Music I'm checking out! - October 2025

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Over the past few months, I've been documenting some of the music that I have been listening to, and this month's selection features some pretty diverse aesthetics. It's finally spooky season as well! Some of these works reflect the times, others are just cool pieces I discovered.

To cover the usual groundwork, my criteria:

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

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

As I've stated previously, 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...

"Away Back - Demo Mix" by Telemakus, Chino Corvalan, Bobbyy, takoda

When I saw the album cover for this song, I was expecting something weird, and that's exactly what I got. In this weirdness though, these four collaborators have created an incredibly catchy, infectious, and unique groove which just left me in awe. This track is only a minute and a half, but it still packs quite a groove and sound-world. The beginning starts with some new-agey synths and electronic flourishes in this ambient texture. Before I get lulled into this sound-world (which though cool, makes this a completely different genre), the drums enter with this crazy groove and bassline. Some of you all will probably correct me here and say "the drum and bass grooves are relatively simple," but I think in the way these ideas are presented (in tandem with the production techniques) give it some awesome pop. The accents in both instruments also offer some groove instability, even though everything (so far) is right on the beat. The chords in the backdrop are tasty but really compliment the groove, and set up the four-measure vamp structure. Next the melody enters and it makes incredible use of the futuristic synths both in the background and forefront. Not to mention, the pitches are detuned which just makes this song even cooler. Weaving in and out of the melody are some super hip arpeggiated/scalar figures which provide some great texture and life. Towards the end of this piece, this super distorted (yet ambient) synth enters and just takes all of these fancy harmonic ideas and tuning to the next level. The first time (and every time since) I heard this, I had/have a serious case of the stank face.... On one hand, I wish this piece was double the length, as I couldn't get enough of this sound world but at the same time, to pack such a punch in 90 seconds is seriously an achievement.

If I had one sentence:

"Away Back - Demo Mix" modernizes jazz funk idioms/vamps into a craftful and layered sound-world of rich synths and groove.

"Romantische Phantasie" by Josef Matthias Hauer

I came upon this piece while doing research for the history of 12-tone music. Josef Matthias Hauer was actually the first person to come up with a way of organizing 12 pitches (Schoenberg publishing his work two years later). Though many of us know Schoenberg and his music, I wanted to check out one of Hauer's pieces. Though this piece isn't twelve tone, it caught my attention for its very dramtic and film-score like quality (I say that in a good way). The music is intense, rich with harmony, and his approach to orchestration works very well. The beginning of the work sets the tone with some extended triadic harmony (I hate this phrase, but it sounds jazzy...) and leads into a beautiful moment of chromaticism which flows beautifully within a romantic idiom. The way phrases flow from different instrument groups, especially in this next section is really a masterclass in orchestration. I hear so many colors and timbres throughout the texture and it engages the listener very effectively. This longing melody gradually transitions to a more waltz-like figure which then develops back into more march-like figures. The transitions from these very different styles and metric feels do not feel rushed or abrupt at all, they just further emphasize the romantic swell, not just in a melodic/harmonic sense but a rhythmic sense. Towards the middle of the piece, we begin to hear the more contemporary tonalities (at the time of composition) with whole tone passages and some quartal figures. Another orchestration technique that is present in this work, is the sustain of melodic figures to create harmony. The piano may play a phrase but that phrase is also doubled in different instruments that add a sustain to the texture, and Hauer uses this technique quite effectively. The climax at the end of the piece, indeed feels cinematic with the sweeping piano gestures and the pacing of the last section of the work propels towards the ending figures. Overall, this is just a gorgeous work with some fantastic orchestration!

If I had one sentence:

Josef Matthias Hauer's "Romantische Phantasie" flows with beautiful romanticism with cinematic gestures and development, and is a great example of early 20th century orchestration.

