STAFF PICKS: Friday Faves

Second Inversion hosts share a favorite selection from their weekly playlist. Tune in on Friday, April 20 to hear these pieces and plenty of other new and unusual music from all corners of the classical genre!

Hildegard Westerkamp: Fantasie for Horns II (Empreintes Digitales)
Brian G’Froerer, horn; Hildegard Westerkamp, electronics

Let it be known upfront that this is not your average horn solo. Composed by sound ecologist Hildegard Westerkamp, Fantasie for Horns II explores the sound of horns we hear in our everyday lives: trainhorns, foghorns, factory and boathorns. This piece is about how those sounds often give a place its character—foghorns echoing across a charming coastal village, trainhorns ringing amid a bustling metropolis, or factory horns blasting in a gritty industrial town.

But this piece is also an exploration of how horns are shaped by their surroundings: how the horn reverberates across the ocean waves, or how it changes pitch slightly as the train approaches. Fantasie for Horns II laces together field recordings of all of these different horns, creating a whole city of sounds with one single live French horn echoing across it. – Maggie Molloy

Tune in to Second Inversion in the 1pm hour today to hear this piece.


itsnotyouitsme: “Lost Nation Municipal Airport” (New Amsterdam)
Grey McMurray and Caleb Burhans

“Lost Nation Municipal Airport” is the aural version of how the world looks when your vision is readjusting after waking up from a deep sleep that you fell into while waiting for your plane at an airport gate—it’s the music of the strangers and planes and signage slowly taking shape around you. The longer and more closely you listen to this piece, the more you find in it, much like staring at one of the giant paintings in the Rothko Chapel.

There’s something about airports that’s hopeful and optimistic—maybe leftover from the Jet Age of the 1950’s and ‘60’s—with their diverse and ever-fluctuating populations, their busy purposefulness, and their technology. I like that this song slows down that perpetual motion of humanity. The album that this is from, fallen monuments, was recorded from live performances because Caleb Burhans and Grey McMurray—the members of itsnotyouitsme—wanted to capture the fleeting nature of the improvisations that they tend to play at live shows. That spirit is beautifully captured in this piece, with—I’m guessing—a little nod to Brian Eno. – Dacia Clay


Pauline Oliveros and the Deep Listening Band: Suiren (New Albion)
Deep Listening Band

As the weather in Pacific Northwest proceeds at its typically leisurely pace toward its version of summer, I’m thinking a great deal about the pleasures of time spent outdoors. I was struck by The Deep Listening Band’s Suiren this week because it replicates a special atmosphere often found in the solitude of nature.  This specific and rare character of  the environment, often found in the amoral companionship of an empty and quiet sky at a high altitude, is present in this piece. That’s ironic, considering this piece was literally recorded underground. – Seth Tompkins

Tune in to Second Inversion in the 8pm hour today to hear this piece.


Nils Frahm: Kaleidoscope (Erased Tapes)
Nils Frahm, keyboards; Shards, voices

“Kaleidoscope” is one of my top three songs from Nils Frahm’s latest album All Melody.  The album itself features a wider instrumental palette compared to Frahm’s earlier work, which focused mainly on piano, yet he maintains the same exploratory spirit and continues to give his works space to evolve.  “Kaleidoscope” is a great example of that as it features the human voice, lots of plinky synth, and a pipe organ (which Frahm himself helped build!) among other instruments. The textures combine slowly and create a warm and gratifying listen, making “Kaleidoscope” a great starting point for anyone unfamiliar with Frahm’s repertoire. – Rachele Hales

Tune in to Second Inversion in the 10pm hour today to hear this piece.

STAFF PICKS: Friday Faves

Second Inversion hosts share a favorite selection from their weekly playlist. Tune in on Friday, March 23 to hear these pieces and plenty of other new and unusual music from all corners of the classical genre!

Max Richter: Shadow 4 (Deutsche Grammophon)
Max Richter, electronics

I’m listening to this piece again as I write. It sounds like spring in a meadow on a parallel planet—one that’s a lot like ours, with all of the sweetness of plants and animals waking up from long winter’s naps, but with none of the Rite of Spring madness. It’s bright and peaceful and hopeful, and also brief, like having a flash of realization that the world is amazing when it wants to be. The piece comes and goes that quickly. I like this piece even more knowing that Max Richter’s impetus for writing the album was that he was trying to regain the appreciation he’d once had for Vivaldi’s Four Seasons by digging into the work, recomposing it, and interpreting what he found at its heart. The idea that you can breathe life into things in your world which have become familiar and dull by reframing your own point of view is a powerful one. Plus, I’m a sucker for music with bird calls. – Dacia Clay

Tune in to Second Inversion in the 12pm hour today to hear this piece.


