Electronic Music

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The Serene Background of the Future: Yoshio Ojima Interviewed by Spencer Doran
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The pioneering ambient music artist discusses the computer programs, musicians, and spaces that shape his soundscapes.

Nyege Nyege Tapes by Simon Gabriel
Sounds Of Sisso

The first time I heard something on Nyege Nyege Tapes was on computer speakers. For once, the promotional blurb wasn’t hyperbolic …

William Basinski by Lea Bertucci
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Coaxing elegies from tape loops, the composer propels us from the San Fernando Valley to deep space, then into “the long-form beyond.”

Rooked: Jeff Witscher Interviewed by Sam Wolk
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The electronic musician talks chess, information, and creating “sound music.”

The Endorithm 7 by Keith Connolly
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A selection of recently reissued music by Takehisa Kosugi, Roger Doyle, Laurie Spiegel, Luciano Cilio, and Dennis Weise.

Elaborate Intuition: Bergsonist Interviewed by Greg Zifcak
Credits Greg Zifcak

The inventive electronic musician discusses collaboration, method, and digital distribution.

Roland Kayn’s A Little Electronic Milky Way of Sound by Keith Fullerton Whitman
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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. 

Jlin by Jibade-Khalil Huffman​
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The Indiana-based producer composes intricate music from a blank slate, but her inspirations range from Nina Simone to discrete mathematics.

Inhuman Sound: An Interview with Matmos by Britton Powell
Matmos Bomb 1

“Experience is what you get when you don’t get what you want.”

The Endorithm 4 by Keith Connolly
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A selection of recent and reissued music by Elysia Crampton, Brother Ah, Anom Vitruv, C-Schulz, and Frans Zwartjes

Okkyung Lee and Ikue Mori
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Two improvisers and composers discuss their involvement in New York’s experimental music scene.

DeForrest Brown Jr. & Bill Kouligas
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“How do you draw information out if you aren’t involved and in love with it.”

John Mills-Cockell by Robert Beatty
John Mills Cockell Bomb 7

Electronic composer and synth pioneer Mills-Cockell on his genre-defying work with Syrinx and Intersystems—early forays beyond pop and psychedelia.

All Is but Circuitry by Steve Dalachinsky

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.

Helen Money & Jan St. Werner
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“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.”

Marina Rosenfeld by Tristan Shepherd
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The artist and composer stages her latest entanglement of bodies, spaces, and sounds at the Biennale de Montréal this October.

Field Recording by Zaïmph
Marcia Bassett Bomb 1

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.

Peaches by Zachary Small
Peaches Bomb 1

“I grew up having to sing along to very patriarchal, male, straight viewpoints—lyrics that had nothing to do with me.”

Ohal by Jesse Ruddock
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“It’s like bouncing ideas back and forth with a friend, but the friend is you.”

Hieroglyphic Being by Kevin Beasley
Hieroglyphic Being Bomb Web 1

“Somebody takes an idea, then pushes it further. It elevates everybody.”

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