Digital composition is timeless in many ways, and when the music has this organic, natural and profoundly human feel, it’s all the more important and valuable, when piercing through the noise and artificial electronic design of late.
Experimental
Indie’s iconic classical guitarist, composer and poet Giuseppe Bonaccorso consistently gifts audiences clear reasons to sit back and immerse themselves in his music. This truth resounds with atmospheric depth and intrigue, throughout the established artist’s unprecedented take on the historically renowned Ave Maria.
Feeling almost like an audio-cinematic ode to the freedom and embrace of a tribal festival experience, this arrangement of live-looping and production is unlike anything else you’ll hear this season. OMRA has not simply curved the lines between genres, but has broken through them entirely.
Somewhat uniting outright simplicity and fearless complexity, Plastic Triode is tyrannical treat for the ears and the mind. Highly experimental, unlike anything else you’ll delve into this season – the project is a timeless, uninhibited, provocative collection of original tracks, from a talented musician with a clear passion for exploring the unexplored as a sound-designer and performer.
“I think personally music is the biggest form of escapism for me & the biggest form of inspiration. I don’t really like reading poetry, but I love writing it, I think my musical identity revolves around experimenting with sounds & ideas.”
India-born and currently based in LA, Kiwiani presents an immersive, ethereal approach to production, which at first feels perfectly in tune with the abstract artistic implications of the accompanying image.
close is ultimately an industrial, rhythmic ode to heavy beats and fragmented production, but it also features intermittent hints of soulful vocal melody; playfully incorporated amidst a fitting and consistently distinct presentation.
Tasmania’s renowned ambient composer and unrivalled creative producer in the electronic, atmospheric realm – Darren Harris gears up to launch his highly-anticipated new album Subliminal.
Something profoundly unique now, to recapture any wandering minds – to provoke thought on both the topic and style of the music. Artist and musician James Cantey leads us by way of a haunting two-note piano part, into the chaotic electronic-rock and choir-like depths of Tonight.
“The biggest ambition is to keep learning more and more from my own learning capabilities, but also meeting more musicians from the music scene and learning and growing further whilst watching what techniques they use.”
Marco Palmieri manages to be all at once creatively eccentric and defiantly aware of what audiences appreciate. Here we can get lost in the music with ease – the experience is about us, the listener, rather than purely about the performer. That’s a rare quality in modern jazz, and as such, this music feels original at the same time as really letting and even nudging your imagination to wander freely.
As things evolve, the intense distortion and fog of the vocal and fuller soundscape injects a clear redirection of character – another balancing of lightness and weight, amidst a strangely intoxicating or dreamlike audio set-up.
The immense weight of static appears as if like a sudden storm of power and presence. Those choir-like voices still linger amidst the outer layers though – a wealth of humanity clinging onto its calm and sanity, as the wires and weight of the future rain down around them.