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About the Artists
Presspectives

Music for Guitars, Bass Clarinets & Contrabasses

Thanos Chrysakis, Tim Hodgkinson, David Ryan, William Crosby, Dominic Lash, Chris Cundy, Hannah Shilvock, Gwen Reed, Jack Jones, James O' Sullivan, Leo Geyer, Jason Alder, Michelle Hromin

Duration 70.46 | Released July 2025

 

1. Fields and Refrains (2021)    15:10

David Ryan

William Crosby   (classical guitar)

 

2. 4 Systems (1954) 5:09

Earle Brown 

Jason Alder  (bass clarinet)

Chris Cundy (bass clarinet)

Tim Hodgkinson (bass clarinet)

Michelle Hromin (bass clarinet)

Hannah Shilvock (bass clarinet)

David Ryan (conducting)

 

3. Tilbury 4 (1970)      5:25

Christian Wolff

William Crosby (electric guitar)

Tim Hodgkinson (clarinet in B♭]

Michelle Hromin [clarinet in B♭]

Chris Cundy       (bass clarinet)

Hannah Shilvock (bass clarinet)

Dominic Lash (contrabass)

Gwen Reed    (contrabass)

 

4. The Possibility of a New Work for Electric Guitar (1966)  7:03           

Morton Feldman

William Crosby      (electric guitar)

 

5. Riverwind (2023)       17:50

Thanos Chrysakis

Jack Jones      (trumpet)

Tim Hodgkinson (clarinet in B♭]

Michelle Hromin [clarinet in B♭]

Chris Cundy       (bass clarinet)

Hannah Shilvock (bass clarinet)

Jason Alder      ( contra bass clarinet)

William Crosby   (electric guitar)

James O’Sullivan  (electric guitar)

Dominic Lash (contrabass)

Gwen Reed    (contrabass)

Leo Geyer      (conducting)

 

6. One to Five  (circa 1970)    5:57

Earle Brown

Tim Hodgkinson (clarinet in B♭]

Michelle Hromin [clarinet in B♭]

Chris Cundy       (bass clarinet)

Hannah Shilvock (bass clarinet)

Jason Alder      ( contra bass clarinet)

William Crosby   (electric guitar)

James O’Sullivan  (electric guitar)

Dominic Lash (contrabass)

David Ryan (conducting)

 

7. kryptoplégma (2023)   14:12

Tim Hodgkinson

Jack Jones      (trumpet)

Michelle Hromin [clarinet in B♭]

Chris Cundy       (bass clarinet)

Hannah Shilvock (bass clarinet)

Jason Alder        ( contra bass clarinet)

William Crosby      (electric guitar)

James O’Sullivan   (electric guitar)

Dominic Lash (contrabass)

Gwen Reed     (contrabass)

Tim Hodgkinson   (conducting)

 

Recorded live at Café OTO in London

on the 10th of December 2023 by Rory Salter.

 

Edited — Mixed by

JASON ALDER

Between January — June 2024

Mastered by

THANOS CHRYSAKIS

Between July — December 2024

at Meridian Studio.

 

About the Artists

"He burrows into the inner life of sound and extracts elemental qualities that capture and convey its intrinsic dynamism."

Julian Cowley / The Wire

Thanos Chrysakis is a Greek composer, musician, producer and sound-artist. He is best known for his work in electronic and contemporary music, improvisation, and electro-acoustic music.

With several albums to his name his work has appeared in festivals and events in numerous countries, including CYNETart Festival, Festspielhaus Hellerau - Dresden, Artus Contemporary Arts Studio – Budapest, CRUCE Gallery – Madrid, Fylkingen – Stockholm, Relative (Cross) Hearings festival – Budapest, Festival Futura – Crest - Drôme, FACT Centre – Liverpool, Association Ryoanji – Ahun - Creuse, The Center for Advanced Musical Studies at Chosen Vale — Hanover - New Hampshire, Areté Gallery — Brooklyn - New York, UC San Diego – California - San Diego, Berner Münster – Bern, Fabbrica del Vapore – Milan, Grünewaldsalen – Svensk Musikvår — Stockholm, Splendor – Amsterdam, Logos Foundation – Ghent, Palacio de Bellas Artes – Mexico City, Műcsarnok Kunsthalle – Budapest, Spektrum – Berlin, Susikirtimai X – Vilnius, Festival del Bosque GERMINAL – Mexico City, ДОМ – Moscow, Oosterkerk – Amsterdam, KLANG ! – Montpellier, Nádor Terem – Budapest, Utzon Centre – Aalborg, New Stage of Alexandrinsky Theatre – St. Petersburg, Center for New Music – San Francisco, Västerås Konstmuseum – Västerås, Störung festival – Barcelona, BMIC Cutting Edge concert series at The Warehouse – London.

