How does music affect the image of a city? In his recent book «Deindustrialisation and Popular Music», Giacomo Bottà elaborates the relationship between de-industrialization and genres like house, industrial or post-punk.
«Timezones» – Episode 2. An electro-acoustic composition based on the interviews with the three artists Mara Miccichè, Branko Džinović, and Vukašin Đelić, the close friends and collaborators of the podcast producer, who have never met each other.
The pandemic-driven changes have produced new sensory dissonances: While some urban spaces became eerily quiet, ubiquitous video calls turn the domestic into a public space flooded by multiple voices and sounds. What do these sonic worlds tell us about the social?
Nairobi’s next generation music producers and performing artists speak out – Episode 1 of the new Timezones Podcast Series, co-initiated and co-produced by Norient and the Goethe Institute.
Norient met with Firas Abou Fakher of the indie rock band Mashrou’ Leila who is among the progressive voices of the young Lebanese generation, to talk about Lebanon’s complicated history, clichés about the Arab world, and the role of music in times of change.
In this Norient Special, we examine how political contexts of our time are transformed into musical production. With case studies from all around the world, this Norient Special approaches sampling as a tool for critical thought and a way of alternative storytelling.
Noel Lobley considers if sampling ethnographic sound fragments must inevitably operate under pre-existing power dynamics or if there are other independent ways to sample, remix, and curate locally-owned culture.
The frenetic cutting techniques by electronic music producer Kyoka stand for what our author calls «techno punk». With this techinique, the producer ambiguously positions herself outside of the club music versus experimentation binary and the unpolitical becomes political.
What are the political implications and ethical concerns of sampling sounds of war? This is a question raised by «The End of Silence», a 2013 record from Matthew Herbert based entirely on a six-second field recording of the Libyan civil war. A critical examination.
Music is certainly a way to express or reinforce our identity, but is it possible to represent and recreate an identity through the process of sampling? Our author says yes and mentions Stregoni, an Italian refugee project and an experimental space for music production.
Cristiano Figueiró and Henrique Souza Lima created a track made by sampling, editing, and remixing recordings from a performance made by the Brazilian group Côco de Umbigada (CdU). Here, they contextualize the CdU as a cultural and political agent.
