It’s an energy, it’s the light, it’s a fever. It could be a sound that’s heard in our ears. Now that the boundary of sound has expanded beyond what it was in my childhood, the distinction between good and bad sounds is no longer important. It just exists on its own and is valued by someone to be meaningful. Wherever you are, whatever you do, you can hear the sound, and you can record the moment when you’re listening. It’s an element of sound that I define. Of course, that’s not important or it might be important depending. I don’t know ...

This is a recording of a trio improvisation by Takahiro Kawaguchi (horns) Masahiko Okura (reeds) Masahide Tokunaga (alto sax) which was held at En-ban, a record store in Koenji, Tokyo, at 8pm on August 30th 2016. Okura and Tokunaga are wind instrument players who work in both composition and improvisation. Rather than focusing on any one fundamental output, the handmade instrumentation and musical content of each of Kawaguchi’s performances are unique. On this recording, he performs as a “mechanical wind instrument player.” Text translated from Japanese by Wonja Fairbrother. Audio mastered by Alan Jones.

Low art/high art — the culture world will have a hard time shaking off that distinction. Hecker’s artistic process on this album could be tracked down to it, too (or at least that’s what he wants us to believe): acid house on the one hand, modern composition on the other. However, his music has been working on that both-sides-of-the-fence mode from the beginning, as he has been using the raw power of electronic music in increasingly circumvoluted processes and formulas. Acid in the Style of David Tudor may be marginally easier to listen to than Sun Pandämonium or PV Trecks, ...

Commissioned and Performed by The Living Earth Show In Collaboration with Composers: Sharmi Basu Ava Mendoza Raven Chacon Morgan Craft Zachary James Watkins

ARTISTS SPACE Center for Experimental Lectures: Amalle Dublon and Aria Dean February 2, 2020, 6pm Amalle Dublon and Aria Dean present new work for the Center for Experimental Lectures, an artist’s project based in New York that engages with the public lecture as form. Amalle Dublon will play and discuss Mariah Carey’s song “Honey,” relating it to concerns of dependency, growth and decay, and culinary sound. In Aria Dean’s lecture, To the Ringdown, two become one, bound by a third. As a part of a series of lectures co-commissioned by Montez Press Radio, their lectures will be broadcast live from Artists Space and ...

1 – An aphorism interrupted by some anecdotal wood 2 – An aphorism interrupted by some anecdotal wood 3 – An aphorism interrupted by some anecdotal wood 4 – An aphorism interrupted by some anecdotal wool 5 – An aphorism interrupted by some anecdotal oven 6 – An aphorism interrupted by some anecdotal wool 7 – An aphorism interrupted by some anecdotal wood – HP

Black artists of the avant-garde have always defined the future. Blackspace: On the Poetics of an Afrofuture is the culmination of six years of multidisciplinary research by trans poet and curator Anaïs Duplan about the aesthetic strategies used by experimental artists of color since the 1960s to pursue liberatory possibility. Through a series of lyric essays, interviews with contemporary artists and writers of color, and ekphrastic poetry, Duplan deconstructs how creative people frame their relationships to the word, “liberation.” With a focus on creatives who use digital media and language-as-technology—luminaries like Actress, Juliana Huxtable, Lawrence Andrews, Tony Cokes, Sondra Perry, ...

New York based conceptual artist James Hoff returns to PAN with ‘Blaster’, a document of his explorations of computer viruses as agents within the composition process. Specifically, Hoff used the Blaster virus to infect 808 beats and then utilized the mutated results as building blocks for seven new compositions. Hoff’s interest in computer viruses lies in their ability to self distribute through (and ultimately disrupt) networks of communication and Hoff’s agency as an artist centers on placing these parasitic forms into pre-existing genres, such as dance music. BLASTER is a timely exploration of the infectious qualities of sound, and how it ...

Last fall, I was touring and performing my piece “Falsetto” every night. It’s a strange, physically difficult, fumbling, deliberately incompetent (or maybe a different type of expert) performance played almost entirely with small bells found at thrift stores, purchased with the criteria that they must in some way sound unusual or broken or just “not nice,” and also that they cost less than $5 each. The sound of the bells is great. When layered, it’s a complex, weird, and unpredictable sound made with exceedingly humble means – literally just jostling a bunch of crap around that I found at Goodwill. However, ...

In Peter Ablinger’s work, the listener is often asked to cross the distance between sounds. These types of comparative actions fall into at least three categories. One of these categories is a comparison between two sound sources: a recording and a reproduction. The term Ablinger uses for these reproductions is “phonorealism.” Another type of comparison is between a sonic memory and the sound that is present. I’ll play two examples later that activate specifically musical memories through a process called “verticalization.” We’ll start, though, with yet another type of distance that is to be traveled, this time in the sonic imagination, ...

On episode 6 of Hidden Noise, hosts Abby Sandler and Rebecca Siegel open the year with a trip to the Solomon R. Guggenheim for “Josef Albers in Mexico.” In Critical Conversations, editor Jason Farago is joined by jazz pianist, artist, and MacArthur fellow Jason Moran. For the Even 8, we hear from the hosts themselves about what’s on their radars for the coming year.

Nikita Gale and Alexander Provan are joined by Harmony Holiday, a writer, archivist, and dancer who lives in Los Angeles. Holiday, whose essay “The Black Catatonic Scream” was published by Triple Canopy last year, speaks about Black performers whose songs and struggles reflect the ongoing trauma of the “African holocaust.” She links the history of Black music—and instances of performers becoming silent or speechless—to the legacy of enslavement and segregation, when Black people “were smiling and dancing to not get killed.” With Gale and Provan, she discusses the pressure to pander to white audiences as well as the impulse to ...