For the Norient exhibition «Seismographic Sounds – Visions of a New World» the Mexican hybrid artist and label owner Julian Bonequi compiled a mixtape taken from live performances, radio shows, and studio recordings from his label Audition Records.
Karachi-based rapper and YouTube star Ali Gul Pir wants to be a man who matters. He attacks powerful warlords with satire and opposes the YouTube ban in Pakistan. For this he received death threats.
The electronic musician Tim Hecker is like an aesthetic engineer whose visceral live concerts deconstruct musical meanings.
Recycling footage has long been a practice in music videos. By freeing images from their original temporality and intended pupose and setting them to music, artists transform their meaning and generate an emotional experience of the past.
The music of of the electronic musician and singer Aïsha Devi creates a world of unheard sounds and utopian ideas. Read a sonic fiction in advance of her audiovisual live show at our new concert series.
After being invited by the Iwalewahaus Bayreuth the Nairobi-based electronic musician and producer DJ Raph did an artist residency in Germany, rummaging through the institution’s extensive music archive of ethnographic field recordings from Africa.
For his mix for the section «money» from the Norient exhibition «Seismographic Sounds» the german composer Johannes Kreidler transformed radically chopped sound samples into sonic goods that creep into your unconscious.
In the tracks of the San Francisco-based artist, sampling is as much identity-generating as a political tool. Here are five reasons why sampling is so important in the ambient-shaped tracks of the upcoming producer.
Music is not escapism. It is a machine that creates reality. This is the core of Kodwo Eshun's masterful book «More Brilliant than the Sun». How Sonic Fiction challenges the oppressive prison called reality.
Tracing the genesis of a track by producer Ian McDonnell (Eomac, Lakker) we can follow the steps to learn how sampling is used to replace a conventional vocal track and discuss questions on the circulation and handling of media material in times of Web 2.0.
After the 1974 revolution in Portugal, folklore music was still alive – and even more politicized as it caused tension within the different folklore groups. Ethnomusicologist Kimberly DaCosta Holton about the culture of the «ranchos folclóricos».
