innova recordings
The Innova Sessions. 1: New Music on the Radio
Here’s a playlist of innova artists who have won McKnight Composer Fellowships from the American Composers Forum over the years
(Source: Spotify)
PRESS
Kurt Rohde, ONE
AUDIOPHILE AUDITION
“This music is cold and crisp as a glacier morning … Rohde’s wonderful use of sound in all of the movements that grabbed my ear and imagination.” [FULL ARTICLE]
—Darren Robinson
Alexander Berne, Self Referentials, Vol. 1 + 2
WQXR
“Self Referentials is a profoundly enigmatic listening experience. It doesn’t make the kind of sense that we may have come to expect from a piece of music. It isn’t an argument or a story; it doesn’t come to a point. It isn’t about themes or climaxes. At the same time, it’s too seductive to the ear to pass as furniture-music, and it’s too rich to serve as some austere meditation. What it is, is a trip: it’s a journey, taken through a pair of headphones, into an unfamiliar land.” [FULL ARTICLE]
—Daniel Stephen Johnson
ROOTSWORLD
“From the insectile coterie of “Far Afield Recording” and warped distortions of “Pulsationism (The Long Tick)” to the three-part “Sonum Onscurum: Headphonic Apparitions,” we find ourselves in a landscape at once industrial and verdant. Shawm-like undulations trade places with plucked strings and siren calls in a flowing admixture of whispering rhythms and inward, organ(ic) washes. Like a window covered by Venetian blinds, all that falls between stripes the ears with light and shadow. … In this industrial fever dream, hazed by thinnest cloud in moonlight, we feel the sinews that have so far eluded us flex to the point of ambulation. … [A] mesmerizing and unforgettable cabinet of sonic curios, a search that needs nothing to be sought. The only journey it harbors begins when you take the first step.” [FULL ARTICLE]
—Tyran Grillo
Jason Kao Hwang, Burning Bridge
MONSIEUR DELIRE
“Hwang’s writing is lively and nuanced, and the whole thing works marvelously well.” [FULL ARTICLE]
—Francois Couture
Nick Brooke, Border Towns
CLASSICAL MODERN MUSIC REVIEW
“[Border Towns] becomes most remarkable when the fragments blend together to create new music altogether, where you no longer hear the snippets as fragments, but as a whole, unified work that proceeds from A to B like a conventionally composed piece. It’s remarkable music.” [FULL ARTICLE]
—Greg Edwards
Billband, Towards Daybreak
HUFFINGTON POST
“[R]eally outstanding; from … exquisite writing, to the production and the top notch performances, this is a wonderful new recording from the inimitable Billband. While many composers in this genre rely on the seductive rhythmic or modal qualities imported from pop music and minimalism for their allure, [Towards Daybreak] instead relies on a mastery of form and proportion.” [FULL ARTICLE]
—Kurt Ellenberger
LUCID CULTURE
“Terse, elegant motifs shift shape and move between constantly changing combinations of woodwinds and strings, usually pensive, often somber and occasionally building to moments of sheer horror. … That Ryan never lets the music become mawkish or sentimental is its strongest suit: subtlety and grace triumph despite all odds.” [FULL ARTICLE]
MONSIEUR DELIRE
“Bill Ryan is slow to release – his last album goes back several years – but if he has to take his time to come up with gems like Towards Daybreak, so be it. … [A]n easy listen that takes hold of your emotions, without overdoing anything, without playing it too sweet. It’s a masterpiece.” [FULL ARTICLE]
—Francois Couture
SEQUENZA 21
“[A] fine example of a post-minimalist/alt-classical chamber ensemble. … [D]irect and clear musical ideas well-paced and orchestrated for his mixture of performers. Even in his more driving works, Ryan has a delicate hand at orchestrating his ideas. Each instrument has not only its own musical space but also serves a vital role in creating a single ensemble sound.” [FULL ARTICLE]
—Jay Batzner
Jeri-Mae G. Astolfi, Here (and there)
MODISTI
“[Q]uite melodic and vivid … Great work, great execution.” [FULL ARTICLE]
David T. Little, Soldier Songs (reviews of show)
NEW YORK MAGAZINE
“…sharp, elegantly bristling music…”
—Justin Davidson
STAGE AND CINEMA
“…a remarkable piece of work with a strong point of view…”
—Cindy Pierre
TIME OUT NEW YORK
“… starkly eloquent … Soldier Songs deals in realities that defy representation.”
—Marion Lignana Rosenberg
VILLAGE VOICE
“The rare show to warrant adjectives like wrenching and harrowing…this is powerful work…”
—Alan Scherstuhl
NEW YORK TIMES
“…further evidence of Mr. Little’s fast-rising stock as a vital theatrical creator.”
