Music

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PublisherTriple Canopy2020
Tempo regulation, helium speech, and “information overload.” A history of time stretching, from avant-garde composers with fantasies of control to blind people who sought to read at their own speed.
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PublisherTriple Canopy2020
“We were not Kraftwerk. Kraftwerk had deep pockets.” A mix that presents techno as an embodied aural history of Black life in America (and not as psychedelic delirium); a response to “Rave,” an excerpt of the English translation of the German author and playwright Rainald Goetz’s eponymous novel. With artwork by Abdul Qadim Haqq.
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PublisherTriple Canopy2020
A composition for a high-resolution player piano, with live accompaniment; an essay on performances without performers, from medieval musical automata to an instrument that captures the “soulfulness” of a virtuoso.
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PublisherPrimary Foundry2021
Technodelic is an all-caps, open-source typeface based on the 1981 YMO album cover art and logo designed by Yukimasa Okumura. The limited A–Z character set serves as a foundation for future iterations while also maintaining reverence for the original, which does not include lowercase, figures, punctuation, or symbols. Technodelic is the first SIL Open Font License typeface released by Primary Foundry and has 52 glyphs. License includes 1 style: Regular, with Desktop (OTF), Web (WOFF), and App (TTF) font formats for Print, Web, App, and Broadcast use. This Font Software is licensed under the SIL Open Font License, Version 1.1.
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PublisherLateral Addition2021
“Untitled discrete arbitrary input functions” is dedicated to my two nieces and my memories of their early-developmental oligodynamic and repetitive cluster-thudding diatony on my father’s piano. Unsure if they were intending to annoy my father or merely amuse themselves—or both—the rhythmic qualities of their piano playing as obediently, reflexively gravitational—as if the keyboard were magnetically attracting the undisciplined, quasi-hostile actions of temporarily blithesome children—came to mind when listening back to early drafts of this piece. Upon simul-crashing the piano—in the sense of ‘crashing the party’ of piano music, a ‘crash-course’ in piano technique mutated after Ustvolskaya, and literally physically crashing ...
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PublisherUrbanomic2020
What’s it like to be a second-class citizen in the land of pop? In this essay, originally published in Audimat 4 (2015), Agnès Gayraud, author of Dialectic of Pop, who as francophone songwriter-performer La Féline has just released her third album Vie Future, asks why English remains the unchallenged native language of pop, and how a ‘minority’ language can possibly make its mark on pop as a musical art form.
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PublisherUrbanomic2020
In this recording of the November 2019 launch event for Agnès Gayraud’s Dialectic of Pop, Robin Mackay and the author discuss the major themes of the book.
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PublisherSocial Discipline2020
This week we are joined by François J. Bonnet, recording artist (as Kassel Jaeger) and theoretician, Director of Groupe de Recherches Musicales of the National Audiovisual Institute (INA-GRM) in Paris, and producer on National French Radio France Musique. We talk with him about the recent publication of the english translation of his book “After Death” (2020, Urbanomic) in the context of the current pandemic and the general externalisation and disembodiment of death. We do end up divagating about improvisation, the sublime, romanticism and other meta-musical tropes in the direction of François’ most recent book “The Music To Come” (2020, Shelter ...

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