Music I'm checking out! - June 2025

Hey everyone, you've found my second blog post!

This blog (and hopefully series of blog posts) will include some of the music I've been listening to lately. A few short criteria I have for selecting pieces:

1. Genre does not matter, good music is good music!

2. I am inspired by a particular element, sound, or form of the piece

Like I said before the first edition, I am not a music critic and/or somebody who is critically analyzing these pieces. The way I talk about these works will (hopefully) be very casual. I also take no credit for any of these amazing works, and am focused on highlighting the amazing qualities of these pieces! With that being said...

"Astatine" by Paul Clift

Heeeelllooo, what a fascinating piece! It is very commonly known/understood that one of the most important elements of a piece is the very beginning of a work. Astatine by Paul Clift does an incredible job of capturing the listener from the very first note/gesture. The low C is gripping as it has so much energy and intensity with just a single pitch. The timbres of the baritone sax, accordion, and cello really punch the listener in the gut and create this very rich timbral profile. The beginning of the work also has fantastic pacing and proportion, with the exploration of timbre and the building of the gesture. I am not speaking on behalf of the composer, but I definitely sense a strong spectral influence, noticeably how the pitch goes from the C to the Bb almost 3 octaves higher. The electronics also help augment the techniques that the players are doing and fill in some of the spectral harmonies. After being attacked by the very bold and loud dynamic level from the beginning of the piece, the start of the next section contains some measures of rest. The use of these measure long (sometimes 2-measure long) rests is extremely effective and really kept me as a listener on the edge of my seat. It also allowed the composer to explore a new harmonic world and set up the next gestures in the piece. The microtonal glissando gesture contrasts strongly as we move from a singular pitch being exploited to a larger gesture that descends (contrasting a drone in the electronics). The ending of the work returns to some of the rhythmic and thematic ideas from the beginning but now the drone is in the upper register, which I think is also done very effectively. It reminds the listener of the dynamic opening of the piece while still providing that journey that takes place from the descending microtonal gesture.

Asides from the auditory result, the score looks absolutely flawless (courtesy of ScoreFollower) and the performers of Trio Saeitenwind truly did an incredible job bringing this work to life!

If I had one sentence:

"Astatine" explores the epic possibilites of intensity, timbre, and gradual transformation through the use of trio instrumentation with electronic augmentation.

"[redact]" by Nina Shekhar

"[redact]" by Nina Shekhar is another extremely powerful and touching work. It has a very clear goal/story/feeling that the composer wants to achieve and the techniques used fulfill that artistic vision well. According to the composer's program notes, the text is very simple and straight forward but throughout the work, words are redacted and reordered throughout. In a piece with so many gestures and timbral events happening, the clear text helps propel the motion and form of the work. The breathing in the electronic track sets the tone in the first section, which features quiet and eerie sustained tones. It feels incredibly transparent and vunrelable with all of the instrumental parts supporting the narrator. In contrast to the breathing sounds, the other main theme includes the fast vocal stutters. These are introduced in the first section intermittently with the breathing which provides a hint of the trauma the piece is about. At the introduction of the syllables, the sustains in the other instruments also grow shorter and more intense, with some instruments including feathered beaming or bisbigliando techniques. Out of this section, the vocalist and electronics are isolated and what really drives the piece into the second section, is the jarring scratch tone from the cello. Throughout the beginning, there are already examples of scratch tones and other harsher sounds, but the isolation of this singular timbre highlights the shift in perspective. In this next section, more of the instrumental timbres also reflect the fast syllabic flutters present in the fixed media. Through this section, the piece reaches its peak of intensity and volume, achieved thanks to the intense noise from the electronics, vocal fry from the singer, and the microtonal glissandi in the other instruments. This moment is quite visceral, and I feel captures the peak of the traumatic recall. The section directly after this returns to the breathing gestures, accompanied by slow string glissandos. The ending section also features multiple moments of complete silence, all of which work quite well after the intensity heard in the first 2/3rds of the piece. Overall, the ABA form of the piece and the gestures of the work compliment the piece very well in creating an impactful piece of 21st century music.

Oh I forgot to mention, the score looks fantastic!!

