In the summer of 2017, Welsh musician Owain Gwilym experimented with making sound art based on scientific data. And not just any data, but 100 years worth of data from four melting Norwegian glaciers. ​The results of his work will be officially released in the form of an independently produced EP titled Terminal Flow, on March 30, 2018. To celebrate Piano Day, today, March 29, 2018--the 88th day of the year--I reached out to Gwilym to learn more about the release. 

Gwilym's goal is to explore how music can be used to communicate the implications of climate change, as art has a way of encouraging emotional responses that science alone does not. Terminal Flow is a fantastic example of putting into sound the retreat of large sheets of ice in faraway places that most people will never see, but that will eventually impact all of us. While the minimal and fragmented compositions are shaped by a process of data sonification and performed by an algorithm, the personal touch is felt in the deliberate timing and unexpected silences between notes. This data was not meant to become melody, yet when listening to "Hellstugu" it's easy to imagine it was always supposed to be expressed on a keyboard. Gwilym's method for turning ice into sound waves starts simply with a chord choice, which is detailed on his website: 

To start with a chord sequence, or in some cases one chord inverted, was chosen to function as a 'sound' identifier for each glacier. This is played for four bars to establish itself as a 'hook' representing a glacier. Data from frontal variation length changes were  automated to a Max for Live probability plugin, with one year of time in glacier readings being equal to half a bar of time in music. As data indicates glaciers have retreated, the probability parameters lower. This decreases the probability of notes sounding, resulting in chord sequences that represent the glaciers being pulled apart as data indicates their retreat.  Consequently, the texture of the pieces and their fragmentation, show the extent to which the glaciers have retreated as a result of climate change over the time period.

There are some plans for live performance and further development, but they won't be shared until later this year. In the meantime, take a listen to Terminal Flow and learn more about its creation below. 

If I had the choice of being in any city for a week, had to go see good live music every night, and only had $100 to spend, there's no question where I'd end up: the Twin Cities. 

The venues are high quality, cover won't break the bank, parking is often free, the local beer on tap is delicious and the people who show up are the best in town. But the real secret behind the music of Minneapolis and St. Paul is that they are simply hotbeds of creativity, with a plethora of bands writing, releasing, and performing new music like there's no tomorrow. These musicians are constantly reinventing themselves, collaborating with each other, supporting each other's work and making some of the best music on the market today. And if I don't keep up with the scene every week, I know I'm going to miss something good. 

Not only has prolific producer Chris Bartels recently released another album under his moniker Elskavon, but his band Bora York is writing again and his electronic-forward experimental project Hi-Fi Cali has several new singles coming out this year. Our homegrown Caroline Smith released a new EP this month,  Dessa's new album Chime dropped last month, Hot Date dropped new music and my all-time favorite duo Now, Now releases their next album Saved on May 18th.  

But four of my favorite releases this spring come from musicians Lynn O'Brien, Andy Cook, Jennie Lawless and the new band Tacky Annie. I caught up with each of them to learn more about how they're doing and what's inspired their latest creations. Take a read and a listen below! 
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Some of the most inventive electronic music today is being produced in Germany. Düsseldorf's Moglebaum, inspired and influenced by artists in their field such as Bonobo, Sohn and Big Wild, easily joins the modern canon of electronic and acoustic fusion. And their new Grown Heart EP is easy evidence. 

From the very first track, "Echo of Time," this five-piece sets the stage for a worldly, jazz-centric exploration of current trends in electronic dance and pop music. The tune "Forever Wild"—the first one made on the EP—was even inspired by an all time favorite jazz song of theirs, "Strasbourg St Denis." Their music is playful, futuristic, and passionate; heavily layered with homemade samples from field recordings of coffee machines, shopping bags and cactuses. While musician Moglii is the mastermind behind production, vocalist Franzi ties everything together with her soulful interpretation of the English language, on top of the live saxophone and drums. 

I get sent a lot of electronic music these days--my email inbox is overflowing with it. It's what everyone wants to do, to create, to become known for it seems. So it's easy to dismiss just another group that describes themselves as some experimental form of electronic music. But when I pressed play on Mogelbaum's Grown Heart EP, I couldn't ignore the sense of vibrancy and urgency in their sound. They formed as a live band, and that comes through strongly in the recording. There are so many electronic acts that I would rather hear recorded through a great sound system than see live, but Moglebaum is not one of them. These five are a family who can read each other's minds in the way that only musicians can, and I'm convinced it makes for an immersive and engaging live experience. I'm excited to see where they go next. 

In lieu of a live show, take a quick peek behind the making of Moglebaum and their new EP, from the band themselves.