Myles Oakey

Myles Oakey is a music writer and critic.

 
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To the Moon: Laurie Anderson and Hsin-Chien Huang’s Bring VR to Manchester International Festival

First Published at I Care If You Listen (US) July 30, 2019

“With my head tilted back, I gazed up at the stars. Against the black of space, the constellation read ‘Democracy,’ and then burst into dust. I looked down at my hands, which had transformed into gloves of an astronaut’s spacesuit. And there I was, standing on the moon.”

 
 

5 Questions to Khyam Allami (composer, oud-player, sound artist)

First published in I Care If You Listen (US) on 23 July 2019

“Working at the intersection of electroacoustic composition and Arabic microtonality, London-based composer, oud-player, academic, and label founder Khyam Allami is reimagining the context of the contemporary oud.”

 
 

How can Classical Next best respond to our times?

CRITIQUE OF THIS GLOBAL INDUSTRY EVENT

First Published in CutCommon on June 4, 2019

There is no doubt that Classical:NEXT facilitates new partnerships and achieves its status as a platform to recognise innovation. But, with the staggering number of creative minds coming together, it seems there are resources for more dialogue about what unified vision we have for classical music, and how it responds to our time and place.

 

BBC Tectonics Festival

In Review

First Published in CutCommon Magazine May 13, 2019

The rearrangement and subversion of performance space and performer-listener roles is an identifiable trait of Tectonics. As a listener, I am constantly asked to be disorientated, unassured, and challenged. 

 

Berlin filmmakers launch platform showcasing real, musical lives

OPEN STRINGS BERLIN ON ARTISTIC AUTHENTICITY

First Published in CutCommon Magazine March 22, 2019

Lost in the social and cultural currency of image and persona in the digital world, it can be easy to forget the stories of real people living real musical lives. Real people have challenges and doubts; they take risks and find fulfilment in unforeseen paths and creative opportunities. Open Strings Berlin amplifies these voices to us in sound and image, bringing classical musicians hope and inspiration.

 

LONGREAD // Clemens Christian Poetzsch finds his musical language

First Published in CutCommon Magazine February 26, 2019

It is a musical voice in search of atmosphere; a music of immediacy in feeling and mood.

 
 

Hi,

I’m a music writer and critic with an interest in contemporary classical and new music cultures. 

 
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The gist...

I’m a storyteller, of sorts. I write about living composers, artists, ensembles, conductors, and curators whose voices interact in our vibrant new music culture.

As a critic, I contribute my own voice to the conversations within new music and its place in contemporary culture

My contributions can be read across international publications: I Care If You Listen (USA); CutCommon Magazine (AU), The Line of Best Fit (UK), and The Cusp Magazine (UK).

Lately, I’ve been travelling to engage with new music across the UK and Europe: the BBC Tectonics Festival Glasgow (UK), Classical:Next (Netherlands), Open Strings Berlin (Germany), PRS New Music Biennial, Hull (UK), Manchester International Festival (UK), the Edinburgh International Festival (UK), and Cryptic Nights (UK). And I’m looking forward to the new concert seasons underway.

 

A bit of background...

I was awarded the University Medal for Music and First Class Honours from the University of New South Wales, Sydney, Australia, where I studied musicology and ethnomusicology, specialising in musical ethnography. While I was a student, a writing competition entry led CutCommon Magazine to awarded me Young Writer of the Year 2016, and I’ve been a long-term contributor to the publication ever since. In that time, I’ve been elected subeditor of Print Issue 1, and now write as Europe Correspondent for CutCommon Global. 

A bit more…

When it’s time to put work aside, I like to have a go at photography, set out hiking in the Scottish highlands, or find a suitably bleak international film.