The Genre of Morgan-Paige Melbourne
NOTES FROM THE HAPPY PLACE
Morgan-Paige Melbourne was a child prodigy who started playing piano at three and singing and composing shortly afterwards. Soon she was winning piano competitions, and at sixteen she had her [...]
SPACING OUT
Asterisms, Matthew Cardinal’s debut solo album, creates audial desire paths, not necessarily conjuring anything concrete in my mind’s eye but moving like a current—or a river [...]
Trase Pa: Choreographing the Soundworld of David Bontemps’s Traces
In most cultures there has always been a synergetic interplay between music and dance—one informing and amplifying the other. Music exemplifies the physicality and rhythmicity that exists in [...]
AN EVOLVING ECOSYSTEM OF SOUNDS AND WORDS
The final issue of 2020 is is dedicated to the art of conversation . . . in music and about music. Unable to practice, perform, or listen to music together in person in a room,[...]
DEBBY FRIDAY’S ENERGY POTENTIAL
SYNCRETIC PUNK MUSIC
Across the first few minutes of Bare Bones, the short-film debut by Vancouver artist Debby Friday, a growing, skittering sound unsettles an otherwise pastoral[...]
The Glittery World of Olivia Shortt
A SAFE PLACE TO PLAY
Olivia Shortt may not be a household name, but anyone who’s caught one of their eccentric stage performances—either solo or in avant-garde ensembles—has probably not forgotten[...]
Araz Salek, Inquisitive Traditionalist
The adage about needing to learn the rules before breaking them is a finger-wag directed at young, ambitious artists, cautioning them not to stray from convention[...]
Marc Sabat and the Harmonic Space Orchestra. Gioseffo Zarlino.
Sacred Realism, sr010.
Angelica Sanchez & Marilyn Crispell. How To Turn The Moon.
Pyroclastic Records, PR 10.
Sarah Davachi. Cantus, Descant. Late Music, LMICD.
The Eternal Chord. Mutatis Mutandis. Touch, Spire 7.1.
Olivier Alary and Johannes Malfatti. u,i.
130701 / Fat Cat Records, LP 13-42.