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.
Sampling is an approach to composing music «with» others by incorporating audio fragments from various sources. Anthropologist Nicolas Puig discusses sample-based tracks by the Palestinian artist Osloob, who lived in Lebanon until he moved to Paris in 2014.
Starting out with sampling the choral tradition of Sacred Harp, the producer COOL FOR YOU came to understand that practices such as «sampling as critique» are invariably marked by contradictory attachments to their sources and therefore require a more complex analysis.
Eduardo Navas considers the political implications of sampling as a cultural variable in relation to aesthetics and labor in juxtaposition with the emergence of machine learning and artificial intelligence.
Can music production portray nuanced, complex subjectivities relating to reminiscence and retrospection? In an examination of his track «22 – 122», Guy Baron shows how a musical interpretation of an «afterglow» can be made with audio processing and sampling techniques.
Music producer Eomac describes how his sampling strategy has changed over time. Starting out, he used any sound available. Now, as an experienced musician, he is confronted by complex ethical questions. Today, he emphasizes the intent behind sampling as key.