His music was among the selected works at the International Competition de Musique et d'Art Sonore Electroacoustiques de Bourges 2005, in the category oeuvre d'art sonore électroacoustique, while received an honorary mention in 2006 at the 7th International Electroacoustic Competition Musica Viva in Lisbon (the jury was constituted by Morton Subotnick (USA), François Bayle (France), and Miguel Azguime (Portugal).

 

He operates the Aural Terrains record label since 2007 where he has released part of his work until now, alongside releases by Kim Cascone, Franscisco López, Tomas Phillips, Dan Warburton, Szilárd Mezei, Michael Edwards, Wade Matthews, Dganit Elyakim, Edith Alonso, Luis Tabuenca, Jeff Gburek, Philippe Petit, Steve Noble, Milo Fine, Liam Hockley and David Ryan among others.

 

He has written music for musicians of the Hyperion Ensemble, the Stockholm Saxophone Quartet, the Hermes Ensemble, the Nemø Ensemble, the Konus Saxophone Quartett, and the Shadanga Duo among others. Close collaborations with Tim Hodgkinson, Vincent Royer, Chris Cundy, Yoni Silver, Lori Freedman, Jason Alder, Julie Kjaer, Henriette Jensen, William Lang, Wilfrido Terrazas, Philippe Brunet, Wade Matthews, Ernesto Rodrigues, Ove Volquartz to name but a few.

Picture of Thanos Chrysakis

Tim Hodgkinson  is an English experimental music composer and performer, principally on reeds, lap steel guitar, and keyboards. He first became known as one of the core members of the British avant-rock group Henry Cow, which he formed with Fred Frith in 1968. After the demise of Henry Cow, he participated in numerous bands and projects, eventually concentrating on composing contemporary music and performing as an improviser.

Picture of Tim Hodgkinson

David Ryan is a visual artist and musician.  He has long been associated with experimental music and improvisation, having performed with many distinguished musicians including Anton Lukoszevieze, John Edwards, Ian Mitchell, Alberto Popolla, John Tilbury, Luca Venitucci, Gianni Trovalusci amongst others.  In the 1990s/early 2000s he curated many concert series featuring both improvisors and composers, including Bunita Marcus, Kaija Saariaho, Ken Vandermark and many others as well as concert collaborations with Earle Brown, David Behrman, Phill Niblock and Christian Wolff.  In 2016 he was an Abbey Fellow at the British School at Rome, and in 2020 was a judge for the Franco Evangelisti prize in composition, Rome.  Recent pieces have been broadcast on Radiophrenia, CCA Glasgow and also at the Video Poetry festival, Athens (Institute of Experimental Arts). He is currently Associate Professor in Fine Art at Anglia Ruskin University, Cambridge. 

 

Picture of David Ryan

William Crosby is a British/Greek-Cypriot artist, musician, pedagogue, and agitator based in Cambridge/ London, UK.

His artistic practice is rooted in the environmental humanities, sound art, and radical pedagogies, working with field recordings, text scores, improvisation, writing, and communal sound-making to ask how sound can develop communal pedagogical tools fit for our age of climate crises. This work thinks about how sound enables embodied encounters with others, and how these stand as a radical act of co-working.

As a classical/electric guitarist, William has recently released both solo and ensemble music on Aural Terrains, Elektramusic, and Bad Vibrations/Fuzz Club. He collaborates closely with composers, Thanos Chrysakis and David Ryan, on developing, performing, and recording new music for guitar. He is also a core member of OperaApertaUK, an experimental opera group, who have collaborated with a range of musicians, including Angharad Davies, Dominic Lash, Lucy Railton, and Mark Sanders amongst others.

William Crosby is a doctoral candidate within CRiSAP (Creative Research in Sound Arts Practice) at University of the Arts, London. He lectures at Anglia Ruskin University, Cambridge in music, sound, and media, and teaches on the BA & MA Sound Arts pathways at LCC:UAL. [www.crosbywilliam.com]

Picture of William Crosby

Dominic Lash is an improviser and composer. The musicians he has worked with include Cristián Alvear, John Butcher, Tony Conrad, Angharad Davies, John Edwards, Jürg Frey, Matthew Grigg, Elizabeth Harnik, James Ilgenfritz, Charlotte Keeffe, Paul Lytton, Joe Morris, Steve Noble, Evan Parker, Éliane Radigue, Mark Sanders, Roger Turner, Lisa Ullén, Fay Victor, Alex Ward, and Jason Yarde.

