When I first heard cellist-composer Jo Quail perform – back in 2013, in a solo support slot – it was immediately clear that she occupied a genre all her own. A kindred spirit, for sure, with other musicians active in the dark folk / neoclassical / what-you-will underground – especially fellow ‘loopers’ (like Matt Howden,…
Category: cross-genre
Rock of ages: Matt Howden / Keith Howden, ‘Language for Stone’
This latest collaboration between violinist and songwriter Matt Howden and his poet and artist father Keith – their third – is an extraordinary achievement: in its sonic ambition, its storytelling, its joy in language, its historical reach. A concept album, for sure: but precise, brisk, intricate and forthright. ‘Language for Stone’ began as a record…
Plain song: Coleridge-Taylor, ‘The Atonement’, Three Choirs Festival 2025, Hereford
A highlight of a brief visit to the Three Choirs Festival this year was the opportunity to hear Samuel Coleridge-Taylor’s little-known and rarely-performed choral work, ‘The Atonement’. The sense of occasion was twofold: this revival in the glorious setting of Hereford Cathedral was like a homecoming for the cantata, which received its premiere in Hereford…
New tradition: an African Concert Series update
Back in 2018, pianist Rebeca Omordia released a solo recital CD called ‘Ekele’, which showcased African art music – that is, works by African composers who had studied and were influenced by Western classical repertoire. To me – and no doubt many others who came across the album – it was an ear-opening journey into…
Retrospecstive 2024: Adrian Ainsworth’s albums of the year
Time again for my annual labour of love, rounding up my favourite releases of the past year. As usual, I’ve ranged across genres as freely as I can in the time and space available – so I sincerely hope you will browse through the selections and find something intriguing. A bit of housekeeping. Where possible,…
Cross bow: Sieben, ‘Brand New Dark Age’ – and more…
Matt Howden has now been writing, performing and recording under his ‘Sieben’ alias for nearly a quarter-century, and the fundamental recipe remains constant. Voice, violin and electronics. However, this apparently limited set-up has never been a constraint. On the contrary, it’s acted as a springboard for a relentlessly restless artist, allergic to repeating himself, hurtling…
A new support system: Music Patron
Music Patron is an exciting, fascinating and even provocative new arts-funding initiative. It not only examines and challenges the ways we can, and do, support musicians, but offers a solution that aims to achieve practical, positive outcomes in the face of ongoing financial and ideological attacks on the industry. The name itself deliberately conjures up…
Retrospecstive 2023: Adrian Ainsworth’s 25 recordings of the year
At last! The wait is over. Here is my round-up of favourite releases from the previous calendar year. 2023 felt richer than ever and there were so many wonderful records to choose from. As usual, I’ve spared myself the agony of ranking the selections: democracy rules and the list is in alphabetical order, by artist…
Dying inside: ‘7 Deaths of Maria Callas’, English National Opera, London
‘7 Deaths of Maria Callas’ is described as an “opera project”, the brainchild of performance artist Marina Abramović. The timing is ideal – English National Opera (ENO) describes the piece as “celebratory”, as we approach the centenary of Callas’s birth on 2 December; while Abramović is currently the subject of a major retrospective at the…
Astral peaks: Raf and O, ‘We are Stars’
This is the most exquisite album yet from Raf and O, who I believe belong to that select group of artists who create not only great music, but also a universe in which that music can live and breathe. Open and upfront about their key influences – chiefly David Bowie and Kate Bush, more of…
ARTMUSELONDON 