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.
A chat with British-born, New York-based composer Anna Clyne about musical life on both sides of the pond, the unique places she finds her electronic sounds, and how writing for the orchestra is not so different from writing for the studio.
Deeply influenced by Asian and Middle Eastern timbres and acting styles, Seattle-based composer Garrett Fisher has created nearly a dozen mixed-media stage shows which integrate his own myriad influences along with those of his many collaborators.
Chris Tignor stops by to talk about his electronic chamber ensemble’s new album, Nor’easter, just out on New Albion.
Composer John Morton has taken the timbre of the plucked metal tines of a music box and—by juxtaposing them, electronically processing them, and physically altering them—discovered a very personal vernacular.