All of the works here are impressive, but Metamorphosis of Narcissus was my favorite — it manages to be dense and ethereal at the same time… and alternates moments of intense emotionalism with sweetly but eerily lyrical passages.
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There's an uncompromising beauty to these works in “The Strange Highway” by the Iranian-born American composer, Gity Razaz. The closing “Metamorphosis of Narcissus” offers some fantastic musical storytelling. Impressive. Four stars.
A symphonic work that sounds like a lost sci-fi film soundtrack. It has the clustered, hovering awe of György Ligeti’s Atmosphères and the eerie arpeggiated angles of Hermann soundtracks like Vertigo and The Day The Earth Stood Still. It’s a hoot.
This admirably ambitious, envelope-pushing 87-piece work features electric guitars, orchestra, choir, and electronics and coalesces into various jolts of adrenaline.
Telekinesis ascends like sharp blades and stairs to madness or wide-ranging, dismay and illusory quiet, generating swirls in a closed circle of sensations.
Fans of this electronic and orchestral specialist have been waiting for the next big statement. And here it is... Tyondai Braxton in full command of his art.
Seth Colter Walls reviews our new studio album, Telekinesis: “And here it is... Tyondai Braxton in full command of his art…”
Telekinesis is a mark of Tyondai Braxton’s distinct style... it feels like a meeting of worlds-the bubbly experimental electronics Braxton brought to Battles meets the orchestral dissonance of 20th-century composers such as György Ligeti.
“The coordination between these various forces and the electronics is superb… An ambitious and imaginative piece, Telekinesis is Braxton at his best.”
Remarkable… the best kind of soundtrack: one with the power to cast whatever surroundings you find yourself in in a more interesting hue.
"Amplified by gorgeously dramatic bursts of symphony and chorus. A real gem."
Frankly, everyone involved in the production of Telekinesis should take a bow for just how magnificently produced and orchestrated it is.
“Welcome to a new edition of the Neon Jazz interview series with Jazz Saxophonist, Composer & Educator Matthew Evan Taylor.”
Matthew Evan Taylor’s The Unheard Mixtapes has reconciled his artistic identity as a classical composer focused on social justice, Black expressive culture, and experimentalism.
This is the kind of big, bold, sometimes even crazy symphonic work of which we could use a lot more, with orchestral brass and strings competing with fat synthesizers, rock drums, choral singing, and more.
On paper, the project could appear bombastic, what with the army of resources utilized, yet he somehow makes full use of said resources without the result becoming overblown.
With this collaboration between Nonesuch Records and New Amsterdam, walls of genre are broken down as sounds morph and blend throughout Spiritual America.
Brittelle’s inimitable blend of chamber pop forms a shape-shifting sonic collage: ripped edges, buzzing synthesizers, melodies that echo, morph, and transform in an instant—like a rush of memories overwhelming the senses.
Andy Stack has been even more secret-saucy… the structures he helped build under the visionary pop-classical song cycle Spiritual America.
One of the most astonishing records of 2019 has slipped under many radars, likely because it’s hard to describe, categorize, and explain.