Music Recording And Production
I met Mark in 2012 on a two-week tour from Montreal to Kentucky. He had just released a set of home recordings from 1976 called Digging in the Dust on the Tompkins Square label, and we had a great time driving around and getting to know each other.
I’ve always enjoyed touring in Japan, not only because of its music but also due to its cultural peculiarities and the unique urban landscapes and soundscapes it possesses.
I had the idea of making solo music that would incorporate all my weird stuff—all my various oddball rhythms, tics, repetitions, stims, and stutters—and use them as the basis of a new idiom for the guitar.
Recording artist John Fell Ryan is the leader of the improvisatory electronic rock group Excepter, producing dozens of releases for various labels.
Aakash Mittal is a performing artist and composer who employs colorful dissonance, meditative silence, and angular rhythm to express environments ranging from the American West to the streets of Kolkata.
On a crisp morning in March, we approach the site. It appears in the distance on the windswept beach just as the sand gives way to dunes. The ocean roars to our right.
The prolific New York lyricist digs into songcraft on the occasion of his new autobiographical album, 50 Song Memoir.
Reissued several times with different track listings and sequencing since its initial release, Third has finally been given the deluxe box-set treatment it has long deserved in the three-disc Complete Third, which gathers all known demos, rough and final mixes, and outtakes into one lovingly produced package.
The artist and composer stages her latest entanglement of bodies, spaces, and sounds at the Biennale de Montréal this October.
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.
“I grew up having to sing along to very patriarchal, male, straight viewpoints—lyrics that had nothing to do with me.”
Of all the weddings I went to in Mauritania, this one had the most intense music. Here, I know, the audio quality is sort of insane and blown-out sounding, but that’s actually what it sounded like in person.
Whether you’re drawing a straight line or zig-zagging through the history of American Minimalist music, there is one person you’re bound to meet.
“I think that creative improvisation music models the democratic principle. Heads of state and legislative bodies could learn a lot from this practice.”
“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.”
“Trying to describe it to somebody, like the concept, succinctly, is difficult… and always has been.”
If you don’t know Harry Bertoia’s work, you should know that he was somewhat of a polymath.
“People discouraged me when I sang as a child, said, ‘You can’t carry a tune in a bucket.’ People still say that. Well, fuck it. I haven’t been trying to carry a tune. I’ve been essaying, expressing my interests in abstract terms, devil take the hindmost.”