—Steve Smith
STAR LEDGER
“Characteristically hard-hitting, Little’s score gives voice to the release of aggression, all-encompassing terror, grief and incomprehension. Rock influences meld with jarring jagged lines (expertly handled by Newspeak under conductor Todd Reynolds) and ominous atmospheric effects.”
—Ronni Reich
MUSICAL AMERICA
“One might have expected some sort of stylistic hybrid, but Little’s music falls comfortably within the modern-day ‘classical’ idiom, his allusions to pop adding rhythmic verve and melodic appeal. … Little knows how to set words.”
—George Loomis
WALL STREET JOURNAL
“[Soldier Songs] has a rock-infused rhythmic vitality and melodic inventiveness that keep the audience perpetually off-balance…”
—Heidi Waleson
PRESS
Yvonne Troxler, Brouhaha
“Troxler shows eloquence, memorability and inspired craftsmanship in this round of chamber works. Ant Farm is a superior performance vehicle that excels is realizing the music. That’s a terrific combination and this album brings lots of pleasure!” [FULL ARTICLE]
—Greg Edwards
Andrew Violette, Sonatas for Cello and Clarinet
“Andrew Violette didn’t make a pact with the devil before he produced his Sonatas for Cello and Clarinet, but he may have engaged in some extra-spiritual scrimmaging on the astral plane with Ives, Messiaen and Hindemith before he penned the sonatas. … [The music] is filled with a very individual quality, and has a presence and melodic dynamic that is unforgettable. [FULL ARTICLE]
—Greg Edwards
Paul Sperry, Open House
“In both cycles, Sperry delivers a near-perfect performance.” [FULL ARTICLE]
—Francois Couture
John Yao, In The Now
“John Yao stands out on his memorable In the Now. … ‘Shorter Days’ is moody and dusky, suggesting the shorter days of autumn and winter. … [In The Now] must be accepted on its own terms and may take several listens before the listener can adequately appreciate what Yao has to offer. But In the Now is well worth the effort, and Yao’s blend of the inside and the outside ultimately yields considerable rewards.”
—Alex Henderson
David Kechley, Colliding Objects
ATTN: MAGAZINE
“Kechley seems to be bypassing the notions of what percussion could be to focus on what percussion is: it’s an impact, a duration, a decay, an anticipation, a presence, an absence, an exertion, an action. … Colliding Objects is separated into five sections, predominantly focused on percussion and rhythm but bleeding outward to explore melody and melodic instruments. What becomes beautifully apparent in the collection’s latter sections is Kechley’s distinctive approach to melody; while rhythm always maintains central focus via its dramatic turns of pace and duration, melody is threaded gorgeously through each beat, with his expert handling of the highs and lows turning those thuds and long instrumental sighs into a captivating assortment of steps and slopes.” [FULL ARTICLE]
—Jack Chuter
Barry Schrader, The Barnum Museum
BABY SUE
“[L]ike the soundtrack to a bizarre science fiction film. Schrader seems to be driven by the pure desire to create … never letting boundaries get in the way of his boundless creative expression. Plenty of cool sounds here that would make Wendy Carlos proud. … His music is always spellbinding and unique. A wild mental audio ride.” [FULL ARTICLE]
—Don W. Seven
Mobtown Modern Big Band, The Re-(W)rite of Spring
CULTURE CATCH
“[R]ecalls the dense harmonies and thick textures of Bill Holman, though the shimmering introduction to the second section, ‘The Sacrifice,’ instead conjures thoughts of Gil Evans. … [A] very worthwhile pickup for jazz fans in the mood for something different.” [FULL ARTICLE]
—Steve Holtje
Cornelius Duffalo, Journaling
TEXTURA
“[A]n excellent record of both the violinist’s artistry and an overview of the work of eight living composers. … [T]he recording confirms Dufallo’s virtuoso status and also shows how skillfully he incorporates electronics so as to enhance the textural richness of his playing, but Journaling captures him using that formidable technique in deferential manner to bring his chosen composers’ works to life.” [FULL ARTICLE]
Philip Blackburn, Ghostly Psalms
“[The] trippy, occasionally apocalyptic [Ghostly Psalms] knocks reality sideways. Intimate vocal soliloquies wrestle free from walls of sustained choral and string drones that morph and change with the (anti)logic of a dream’s unruly narrative.”
—Philip Clark
John Yao, In The Now
ALL ABOUT JAZZ ITALIA
“… the fifty minutes of In the Now [are] held together by a remarkable communicative power that reveals a great sense of form, dynamic balance, tonal variety, ease of performance. The quintet, guided with confidence by the young trombone player, moves confidently through the potential pitfalls of an often complex and layered piece which the leader’s skill in arrangement transforms into flowing, delightful music.”
