A Daring Vision of Flute and Voice
This is an album as happy to shout as it is to slither.
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This is an album as happy to shout as it is to slither.
»The small crackling beep-sounds from the satellites’ resonance also became music.«
There is something charmingly awkward about Shibuya’s pop-infused, overdramatic compositions and the android voice’s sticky kawaii factor.
Although the many contrasts made for a rather epic concert, they also left me feeling somewhat conflicted.
If I woke up in a golden bed with a crowd of strangers around me, I would love to listen to the same soundtrack as Jeppe.
Music is to me the subcutaneous holy matter. Finding each other in ourselves and ourselves in each other.
How much of the original purpose can – and should – be removed from the equation for a release in album format to make sense?
»A necessary album for anyone unafraid of the dark.«
»With a few simple means, Blaume’s debut emerges as a welcome harbinger of spring.«
Music for me is: inevitable.
With repeated listens, everything begins to make sense. Sonne’s coolly understated voice is the glue that binds the entire soundscape together.
»'Dråberne 5, 7, 8, and 11' is a seductive, inspiring, and downright sumptuous experiment in which the love between the two artists can be felt in every tone.«
At Warsaw Autumn, they are not only focused on sounds. The Polish festival aims to influence reality with new names and ideas.
»Nigma Enigma« will speak to those who can relate to the spiritual and philosophical questions Miniawy raises.
The somewhat mixed experience of the evening’s program does not change the fact that Organ Sound Art Festival is an atmospheric, ambitious festival that dares to take risks.
»Liebe« is one of those performances one feels grateful to have experienced.
Chaotic times call for chaotic music. But also soft techno, flutists and yoga balls. Jennifer Gersten and Andreo Michaelo Mielczarek wrap up the musical year in a conversation between New York and Aarhus.
»For me music is meditative chaos.«
Was it just for fun that the world's oldest festival for Nordic contemporary music traveled to Scotland? No, it was an educational journey.
Was it just for fun that the world's oldest festival for Nordic contemporary music traveled to Scotland? No, it was an educational journey.
A questioning of the very idea of ‘generic sound’ in the face of the ever growing datafication of the mundane.
Informed by DJ practice and practice-led research, this audio paper shares historical examples of locked grooves alongside loop-based compositions and a new installation work.
This audio paper considers how human activity as a possible vehicle of interference serves as a resistance agent against the speculated becoming-generic of alert sounds in public and private spaces.
This audio paper is a provocation in response to the political provocation of generic aural gentrification.
This audio paper investigates the private and public ways in which we encounter or engage with sounds, questioning the particularity of sound events as they enter our acoustic boundaries.