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.
Grappling with Diversity Music critic Tim Rutherford-Johnson's new book on modern composition since 1989 covers a massively broad range of creative musical approaches and techniques, writes John McLachlan, and will inspire a new generation.
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 Art Space: 5 Years of The House Presents Five years old this June, The House Presents, a salon-style monthly evening in Dublin's north inner city, is all about drawing out the art that is already around us, writes Anna Murray.
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.