On Piano Day 2018 the sounds of musicians will be heard around the globe celebrating a love for one of the most beloved and expressive instruments in the world. Among them will be names that might be new to many listeners such as Barry Kernachan who is releasing his new album to coincide with that special day. Not that he is new to music. Far from it. Barry has been playing since he was a child and writing for a number of years. But Layers is an album where he strips everything back and focuses on the core instrument. It is bright, melodic, and engaging record that piano music lovers will find easy to fall into. In this interview provided by Preserved Sound, Barry talks about the album, his musical journey and his improvisational process. Continue reading
Electronic ambient music is a funny animal when you think about it. How is it possible to create compelling music with no conventional instruments, no words, and no beat? But, Austin Cairns, aka r beny, is one of those rare sonic alchemists who does just that weaving rich aural tapestries and exploring the labyrinths of memory using modular & hardware synthesizers and tape machines. Using His 2016 debut full blossom of the evening deservedly caught the ear of many discerning followers of the ambient scene with its broad spectrum of beautifully crafted sounds and varying moods. Then, after a period of personal difficulty and transformation he created what surely must be considered one of the best albums of its kind last year, cascade symmetry. Far from exhibiting a sophomore slump, Cairns found the soul of his machines and delivered a quiet stunner with a palpable melancholy and potent emotional undertow that was little short of astonishing. Now, following his most recent release, the delicate and peaceful saudade on Belgian tape label Dauw, Cairns talks with us about how he got started, his creative process, his gear, and what’s on the horizon. Continue reading
Along the pathways of my stationary travels, I have not encountered an artist more mesmerizing or compelling than Aaron Martin. Centered around his singular cello, he employs a plethora of other instruments (guitar, banjo, ukulele, lap steel, concertina, singing bowls) to forge a unique sound and style with roots sunk deep in rustic earthiness yet somehow reaching boundlessly into transcendent and ethereal realms. It is as if Martin unlocks not only the resonance of his instruments, but extracts the very history and memory out of the elements from which they are made. I find his music to be ancient, timeless, and modern all at once, always moving and unfailingly pointed towards true north.
Never has this been more true than on his newest work entitled A Room Now Empty soon to be released by UK-based contemporary classical label Preserved Sound, Martin’s first full-length solo record since the sublime Comet’s Coma (Eilean Rec., 2014). Soon listeners will be able to revel in its stark, intimate beauty and be shaken by its soul-deep, melancholic yearning. In the meantime, Stationary Travels is very pleased to present this interview provided courtesy of Preserved Sound & Hayden Berry in which Aaron talks about how the layered meanings in the music and titles of the album and how they don’t allow one clear-cut reading of the music.
My guest for this edition of duologues is award-winning composer Jane Antonia Cornish who grew up in England and is currently based in New York City. In addition to composing scores for the acclaimed documentaries, Scotty and the Secret History of Hollywood and Citizen Jane: Battle for the City as well as the drama Fireflies in the Garden, (starring Julia Roberts, Ryan Reynolds and Willem Dafoe), Cornish was the first female in history to win a British Academy Award (BAFTA) for music in 2005. In that same year the UK Film Council also honored her with a Breakthrough Brit in Hollywood award. Most recently she has released her third solo album Into Silence, an exquisite, intimate, and deeply affecting work that ICON Magazine called “A virtual blessing in a world gone mad”, a sentiment with which I would wholeheartedly agree.
Links: Solo Albums | Order signed CDs | Into Silence via Innova
To hear the music of Australian pianist Sophie Hutchings is to be spellbound by its unfettered beauty. Rich in melody and sonic colors in constant movement, her compositions and arrangements can summon wide open spaces on a grand scale or turn inwards with the most calming and intimate warmth. After a busy year in which she released two albums (Yonder and Byways), toured in Europe, performed at the inaugural Q3Ambientfest, and traveled to India, Sophie was kind of enough to take some time to chat with us about her recent projects and her music in general.
Francesco Berta is a music composer, multi-instrumentalist, and visual artist from Italy and currently living in London. While his earliest albums featured a generous amount of exhilarating instrumental rock, since 2014 he has focused increasingly on compositional forms producing some truly beautiful and compelling work. In 2017, Francesco undertook an ambitious project in which he challenged himself to release new material on a monthly basis for the entire year, an effort that has seen 7 new releases so far (find them all here). We got a chance to catch up with Francesco to talk about the project as well as his frank & insightful views on the process of composing and his participation in the 10th annual Film Music Festival in Krakow.
With her 2012 debut ‘Escapement’, Brighton-based composer Poppy Ackroyd entered the same rare air as such esteemed innovators of modern classical and electronic music as Nils Frahm and Hauschka. Classically trained on violin and piano, she creates utterly mesmerizing music by manipulating and multi-tracking sounds primarily from these two instruments in sometimes unconventional ways, an approach she expanded upon with her second album ‘Feathers’ in 2015. This year she brings us a flurry of new projects to enjoy starting with her new mini-album ‘Sketches’ in which Poppy reinterprets pieces from her first two records as pure solo piano pieces along with several new compositions. She also has a brand new full-length album in the works for release in November and all this in the midst of performing as part of Hidden Orchestra, who themselves have a wonderful new record out called ‘Dawn Chorus’. I am ecstatic that Poppy was willing take time from her busy schedule to answer a few questions for Stationary Travels readers and thus kick-off the very first in our new series of artist interviews called Duologues.