While techno and house have become widely commodified by white Europeans, Tedra Wilson’s documentary Dark City Beneath the Beat shows how Baltimore Club kept its highly localized aesthetics, and proves the richness of Black club music in the 21st century.
A body is not just perceiving sounds, it is also their medium. Here is an essay about the materiality of sound and how the body shapes the listening process.
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.
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.
The encounter between experimental club music and mainstream pop has become ubiquitous in the sampling practices of avant-garde electronic musicians of the 2010s. These practices have worked to question the inclusivity of electronic music scenes, our author argues.
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.
