Sisters Lydela and Michel Nonó conduct performative interventions at their art space/home in Puerto Rico, using improvisation to process family memories and trace the wounds of colonialism.
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.
Documenting and improvising alternative lives.
The vocal improviser discusses the visceral tactility of the voice as a medium for organic and synthetic sound.
A selection of recently reissued music by Basil Kirchin, High Rise, Michael Cosmic, and Phill Musra Group.
The percussionist combines martial arts, herbalism, acupuncture, and technology to concoct a healing potion equal parts ancient tradition and pioneering experimentation.
The pioneering photographer releases an album of synth and piano works.
“It’s about creating the conditions for a moment.”
Two improvisers and composers discuss their involvement in New York’s experimental music scene.
“I think that creative improvisation music models the democratic principle. Heads of state and legislative bodies could learn a lot from this practice.”
“Oh no, this is sounding too beautiful, too seamless, and too much like it was planned. I have to unravel it.”
“I was doing some plumbing work for a living and picked up a piece of pipe, blew into it, and it created a very good sound. So, I began building instruments.”
“I don’t have a specific idiom that I’m aspiring to, and I’m not creating some sort of homage or giving a reference point for people to hang onto. I’m just playing whatever’s in my head, literally.”
“Asymmetry is part of what makes us human, and it’s what makes our actions feel human. And we only know that because we can have a programmer make something play ‘perfectly,’ and it sounds terrible.”
“The records I don’t listen to are as important as the ones I do.”
“As to the church organ itself, it seemed almost like a sample machine, like it could tap into sounds from different eras.”