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“Subtle tosses of the voice suggest that even through such emotional turmoil, all might not be lost. Percussive rhythms then slowly build to a frenzy. Even amid the deepest blues, these performances seem to say that there is always a bright side. All one has to do is dance.”
Read More“Stewart buttons the album with one of his own compositions. We Who Seek is a five-minute ear-tease combining rap and electronics with samples from Perry’s psalm setting.”
Read More“…American Counterpoints is accordingly bittersweet, celebrating in Perry’s birth-centenary year the prowess of both composers in interweaving quasi-tonal lines and rich textures to create distinctive and highly inventive, abstract modernist music.”
Read More“Kinds of ~Nois is issued under the quartet's name, but it's as much a Kinds of Kings project and a collaboration that flatters both parties.”
Read More“On this splendid recording, violinist Curtis Stewart and Experiential Orchestra Music Director James Blachly make compelling cases on behalf of the composers and the enduring value of the work they produced.”
Read More“It is a fine example of the sober yet seething angularity of its era, leavened with warm strings and hints of Coplandesque expansiveness.”
Read More“it's a disc of musical discoveries, conveyed in compelling performances and warm, close sound.”
Read More“~Nois’s rich ensemble tone and dexterous rhythms serve the music quite well. One can readily hear that a lot of preparation was put into Kinds of ~Nois, as the performances are note-perfect and assuredly interpreted.”
Read More“There aren’t too many albums, however good they might be, that make me stop everything all at once to listen to a second time. This is that album.”
Read More“American Counterpoints shines a much-deserved light on two important, and thankfully rediscovered, figures in American classical music.”
Read More“To play Beethoven’s string quartets on saxophones sounds like a gimmick, but the Sinta Quartet approaches its task with seriousness, and the results do not have the negative whiff of ironic novelty.”
Read More“Re-contextualizing 12th-century texts and melodies into a package of psychedelic synth-pop could seem a bit of a stretch. Alkemie’s latest project somehow makes it seem perfectly natural.”
Read More“…suggested that beauty of sound – reflecting the world’s physical beauty – can exist within a harsh cultural moment, as expressed in aggressive chords and semiquavers.”
Read More“Like all Sybarite5 pieces, the more you hear it, the deeper it gets. A richly satisfying album.”
Read More“Unpredictable. Musically elegant. Soulful. Revelatory. Technically impeccable.”
Read More“The selections span more than a century, but all are marked by the same spirit of inquisitiveness and discovery that make it impossible to look away – or to leave bored.”
Read More“Their performances give a richness and depth that is uniquely satisfying by virtue of this being all woodwind instruments instead of string instruments.”
Read More“A mix of arrangements, improvisations, and new commissions, the disc is as unpredictable as it is refreshing: an invigorating blend of diverse repertoire, top-notch musicianship, virtuosity, and surprisingly reflective turns.”
Read More"In all three works, the Veronas (violinists Jonathan Ong and Dorothy Ro, violins Abigail Rojansky, and cellist Jonathan Dormand) play with gusto. Even at the most frenetic moments, like the tortured climax of Star-Crossed Signals or the finale of the Gilbertson, the performances blaze with confidence and direction. And the telltale quiet spots — such as the pristine dovetailing in the Esmail or the songful lines in the Adolphe — showcase an ensemble with exceptional finesse and a thoroughgoing understanding of this engaging fare”
Read More“They did a wonderful job of presenting the music by explaining the intention behind it before starting the songs, which made it easier to follow the musical narratives across crescendos, highs and lows, frenzied excitement and bitter sorrow … The songs were so skillfully presented, diverse in type and engagingly played that I was gripped from beginning to end, something hard to do with only instrumentals.”
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