Demian Rudel Rey’s "Theophilus" Argentinian composer and guitarist Demian Rudel Rey has received numerous awards and honorable mentions in various national and international composition compstitions, and his pieces have been selected and programmed at prestigious festivals across Europe and the Americas.[...] Read more

Sound Notes STAFF

Joëlle Léandre For Joëlle Léandre it all begins and ends with the double bass. After playing the often unwieldy bull fiddle from the age of nine and carefully studying its intricacies, she creates with it sounds so personal that defining them as free music, new music. or anything else, is[...] Read more

Profile Ken Waxman Issue 105

Gregory Oh On the first Sunday in March 2011, at the Betty Oliphant Theatre in Toronto, Gregory Oh performed in a concert featuring the works of British composer Jonathan Harvey. Oh wore a grey-collared shirt and black pants. His Fluevog shoes were shiny black with aqua laces, which even under his[...] Read more

Featured Article Matthew Pioro Issue 110

New Age Music—The Second Wave I’m lying on the living-room floor. I’ve been like this for two hours, on my back, in the dark, headphones on. The record on the turntable is literally locked in its groove and producing a low-note drone that at times sounds like a whale’s moan or some sort of detuned,[...] Read more

Featured Article Jay Somerset Issue 107

Gil Delindro’s instruments of nature Earlier this year, an eight-foot-across circle of solid ice was hung from the ceiling of Winnipeg’s RAW: Gallery of Architecture and Design. Why would anyone in the world’s second-coldest city (after Ulan Bator, Mongolia) want that legendary cold brought indoors? The occasion was[...] Read more

Visions of sound Jonathan Bunce Issue 119

Cris Derksen enhances her sonic adventure Some musicians fall in love with an instrument at a very young age and never look back; others experiment with many different ones before they find the ideal match for their talents. Cris Derksen is one of the latter. As a child, she first wanted to play flute, then saxophone, then double[...] Read more

Featured Article Mary Dickie Issue 121

Seth A Smith’s Constant Interruption “I’ve always been a fan of silence. So, when I lost the ability to, you know, experience silence, I started looking at noise as a form of quiet in times when I needed some mental clarity,” reflects multidisciplinary artist Seth A Smith via email. Since 2019, he’s been[...] Read more

Sound Bite Andrew Patterson Issue 144

Shannon McKee's "The Copy Room" As I step into the undersized side room of the middle-school office, I want to remove my high heels. I want to kneel on the thin, brown carpet and touch my forehead to the ugly floor. I want to offer up a soft song. Because when I—a teacher’s assistant for twenty-five twelve-year[...] Read more

Sonic Geography Shannon McKee Issue 121

Carmen Braden Raises the Volume on the Subarctic “I'M JUST GOING TO TOUCH IT ON THE TOP," SAYS CARMEN BRADEN, LOOKING AT A BLACKENED PORCUPINE-LIKE LUMP OF ICE. "WHAT I THINK WILL HAPPEN: IT'S JUST GOING TO FALL APART. READY?"   It’s May 2014, and she’s talking to a camera. Her now-[...] Read more

Profile Samia Madwar Issue 126

Musicworks #128: From the Ancient to the Avant-Garde GONG PUNKS AND CULTURE BOMBS Traditional Filipino kulintang, a style of orchestral music played on a set of brass gongs, is a mesmerizing and exhilarating mixture of the ancient and the avant-garde. This authentic indigenous music has been played in the southern Philippines for centuries[...] Read more

Featured Article STAFF

Colin Stetson's Sound Story Stories in which the protagonist blossoms, finds themselves, or rediscovers their roots appear everywhere. Their ubiquity makes it awfully tempting to replicate this narrative when telling the story of a solo artist who has arrived at a uniquely focused sound world. Yet sometimes it’s more[...] Read more

Featured Article Nick Storring Issue 116