones, there are those who remember made-at-home computer music before Apple invented it.
Jason Eckardt is a composer who produces scores of frighteningly complex notation; who counts Schoenberg, Coltrane, Stockhausen, Ferneyhough, and Lachenmann among his primary influences; and who got his start in music as a guitarist in a metal band.
Pianist and composer Michael Djupstrom may have been born in 1980, but don’t come to his work expecting trendy, genre-bending, “I want my MTV!” sonic pop-culture references.