by Ben Hogwood. Image by Leopoldo Metlicovitz, courtesy of Wikipedia
On this day in 1926, the first performance took place of Puccini’s three act opera Turandot. The work was left unfinished at the composer’s death in 1924, but its premiere took place in the La Scala opera house in Milan, under the baton of Arturo Toscanini.
Turandot includes one of opera’s most famous arias, Nessun Dorma (None shall sleep), sung at the beginning of Act 3. With no spoilers for the plot, you can listen to a famous recording conducted by Herbert von Karajan below:
Guitarist Dave Harrington, drummer Max Jaffe and saxophonist Patrick Shiroishi return for a sequel to their first musical meeting Speak, Moment, recorded and released by Los Angeles label AKP Recordings in 2024.
For the sequel, they go deeper, with a record whose A-side is essentially a suite of four distinct movements. On the B-side the three tracks reflect “a growing embrace of the sonic vacuum that electronic music depends on…a heaviness that the trio’s 2024 live record Zebulon! unlocked…and an outstretched and unhurried melodic ambience”.
What’s the music like?
There is a fascinating variety of styles and textures at play on this album, rooted in avant-garde jazz but exploring musical territories of great interest to those who love ambient electronica and upfront improvisation.
The four-movement suite with which the album begins moves between ambience and ear-shredding intensity, carefully controlled and yet with the opportunity for each of the three performers to cut loose, which they do on the extended sweat street 7-QS:ZBN9_. The second half finds Shiroishi assertive on Fractal Hash, while Harrington’s studied guitar leads the long form trackerKeeper under spacious California skies, a compelling track of ambience and yet powered by a curious tension.
The frisson of live performance crackles throughout this compelling trip, and at times it is possible if not too far-fetched to sense the wide open plains of the Mojave desert.
Does it all work?
Yes. The musical chemistry between the three is compelling, as are the sound pictures they create.
Is it recommended?
It is. Making Colors is a natural progression for the trio, whose musical acumen and communication is leading them to greater heights. Making Colors is a fascinating album, and a rewarding one to follow.
The rumours are true – after a protracted absence, celebrated electronic Scottish duo Boards of Canada are returning to the long player game with Inferno, to be released by Warp Records on 29 May 2026. Their first album since Tomorrow’s Harvest in 2013, Inferno has 18 tracks and lasts 70 minutes
The album announcement was prefaced by new music from the duo, Tape 05 appearing online last week – and set to take its place in the album as the fifth track, entitled Father and Son. If you haven’t heard it yet, you can listen here:
The album release is typically shrouded in mystery and creativity, though Tape 05 is an extremely promising teaser ahead of D-day.
by Ben Hogwood Image of Dvořák courtesy of Wikipedia
On this day in 1885, the first performance of Dvořák’s Seventh Symphony took place, at St. James’s Hall in London, with Dvořák himself conducting.
It is one of his finest symphonies, highly regarded by critics and audiences alike, and shows a clear affinity with the work of Brahms. Characteristically for Dvořák, it is bursting with melody – as this classic recording with the London Symphony Orchestra and István Kertész shows:
Bristol-based composer Dan Moore made a three-day field trip to Kielder Water in 2022, having completed some extensive work into the history of the site.
This EP reflects on what he found, both from first-hand experience and from sonic material gathered from the site, which is Britain’s biggest man-made reservoir, a controversial redevelopment plan dating back to the 1960s. Dan’s music blends electronics with field recordings, interview samples and more analogue writing for strings.
Throughout the project he was mentored by film composer Dan Jones.
What’s the music like?
Consistently engaging, and pictorial.
As you might expect, the textures are wide open, but Moore approaches his audio descriptions in a number of different ways. The Architect is busy, its riffs playing backwards and forwards over a spacious backdrop, but the speed drops completely as the music pans out for VT-15, a piece of luxurious ambient textures but uncertain harmonies, using field recordings made from the tunnel underneath the valve tower. It has both depth and a glistening surface, richly coloured.
A Shift In The Land is initially uncertain of its direction, wavering uncertainly, until an emphatic string motif weighs in powerfully, dropping anchor over a distorted backing. The lapping of water is the restful backing to Mike, though the string figures above – often beautiful – are wary, too, and when dropping away in pitch leave the listener feeling uncertain.
Does it all work?
It does – and the only regret is the music isn’t longer, for there are some vivid stories here.
Is it recommended?
Yes. Kielder Water is an ambient experience but is tinged with unease, sitting on the edge of reality. Its music has the same appeal as the breathtaking scenes you encounter on a visit, and have an equally mysterious allure, too.
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