Picture of Dominic Lash

“swirling around the songs was bass clarinet player Chris Cundy, like a birdsong interrupting an argument” -  Los Angeles Times                                                                                                                         

Playing bass clarinet and rarified woodwind instruments Chris Cundy is a composer and performer with a practice rooted in experimental and improvised settings. His work also crosses over into popular music and he has worked with a variety of songwriters and groups including Timber Timbre, Cold Specks (aka Ladan Hussein), Thor & Friends, Baby Dee & Little Annie, and Guillemots.

Growing up in the Medway towns Chris became friends with artist and punk musician Billy Childish who introduced him to the exploits of homemade music-making at an early age. This led to a lasting DIY attitude and by the time he was 12 Chris had already started out as a street performer and busker. After hearing Eric Dolphy's music he took up the bass clarinet. He remains self-taught.

Also a visual artist, Chris studied painting at Cheltenham where he discovered a synergy between drawing practices and improvised music. This led to self-developed playing techniques using multi-phonics, circular breathing, exploring micro tonality and generally speaking a more tactile approach to the instrument. Chris also performs contemporary classical music and has premiered works by Greek composer Thanos Chrysakis. He performs as a soloist and as a member of The Set Ensemble.

He is also involved with theatre music, and recently contributed to an original soundtrack for Florian Zeller's stage play The Mother starring Gina McKee. Chris has performed at Shakespeare's Globe and toured with circus companies NoFit State, and Imagineer.

One off sessions have seen Chris performing alongside Moby, The Blind Boys of Alabama, Bonnie 'Prince' Billy, Lol Coxhill, Vieux Farka Touré, Fatoumata Diawara, Alexander Hawkins, City of Birmingham Symphony Orchestra and Lisa Hannigan.

He has released three solo albums, Gustav Lost in 2016 (FMR Records), The Disruptive Forest in 2017 (Confront), and the mini-album Crude Attempt in 2020 (Pressing Records). A further album of acoustic bass clarinet compositions is expected in 2021 titled Of All The Common Flowers.

Picture of Chris Cundy

Originally from Somerset, Hannah is a clarinet/bass clarinet specialist, woodwind doubler and arranger based in Brighton. Hannah is a BG France, RATstands and DEBUT Classical Horizon Artist. Hannah is a pioneer of the bass clarinet as a solo instrument, and has recently published her arrangement of Debussy’s Cello Sonata arranged for bass clarinet and piano, with Alea Publishing.

Hannah has performed alongside musicians such as Grammy award winning jazz pianist Bill Laurance, and with ensembles such as the European Union Chamber Orchestra and the Hastings Philharmonic.

 

Picture of Hannah Shilvock

Gwen works regularly as an improviser, session musician, with contemporary music projects, large orchestral performances, new and classic musicals, as well as in small chamber settings.  Gwen has performed throughout Europe and the United States with ensembles such as the London Contemporary Orchestra, the Phoenix Symphony, Chineke! Orchestra, Plus-Minus Ensemble, Hyperion Ensemble UK, as well as acting as a founding member of Ensemble x.y.  She is a regular performer at the London Contemporary Music Festival and the BBC Proms. Gwen can be heard on popular albums by Thom Yorke, as well as cast recordings for the Stephen Schwartz musical Working!, Joanna Bailie’s Artificial Environments, and various film soundtracks.

Picture of Gwen Reed

Jack is a musician born and based in London, UK. As Artistic Director of The Listening Project, Jack is pushing himself to perform a more contemporary repertoire and invite people in to a re-imagined world of live performance.

Picture of Jack Jones

James O'Sullivan is a London-based experimental guitar player and improvisor who employs a playful but meticulous approach to the instrument through the bringing-together of physicality, resonance, detail and dynamics. He seeks to co-create a rich, layered and engaging music that entwines the excitement of the moment with a creative, focused exploration, shaping an enduring document of the guitar's potential.

