16 March 2016
Simon Thacker is a virtuoso guitarist and composer who is acclaimed for his genre-defying music. As the leader of Simon Thacker’s Svari Kanti, he has worked with some of the world’s leading Western and Indian classical musicians to redefine cross-cultural collaboration. In this episode of ICWID!, Simon talks about how listening to records as a child growing up in Scotland opened his ears to the music of other cultures. He also speaks about the human spirit that transcends time and place, and how he met a master of the 800-year Bengali Baul tradition on Facebook.
24 August 2015
In the last ICWID! podcast from the Edinburgh Festival Fringe 2015, PianoPiano (AKA Karen Maciver and Hillary Brooks) talk about their show Dedicated, a series of new works for two pianos which celebrate the lives of women who have changed history.
24 August 2015
In the fourth episode of ICWID! from the Edinburgh Festival Fringe, we speak to Scottish/Burmese producer-vocalist Fiona Soe Paing about her multimedia work Alien Lullabies which blends other-worldly live vocals with detailed electronica and mesmerizing animations by Zennor Alexander.
23 August 2015
In the third I’LL CADENCE WHEN I DIE! show from the Edinburgh Festival Fringe, John De Simone talks about his work Independence, an exploration of cultural and political identity in Scotland from his perspective as an English-born Scottish-Italian whose grandfather, John McCormick, was instrumental in founding the Scottish National Party.
23 August 2015
In the second I’LL CADENCE WHEN I DIE! podcast from the Edinburgh Festival Fringe 2015, John Harris talks about his opera The Garden which is being performed at the Traverse Theatre. Based on an original play by Zinnie Harris, The Garden is set in a dystopian future where a husband and wife find a plant growing through the lino in their kitchen. Originally performed in a real kitchen, this intimate and moving work is scored for two singing actors accompanied by a trusty Yamaha DX7.
21 August 2015
My new music podcast, I’LL CADENCE WHEN I DIE!, is reporting from this year’s Edinburgh Festival Fringe: I’ll be talking to some of the composers who are presenting exciting new work there. In this first episode, Matthew Collings talks about his work A Requiem for Edward Snowden which is being performed as part of the Made in Scotland Showcase at the Fringe before performances at the Gaudeamus Muziekweek (Utrecht) and Sound Festival (Aberdeen) later this year. The piece uses live audio-visual processing to explore issues raised in the fallout of Edward Snowden’s revelations of mass covert surveillance and memorialises the death of the innocence of the Internet.
30 June 2014
My new music podcast I’LL CADENCE WHEN I DIE! is back for a second series, the first episode of which is available now. I speak to David Fennessy about his piece Hauptstimme which recently received its first performance at HCMF//. A sort-of viola concerto, the piece explores David’s interest in the relationship between the voices of an ensemble, and between the individual and the crowd. He also discusses how a work conceived in the Pearl River Delta came to feature the clacking sound of a loom from the Isle of Lewis, and how he was inspired to create a trilogy of works based on the writings of film director Werner Herzog. This episode features performances given by the Red Note Ensemble, Talea Ensemble and Ensemble Klang.
31 October 2013
I’LL CADENCE WHEN I DIE! is my new podcast about new music and sonic art in Scotland. I started producing the show earlier this year in an attempt to showcase some of the brilliant and diverse work that’s going on here, work that often gets overlooked by more mainstream media.
Each month I interview a composer who lives in, or is visiting, Scotland about their work. There’s no script and very few prepared questions. The interviews (so far, at least) can meander into some interesting and unexpected areas. Not all this material makes the final cut, of course, but hopefully listeners find out a little more about what, why and how the featured composer composes. We get to hear some of that composer’s music along the way, too.
As a composer myself, I often talk about music and compositional “issues” with other composers. I’d always felt that edited versions of this shop talk may be of some interest to listeners; these sprawling discussions, and frequent disagreements, often see my fellow composers speak about music in simple and accessible terms far removed from the Academicese that often blights programme notes and other formal, written, discussions of music.
After considering creating a website or e-zine to allow these discussions to reach a wider audience, I decided on the podcast format after hearing WNYC’s Radiolab and Roman Mars’ 99% Invisible. While I wouldn’t want ICWID! to be compared with these brilliant and slick shows, the way both make obscure subject matter accessible and enjoyable has been a great inspiration.
There have been five episodes of ICWID! released so far. In the most recent episode, composer François Sarhan discusses his upcoming show Enough Already! (or, Lâchez Tout!) – a surreal and political work which combines film, speaking musicians, an actor and two Foley artists – which is to be performed by Red Note Ensemble this winter in Glasgow, Edinburgh and at HCMF//.
In September’s edition, composer Bill Sweeney talked about the influences behind his recent music for cello, including the work of poets Hugh MacDiarmid and Jorge Luis Borges. Always blending the traditional with the cutting-edge, Bill discusses how imitating Gaelic psalm singing and using Pure Data both contribute to his soundworld. The episode also features wonderful performances of Bill’s work by cellist Robert Irvine.
Earlier shows have featured diverse styles of music: Episode One saw composer John De Simone explain why (and how) he escaped the influence of Dutch-style minimalism to write a Neo-Romantic (-ish) violin concerto. Episode Two featured Sound and Music Embedded Composer Shiori Usui discussing her music derived from the sounds of the human body and includes a brilliant performance of Shiori’s work In Digestion given by A Far Cry. Episode Three saw Scottish Opera’s Composer-in-Residence Gareth Williams talk about two of his site-specific operas, one which took place at the top of an Aberdeenshire lighthouse and another that played-out in a Glasgow pub (whilst the pub was still open).