John Bence Turns to His ‘Archangels’ for Detoxification
John Bence’s Archangels has got to be one of the quietest new albums. He’s conjured a storm’s eye, making it a fascinating aesthetic contradiction.
John Bence’s Archangels has got to be one of the quietest new albums. He’s conjured a storm’s eye, making it a fascinating aesthetic contradiction.
Colombian-American soprano Stephanie Lamprea brings a spectacular amount of vocal technique to a challenging, unique, and weirdly playful piece of music.
Composer Anne H. Goldberg-Baldwin tackles 15 contemporary pieces for solo piano on her deeply felt and surprisingly varied album, Permutations.
Longtime Jim Jarmusch collaborator Jozef Van Wissem turns his attention to another film soundtrack with Nosferatu, which redefines the lute.
Battle Trance’s Green of Winter goes further down the rabbit hole of abstraction, minimalism, and impressionism while testing the limits of the saxophone.
Beethoven’s symphonies remain open to reinterpretation, as Yannick Nézet-Séguin and the Chamber Orchestra of Europe demonstrate.
Taking inspiration from Mussorgsky’s Pictures at an Exhibition, Vadim Neselovskyi takes us on a guided tour through the city of his childhood, leaving a bittersweet impression.
Sampling recordings over a century old, Egyptian composer Nancy Mounir delivers an album where the past and present converse to help write the future.
11 5 18 2 5 18 makes it sound like Yann Tiersen has been dabbling in deeply abstract instrumental synthesizer mood music for decades. Yes, he pulls it off.
Peter Manning Robinson’s Celestial Candy is an album unlike any other. It takes one of Western music’s oldest instruments and gives it an intensely new twist.
Experimentalist Lia Kohl thrives on the spirit of collaboration, but her striking new album shows a propensity for creating compelling art in a solo environment.
Anthony Coleman and Brian Chase’s Arcades is a celebration of sound, sound reacting to sound, and the effect of two musicians constantly upping the ante.