His interest in improvisation, recording and performance has led him to record and perform across the UK and internationally, both solo and with numerous improvised music groups. More long-standing groups include Muster, with Dan Powell (electronics), a duo with Paul May (percussionist), the improvising trio Found Drowned, and, most recently, LUFT, a trio with Chris Hill and Alan Newcombe. His playing also features on several releases on the Aural Terrains imprint. He has released three solo albums, feed back couple, (2011), IL Y A, (2017) and Lovely Error (2022). Recent releases include Repetition Disguises, an electric guitar duo with Nathan Moore, CHORD, with Ross Lambert, Nathan Moore and Eddie Prévost, and the eponymous LUFT (Hill/ Newcombe/O'Sullivan), released in March 2024.

Picture of James O' Sullivan

Leo Geyer is a composer, conductor and presenter. He began his career at the Royal Opera House as a Cover Conductor for The Royal Ballet and is now the Founder and Artistic Director of Constella OperaBallet.

 

As a guest conductor, Leo has collaborated with the BBC Concert Orchestra, English National Opera, Birmingham Contemporary Music Ensemble, the National Theatre and other ensembles. Leo has received various accolades for composition the most recent of which is the Lord Mayor’s Composition Prize. 

Leo’s music has been described by The Times as “imaginative and beautifully shaped”, and has received performances by ensembles including the English Chamber Orchestra, London Sinfonietta, Rambert Dance Company and Opera North. Leo is currently working on his first major film commission, creating a soundtrack for the Ukrainian silent film Man with a Movie Camera. Leo is studying for a doctorate in opera-ballet composition as the Senior Music Scholar at St Catherine’s College, Oxford and is an Associate Lecturer in Composition at Plymouth University.

Following his traineeship with the BBC, Leo has presented for BBC Radio 3 and Sky Arts TV and is currently creating a major TV documentary with Two Rivers Media. In addition, Leo has also appeared as an artist on BBC Radio 3 and 4 and discussed musical matters on BBC News.

Picture of Leo Geyer

Jason Alder is a low clarinet specialist and holds degrees in clarinet performance (Michigan State University- US), bass clarinet performance (Conservatorium van Amsterdam- NL), creative improvisation (Artez Conservatorium- NL), as well as post-graduate study in the application of the advanced rhythmic principles of South Indian Karnatic music to contemporary Western classical and jazz music (Contemporary Music and Improvisation through Non-Western Techniques). He is currently conducting PhD research on the sonic possibilities on the contrabass clarinet (Royal Northern College of Music- UK). He is well-established as a performer of contemporary music and frequently works with composers to develop and premiere new works either as a soloist, with his flute-clarinet Shadanga Duo, the Four New Brothers Bass Clarinet Quartet, or in a variety of other formations. As well as composed music, Jason regularly performs internationally as an improviser, electroacoustic musician, and in world music and jazz bands. He is often found performing, lecturing, or on panel discussion at festivals around the world, including the International ClarinetFests, European Clarinet Festivals, Istanbul Woodwind Festival, American Single Reed Summit, Netherlands Gaudeamus New Music Festival, Ultima Oslo Contemporary Music Festival, Havana Festival of Contemporary Music, and Leeds International Festival of Artistic Innovation. He is also sought after as a recording engineer for many classical and jazz musicians around Europe. Originally from metro-Detroit, Jason has lived in Europe since 2006 and is an endorsing Artist for Selmer clarinets, D'Addario reeds, Behn mouthpieces, and Silverstein ligatures.

Picture of Jason Alder

Michelle Hromin is a Croatian-American multidisciplinary artist, specializing in contemporary clarinet performance, writing, and curation. She uses mediums such as spoken word, electronics, and improvisation in her artistic practice to explore her identity, heritage, and human relationships. Recent engagements include touring "A Steve Reich Celebration" with the Colin Currie Group in Japan and across the US and performing at the BBC Proms. As an in-demand clarinetist, she has performed in venues such as Carnegie Hall, Lincoln Center, Tokyo Opera City, Iklectik, and Cafe Oto and worked with groups such as eighth blackbird, English National Opera, London Mozart Players, Fifth House Ensemble, Lisa Bielawa's Broadcast from Here series, Audentia Ensemble, and International Contemporary Ensemble.

Picture of Michelle Hromin

Presspectives

Julian Cowley — THE WIRE — #500 — September 2025

Thanos Chrysakis likes to list basic instrumental ingredients when formulating titles for releases on Aural Terrains. The names of composers provide guidance to probable modes of preparation. On this occasion, William Crosby and James O'Sullivan's electric guitars bring tang and crunch to substantial new pieces for augmented wind ensemble, by Chrysakis himself and Tim Hodgkinson. 

