Adam Cuthbért

In New York, operating in the realm between classical and experimental and electronic music that’s so well-⁠established in that city, there’s a young composer whose music is – to resort for once to a much-⁠misused word – ravishing in its smooth sonic beauty, Adam Cuthbért: it’s a quality that is pronounced in his piece “Rikai ア⁠ダ⁠ム⁠・⁠カ⁠ス⁠バ⁠ー⁠ト⁠の「⁠理⁠解⁠」,” included in the playlist, and even more evident, perhaps by virtue of the omission of the visual accompaniment, in the tracks he’s uploaded on his Soundcloud page.

Although, in my ears, his music speaks for itself and has no need of any elucidation by biography, it may nonetheless be of some help, in situating him and it, to mention the fact that he spent some time in Japan while at university and remains a student of Japanese, and also to note his especial love of some of the sound environments created for video games – these bits of data could supplement the profile of a composer whose affiliations, as one might have expected, are with American minimal music and with figures such as Brian Eno.

While not attending to his own work, Cuthbért oversees some of the concerts offered by the Bang on a Can festival, and also organises – in conjunction with his friend Daniel Rhode (about whose work I hope to post something shortly) – a new small-⁠scale festival and website called Sight/Sound, which, it seems to me, will be an enterprise worth following in the years to come. (It also has a Youtube channel of its own.)

Here are some of his pieces on Soundcloud.

夢⁠世⁠界 Dream World” (the note under the track on his page outlines its genesis).

S16 Luna Nera, Scene 1 and 2 (Miners Inferno & Sulfur Transportation).”

Improvi/Sed No. 2a.”

And, with Daniel Rhode, “A Sense of Space Where There Once Was an Object.”