Recording artist John Fell Ryan is the leader of the improvisatory electronic rock group Excepter, producing dozens of releases for various labels.
“I’m thinking about how we experience, or try to experience, infinite space and time through the most finite, basic methods.”
This is the type of record that will slap cultural essentialists in the face.
In March of last year Tyondai Braxton debuted his composition HIVE in the rotunda of the Guggenheim. It was a considered and ambitious first go at a piece that was still finding its form.
As in music, one thing leads to another. A long time ago I received an email from someone I didn’t know.
On All Hell, Daughn Gibson uses the tools of the contemporary electronic singer-songwriter, but, unlike his counterparts, he is influenced by classic country and dark Americana.
Jennie C. Jones’s art reflects on the cultures of sound and music in a visual context. In recent years, she has presented cerebral and imaginative responses to what she calls “the physical residue of music,” using strips of audiotape, bits of wire, instrument cables, cassette casings, or handfuls of earbuds
Kenneth Goldsmith is a trickster for sure, not just because his work takes place on the crossroads between legal and illegal, between digital and real life, between word and image, but because he’s a man who wears a lot of hats, metaphorical and otherwise.
The Way Out is a joyful record, deftly using a miscellany of samples to create experimental, engrossing music.
Stephen Vitiello’s Buffalo Bass Delay sounds like an audio-guided tour through a vast, vacant human body—an echoing, cavernous space full of familiar sounds, now in ruins and feeling desolate and alien.
For over 20 years Christian Marclay has been creating works that explore the intersection of the aural and the visual, reflecting on the nature of how sound and image are related.
I heard my first Julia Wolfe work, performed by the Spit Orchestra, in the early nineties.