Songs of Conviction The latest in a series of collaborations between Crash Ensemble and indie artists shone a new light on the artistry of Katie Kim, writes Anna Murray.
Gothic Outsiders Siobhán Cleary's 'Vampirella' is a thought-provoking addition to the Irish operatic repertoire, writes Laura Watson.
At the Heart of Fiddle-Playing Liam O'Connor's first solo album strikes the balance between virtuosity and style, writes Toner Quinn.
Goodbye to the Storytellers Johnny Óg Connolly's new song cycle for Liam Ó Maonlaí captured a range of atmospheres, from mystery to melancholy, writes Toner Quinn.
McHale's Skilful Shaping In his new recordings of Field and Hammond, Michael McHale always has the larger structural goals in view, writes Adrian Smith.
The Past Inside the Present: The Ergodos Exploration of Time The Ergodos aesthetic has been remarkably consistent over the years, writes Liam Cagney, yet four recent albums by composers Benedict Schlepper-Connolly, David Collier and Simon O'Connor, and singer Michelle O'Rourke, are an undoubted maturation of the label's vision.
A Fractured History for Fractured Arts The treatment of music was inconsistent, but RTÉ's 'Altering States' underlines the need for a discourse about music's relationship with the other arts in Ireland, writes Laura Watson.
Raelach's Landscape of New Voices Three recent recordings from Raelach Records reflect the diversity of the label's interests, writes Adrian Scahill.
A Century of Irish Classics? On 7–25 September, the National Concert Hall hosted 'Composing the Island', a major series of concerts spanning one hundred years of Irish classical music. Featuring over 80 composers, 27 concerts, and almost 200 works, Barra Ó Séaghdha explores its achievements as well as the musical questions it raises.
Who's Afraid of Electronic Music? A new electroacoustic music festival debuted in Dublin in April. Featuring Jennifer Walshe, Lucy Railton, Fergal Dowling and more, it adds an important layer to the country's new music scene, writes Liam Cagney.