If I had one sentence:

Shekhar tackles the difficult subject matter of trauma through a beautifully visceral and impactful piece.

"AWARDS SEASON" by Bon Iver

I'll be honest, I usually don't follow the market of "popular music" releases (certainly not because I don't want to or value the music, but rather I usually am caught up listening to other records). When I heard Bon Iver released a new album, I knew I had to check it out. The whole album SABLE, fABLE is stunning but "AWARDS SEASON" blew me away. The first time listening, I don't think I understood how much I was going to be impacted by this song. The transparency both lyrically and musically is haunting and alluring. The specific timbre of Iver's voice is both spacious and present, which I feel perfectly compliments this sound. The pacing of this work is also perfect, starting with just the voice and gradually incorporating the ambient sounds. Sonically, I feel this creates such a rich feeling of nostalgia and gratitude. I couldn't help but reflect on how blessed I have been, particularly over the past four years of college. Not to mention, the middle of the song contains a perfectly rich and ambient saxophone chorus. I love how there are multiple layers and voices of improvisation that create a full sonic space, which then de-escalates into the voice. Before this record, the only Bon Iver's song I was really familiar with was Woods (a song which I really love). This song here definitely moved me more than I thought and the whole record is a very special experience.

If I had one sentence:

"AWARDS SEASON" explores a rich tapestry of emotions which deeply impacted me, through its touching lyrics and craftful pacing.

"Variations for Blanca" by Thomas Adès

I see "Thomas Adès" and "piano" in the same sentence, I click (what can I say). This piece wowed me in its pacing and color. The beginning starts with just a repeated G coming out of niente. The composer describes this folk tune (that the piece is inspired by) as having "an unassuageable harmonic structure very typical of longing and bereavement," and I feel that the very beginning of the work sets up this expectation perfectly. The first statement of the theme includes just two voices and truly allows the melody to soar. The third voice enters in with imitative rising gesture heard in the beginning of the melody (after the repeated Gs). The first variation feels very romantic, particularly when the piano has (arguably) its first truly virtuosic figure where the left hand continues the somber melody. As the next variation begins, the piano writing starts to get much more complex and rhythmically intricate. The rhythms never really settle in with each voice having a different push and pull. The third variation introduces more arpeggiated figures in the lower and upper registers, but the melody is always present at the top of the texture. One of my absolute favorite moments of this work is the planing that takes place during this third variation. The clusters in both the right hand and left hand provide a beautiful ambiguity and the alternation between a singular pitch and cluster is extremely effective. This fast passage breaks down into slower quarter note figures (which are of course also done precisely). The fourth variation returns to these arpeggiated figures but they mostly occur in one voice at a time rather than counterpoint, and the melody lives on its own at the top. The fifth and final variation, suddenly feels baroque and is effective coming out of the other textures. Its enough of a stark change in style which I feel captures the listener's attention and in context, is a great way to state the last variation. In theme for this piece, the ending is rather ambiguous ending in contrary motion reaching the extremes of the piano register. In all, this is just an awesome, intricate piece which I recommend any person spend 6 minutes (yes, ONLY 6 MINUTES) and listen to this masterpiece.

If I had one sentence:

"Variations for Blanca" is perfect example of how to push the technical capabilities of writing for piano, while remaining lyrical and singing through different melodic frameworks.

"Sidewalk Chalk" by Jonathan Ziegler

Earlier last week, I was introduced to this track by Jon Ziegler from some friends. I already know many people on this record from my time in Miami but this track still wowed me. It has a super light and playful characteristic throughout. I think the production and "journey" of the composition really stands out. The syncopated piano comping pattern binds the work together but still allows the song to flow. The moments where the tempo slows down and speeds up are done quite cleanly and is super hip. Throughout the work, there are different filters/sounds at work which really stood out. The bass and sax solos felt like they fit the tune and vibe like a glove, and of course all right in the pocket. The metric modulation feel at the start of the drum solo was the perfect way to set up and build to the final statement of the melody. Overall, the joy and energy really shines in this track!

If I had one sentence:

The vibrant and infectious energy of Sidewalk Chalk really shines and is highlighted through the unity of production, composition, and performance.