Christopher Cerrone: South Catalina (Cedille Records)
Eighth Blackbird

It’s always a joy when you encounter an instance of an artist putting forth a very specific idea with which you connect, especially if that idea is one that has made you feel isolated in the past. I had this perpetually rare and delightful experience as I discovered Christopher Cerrone’s South Catalina this week. Specifically, I have a long-running and deep personal connection with a feeling Cerrone outlines as an inspiration for this piece: the strange mix of enchantment and oppression that a consistently sunny climate can catalyze in people unfamiliar with that type of environment. – Seth Tompkins

Tune in to Second Inversion in the 1pm hour today to hear this piece.


Joan La Barbara: Cathing (Lovely Music Records)
Joan La Barbara, voice

Joan La Barbara spoke up for experimental vocalists everywhere with her witty response to mezzo-soprano Cathy Berberian’s scathing critique of avant-garde vocal music. Berberian, who interviewed La Barbara during the intermission of one of her concerts, dismissed extended vocal techniques as at best “research” and at worse the work of “freaks” who can’t actually sing.

In response, La Barbara composed “Cathing,” a piece which takes electronically manipulated samples from the interview and weaves them into a scintillating sound-off of vocal techniques: shrieks, squeaks, whispers, wails, moans, drones, and a slew of sounds you didn’t know humans could even make. The result is eight minutes of pure vocal virtuosity—with a bite. – Maggie Molloy

Tune in to Second Inversion in the 5pm hour today to hear this piece.


Valgeir Sigurðsson: 1875 (Bedroom Community)
Reykjavik Sinfonia

Valgeir Sigurðsson’s 2017 album is titled Dissonance, something that as a musical device can have many purposes and characteristics. Dissonance can be harsh and clashing in a way that is shocking and uncomfortable, or it can be soft and subtle, adding a strange beauty to the music it colors. It can be short and punctuated, or it can be long and sustained.

1875, the three-part final work on the album, actually uses dissonance sparingly, but to dramatic effect. Its long, lingering textures have the atmospheric sounds that are typical of Sigurðsson’s palette: deep, sometimes electronically-augmented chords; twinkling string tremolo and scattered Pollock-esque pizzicato; and long, slowly-unfolding string melodies. However, the opening of 1875, a piece that details the first arrival of Icelanders in the frozen landscape of Winnipeg, Manitoba in the late 19th century, uses dissonance in a way that immediately makes a stunning impression. The grandeur of the dissonance in that first orchestral introduction with its imposing wall of sound makes the work worth hearing all on its own. Other interesting ideas are realized throughout the three movements (Waterborne, In Dead of Winter, Displaced), including bell tones that ring out not through the use of percussion instruments, but the use of orchestral strings and brass.
– Geoffrey Larson

Tune in to Second Inversion in the 7pm hour today to hear this piece.

STAFF PICKS: Friday Faves

Second Inversion hosts share a favorite selection from their weekly playlist. Tune in on Friday, February 16 to hear these pieces and plenty of other new and unusual music from all corners of the classical genre!

Anna Thorvaldsdottir: In the Light of Air (Sono Luminus)
ICE (International Contemporary Ensemble)

If I had to describe this piece in one word, it would be ice. Not only is it an icy, ethereal soundscape sculpted by an Icelandic composer, but it’s even performed by ICE (the International Contemporary Ensemble). Anna Thorvaldsdottir’s In the Light of Air is an iridescent sound world scored for viola, cello, harp, piano, percussion, and electronics. Infinitely varied in its timbres and textures, the piece evokes the translucent calm and quiet sparkle of an icy landscape, with gorgeous harp details, gentle piano echoes, and whispering melodies glittering above the rumbling earth below.
 Maggie Molloy

Tune in to Second Inversion in the 1pm hour today to hear a movement from this piece.


