Experimental Music
The Mosotho filmmaker on oral literature, forced resettlement, and stitching together the old and new.
The Mosotho filmmaker on oral literature, forced resettlement, and stitching together the old and new.
Reissued for the first time after fifty years, the Black Unity Trio’s rare and explosive free jazz album Al-Fatihah still resonates with the sounds of solidarity amid a scene of intense political struggle.
An album inspired by filmmaker Derek Jarman’s Prospect Cottage.
Trying to make the freest music possible.
The free jazz saxophonist on new realities for experimental music.
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.
The sound artist on collecting and hunting for language.
“You could dance to it, mourn with it, revel in it, or march alongside it.”
This fall, Concentric Circles will press to vinyl Heterophonious Fool—composer Jack Briece’s sole commercially-released recording…
A perfect hybrid of minimalism and spiritual jazz.
The sound artist on musical prejudices, metal t-shirts, and shortwave radios.
Coaxing elegies from tape loops, the composer propels us from the San Fernando Valley to deep space, then into “the long-form beyond.”
The improvisor and composer contemplates polyphonic pathways and reaching past the self.
A selection of recently reissued music by Takehisa Kosugi, Roger Doyle, Laurie Spiegel, Luciano Cilio, and Dennis Weise.
The performers recount their experiences with Henning Christiansen and his work.
The founder of gelbe MUSIK, the renowned record store and gallery space, speaks about its history.
The two musicians converse about their working-class upbringing, the elitism of the avant-garde, and the politics of goofiness.
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.