The eclecticism on percussionist Alex Petcu's debut recording works very much in its favour, writes Adrian Smith.
Ritual is central to the latest commission from the Louth Contemporary Music Society, writes Brendan Finan – a major new work by Scottish composer James Dillon, performed by Peyee Chen and Crash Ensemble at the Drogheda Arts Festival.
Caoimhín Vallely's new solo piano recording is an experimental unfolding of music, writes Adrian Scahill, expressing a sense of the inner world of the musician.
Concertina player Cormac Begley’s creative journey has been one to watch, and his new solo album is an assertive next step, writes Toner Quinn.
Four of Ireland's leading violinists, an inventive programme of works from the past, and an Ian Wilson premiere – Anna Murray caught up with the latest Music Network tour at St Ann's Church, Dublin.
Siobhán Cleary's 'Vampirella' is a thought-provoking addition to the Irish operatic repertoire, writes Laura Watson.
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.
Liam O'Connor's first solo album strikes the balance between virtuosity and style, writes Toner Quinn.
Johnny Óg Connolly's new song cycle for Liam Ó Maonlaí captured a range of atmospheres, from mystery to melancholy, writes Toner Quinn.
In his new recordings of Field and Hammond, Michael McHale always has the larger structural goals in view, writes Adrian Smith.
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