Reblog – The Transcendent Sound of Dustin Wong and Takako Minekawa

Joyous creativity when I listen to this release : )

Bandcamp Daily

Dustin Wong Takako Minekawa Photo by Hiromi Shinada.

To speak with Dustin Wong and Takako Minekawa is to speak with one person. Part of this is because Wong does most of Minekawa’s Japanese-to-English translations—aside from the occasional interjection or giggle—but there also seems to be a high level of psychic understanding between them, a characteristic that permeates Are Euphoria, their third record as a duo.

While their first two albums—2013’s Toropical Circle and 2014’s Savage Imagination—are both strong, Are Euphoria takes the duo a step above. Perhaps it’s the three-year gap that led them to this enlightened place, or maybe there’s a new level of comfortability that didn’t exist as strongly prior to Euphoria. Either way, Wong and Minekawa have created one of the year’s best experimental albums, mixing pop sensibilities with rhythmic loops and kinetic percussion.

Soon, they’ll be bringing their tour to the U.S., showcasing these songs for an…

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Reblog – Re-orienting Sound Studies’ Aural Fixation: Christine Sun Kim’s “Subjective Loudness”

 

Recommended reading and challenging the idea that listening is just with the ear, it does demand use of all senses.

Sounding Out!

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

A stage full of opera performers stands, silent, looking eager and exhilarated, matching their expressions to the…

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Reblog – a meeting of remarkable minds, a live radio discussion between annea lockwood and pauline oliveros from december 1972

Today’s Discovery – Tribute to Pauline Oliveros

Latin American electronic / electroacoustic artists tribute and creative responses to, the writings and thoughts of Pauline Oliveros.

On September 13, 1970, a young composer named Pauline Oliveros (1932-2016) published in The New York Times an article entitled “And Don’t Call Them ‘Lady’ Composers”, Ms. Oliveros addressed an unasked yet (tellingly so) critical question: “Why have there been no ‘great’ women composers?” Her argument is guided by a questioning of critical, historiographic and technical discourse. Oliveros explained how the cult of innovation constructs figures of “greatness,” and to what extent society promotes the virilisation of these discursive models…..

Read more of the background to this project, curated by Susan Campos-Fonseca here

Reblog – on palto flats and wrwtfww’s reissue of midori takada’s seminal through the looking glass

I have loved this record for so long and over the years have visited it on many occasions. It is “a masterpiece failed by its own time”. – like so many that I could name. While other artists are feted and gain all the publicity, there are many who deserve as much accolade and praise – and finally, Midori Takada is getting the recognition she long deserved.

Although it doesn’t quite fit into the electronic field as such, please try and listen, and take in the 40 minutes that demonstrate how often gems are lost due to fashion in music, lack of distribution, knowledge and being in the wrong time and place.

It is sublime.

The Hum Blog

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Today’s Discovery – Horse Follows Darkness by Delia Gonzalez

 

“Horse Follows Darkness is essentially a modern electronic soundtrack for the Revisionist Western.” but it’s more than that, it’s a wondrous sound on the ear that has a retro feel but also firmly rooted in the now.

Review Reblog – Christine Ott ~ Only Silence Remains

Christine Ott is “one of the few people in the world who can be considered an expert on the Ondes Martenot, a strange keyboard invented in 1928, which can sound like anything from a theremin to a screech of strings.” but it can sound otherworldly and beautiful.

 

a closer listen

Only Silence RemainsThis is one beguiling record.  It starts with opera and ends with poetry, and in the end, only silence remains.  The opening soprano segment makes an immediate statement: this is not conventional music.  By the middle of the set, one may forget this fact, but on “Tempête” it returns with a vengeance.

The storied career of Christine Ott provides clues to understanding her approach.  She’s been part of Yann Tiersen’s band, collaborated with Radiohead, worked alongside Oiseaux-Tempête, and is currently opening for Tindersticks.  She’s also one of the few people in the world who can be considered an expert on the Ondes Martenot, a strange keyboard invented in 1928, which can sound like anything from a theremin to a screech of strings.  For most of the album she holds back on this instrument, but sneaks it in, bit by bit, until it takes over the sound field.  Those early moments…

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