"Bound" by Muhal Richard Abrams/George Lewis/Roscoe Mitchell

Lately, I would say both in my compositions and aesthetics, I've increasingly become interested in more timbrally focused works (or maybe a better term, soundscapes). Though these composers (Abrams, Lewis, and Mitchell) can maybe be associated with this school of thought, I typically think of them as more rhythmically and motivically active composers. The three musicians are patient throughout this improvisation, and allow all of their ideas to develop gradually. The beginning drone balances a fine line between stability and instability, partly due to the actual drone itself but also the small alterations in what sound like harmonics throughout this texture. Above this beautiful bed of sound, Mitchell gradually enters the texture with a very layered and intense tone. He discovers different contexts of pitch and air throughout his development into the multiphonic. By the time we reach this moment in the piece, the electronics become noticeably more active in terms of soundscape leading into silence (with the exception of Roscoe). As this next section develops, the saxophone and its echos soar and eventually create this really rich polyphony with itself through electronic manipulation. By this point, more percussive techniques are incorporated including key clicks and more staccato notes. Gradually some of the harsher textures and squeaks create some contrast from the generally legato sounds introducing the work. As the electronic clicks take more precedence in the work, it creates an ostinato of rhythmic stability which allows the sax to be free from meter. The shimmers that follow then beautifully recontextualize the focus of the saxophone, not as the top of the ensemble, but the base for which the electronics sprout from. Even though this technique/process happens throughout the piece, the change in register during this part of the piece helps differentiate these sections. Simply put, this is a really interesting piece with some cool sounds that I liked.

If I had one sentence:

"Bound" is a fascinating improvisation that gradually explores its sound-worlds through electro-acoustic means, and generative composition processes.

Chinatown (Soundtrack) by Jerry Goldsmith

I think it's about time for a film score! I haven't included any film scores yet and I think Jerry Goldsmith's score is a great place to start. Movie aside, which is a fantastic watch, this score beautifully captures the film noir aesthetic. The "Love Theme" captures this mysterious, and moody vibe with the trumpet singing over the ensemble. I think the actual character of the trumpet in context to the film, works perfectly and the Hollywood strings further elevate this beautiful theme. In other composed sections, the percussive elements in contrast with the ambiguous strings and keyboard textures create a dark and foreboding undertone which is definitely present in the film. One of my absolute favorite qualities of this score, is its inclusion of inside piano techniques. Despite this being a traditional "film noir soundtrack" the extended techniques give it this dark and mysterious edge. In contrast to these thick and dense orchestral textures, the solo piano songbook tunes are absolutely gorgeous and sound like they came straight out of the roaring twenties or early thirties. Another favorite track for me is "The Boy on a Horse." The beginning of the track sounds like it will be something beautiful and tonal, but as the phrase continues, the harmony becomes more ambiguous. The pacing is beautifully done by Goldsmith, and his muted piano and string textures following continue the obscurity of Detective Gittes's discoveries. Overall, this is just a beautiful and moving score that perfectly serves Polanski's brilliant film.

If I had one sentence:

Goldsmith's score to Chinatown beautifully incorporates the aesthetics of film noir, with extended techniques and orchestration that further serve the mood and storytelling of the film.

"11.000 Saiten" by Georg Friedrich Haas

There are crazy pieces of music, and then there's this piece.... I guess I will start off this review with a regret. I was not able to see the performance of this work live in NYC, I could only imagine what it was like in person. Well, this piece is certainly at the forefront of "New Music" in the United States and it's no surprise why that would be the case. "11.000 Saiten" by Georg Friedrich Haas is easily one of the most extensive and adventurous pieces of the last decade. In this work, there are 50 pianos each tuned 2 cents apart from each other. In other words, there were 100 notes per octave.... Oh yeah, did I mention there was a chamber orchestra as well. In listening to this recording, I honestly can't dive into the score and give lots of opinions from minute to minute. I think the listening/consumption of this piece is more spiritual and gestural more than anything. The idea that 75 performers could each perform one specific part, and contribute to this greater sound mass and color, is something that I think is more important in our culture now than ever. As you can imagine, the listener doesn't hear one specific piano or one specific gesture, but the densely layered texture creates some wonderfully intricate and captivating colors. In addition to the incredible array of compositional colors and tonalities, the actual volume that can be created by this massive ensemble is extraordinary. Even through a YouTube recording, I can feel the rumbling power of the pianos raging through tremolos and orchestral instruments singing over this bed of texture. Even though there's some sonic resemblance to the music of soundmass composers like Ligeti and Penderecki, the thoroughness of Haas's score and quite frankly the absurdity of scale for his piece truly stand out in a contemporary new music scene. To be honest, I'm kind of at a loss for words regarding this piece. It's just truly an incredible, daring, and spiritual work that in hindsight, I would have done anything to see this masterpiece live.

If I had one sentence:

Georg Friedrich Haas's "11.000 Satien" is a masterpiece of a contemporary work making use of its incredible scale and microtonal capabilities, to create a truly spiritual and daring piece.