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».
The metropolis Hong Kong is a world finance and multi-cultural capital. But when it comes to culture, local artists call it an «art desert». Yet, the underground club music scene is working on a change.
Im Video zum Stahlberger-Song «Du verwachsch wieder nume...» verwischt Regisseur Jovica Radisavljevic die Grenzen von Realität und Wahn. Hier erzählt er, wie es dazu kam und was es heisst, mit Minimal-Budget maximal kreativ zu sein.
In this interview Norient asked Eduardo Navas, one of the main scholars theorizing the phenomenon of remix, to clarify some of his points and to talk about algorithms, the surplus of remix studies, and cultural appropriation.
Iraqi-Canadian rapper The Narcicyst knows how it feels to be young and Muslim in a post-9/11 world. Today, he considers himself a world citizen and aims for an individual identity that includes his origin, his home, and his community.
Ethnomusicologists used to travel to exotic islands to research local music. Today, their fieldtrips lead to scattered urban place. German scholar Oliver Seibt conducted three months of research in the Tokyo visual-kei scene, and stood out of the crowd.
The digitalization took away the centralized power of the music industry, but for some people it also became a secret tunnel out of prison. For the underground music scene in Cairo, digitalization was an avenue of freedom – well, at least for a while.
«Das Internet ist nicht demokratisch», sagt Andreas Ryser, Präsident des Musikverbands IndieSuisse. Und in sozialen Netzwerken bestimme das Geld, welche Musik gefunden werde. Doch die Digitalisierung birge auch Chancen für die Finanzierung von Musik.
