An experimental podcast full of samples from KMRUs music, and snippets from an interview conducted in his house in 2020, just before the COVID-19 Pandemic. Currently sound artist and experimental ambient musician KMRU lives in Berlin.
In a 4-part series, Guy Baron reflects upon the making of his album «Post-Euphoria». Utilizing practice-based research, he examines notions of nostalgia in relation to lost experiences and club music.
How some of the most forward-thinking contemporary musicians and visual artists from the Bay Area have been shaped by the region’s social, cultural, and political landscape and how they work with these limitations and contradictions.
In this essay, the composer Constanza Bizraelli reflects on the potential of technology to channel sound practices as radical participatory action, inspired by the workshop «Resonation: To Infinity & Beyond» of the One Beat residency program.
The Festival International de Música de Alturas (FIMA) is a pioneering Peruvian initiative that brings together, promotes, and integrates the music and culture of the mountains of the world. Listen to their most recent podcasts in Spanish and Quechua.
In the essay collection «Nothing Sounds the Way It Looks» 30 writers from 17 countries reflect on their worries, dreams, and hopes in the 21st century. Inspired by the films of the 10th Norient Film Festival, divided into 8 central Norient Topics.
The term tradition has often reinforced an essentialist notion of an artist’s relationship to their origins. In an essay inspired by the «One Beat» residency program, musicologist Rim Jasmin Irscheid is struck by musicians cultivating musical heritage as empowerment.
This first episode of the podcast series «Modes of Listening & Sound Practices» explores the modes of listening that Maier and Kaur adopted on their sound walks through Berlin.
Meme music went viral during the COVID-19 pandemic. Distributed via apps like TikTok, it might transform not only the way music is made, but also how it is consumed. An article about the cultural implications of an emerging digital format.
In their track «Burn Hollywood Burn», Public Enemy criticized the representation of Black people in Hollywood movies. The mentality and circumstances cultivating these issues are the same ones that indirectly disavow the humanity of minorities in technology and media today.
When the pandemic hit Germany’s music scenes, a group of managers called for a national music quota in order to save «domestic» music. In her essay, Melanie Schiller raises the question if music can be national in the first place.
