Stephen Michael Reich (born October 3, 1936) is an American composer. He is a pioneer ofminimalism, although his music has increasingly deviated from a purely minimalist style. Reich’s innovations include using tape loops to create phasing patterns (examples are his early compositions, “It’s Gonna Rain” and “Come Out”), and the use of processes to create and explore musical concepts (for instance, “Pendulum music” and “”Four Organs”). These compositions, marked by their use of repetitive figures and phasing effects, have significantly influenced contemporary music, especially that of his country.
The Guardian has described Reich as one of the few composers to have “altered the direction of musical history.”
La Monte Young has pioneered the concept of extended time durations in contemporary music for over 40 years. He contributed extensively to the study of just intonation and to the development of rational number based tuning systems that are used in his periodic composite sound waveform environments, as well as in many of his major performance works. Presentations of Young’s work in the United States and Europe, as well as his theoretical writings, gradually influenced a group of composers to create a static, periodic music which became known as Minimalism. Musician magazine stated, “As the acknowledged father of minimalism and guru emeritus to the British art-rock school, his influence is pervasive,” and in 1985 the Los Angeles Herald Examiner wrote, ” for the past quarter of a century he has been the most influential composer in America. Maybe in the world.” In Minimalism:Origins, 1993, Edward Strickland added, “Young is now widely recognized as the originator of the most influential classical music style of the final third of the twentieth century.”
He was born in 1937 and grew up in Baltimore. He studied at the University of Chicago, the Juilliard School and in Aspen with Darius Milhaud. Finding himself dissatisfied with much of what then passed for modern music, he moved to Europe, where he studied with the legendary pedagogue Nadia Boulanger (who also taught Aaron Copland , Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar. He returned to New York in 1967 and formed the Philip Glass Ensemble – seven musicians playing keyboards and a variety of woodwinds, amplified and fed through a mixer.
The new musical style that Glass was evolving was eventually dubbed “minimalism.” Glass himself never liked the term and preferred to speak of himself as a composer of “music with repetitive structures.” Much of his early work was based on the extended reiteration of brief, elegant melodic fragments that wove in and out of an aural tapestry. Or, to put it another way, it immersed a listener in a sort of sonic weather that twists, turns, surrounds, develops.
Philip Grass is the electronic project helmed by Burton Schaber and Ben Durfee. The two met in 2011 while studying at University of Massachusetts, and began to slowly and increasingly orbit developments in electronic music together, attending shows on a regular basis, until they began to collaborate on their own material in early 2012. Their sound is characterized by an uncompromising instinct for change, as shuffling drums and moody pitch-shifted vocals can give way to riotous synth chords, jazz samples, or any number of other possible vibes. One can usually best identify a Philip Grass track by the sense of nocturnal nostalgia that permeates their melodic sensibility. The duo explore these seeming incredible transitions during their live performances, triggering samples, drums, and often playing live keys, with an animated air that communicates just how busy they are on stage.
Lady & Bird are a side project from Israeli-born singer/songwriter Keren Ann and Bardi Johannsson, an Icelandic artist who has worked on film and television music as well as recorded under the name Bang Gang. Highlighted by haunting, childlike voices, Lady & Bird’s subdued self-titled effort is a conceptual work about two children living in adult bodies. It was released on Keren Ann’s own Yellow Tangerine label in the U.S. in June 2006.
Roni started on the path of production when he was thrown out of school aged 16, but music had always been a part of his life. Born and raised in Bristol, the sounds of the 70s blues parties and sound-systems happening in the St Pauls area of the city infected Roni’s bones.
Meeting up with Krust in the early 90s brought two musically compatible minds together, subsequently creating Full Cycle in 1993 and a new direction for electronic music.
At the age of 19 Lisa Ekdahl started to perform in small jazz clubs with swedish jazz trio “The Peter Nordahl trio”. Lisa has sometimes referred to the years playing smaller clubs with this great trio as a form or “musical education”.
In the winter of 1994 Lisa Ekdahl was brought into superstardom over night in Scandinavia. Lisa’s debut album sold quadruple platinum and gave her three grammy awards. Her laid back style, matched with her fragility and sensitivity has dazzled fans and critics alike.
Rubén Blades (Panama City, July 16, 1948) is a singer, songwriter, musician, actor, Panamanian politician and lawyer who developed much of his career in New York City.
His style has been described as “intellectual salsa” and in many countries it is known as the “poet of the sauce.” His songs have become popular and is considered one of the most successful and prolific songwriters of Latin America.
Fronted by vocalist Lalin St. Juste, The Seshen is a seven-piece band based in San Francisco. Mixing live and electronic elements and taking influence from eclectic sources including psychedelia, hip-hop, pop, R&B, West African music, dub, and indie rock, they create beat-driven compositions with a strong emotional core, a compelling sound that has hooked many fans and bloggers from first listen. Heavy industry interest has resulted in the band inking a deal with Tru Thoughts records to take it to the next level.
The Seshen’s self-titled 2012 debut album, released via Bandcamp, has inspired comparisons to J Dilla, Little Dragon, Beach House and Erykah Badu, and they have also found themselves in high demand as a live act with support slots for the likes of Thundercat, Hiatus Kaiyote, Hieroglyphics and The Memorials (with Grammy award winner Thomas Pridgen).
Designed by Oliver Doerell and Roger Döring, Dictaphone is the meeting of two minds who think jazz but practice electronica. having previously written theatre and film scores, Doerell and Doring here construct, as their label calls it, ‘processed electronic slow-motion jazz’. The strangely titled ‘M.=Addiction’ has a restless spirit; showcasing typically crisp cco production-line beats alongside a more adventurous avant-garde edge that is increasingly found on this imprint. Hugely melancholic, this record features as much saxophone, clarinet and double-bass as bpms, giving it that cinematic sound which certainly comes naturally to its creators. Two tracks also break free from this misty stranglehold to venture into more familiar areas for electronica fans. Three years in the making, ‘M.=Addiction’ seemingly didn’t come easy to Doerell and Doring. So effortlessly free and imaginative, this is one habit which just makes time slip away.