“What I mean is music was a part of my growing up as a person and i want it to be that way always.”
—Ekin Fil
Words: Mark Carry

PHOTOS BY ERİNÇ GÜZEL
Turkish solo artist Ekin Fil has been carving out some of the most breath-taking and beguiling drone pop explorations these past few years, inhabiting the deep, ethereal dimension of Grouper’s Liz Harris and navigating the deepest depths of the human condition in the process. On the latest opus ‘GhostsInside’ – released earlier this summer on Los Angeles imprint Helen Scarsdale Agency – an undeniable catharsis permeates deep within these recordings: fragile vocals shimmer gently amidst spare elements of piano notes or reverb laden guitar swells, creating utterly hypnotic drone pulses and far-reaching shoegaze deconstructions.
The opening ripples of bass piano notes of ‘LetGo’ hang in the air- an ocean of…
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Editors’ note: As an interdisciplinary field, sound studies is unique in its scope—under its purview we find the science of acoustics, cultural representation through the auditory, and, to perhaps mis-paraphrase Donna Haraway, emergent ontologies. Not only are we able to see how sound impacts the physical world, but how that impact plays out in bodies and cultural tropes. Most importantly, we are able to imagine new ways of describing, adapting, and revising the aural into aspirant, liberatory ontologies. The essays in this series all aim to push what we know a bit, to question our own knowledges and see where we might be headed. In this series, co-edited by Airek Beauchamp and Jennifer Stoever you will find new takes on sound and embodiment, cultural expression, and what it means to hear. –AB
Pauline Oliveros muses on sixty years of experimentation and unorthodox practice and tells Jo Kali why we should be listening instead of merely hearing.
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