Florent Ghys: “An Open Cage” (Cantaloupe Music)
Bang on a Can All-Stars

If you don’t have five hours to listen to John Cage’s sprawling, narrated sound art piece Diary: How to Improve the World (You Will Only Make Matters Worse), Florent Ghys’s “An Open Cage” offers a compelling (and surprisingly catchy) four-minute summary. In Ghys’s version, a solo pizzicato bass line dances within the rhythms of Cage’s calm and serene narration, painting his deadpan delivery with a funky groove and a distinctly contemporary color. The unconventional duet expands as the piece grows in musical force, gradually adding more and more instruments until finally a small chorus of voices appears, echoing Cage’s words:

“The avant-garde is flexibility of mind and it follows like day the night from not falling prey to government and education. Without avant-garde, nothing would get invented.”
 – Maggie Molloy

Tune in to Second Inversion in the 2pm hour today to hear this piece.


John Adams: Lollapalooza (Nonesuch Records)
Hallé Orchestra; Kent Nagano, conductor

I first encountered this piece over 10 years ago in my college wind ensemble. Although this version is for orchestra, the band version is an excellent example of quality writing for winds. And beyond that, this piece is one of the best examples of onomatopoeic music anywhere; once you hear it, you can never un-hear it.  Loll-a-pa-loo-za!
– Seth Tompkins

Tune in to Second Inversion in the 4pm hour today to hear this piece.


Missy Mazzoli: “Tooth and Nail” (Bedroom Community)
Nadia Sirota, viola

Admittedly, I’m a little bit of a fangirl when it comes to Missy Mazzoli and Nadia Sirota, so I may be somewhat biased in my review of this piece. I love how much is going on in it—there are things going on near and far and in between. And Mazzoli brings the electronic textures I’ve heard in some of the music from her band Victoire into this. I hear echoes of Radiohead’s “Pyramid Song” in the chord progressions, and the same kind of desperation in the viola as I heard in Abigail Fischer’s voice in Mazzoli’s Song from the Uproar. This was my introduction to Sirota’s album Baroque, and I can’t wait to dig in to the rest of it! – Dacia Clay

Tune in to Second Inversion in the 7pm hour today to hear this piece.

STAFF PICKS: Friday Faves

Second Inversion hosts share a favorite selection from their weekly playlist. Tune in on Friday, January 26 to hear these pieces and plenty of other new and unusual music from all corners of the classical genre!

Adam Maness: “Shibuya” (Self-Released)
Performed by the 442s

The title of this piece grabbed my attention because it’s a name I’ve read in Haruki Murakami’s novels and short stories—most recently 1Q84, where one of the characters, Aomame, climbs down an emergency staircase from a freeway to escape a traffic jam, where she’s been sitting for ages in a taxi. As she leaves, the taxi driver tells her to remember that “things are not what they seem,” and then she begins her decent into Shibuya, Tokyo. While I’ve never been to Shibuya, the 442s (who took their name from the standard orchestral tuning of 442 hertz) and composer Adam Maness have added another layer to my imagination of what the place is like. Plus, that glockenspiel with the plucked strings kills me. Good stuff! – Dacia Clay

Tune in to Second Inversion in the 2pm hour today to hear this piece.


Dawn of Midi: Io (Thirsty Ear)

I’m starting to think that I will never tire of  Dawn of Midi’s 2013 album Dysnomia. Exemplifying an extremely high standard of acoustic performance, this album is some of the best trance-y music anywhere, for my money. Io, in particular, is a fantastic track. Satisfying grooves give way to complex rhythms and unexpected tones that draw you in as they zone you out. – Seth Tompkins

Tune in to Second Inversion in the 4pm hour today to hear this piece.


Gabriel Kahane: “Parts of Speech” (StorySound Records)

Kahane’s second album Where are the Arms seems aesthetically drawn to building bridges and blurring boundaries between indie rock and classical musis. His catchy pop song “Parts of Speech” highlights the everlasting theme of unrequited love with rhythmic sophistication and something distinctly Nirvana-meets-the-Killers. Kahane’s drawling voice on the driving melody punctuated by some clever rhyme schemes makes the humanness of his songwriting relatable to the casual listener while simultaneously transfixing to the poetically and musically trained ear. – Micaela Pearson

Tune in to Second Inversion in the 7pm hour today to hear this piece.


Ben Lukas Boysen: “Golden Times 2” (Erased Tapes)

Soundscaper Ben Lukas Boysen’s “Golden Times 2” is a slow burn with a wistful, pensive core. Sleepy static and repetitious programmed piano are the jumping off point for a piece that builds as cello and drums join in the tremulous, lush unfolding of an arrangement that offers beautiful gestures of emotion rather than a blatant brandish of it. Swathe yourself in the coziest blanket and sink into Boysen’s graceful melodic minimalism. – Rachele Hales

Tune in to Second Inversion in the 9pm hour today to hear this piece.

