His music thrives in the sustained tension, like the kinetic energy emanating from the corners of a frame, the opposing forces holding up a house.

– “The Spatial Sonic Designs of Juro Kim Feliz,” Musicworks #141, 2022

Read the Musicworks feature article HERE.

Juro Kim Feliz’s “Hanggang Sa Takipsilim” exits the listen, and it’s a curious mashing of Jayson Palolan’s Phillippine indigenous instruments and Hannah Leah Guanlao’s narration that’s expressive, atypical and blips and bleeps strategically.

– Take Effect, 2022

Read the review HERE.

Juro Kim Feliz in an interview with PARMA Recordings (October 2022).

Lauded by critics as “interesting and captivating” (Cinemusical), the MIND & MACHINE series from Ravello Records returns in its fourth installment with a fresh roster of today’s electro-acoustic composers, one of which being Juro Kim Feliz, who’s piece Hanggang sa Takipsilim highlights resilient voices respond in the face of oppression.

Read HERE.

New Music Concerts composer-in-residence announcement (December 2021).

Read HERE.

Artist of the Day interview feature with The Starlite Sessions (February 2021).

Read the interview HERE.

The synth-pop singer-songwriter gets authentic & animated in his latest adventure.

– “Grumpy Kitty Boy Soars With New Airplane Wings Video,” Tinnitist, 2020

Read the Tinnitist feature on Grumpy Kitty Boy HERE.

Juro Kim Feliz as Grumpy Kitty Boy in an interview with Canadian Beats, following the release of the debut single Airplane Wings (August 2020).

Read the interview HERE.

Kimmel Foundation’s announcement of Grumpy Kitty Boy partnership with fellow alumnx Yuna Kim (July 2020).

Read HERE.

One of the works that has stuck with me is in the months since is Juro Kim Feliz’s A Study in Exile no. 4: Paagos (Drift), an abstract, layered soundscape that explores themes of migration, identity, and borders and “[probed] into the paradoxes of artist narratives under global migration.” In its digital presentation, listeners toggle between different tracks. The control this afforded the spectator was tantalisingly tactile. Yet instead of affecting proximity with the speakers, the auditory effect further fragmented the stories and sounds of exile and distance on the tracks. A timely reflection on broken promises of technology in a time of social isolation perhaps?

A short review on A Study in Exile, No. 4: Paagos (presented in Cluster XI: Digital Edition) by Tangram, precluding an interview feature with Cluster Music Festival director Ashley Au (August 2020).

Read the review (and Ashley Au’s interview) HERE.

Juro Kim Feliz in an interview with Soundstreams for Encounters in Exile (June 2019).

Read the interview HERE.

Philippine composer Juro Kim Felix’s [sic] “Pangkur,” written in 2017, was performed entirely in the dark by a quartet of violin, cello, flute and bass clarinet…

…Listening to these sounds in the dark created a spectrum of sound images and associations that watching the musicians play might have undermined.

– Knox TN Today, 2018

Read the review HERE.

The final work, Juro Kim Feliz’s Pangkur (2017), continued the use of onstage and offstage groups through an exploration of Javanese gamelan aesthetics where two independent pieces were performed simultaneously. The onstage duo of percussion and piano created rapidly interlocking patterns and melodies with an impressive array of percussion: wood blocks, crotales, marimba, a variety of drums, and triangles. Quietly uttered vocalizations added to this texture, which at first seemed like a sort of secret whispered conversation, but became words—excerpts from macapat poetic texts in the Javanese language. This shimmery and punctuated vocal exchange recalled Escobar’s intensely varied vocalisms, bringing the performance full circle.

– I Care If You Listen, 2018

Read the review HERE.

While all of the music performed was remarkable, the standouts for me were…the mesmerizing “A Study on Exile, No. 2” (this piece was performed in the audience, and broke the conventional no cell phones rule, as audience participation was required for recording).

– Culture Fancier, 2017

Read the review HERE.

…d’autres se sont démarqués par des compositions plus audacieuses et souvent moins comprises par le public…Ni ici, ni là-bas, une oeuvre pour flûte basse de Juro Kim Feliz, présentait une impressionnante recherche sur le champ des possibles entre la flûte et le souffle de la flûtiste.

–, 2017

Read the review HERE.

An archived Manila Times news feature on Music Underkonstruction 4, premiering works for choir and orchestra including Sa Kanyang Pangungulila at the Cultural Center of the Philippines (July 2009).

Read the archived article HERE.


Click links below to download publicity materials.