The pioneering ambient music artist discusses the computer programs, musicians, and spaces that shape his soundscapes.
The first time I heard something on Nyege Nyege Tapes was on computer speakers. For once, the promotional blurb wasn’t hyperbolic …
Coaxing elegies from tape loops, the composer propels us from the San Fernando Valley to deep space, then into “the long-form beyond.”
The electronic musician talks chess, information, and creating “sound music.”
A selection of recently reissued music by Takehisa Kosugi, Roger Doyle, Laurie Spiegel, Luciano Cilio, and Dennis Weise.
The inventive electronic musician discusses collaboration, method, and digital distribution.
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.
The Indiana-based producer composes intricate music from a blank slate, but her inspirations range from Nina Simone to discrete mathematics.
“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.”