STAFF PICKS: Friday Faves

Second Inversion hosts share a favorite selection from their weekly playlist. Tune in on Friday, January 12 to hear these pieces and plenty of other new and unusual music from all corners of the classical genre!

Angélica Negrón: La Isla Mágica (Innova Recordings)
Eleonore Oppenheim, double bass

Brimming with whimsy and wistful nostalgia, Angélica Negrón’s La Isla Mágica combines punchy, video game-worthy electronics with double bass, percussion, and ambient vocals. Performed here by Eleonore Oppenheim on her debut solo album Home, her bass swings, sways, and dances amid a swirl of technicolor electronics. At times it sounds almost as though she’s in the middle of a theme park, playing among the neon signs, the colorful carnival games, and the translucent stars above. – Maggie Molloy

Tune in to Second Inversion in the 1pm hour today to hear this piece.


Gabriela Lena Frank: Danza de los Saqsampillos (Naxos Records)
Alias Chamber Ensemble

I seriously can’t get enough of these works by Gabriela Lena Frank, with all their vibrant colors and stunning rhythmic character. Gabriela was born in the US to parents of Peruvian/Chinese and Lithuanian/Jewish ancestry, and much of her music is influenced by her heritage. Danza de los Saqsampillos is inspired by the Peruvian “saqsampillo,” a rambunctious jungle-dweller with a characteristic jumping two-person dance. This performance from the Alias Chamber Ensemble album Hilos is the version for two marimbas.
– Geoffrey Larson

Tune in to Second Inversion in the 3pm hour today to hear this piece.


David Bowie: “Ashes to Ashes” (arr. Bischoff)
Amanda Palmer and Jherek Bischoff

David Bowie once said that “Ashes to Ashes” represented his own feelings of inadequacy about his work not having much importance.  Until “Ashes to Ashes” was released in 1980, much of Bowie’s music was cloaked in concept and personas so the vulnerability and maturity of this song was, among other things, his way of closing that chapter and moving on. In this version, from an album recorded just two weeks following Bowie’s death in 2016, the harsh textures, edginess, and synthesized guitars of the original are replaced with softer melancholy strings and sultry nightclub vocals.  Bowie is celebrated here, not emulated, and that’s what makes this tribute shine.
 Rachele Hales

Tune in to Second Inversion in the 6pm hour today to hear this piece.


David Crowell: “Waiting in the Rain for Snow” (New Amsterdam Records)
NOW Ensemble

This is exactly what waiting in the rain for snow sounds like.

NOW Ensemble’s flute, clarinet, double bass, oboe, piano, and electric guitar combine the excitement and anticipation of dramatic, beautiful flakes drifting from the sky, with the anxious desire to stay dry while the undesirable in-between phase of sleet insistently pounds the pavement in front of you. – Brendan Howe

Tune in to Second Inversion in the 9pm hour today to hear this piece.

Second Inversion’s Top 10 Albums of 2017

From Icelandic sound sculptures to pan-global jazz, found sounds and field recordings to sprawling, city-wide operas, 2017 was filled with some pretty incredible new music. As this year draws to a close, our Second Inversion hosts take a look back at our Top 10 Albums of 2017:

The Industry and wild Up: Hopscotch (The Industry Records)
Release Date: January 13, 2017

Hopscotch is by far the most inventive, labor-intensive, and meticulously designed work of the year. Live performances of the opera take place in 24 cars on three distinct routes, stopping at various locations-turned-performance spaces throughout Los Angeles. It involves everything from animated sequences exploring themes of identity and community to hearing star musicians perform in the car with you as you ride to your next unknown destination. The album recording is just as expansive, inviting the listener to experience the musical narrative in a non-chronological order, with multiple singers forming a composite of each character’s identity.

Intentionally disorienting, surprising, and overwhelming, artistic director Yuval Sharon and his team at the Industry have created an absolutely immersive experience—and audiences have been blown away. – Brendan Howe


yMusic and Son Lux: First (Communal Table Records)
Release Date: February 17, 2017

Something I hear frequently said about new classical music, from detractors and fans alike, is that it’s hard to listen to. First is a decidedly “new classical” album that does not fit into that framework at all. It’s—and I say this without irony—a freaking delight to listen to. It’s full of stories; for example, in the titular track, the instruments seem to be vying for first place until this looming bass note kicks in, threatening to take them all down. The titles themselves kickstart the imagination: “Trust in Clocks,” “Memory Wound,” and “I Woke Up in the Forest” are some of my favorites. Composer Ryan “Son Lux” Lott and producer Thomas Bartlett took yMusic’s edict to make a chamber music record structured like a rock album to heart and, with the addition of amazing performances by the group, turned it into art. – Dacia Clay


