Slow-cooked verbiage in Flarf: An Anthology of Flarf
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.
From the Pentecostal churches of his youth to ’80s underground Goth punk and queer clubs to museums around the world, an iconic performance artist tells his story.
“Activism always involves a kind of coalition building, but the kind of community art is capable of building extends further, to the dead and the unborn.”
We make music from joy and rage. We are flamboyantly nice and really angry.
“Dub was my sound because of postcolonial movements. I grew up in it. I bathed in it. I breathed it. So why shouldn’t it be mine?”
“If this is what this material does now, just treat it as a positive thing.“
“We insist on repeating moments of liberation, as a kind of sustainable practice.”
“A big part of music for me has always been advocacy, and about having a space where people who feel marginalized by society can do things together.”
Restoring, archiving, and exhibiting artists‘ films from the post-punk era.
Meg Remy of US Girls talks to the former Sic Alp about anger, publicity, lyrics, and Roald Dahl.
“Everything goes, whatever. You know that word ‘whatever’—whenever that started coming in, about twenty years ago? It’s like whatever-core—that’s where we’re at now.”
Interplanetary folk music, the production tricks behind the Ramones’ success, and how to produce a classic song.
A deadly serious joke: bedroom minimalism, play, and the potentials of transgression.
“Ambient” music, found sound, and valuing process over product.
Vitiello and Roden are often mistaken for each other. It might have something to do with their early interest in punk, Cage’s influence on their work, and their sound-based collaborations.