Music

Two sound artists on noise, fractals, Bach, Cecil Taylor, the new 7 PM ritual, and whether we still have use for the word improvisation.

In May, BOMB asked artists how COVID-19 and quarantine were affecting their creative process. How were they making art now?

The artist on how her practices influence one another, who gets to be a “Renaissance man,” and the significance of DIY ethics.

Trying to make the freest music possible.

The poet Anne Waldman leads a global musical collaboration.

The sound artists discuss their recent site-specific projects and the revolutionary potential of reclaiming public space through sound.

Re-embracing the full sonic spectrum in the era of binary digital sound.

The composer and multimedia artist on raising awareness of the Asian experience during the pandemic.

The free jazz saxophonist on new realities for experimental music.

This spring, Vienna’s experimental label for “new punk computer music,” Editions Mego, releases an anxiety-inducing record by Australian-born, Berlin-based sound artist Jasmine Guffond.

On writing music to the poems of Nick Flynn, Marie Howe, Natalie Diaz, and others.

On preserving improvisational force and the fluid collaboration between two musicians.

On resisting the limitations of genre and shifting toward a more spatial approach to composition.

With contributions from Okkyung Lee, Alan Licht, Aakash Mittal, and more.

The life of mutant-pop songwriter Peter Ivers was really something.

The sound artist on collecting and hunting for language.

“You could dance to it, mourn with it, revel in it, or march alongside it.”

The composer and percussionist’s Autoschediasms language invites collaborative composition between a conductor and musicians by employing a lexicon of gestures and textual cues.

Art as flotation device.

This fall, Concentric Circles will press to vinyl Heterophonious Fool—composer Jack Briece’s sole commercially-released recording…