Chris Kennedy
Drip Audio. Violinist Jesse Zubot’s Drip Audio label has spent the last seven years releasing over thirty strongly produced records that have served as important documents of the improvised music scene in Vancouver. A dip into the back catalogue reveals a wildly interconnected scene—[...] Read more
Nick Storring. Rife. Remarkably, the sound for Artifacts, the first of three compositions that make up Rife, is entirely sourced from a small, broken violin that was a childhood gift to Storring from his grandmother. From these initial sound samples, Storring builds a piece of music that is incredibly engaging[...] Read more
Aki Onda. Diary and First Thought Best Thought. Cassette tapes have been one of the more unlikely sound devices to have a resurgence in popularity these last few years. Vinyl can at least by claim to high sound fidelity, but what’s the motive for making space on the shelf for a new wave of cassette releases—let alone for[...] Read more
NINA. Place Where the Trees Stand in the Water. This ten-inch record documents a live performance of NINA—Chris Cogburn, Bonnie Jones, and Liz Tonne—at the 2009 Fusebox Festival in Austin, Texas. The trio explores their converging timbres—Cogburn on bowed and scraped percussion, Jones on electronics, and Tonne on voice[...] Read more
Toronto’s Standard Form. Standard Form is a Toronto-based print shop that has been putting out books and music for the past five years, averaging a couple of releases a year that range from avant jazz to post rock, from the likes of Feuermusik, Canaille, and I Can Put My Arm Back On You Can’t. This last year[...] Read more
John Wall and Alex Rodgers. Work 2006–2011. John Wall has been one of the most aggressive of sonic plunderers, shattering recorded electroacoustic improvisations and putting them back as mutated humpty-dumptys in intricate and lively collages. His series of CDs on his own imprint Utterpsalm are essential documents of this meticulous[...] Read more
Tim Hecker. Ravedeath, 1972. Tim Hecker has been a prominent figure in the ambient electronic genre ever since his first recordings were released ten years ago by the Montreal label Alien8 Recordings. In past recordings, Hecker’s work has wrapped his digital manipulations into a fully organic sound.[...] Read more
Keiji Haino. Un autre chemin vers l’Ultime. Keiji Haino is a master instrumentalist—particularly of loud instruments—so this album featuring his unamplified voice comes as a bit of a surprise. Recorded by sound artist Eric Cordier, these recordings find Haino improvising in a small church and in a quarry in Normandy[...] Read more
Hammeriver. Hammeriver is an ensemble brought together by Australian harpist Clare Cooper to pay tribute to the lasting influence of Alice Coltrane Turiyasangitananda. It is an interesting collection of players for this type of project, incorporating Austrian improvisers Christof Kurzmann and Werner[...] Read more
Franya J. Berkman. Monument Eternal: The Music of Alice Coltrane. In the five years before her death in 2007, Alice Coltrane was subject to a considerable critical reappraisal. The release of her back catalogue on CD and the live performances she gave with her son Ravi Coltrane in support of her 2003 album Translinear Light seemed to arrive at just the[...] Read more
Alvin Lucier. Almost New York. Although Alvin Lucier is known primarily for his work with waveforms and spatial acoustics, Almost New York features compositions written for conventional musical instruments. In these pieces, he adapts some of his explorations in reverberation, providing a different way of approaching his[...] Read more
Dafeldecker / Kurzmann / Tilbury / Wishart. Violet 2009. This is the third in a long-standing series of collaborations initiated by Austrian musicians Werner Dafeldecker (electronics and bass) and Christof Kurzmann (electronics and clarinet), which see them teaming up with a small group of other improvisers. This time, the two musicians perform a[...] Read more
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