—Vincenzo Roggero
Cornelius Dufallo, Journalling
MEDIATAPPER
“[A] truly sonic view of the modern violin as observed by many modern perspectives.” [FULL ARTICLE]
—Chris McGovern
“[A] diary of sorts, used for recording the musician’s impressions of the living composers who have collaborated with or else inspired him. The lineup of names is impressive in its diversity.” Album of the Week for 8/13/12 [FULL ARTICLE]
—Seth Colter Walls
Marc Rossi, Mantra Revealed
“[A] genre-hopping brew of Indo-jazz, fusion and modern jazz … [M]emorable themes seamlessly coalesce with synchronous excursions into Eastern modalities and other offshoots. An unanticipated surprise for 2012, Mantra Revealed invokes a thrusting spiritual presence that hovers throughout the briskly moving parts.” [FULL ARTICLE]
—Glenn Astarita
James Romain, Howl
“[U]nbelievably cool … Allow each tune to attack your senses be it visceral or cerebral and then see where the journey takes you. Romain has now established himself as a formidable force. The layers of deceptively subtle nuances provided with the help of Nicolas Roth on piano and Mark Engebretson are vitally important in forging a new sound for a new generation. A stunning work that sneaks up on you when you least expect it.” [FULL ARTICLE]
—Brent Black
Jeremy Long, In Suspension
“[A]ngular and complex … with lots of twists and turns.” [FULL ARTICLE]
—George Harris
John Yao Quintet, In the Now
“The mix of trombone and alto make for some delicious harmonies in the front line … these guys mix their adventurous solos with some riffs and seques that keep you hanging in there with them. Songs like “Divisions” have that classic Mingusy feel where the band swings like there’s no tomorrow … you can feel them tipping over the edge, and just never quite falling into the abyss. [F]or the more courageous swinger.” [FULL ARTICLE]
—George Harris
“In the Now … blends vivid tunefulness, clever composition and inspired teamwork. It’s accessible, but it’s also cerebral, and there’s also considerable wit here … Yao’s arrangements and voicings are original, imaginative and completely in the here and now.” [FULL ARTICLE]
David Keberle, Caught in Time
GAPPLEGATE CLASSICAL-MODERN MUSIC REVIEW
“Caught in Time makes clear that David Keberle is a composer of the upper tier, fashioning excellently crafted, memorable chamber music for today.” [FULL ARTICLE]
—Greg Edwards
Ethel, Heavy
KATHODIK
“[V]ery intense.” **** [FULL ARTICLE (in Italian)]
—Philip Fiery
MONSIEUR DELIRE
“Heavy delivers a highly enjoyable and rather varied listen. Accessible music with lots of surprises.” [FULL ARTICLE]
—Francois Couture
Contemporaneous, Stream of Stars
KATHODIK
“What emerges … is the sense of continuous flow, a scroll of unexplored beaches, the impression of being led by a long chain of feelings, thoughts, images, associated for mysterious reasons.” **** [FULL ARTICLE (in Italian)]
—Philip Fiery
Erdem Helvacioglu, Eleven Short Stories
SADIBEY
“I felt myself on an interesting journey.” [FULL ARTICLE (in Turkish)]
—Ali Ulvi Uyanik
Guy Klucevsek, The Multiple Personality Reunion Tour
“[S]imultaneously an homage to and a subversion of musical traditions. The Multiple Personality Reunion Tour is a stunning album steeped in the widespread roots of the accordion.” [FULL ARTICLE]
—Daniel Corral
Jeremy Long, In Suspension
GAPPLEGATE MUSIC REVIEW
“Jeremy Long is staking out lesser explored territories on In Suspension (Innova 827). Jeremy is a tenor who has a kind of hardness in his sound and an aggressively swinging quality, something that Joe Henderson did so well. Long’s compositions take the organ trio to contemporary places.” [FULL ARTICLE]
—Greg Edwards
Eleanor Hovda, The Eleanor Hovda Collection
ARCANE CANDY
“[H]ighly subtle, often sparse, spatial music … her work totally flows and breathes, sounding for all the world like the best dream state free improvisation–even though it’s all meticulously composed … [E]asily earns a place among the best slow-motion acoustic soundscapes out there.” [FULL ARTICLE]
Anna Thorvaldsdottir, Rhizoma
DAGENS NYHETER (Sweden)
“[S]ensuous but equally grandiose, powerful and overwhelming as nature itself.” [FULL ARTICLE (in Swedish)]
—Johanna Paulsson
All About innova
Welcome to the wonderful world of innova recordings, the label of the American Composers Forum. We are so weird that even the different drummer is on our label and we all march to different beats. Look out for our new web site that will thrill and surprise your ears.
