“She is one of great figures in the history of the American musical avant-garde – holding equal standing as an innovator, composer, and performer, but has rarely received the attention she deserves. Considering that she single-handedly changed the face of music, has defined the field of extended vocal technique for the better part of half a century – largely sculpting its terms from scratch, and has continuously pushed our understanding of the sonic possibility of the human voice for decades – drawing on its primal root, thrusting it into the unknown, this sin becomes that much more apparent. -“
To try to get as many artists some visibility I have been posting compilations. Again, this is not an exhaustive list and are just suggestions of starting points . I may add to it in future.
In no real order or preference and yes, some are diverse….
Latin American sound explorations.
Experimental noise, noisecore, speedcore, harsh noise, noise wall, power electronics Vancouver
A monstrous compilation but only a fraction of french contemporary sound creativity.
Inspired by the new scene of independent female artists and electronic music producers from South America.
An experimental music compilation featuring ten female composers from far east Asia (Japan, South Korea, Vietnam, Indonesia, Singapore, Malaysia, Taiwan, China).
This multi-genre compilation was inspired by Ionesco’s play ‘Rhinoceros’ with various artists voicing their protest via sound.
Experimental, ambient, electroacoustic, industrial, noise, ritual.
In the words of Liquid Architechture “…Take some time to read this insanely productive and purposeful conversation between musician, activist, writer…”
“inter/multi-disciplinary art practice. She dwells in multiple fields, as DJ (DJ General Feelings), writer/ researcher (currently a PhD candidate at Monash University), installation artist, a mother, a co-conspirator in interrogations of whiteness and patriarchal dominance.”
Words: Geeta Dayal
Image: Adriano Ferreira Borges
by Philip Sherburne
Contributing Editor / Pitchfork
Here’s an example by Anne Annie
Dr Liz Dobson
list of texts and also websites. If you feel that a publication or resource is missing contact Dr Liz Dobson with details and she will add it and credit you ( send weblink).
Ewa Justka’s unusual instruments are breathing life into the world of synthesizer design.
By Ewa Justka. Interview by Chloé Lula.
The title expresses everything in a good way..
Less shot through the head with a diamond bullet than being walloped repeatedly with a crystal hammer, Maria W. Horn’s ‘Excitation – Frustration – Excitation’ matches elegance with brutality in admirably brain-wrenching fashion. Tough kickdrums and serrated noise jags serve the pain, their unquiet digital gristle occasionally recalling Ben Frost at his glowering best. The title track is a fine example, its percussion stomping holes in the space time continuum through which pour gibbering waves of sleety, saturated howl.
Despite all that slurry, Horn’s compositions have a stony grandeur that impress as much as they terrify. Rapid-fire squelches, carousel synths and silky keystroke jabs lift things from the abyss, their textures nodding towards the disco, even if Horn keeps things awkward and arrhythmic. The clubby bleeps of ‘Voluntary Auto Intoxication’ sparkle in the spluttering backdrop like gemstones set into a cliff-face, while the steely, D&B-tastic tessellations…
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“Her latest album, Voice Hardcore, takes this to the extreme. It features nothing but the sound of Moritani’s voice, often layered on top of itself or warped into new forms.”
“Voice Hardcore” is one of the more extreme projects from an artist long pushing beyond the norm.
I don’t like lists but this is an exception – thoughtful and wide ranging .
For your January reading pleasure, here are the Top Ten Posts of 2017 (according to views as of 12/28/17). Visit this brilliance today–and often!–and know more fire is coming in 2018!
On May 18th, 2017, Solange Knowles took viewers on an expedition as she glided, danced and “agonized” in a “joyful praise break” on the floor of New York City’s Guggenheim museum. Drawing from the museum’s narrative of introspection and multi-sensory connection, Solange’s performance of “An Ode To. . .” prompted viewers to relearn and reorient the melodies of A Seat at the Table (2016). Solange’s performance in this setting hearkened listeners to new concepts and emotions in the record they didn’t catch before as they consumed it. This begs the question– what other sonic elements have we neglected to identify in A Seat…
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