Category: score

This is a nice way to finish up the day.

Masaya Ozaki is a New York/Iceland-based composer born in Niigata, Japan. His work examines the idea of space as a transient entity, the subtleties behind small moments, the sensitivity of the ephemera, and the future of sound in an exceedingly materialistic world. He often finds inspiration in nature, the fragility of human interactions, and the momentums behind them. Masaya’s artwork materializes as field recordings and compositions for ensembles, film, dance, visual, and experimental arts.
‘’This Album is a reflection of my current life in Iceland…. Where does the self begin and where does it end ? ‘’

Thank god for Pool Of Light and a bit of peace.

In their newest release, TOC weave a tapestry of ambient melodies and minimalist compositions, inviting audiences to embark on a transformative auditory voyage. Drawing reality surrounding them and the enigmatic depths of the human experience, their music transcends boundaries, evoking emotions both profound and ephemeral.

The title reflects a theme of dreams, ideas, fantasies, goals, and potential paths that exist somewhere but have not, for whatever reasons, materialized into this reality. They instead are contained, swirling and simmering. They must exist, if not tangibly here, then elsewhere. I picture them like glass orbs filled with gaseous starry substances that are sitting high up on some wizard goddess’s shelf in one of the worlds that overlays ours.

Ketjak: The Ramayana Monkey Chant

“Performed by more than 200 men seated in tight concentric circles around a small central space reserved for the chief protagonists,” the ketjak (loosely called “Monkey Chant”) was first recorded in Bali by David Lewiston and released by Nonesuch Records in 1969. As a spectacular and alternative performance mode, it has had a germinal influence on western performance and poetics since then.

I thought of this just before bed last night, and went to seek it out again. Thankfully, it’s still there. I once knew someone who had participated in a ketjak, and she told me it was among the most joyful musical experiences of her life. It’s an amazing sound.

Deep dark blizzardscapes to rumble through the night.

In the far north, whispers of a bygone civilization linger in the crisp air. Intriguing clues fuel speculation: ancient maps marked with cities that seem to have vanished, and weathered remnants of massive stone structures scattered across the frozen landscape.
These structures, with their rough, geometric shapes, stand as silent witnesses to a forgotten past. But the most compelling evidence comes from the stories passed down through generations by the indigenous people. They speak of a time when unknown travelers from the north walked these lands, leaving only echoes in the legends they carried…

This is, as they say, a dark ride.

I love Phurpa. Go on. You know you want to.

Tom Service presents the best in new music performance, including a BBC commission from composer Lisa Illean performed by the BBC Scottish Symphony Orchestra, two pieces from a recent concert by the Ligeti Quartet and Birmingham ElectroAcoustic Sound Theatre, and more from Another Sky, a festival showcasing experimental music from Southwest Asia and North Africa, curated by Sam Salem and staged at London’s Cafe Oto. Plus we hear the inspirations of bassist and composer Ruth Goller, whose new album Skyllumina was released last month.

Initiated at the beginning of the year 2022, OLOMUHD is a shared vision bringing together multi-instrumentalists Samuel Vaney (Cortez, Muhd, Fargue) and long time collaborator Loïc Grobety (OLO, Convulsif). Sharing a common passion for abrasive textures, deconstructed rhythms, enveloping and dense layers, this album, presented as a single track, is a distinct entity, an ageless and lush exploration, at times contemplative and airy, at times impetuous and massive. It is the result of a thoughtful yet instinctive composition process.