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To me, the Blowup evening at Tallinn Music Week 2026 felt less like a genre showcase and more like a way of thinking about music: intense, risky, atmospheric, and unwilling to settle into one category.
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Before stepping in, a cheerful notice advertising the concert greets me outside, “ANOTHER LAYER” preceded by two slightly out of phase waves upon which the names of the performers hang and bob. Beneath this, a guitar.
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In the last three months of 2025, I did two AIR programs in Parainen (AARK) and Turku (Life on a Leaf).
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It’s always nice to bring a project to an environment different to where it was conceived; Last year’s trip to Huddersfield Contemporary Music Festival (hcmf//) certainly re-contextualised and affirmed to me the motivations of the concert length work Animistic Rituals composed by Þorkell Nordal in collaboration with myself.
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In October 2025, I traveled to Japan and South Korea to play 10 concerts. In Japan I’d reunite with my long-time collaborator, percussionist Naoto Yamagishi. Our last gig, two years earlier in Berlin, was freshly released on cassette as GARBAAAGE: Live at Hošek for this tour.
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I’ll admit it, I listened to this record before ever thinking of reviewing it. Having attended a couple of Wilson Tanner Smith’s more theatrical performances and improv concerts, I was curious how he translates (in this case) to CD.