Both pieces also feature double bassists Dominic Lash and Gwen Reed. The involutions of Hodgkibson's kryptoplégma are especially succesful in drawing pungency from the mixed ensemble. Crosby, solo explores the acoustic guitar as a sound source on David Ryan's Fields & Refrains. Classic works of indeterminancy by Feldman, Wolff and Earle Brown round out the programme.

Jean-Michel Van Schouwburg — Orynx — 13.10.2025

[FR]

Le compositeur Grec Thanos Chrysakis est un excellent producteur de projets de musique contemporaine originaux très souvent focalisés sur des instruments particuliers comme les clarinettes basses, les trombones avec une sélection de compositeurs incontournables voire atypiques comme ici Earle BrownChristian Wolf ou Morton Feldman ainsi que ses propres compositions et celles de ses collaborateurs proches, tels le clarinettiste Tim Hodgkinson ou le guitariste David Ryan.

Il empile les réussites sur son label Aural Terrains en diversifiant régulièrement le choix des instruments. Aussi sa démarche fait appel à des improvisateurs libres. Dans cet album enregistré le 10 décembre 2023 au Café OTO à Londres, on retrouve le bassiste Dominic Lash, les clarinettistes Chris Cundy, Tim Hodgkinson et Jason Alder. Il introduit de nouveaux musiciens à ses équipes comme l’excellent guitariste William Crosby qui interprètent Fields and Refrains de David Ryan composé pour une seule guitare acoustique (15 :10) nous éclairant sur les possibilités sonores de la guitare en apportant un regard neur et des techniques inusitées. C’est justement David Ryan qui dirige 4 Systems (1954- 5 :08) d’Earle Brown pour cinq clarinettes basses (Alder, Cundy , Hodgkinson et deux nouvelles venues Michelle Hromin et Hannah Shilvock), composition ouvrant l’espace sonore et la dynamique. Tilbury 4 de Christian Wolff fait rencontrer quatre des clarinettistes basses précédents avec la guitare électrique jouée par William Crosby et les deux contrebasses de Lash et de Gwen Reed.

Chaque musicien intervient quasiment seul au seuil du silence Une œuvre quasi diaphane de 5:25 datant de 1970. Suivi de The Possibilty of A New Work for Electric Guitar de Morton Feldman (1966 – 7:03) dans un esprit très similaire à la précédente interprétée par William Crosby. Riverwind (2023- 17 :50) de Thanos Chrysakis est une de ses oeuvres orchestrales parmi les plus réussies rassemblant trompette (Jack Jones), deux clarinettes en Sib, deux clarinettes basses, un clarinette contrebasse, deux guitares électriques et deux contrebasses avec les instrumentistes déjà cités dont aussi le guitariste James O’Sullivan sous la direction de Leo Geyer. Il s’agit d’une belle œuvre spectrale avec une phase proche du free-jazz radical. Plus loin on rencontre une guitare noise abrasive.

La démarche de Chrysakis est limpide : pour à la fois illustrer son projet de composition qui s’impose comme partie centrale de l’album et nourrir la diversité musicale et l’intérêt du public, il reprend une série d’œuvres composées par d’autres compositeurs pour chacun ou plusieurs des instruments qui figurent dans Riverwind, celle – ci se distinguant musicalement de ces œuvres qui la précèdent dans l’ordre de l’album. . Il reste alors deux compositions pour conclure ce cheminement particulier.

One To Five d’Earle Brown (1970 – 5 :57) conduite par David Ryan reprend une bonne partie l’instrumentation de Riverwind au niveau des clarinettes (moins la cl. contrebasse), mais avec une seule guitare électrique et une seule contrebasse. Mais cette œuvre a une toute autre optique avec ses mouvements saccadés, parsemés de silences et de breaks, avec une rythmique sous-jacente et des effets de tutti agrémentés de pointillisme. Cette sélection d’œuvres différentes fait que ce programme s’écoute volontiers grâce à sa diversité pointue et aux contrastes de chaque composition par rapport aux autres. Kryptoplégma de Tim Hodgkinson (2023 - 14:12) est écrit pour un orchestre semblable à celui de Riverwind : trompette, clar Sib, deux clarinettes basses, une clarinette basse, deux guitares électriques, et deux contrebasses et dirigée par son compositeur. Celui-ci a opté pour un style de composition dynamique et enlevée similaire à ces œuvres de jazz d’avant-garde avec de larges intervalles dissonants, guitares noise, alternances rapides de chaque instruments en mouvements disjoints, hoquets, passages presque silencieux, combinaisons de notes isolées de plusieurs souffleurs qui se chevauchent à une double croche près. Hodgkinson utilise à bon escient une série d’idées d’écriture qui se succèdent avec bonheur. L’ensemble de l’album et la succession de ces sept compositions dans l’ordre de celui-ci apportent un réelle bonification pour chacune des œuvres jouées par la grâce de leurs qualités intrinsèques qui mettent en valeur toutes les autres.

