The improvisor and composer contemplates polyphonic pathways and reaching past the self.
Far away from any coastline. Where the wind strikes the water for the first time. Where waves start to grow. A young wave stretches its quivering back, reaching for the wind.
The musician delves into the sonic properties and generative caprice of resonating bowls of water and melting blocks of ice—instruments that propel her latest album, Musique Hydromantique.
The performers recount their experiences with Henning Christiansen and his work.
Before the premiere of their multimedia collaboration LIGATURE, visual artist Auerbach and saxophonist Hillmer talk about connectivity, geometry, and the nature of mind.
Peru is an experiment—from colony to slavery to independence to diasporic migration; from military to revolutionary to criollo dictatorship; and then from corruption to neoliberalism to democracy to, finally, more corruption. (Can someone rewind the tape and get us back to side A please?) In the 1970s, out of this motley salad of historical tensions came musicians Arturo Ruiz del Pozo and Miguel Flores, who questioned the nature of Peru’s cultural production and identity with sound.
Ancient music to accompany a sci-fi novel.
We often think of music as flowing from memory or being committed to memory. Music With Memory—the title of a new LP of three ’80s-era performances of works by the composer David Behrman—implies some conversation and interplay between the two.
The two artists consider the roles that trust and doubt play in their expressions of the ineffable.
The prospect of a physical music anything is dicey at best in the year 2017, which makes frozen reeds’ choice to bring out Roland Kayn’s A Little Electronic Milky Way of Sound—an object containing sixteen compact discs of nearly fourteen hours of previously unreleased material—respectably audacious.
Featuring selections by Jem Cohen, Keith Connolly, Britton Powell, Alan Courtis, Byron Westbrook, and more.
The Danish poet on corporeal poetics, pregnancy, and the influence of classical music.
Female intelligence and female obsession, in the air
Two improvisers and composers discuss their involvement in New York’s experimental music scene.
On a crisp morning in March, we approach the site. It appears in the distance on the windswept beach just as the sand gives way to dunes. The ocean roars to our right.
Using a hybrid orchestra of military and experimental musicians, the most recent iteration of Marina Rosenfeld’s large-scale composition, Free Exercise, was staged at this year’s La Biennale de Montréal.
I’ve been working with the concept of remixing my own classical compositions for a number of years.
The artist and composer stages her latest entanglement of bodies, spaces, and sounds at the Biennale de Montréal this October.
Whether you’re drawing a straight line or zig-zagging through the history of American Minimalist music, there is one person you’re bound to meet.