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.
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.
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.
Three recent recordings from Raelach Records reflect the diversity of the label's interests, writes Adrian Scahill.
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.
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.
As part of Ireland's 1916 commemorative programme, the National Concert Hall hosted a series of seven major concerts 'inspired by the 1916 Proclamation'. But, writes Barra Ó Séaghdha, did the series meaningfully engage with this history, or were they 'arranged with a view to demonstrating our harmlessness to an imaginary outsider'?