Un excellent travail réalisé et enregistré la même soirée en concert et un sens rare de la synergie dans chaque projet de Thanos. Il faut pouvoir le faire, signalons-le. Chapeau Thanos Chrysakis, Aural Terrains et tous ceux qui ont participé au projet.

 

[ENG]

Greek composer Thanos Chrysakis is an excellent producer of original contemporary-music projects, very often focused on particular instruments, including bass clarinets and trombones, with a selection of works by essential or even atypical composers such as Earle Brown, Christian Wolf or Morton Feldman, as well as his own compositions and those of close collaborators, such as Tim Hodgkinson or David Ryan. He has been scored innumerable successes with his label Aural Terrains by regularly diversifying the spectrum of instruments. His approach also appeals to free improvisers. This album, recorded on December 10, 2023 at Café OTO in London, features bassist Dominic Lash and clarinetists Chris Cundy, Tim Hodgkinson and Jason Alder. He brings in new musicians, including the excellent guitarist William Crosby, who performs David Ryan’s Fields and Refrains, for solo classical guitar (15:10), an enlightening presentation of the sonic possibilities of the guitar with a new perspective and unusual techniques. It is precisely David Ryan who conducts 4 Systems (1954- 5:08) by Earle Brown for five bass clarinets (Alder, Cundy, Hodgkinson and two newcomers: Michelle Hromin and Hannah Shilvock), a composition that opens the sound space and dynamics. Tilbury 4 by Christian Wolff brings together four of the previous bass clarinetists with guitarist William Crosby (this time on electric guitar) and double bassists Dominic Lash and Gwen Reed. Each musician intervenes almost alone at the threshold of silence in this quasi-diaphanous work of 5:25 dating from 1970. It is followed by The Possibility of A New Work for Electric Guitar by Morton Feldman (1966 – 7:03), with a spirit very similar to the previous one performed by William Crosby. Riverwind (2023- 17:50) is one of Thanos Chrysakis’ most successful orchestral works, combining trumpet (Jack Jones), two Bb clarinets, two bass clarinets, a contrabass clarinet, two electric guitars and two double basses with the instrumentalists already mentioned, plus guitarist James O’Sullivan, under the direction of Leo Geyer. It is a beautiful spectral work with a phase close to radical free-jazz. Further on we encounter an abrasive noise guitar. Chrysakis's approach is clear: to both illustrate his compositional project, which occupies the central part of the album and stands out musically from the works that precede it in the album’s order, and to foster musical diversity and public interest with a series of works composed by other composers for each or several of the instruments featured in Riverwind. The two final compositions concluding this particular journey—Earle Brown's One To Five (1970 - 5:57) conducted by David Ryan takes up a good part of the instrumentation of Riverwind (the clarinets, minus the double bass), but with two electric guitars and a double bass. This work has a completely different perspective, with jerky movements dotted with silences and breaks, an underlying rhythm, and tutti effects embellished with pointillism. Thanks to its marked diversity and contrasting works, this album is a joy to listen to. Lastly, Tim Hodgkinson's Kryptoplégma (2023 - 14:12) is written for an orchestra similar to that of Riverwind—trumpet, Bb clarinet, two bass clarinets, one contrabass clarinet, two electric guitars, and two double basses—and conducted by its composer. In a dynamic, spirited style similar to avant-garde jazz works with wide dissonant intervals, noise guitars, rapid alternations of each instrument in disjunct movements, hiccups, nearly silent passages and combinations of isolated notes from several wind players that overlap within the space of a sixteenth note. Hodgkinson skillfully unfolds musical ideas that follow one another very well. The entire album and the presentation of these seven compositions in the order in which they were played brings out their intrinsic qualities in a way that also truly enhances those of the others. An excellent project carried out and recorded in concert on a single evening brings a rare sense of the synergy that characterizes each of Thanos undertakings. Let us add that this is no easy accomplishment. Hats off to Thanos Chrysakis, Aural Terrains and all those who took part.

 

Translated from French ro English

by Wade Matthews