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No genre has experienced a more distinct shift in its cultural purpose than classical music. What was once the sole form of musical expression in Western culture has been largely relegated to specific roles in society. Modern classical certainly hasn\u2019t lost any of its esteem, but in terms of popular consumption, most everything outside the realm of film or television scores are appreciated mostly in academic, bourgeois or kitschy setting. Sure, the average music consumer might occasionally don formal wear for a ballet or performance of repertoire, and they may find the Trans-Siberian Orchestra <\/strong>or 2CELLOS <\/strong>quaint and worthy of a periodic listen. But attempts by current composers and modern classical musicians to penetrate some form of mainstream recognition are almost always futile. I used to work for PARMA Recordings<\/a>\u2014a full service music production company in New Hampshire primarily focusing on modern classical and jazz\u2014and our consumer-facing content often referenced or made light of the fact that most people are unaware that there\u2019s anyone still making classical music these days.<\/p>\n Even though this setup may not beget a torrent of Spotify and Apple Music streams, modern classical\u2019s lack of mainstream acknowledgment hasn\u2019t deterred brilliant young composers like \u00dalfur Hansson <\/strong>from expanding the scope of quality the genre has to offer. The NYC-based composer has compiled quite an impressive resume thus far in his burgeoning career\u2014he\u2019s collaborated with J\u00f3nsi <\/strong>of Sigur R\u00f3s<\/strong>, invented his own homemade instruments and electronics, had works commissioned by the Icelandic Symphonic Orchestra<\/strong>, the Kronos Quartet<\/strong> and l\u2019Orchestre de Radio France<\/strong>, and received the 2013 Young Composer of the Year award from the International Rostrum of Composers. Given these incredible early-career accomplishments, it\u2019s no wonder \u00dalfur attracted an equally stellar roster of underground music pedigree for his latest album, Arborescence<\/em>. \u00dalfur\u2019s vibrant, dynamic compositions are expertly produced by Randall Dunn (SUNN O)))<\/strong>, Earth<\/strong>, Marissa Nadler<\/strong>) and brought to life by cellist Gy\u00f0a Valt\u00fdsd\u00f3ttir\u2028<\/strong> (M\u00fam<\/strong>), percussionist Greg Fox <\/strong>(EX EYE<\/strong>, Liturgy<\/strong>), and multi-instrumentalists Sk\u00fali Sverrisson<\/strong> (Blonde Redhead<\/strong>, Laurie Anderson<\/strong>), Zeena Parkins<\/strong> (Bj\u00f6rk<\/strong>, Jim O\u2019Rourke<\/strong>, Fred Frith<\/strong>, John Zorn<\/strong>), and Shahzad Ismaily<\/strong>.<\/p>\n If this obscenely stacked list of personnel isn\u2019t enough to stoke your interest in Arborescence<\/em>, then \u00dalfur\u2019s breathtaking approach to composition will surely knock the life out of you and then bequest you back a new, purer soul. This is abundantly clear as soon as the title track commences the album\u2019s display; swells of evocative strings from Valt\u00fdsd\u00f3ttir\u2028 strike a perfect balance between the works of illustrious composers of yore and newer, fresher perspectives on string arrangements, namely from the likes of Radiohead <\/strong>and Ulver<\/strong>. It introduces a recurring theme on Arborescence<\/em>: sophisticated familiarity. It\u2019s a sensation that takes sonic moods native to our common music consumption and repurposes them within an emboldened, emotionally richer musical process. As the track develops and brings Fox into the fold, the album also demonstrates \u00dalfur\u2019s familiarity with the pulse of numerous other genres, some adjacent and others foreign to classical music. Fox\u2019s pummeling blast beat (or \u201cburst beat<\/a>,\u201d I suppose) is an element that\u2019s at first jarring but ultimately revelatory in the way it elevates the track as a whole.<\/p>\n Fox\u2019s drumming is far from the last hint of \u00dalfur\u2019s affinity with the entire body of Ulver\u2019s work. Much of the album feels like a fresh perspective on an overarching synthesis of the band\u2019s eclectic discography, ranging from their Black Metal Trilogy up through Messe I.X-VI.X <\/em>and ATGCLVLSSCAP<\/em>. Whether its the haunting, folk-tinged dark ambiance of \u201cT\u00f3mi\u00f0 Titrar\u201d or angelic, vocal-led progressive folk of \u201cFovea\u201d and \u201cVakandi,\u201d \u00dalfur manages to weave the most stirring, gorgeous textures that, as stated before, strike a seamless balance between warming nostalgia and awing discovery. And similar to Ulver, mastery of electronics amplifies everything \u00dalfur aims to accomplish. He accents all of his compositions with unique electronic performances, allowing them to take the limelight with an intriguing electroacoustic display on \u201cRhinoceros\u201d and an enormous, sublime organ drone with \u201cWeightlessness\u201d that takes cues from the transcendental works of Tim Hecker<\/strong>.<\/p>\n Yet, despite all of this, Arborescence<\/em>\u2018s greatest strength may be its concise run time. Many modern classical albums are defined by lengthy displays of musical dexterity, which are rich in minutes and tracks but sometimes lacking in engaging music. At just over half an hour, Arborescence <\/em>is exactly as long as it needs to be to make the maximum possible impact. Every moment feels necessary and enthralling, and by the time \u201cVakandi\u201d concludes the album, there\u2019s no feeling of fatigue or craving, except the desire to begin the album once again. The ideas sprung forth across the record makes each of its seven tracks feel integral in their collective endeavor to craft a truly exceptional body of music.<\/p>\n Whenever Arborescence<\/em> sees its live debut, \u00dalfur should receive a magnanimous standing ovation. Though quality modern classical is available in abundance for those willing to seek it out, there are few examples that reach this caliber of innovation, fearlessness and sheer compositional quality. Though early in his career, \u00dalfur already has little left to prove; he\u2019s accomplished more than many established composers and earned respect of prominent musical minds both in and out of the modern classical landscape. A true measure of dedicated genius is pursuing greater and greater goals when so much has already been achieved, and it\u2019ll be a true joy to see where \u00dalfur\u2019s brilliance takes him from here.<\/p>\n