American Contemporary Music Ensemble: Thrive on Routine (Sono Luminus)
Release Date: February 24, 2017

Thrive on Routine was an interesting choice of title for ACME’s 2017 release. Timo Andres’ programmatic string quartet that follows the potato-tending and Bach-playing morning routine of Charles Ives thus becomes the album’s centerpiece, and by relation the rest of the selections are colored by the idea of beauty arising from the mundane. Minimalist textures in Caleb Burhans’ “Jahrzeit” and John Luther Adams’ “In a Treeless Place, Only Snow” provide a sense of calm and even pacing, while a deliberate, almost “learned” style extends from Andres’ title track to Caroline Shaw’s “in manus tuas” and “Gustave Le Gray” for solo cello. – Geoffrey Larson


Iceland Symphony Orchestra: Recurrence (Sono Luminus)
Release Date: April 7, 2017

The massive, slow-moving sound sculptures of Iceland shimmer and sparkle in Recurrence, an album of ethereal orchestral works by five emerging and established Icelandic artists. Daníel Bjarnason leads the Iceland Symphony Orchestra through a luminous program ranging from Thurídur Jónsdóttir’s kaleidoscopic “Flow & Fusion,” to María Huld Markan Sigfúsdóttir’s oceanic “Aequora,” Anna Thorvaldsdottir’s icy and iridescent “Dreaming,” and more. Each piece on the album is a gorgeously abstracted soundscape in itself, showcasing the small Nordic island’s all but unparalleled explorations of texture, timbre, and immersive, atmospheric colors in music. – Maggie Molloy


PRISM Quartet with So Percussion and Partch: Color Theory (Naxos)
Release Date: April 14, 2017

Mixing colors takes on new meaning in Color Theory, an album blending the hues of four saxophones with an experimental percussion quartet and the microtonal musical instruments of Harry Partch. The PRISM Quartet teams up with So Percussion and the Partch ensemble to explore the full spectrum of color in music, from the deepest blues to the boldest reds, oranges, and yellows. Steven Mackey’s “Blue Notes & Other Clashes” mixes colors ranging from muted to magnificent through eight short movements culminating in a prismatic fantasy, while Ken Ueno’s “Future Lilacs” explores the shifting shades of the overtone series and Stratis Minakakis’s “Skiagrafies” paints a sonic canvas with color-changing harmonies. – Maggie Molloy


Amir ElSaffar: Not Two (New Amsterdam Records)
Release Date: June 16, 2017

In a year choked with disunity in nearly every part of our lives, trumpeter Amir ElSaffar’s jazzy pan-global album Not Two offers a welcome musical melting of borders. ElSaffar draws inspiration from different cultures and their instruments, primarily Western Asia and America, and declares that they “do not exist as separate entities ‘belonging’ to any people or place.” His humanism coupled with the skill of his collaborators results in an album that pulses with mystical jazz spells, thrills with august horns, and reminds us that music is egalitarian. Knowing that Not Two was recorded in one marathon 16-hour session is just the cherry on top of ElSaffar’s accomplishment.
Rachele Hales


Los Angeles Percussion Quartet: Beyond (Sono Luminus)
Release Date: June 16, 2017

LAPQ’s Beyond pushes the boundaries of what a percussion ensemble can do, with a healthy dose of ambient-leaning music combined with a smaller measure of perhaps slightly more familiar groove-based music that might seem more typical of percussion repertoire. With works by heavy-hitting composers Daníel Bjarnason, Christopher Cerrone, Anna Thorvalsdottir, Ellen Reid, and Andrew McIntosh paired with thoughtful and delicate execution, Beyond is a tour-de-force that stands at the leading edge of music for percussion. – Seth Tompkins


Third Coast Percussion: Book of Keyboards (New Focus Recordings)
Release Date: August 4, 2017

If classical music is a volcanic island, percussion ensembles are the lava and magma that makes the new land. They’re always on the edge, pushing out, making new sounds with new instruments. And that’s exactly what Third Coast Percussion is doing on Book of Keyboards. They’ve recorded two works by modernist composer Philippe Manoury—sometimes sounding like an elaborate wooden wind chime orchestra, and at other times leaving long, worshipful tensions between notes.

