Music Industry
On navigating the success and failure dichotomy, the tropes of women friendship narratives, and working across mediums.
On navigating the success and failure dichotomy, the tropes of women friendship narratives, and working across mediums.
On the heels of a theatrical run of Price’s evolving film Redistribution, the two artists discuss the ethics of streaming, artworks on the verge of falling apart, SoundCloud mixes, and the chaos of assigning cultural value in the twenty-first century.
The writer and musician on queer representation, empathy for our younger selves, and music for our feelings.
This fall, Concentric Circles will press to vinyl Heterophonious Fool—composer Jack Briece’s sole commercially-released recording…
“I don’t want the kind of career where everything is sensible and safe; I’d rather suffer through the anxiety of wondering where I’m going next than suffer the boredom of dancing in the same safe square.”
The book reopens questions about appropriation, intellectual property, and colonialism that followed Sun City Girls throughout their career, and also situates these questions within an increasingly globalized and digitized twenty-first century.
The prolific New York lyricist digs into songcraft on the occasion of his new autobiographical album, 50 Song Memoir.
We tend to forget that it was an artist, Nam June Paik, who coined the term “electronic superhighway.” It synthesizes some of the most intriguing aspects of how art, digital media, and language intersect in today’s global culture.
“Life has a soundtrack. And certain music is a soundtrack to a certain type of identity or feeling. 50 Cent, the Game, and those kinds of guys—they made us feel like our lives were worth nothing, basically.”
“Making music work to the lyric, and making the lyric work to the note.”
Faux reunion shows, B-sides, new-age garage music, and packing albums to the brim.
Duo improvisation for loop pedal, upright bass, and child.
Artistic development, near-death experiences, and the power of persistence.
Chaotic performances, live recordings, and Generation Tween.
Rock ’n’ roll and the malleability of historical fact.
For 25-plus years Neil Michael Hagerty has been in the business of catalytic transformation. To DC-cum-NYC punk outfit Pussy Galore, he brought a blues-guitar semiotics that helped to define a signature style of trash. He then quit to form Royal Trux with Jennifer Herrema, behind which the now-thriving Drag City record label was launched.
I first learned of Joanna Newsom when I read a review in the UK’s Observer six years ago. I was initially struck by her beauty, and I was inspired by knowing that she was “in the world.”
Not in Austin? Don’t fret, BOMB is. Check back daily for reviews on films and music, interviews with rising filmmakers and musician, and coverage on SXSW awards, panel discussions & other events this week.
