“Experience is what you get when you don’t get what you want.”
A selection of recent and reissued music by Elysia Crampton, Brother Ah, Anom Vitruv, C-Schulz, and Frans Zwartjes
Two improvisers and composers discuss their involvement in New York’s experimental music scene.
“How do you draw information out if you aren’t involved and in love with it.”
Electronic composer and synth pioneer Mills-Cockell on his genre-defying work with Syrinx and Intersystems—early forays beyond pop and psychedelia.
On the 50th anniversary of 9 Evenings: Theatre and Engineering, an intergenerational concert series celebrates the technological innovations of the 1960s New York avant-garde. Times have changed.
“Once a sound is released it’s out there, and you can’t do anything more with it, but I have this weird obsession with continuously shaping it somehow.”
The artist and composer stages her latest entanglement of bodies, spaces, and sounds at the Biennale de Montréal this October.
The piece develops as a process of observed phenomena. To start, I make some marks, improvise. Forms exist outside my direction. Black shadows, deep cracks. I document, combine, distort.
“I grew up having to sing along to very patriarchal, male, straight viewpoints—lyrics that had nothing to do with me.”
“It’s like bouncing ideas back and forth with a friend, but the friend is you.”
“Somebody takes an idea, then pushes it further. It elevates everybody.”
“I still seek for eternity, which maybe is like a rainbow-colored butterfly flying away, suddenly in front of your face.”
“A big part of music for me has always been advocacy, and about having a space where people who feel marginalized by society can do things together.”
O’Rourke and Sanders go over the complex layerings—from lyrics to mixes to the LP’s cover—in O’Rourke’s recent pop album, Simple Songs.
Musician Kai Hugo on conspiracy theorists, cassette tapes, and video confabulations.
One billion tiny dots, a modular synthesizer, and Japanese ceramics.