London-based composer Christian Drew on Laurence Crane, shoegaze, and composing from unreliable memory
Anna Disley-Simpson
British composer Anna Disley-Simpson on opera, stylised reality, collage notation, and crafting vocal resonance
Carla Ng
Hong Kong-born composer and theatre-maker Carla Ng on empathy, burnout, performer and audience agency, and being a dramaturgical “fixer”
James M. Creed
Composer and guitarist James M. Creed on indeterminacy, études, clowning, James Tenney, and Alvin Lucier
Gillian Walker
Scottish composer Gillian Walker on modular composition, “total theatre”, and the aesthetics of performance
Veronika Reutz Drobnic
Croatian composer Veronika Reutz Drobnic on 3D notation, instrumental augmentation, Japanese folk traditions, and Jennifer Walshe
Fraz Ireland
Composer and conceptual artist Fraz Ireland on unconventional programme notes, the concert experience, notation as invitation, and MS Paint
anthem: a celebration and dissection of liveness
Birmingham Record Company writes about their compilation highlighting composers Emily Abdy, Andy Ingamells, Ryan Latimer, Genevieve Murphy, and Corey Mwamba
The Calderstones: cultural identity and folk history through cello and improvisation
Cellist Matt Phillips writes about his debut album exploring Liverpudlian identity, channeling druidic stones through improvisation and collaboration
Jimena Maldonado
Mexican composer-photographer Jimena Maldonado on choreography, visual frames of reference, and inspiration from travelling
Catherine Mole
Artist and composer Catherine Mole on graphic scores, Marina Abramovic, and the composer-performer interaction