Concert previews
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Anne Guthrie and Richard Kamerman (Photograph: Billy Gomberg) ErstAEU ShowcaseIssue Project Room; Sat 25 For some time now it’s been possible to labor under the impression that electroacoustic improvisation (or EAI) is exclusively available on import, primarily the domain of Japanese, German and English performers. Actually, that’s never been the case; Americans have contributed to
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<a href="http://recordings.irritablehedgehog.com/album/dennis-johnson-november-2" _mce_href="http://recordings.irritablehedgehog.com/album/dennis-johnson-november-2">Dennis Johnson: November by R. Andrew Lee</a> Pianist R. Andrew Lee, whose previous recordings for the Irritable Hedgehog label have featured illuminating performances of works by Tom Johnson, Ann Southam, William Duckworth and Jürg Frey, has just released a new album that brings to light a long-lost milestone of early minimalism: November,
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Choi Joonyong (Photograph courtesy Issue Project Room Preview: Choi Joonyong and Hong Chulki at 155 FreemanTime Out New York, Feb. 7–13, 2013 It’s not as if music didn’t exist in South Korea before 2012. Prefab acts from Seoul had been conquering the world, one market at a time, for years; Super Junior, 2NE1 and Girls’
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Live preview: 2NE1Prudential Center; Aug 17Time Out New York, Aug 16–22, 2012 How and when South Korea’s pop-music industry began to insinuate itself in the U.S. isn’t altogether clear, but mounting evidence indicates that K-pop, a polyglot sound purveyed by a swelling stream of slick, energetic boy bands and girl groups developed by entertainment megacorps
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Porcupine Tree; photograph by Diana Nitschke Interview: Steven Wilson of Porcupine TreeThe Volume blogTime Out New YorkSept. 20, 2010 Founded in England at the onset of the 1990s, Porcupine Tree was originally passed off as a "forgotten" old-school prog-rock band. But yarn-spinning ceded to singer, guitarist and bandleader Steven Wilson's knack for reconciling vintage influences
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A fruitful middle ground between period and modern styles will come into sharp focus at Lincoln Center this week when conductor Iván Fischer leads two ensembles in a complete cycle of Beethoven’s nine symphonies
Night After Night 