The two musicians converse about their working-class upbringing, the elitism of the avant-garde, and the politics of goofiness.
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.
The experimental guitarist talks patterns, resonance, and her latest album.
Featuring selections by Jem Cohen, Keith Connolly, Britton Powell, Alan Courtis, Byron Westbrook, and more.
Träd, Gräs och Stenar and the democratizing power of the riff.
“It’s not a very academic approach, it’s just a part of what I like to do.”
“I’m the kind of guy that’s trying to get people to work together and make the Earth green.”
“As to the church organ itself, it seemed almost like a sample machine, like it could tap into sounds from different eras.”
“I do like feedback. It’s good for people. It is!”
The Glasgow-based singer just released a self-titled album of music rooted in and pushing Scottish folk traditions. With Krute, he touches on individuation, syncretism, and the risks of nationalism.
Into the mystic with the Chicago-based guitarist and songwriter.
Duo improvisation for loop pedal, upright bass, and child.
A return to live performance after a decade-long absence.