Michael Toland on Muck Rack

Michael Toland

Verified
(He/Him)
Austin
As seen in: KLRU-TV (Austin, TX), The Austin Chronicle, Color Research & Application, Wiley Online Library, NewsBreak, Tulsa World, The Big Takeover, Rock and Roll Globe
Covers:  music
Doesn't Cover: celebrity news, religion, news factoids and lists
Working for Austin City Limits TV and Austin PBS/KLRU-TV.

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Michael Toland’s Biography

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Michael Toland has lived and worked in Austin, Texas, for nearly 35 years. He has been a writer and/or editor for Pop Culture Press, Texas Music, Blurt, and High Bias, and current writes for the Austin Chronicle, the Big Takeover, and Trouser Press.

He also serves as National Productions Manager for Austin PBS/KLRU-TV, as assistant producer for Austin City Limits, and as producer for Jazz Tonight.

Articles

Steve Swallow - Winter Songs (ECM)

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By Michael Toland Verified
| The Big Takeover Verified
SUBSCRIBE NOW Shop our Big Takeover store for back issues, t-shirts & CDs Follow The Big Takeover There’s some significance to the release of Winter Songs – it’s the first album featuring Steve Swallow as a leader since 2013, and the first one since the passing of Carla Bley, his multi-decade partner in life and music.
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Mat Maneri Quartet - Mist (Sunnyside)

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By Michael Toland Verified
| The Big Takeover Verified
SUBSCRIBE NOW Shop our Big Takeover store for back issues, t-shirts & CDs Follow The Big Takeover Violist and composer Mat Maneri has an incredible resumé, playing with everyone from Cecil Taylor to Matthew Shipp to Paul Motian. Of late he’s led his eponymous quartet, enlisting the services of bassist John Hebért, drummer Randy Peterson, and old pal Lucian Ban on piano.
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Wild Up - Julius Eastman Vol. 5: Gay Guerilla (New Amsterdam)

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By Michael Toland Verified
| The Big Takeover Verified
Innovative indie orchestra Wild Up continues to plumb new depths in the catalog of underrecognized, underrecorded, and underperformed Julius Eastman with Gay Guerilla, the fifth stop in their journey to keep the late composer’s music alive for the listening public. Originally written for four pianos and performed in 1980, the eight-part work begins with repetitive violins forming a minimalist mantra on which to build the edifice.
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