London-based composer Christian Drew on Laurence Crane, shoegaze, and composing from unreliable memory

beyond genre
beyond genre
London-based composer Christian Drew on Laurence Crane, shoegaze, and composing from unreliable memory
British composer Florence Anna Maunders on hyper-genre, writing for performers, main character syndrome, and the “post-experimental” age
Boston/NYC-based composer Victoria Cheah on sine tones, repetition, intimacy, and body language in music
British composer Anna Disley-Simpson on opera, stylised reality, collage notation, and crafting vocal resonance
Scottish-Australian composer Aidan Teplitzky on class identity, familiarity, thriftiness, and creating working class music
South African composer Lise Morrison on debut album ‘No grief without joy’, nonlinear development, “super-instruments”, and quoting David Bowie
Composer Kian Ravaei on heritage, tradition, and creating musical mosaics channeling Bach chorales, Iranian classical music, and EDM production
Composer Sylvia Lim on unstable sounds, the physicality of instruments, and making fewer decisions
British composer Marcus Rock on synesthesia, active listening, internal and external composition processes, and George Lewis
Hong Kong-born composer and theatre-maker Carla Ng on empathy, burnout, performer and audience agency, and being a dramaturgical “fixer”
Welsh composer and jazz vocalist Claire Victoria Roberts on musical inconsistency, schmaltzy sound worlds, and moving to Barcelona
Franco-British composer Finbar Hosie on amplification, juxtaposition, sound gesture, and creating “driftwood music”
Ivan Vukosavljević’s album ‘The Burning’ explores new approaches to ensemble writing, combining deconstructed guitars, shared vocabulary, and sacred drones
Composer Lucy Armstrong on Stephen Sondheim, capturing drama, and making text sing
Scottish-Filipino composer Kevin Leomo on Wandelweiser, Glasgow’s experimental music scene, equitable collaboration, and radical creative practice
Composer Robin Fiedler on unbalanced ensembles, sentimentalism, organic processes, and the “everyday alien”
Composer and guitarist James M. Creed on indeterminacy, études, clowning, James Tenney, and Alvin Lucier
Scottish composer Gillian Walker on modular composition, “total theatre”, and the aesthetics of performance
Chinese composer Zhenyan Li on noh theatre, Beijing Opera, political humour, and writing “sarcastic” music
Croatian composer Veronika Reutz Drobnic on 3D notation, instrumental augmentation, Japanese folk traditions, and Jennifer Walshe