Some of the instruments used on this album are familiar enough—like marimbas and vibraphones—but I’m gonna bet you’ve never heard the sixxen, because they were invented by a guy named Iannis Xenakis (also an avant-garde composer) and homemade by Third Coast. I wonder if performing on instruments that you’ve made by hand is as exciting/terrifying as flying a kit plane that you’ve built in your garage? Third Coast never lets on, moving through these two works, “Le Livre des Clavier,” and “Metal,” like seasoned pilots flying in formation. – Dacia Clay


Qasim Naqvi: FILM (Published by Erased Tapes)
Release Date: September 29, 2017

Perhaps best known as the drummer from the group of acoustic virtuosos Dawn of Midi, Qasim Naqvi also plays other instruments and composes both art music and music for television and film. The album FILM, as you might guess, falls into the latter category. Released in September of 2017, FILM contains music written for the film Tripoli Cancelled and the video installation Two Meetings and a Funeral, both by Naeem Mohaiemen. This release, like other projects by Naqvi, celebrates the legacy of Moog synthesizers. The atmospheric sounds on this album were inspired by disused architecture, and sometimes recall the music of John Carpenter. – Seth Tompkins


Bang on a Can All-Stars: More Field Recordings (Cantaloupe Music)
Release Date: October 27, 2017

Some composers can make music out of just about anything—and that’s precisely the idea behind the Bang on a Can All-Stars’ More Field Recordings. A star-studded cast of composers are each asked to find a recording of something that already exists (a voice, a sound, a faded scrap of melody) and then write a new piece around it.

A follow-up to their original 2015 release Field Recordings, this year’s rendition is a colorful patchwork of found sounds and sonic squares from the likes of Caroline Shaw, Ben Frost, Nico Muhly, Richard Reed Parry, and Glenn Kotche (to name just a few), with the All-Stars playing along to field recordings ranging from quilting interviews to Chilean birdsongs, lava fields, and snoring sleepers.
Maggie Molloy

Classical Christmas Carols for the 21st Century

by Maggie Molloy

After years of the same old Christmas carols every December, the holiday hymns start to run together. But whether you’re the world’s biggest Santa-fan or a grouchy Ebenezer Scrooge, there’s still a little sparkle of holiday magic to be found in every classical Christmas tune—buried though it may be beneath the corny sing-alongs and ugly sweaters of the winter season.

This year, we’re highlighting composers who break out from the cookie cutter Christmas carols and reimagine holiday classics for 21st century audiences. From time-stretched hymnal melodies to bluegrass banjo solos and synthy washes of sound, today’s composers are getting creative with their Yuletide carols.

Here are our top picks for contemporary Christmas albums that will add some holiday spice to your winter soundtrack:

Jherek Bischoff: Chestnuts Roasting on an Open Fire Walk with Me (Self-Produced)

Jherek Bischoff’s new EP reimagines your favorite Christmas carols as timeless trios for electric bass, sleigh bells, and synthesizers. Composed in the style of Angelo Badalamenti’s moody Twin Peaks score, Bischoff offers eerie renditions of holiday classics old and new, ranging from John Lennon and Yoko Ono’s “Happy Xmas (War is Over)” to Charlie Brown’s “Christmas Time is Here” and even a synth-laden “Silent Night.”


Imagine Christmas (Sono Luminus)

They’re classic Christmas carols like you’ve never heard them before: reimagined and rearranged by the likes of the American Contemporary Music Ensemble, the Jasper String Quartet, the Skylark Vocal Ensemble, Cuarteto Latinamericano, and more. The result is a kaleidoscope of musical styles ranging from lute lullabies to Latin percussion, twinkling piano solos to swinging strings and ambient drones.


Phil Kline: Unsilent Night (Cantaloupe Music)

Phil Kline’s contemporary twist on Christmas caroling captures the sparkle and whimsy of the holidays without any of the corny sing-alongs. Unsilent Night blends shimmering bells, time-stretched hymnal melodies, holiday nostalgia, and ambient noise into an ethereal electroacoustic soundscape. Though originally composed as an aleatoric sound sculpture for outdoor performance, you can listen to the  album from the comfort of indoors.


DePue Brothers Band: When It’s Christmas Time (Beat The Drum Entertainment)

Christmas caroling meets bluegrass jam session in this “grassical” family album featuring a twangy twist on holiday classics. The DePue brothers dance through their own festive arrangements of Christmas hits brimming with sweet strings, infectious grooves, and a whole lot of banjo.