The 40 recordings that we received this month spotlight many musicians who have truly crafted their art with a unique approach to music making.
In preparation for an exhibit at the Metropolitan Museum of Art on surrealism, I am in the midst of re-reading André Breton’s first Surrealist Manifesto. I am always a little tickled by his vigorous academic defense—calling upon Freud, Proust, and Pascal—of the games he and his hand-picked disciples played. In a less pretentious, yet equally […]
Well over a third of the total recordings we received this month contained some sort of text.
Creating ambiance is much more than adding a fish tank, some framed art, and a cool lamp or two. Therefore, I have taken it upon myself to add another dimension: music—so here are my spatial visions for the 36 new releases of American music this month.
Once I was back in New York, facing a desk full of CDs that needed attention and forum posts chastising NewMusicBox for only covering a few small geographic regions, I became very interested in where all of this music was coming from.
This month we “surveyed” 44 recordings of new music, and we have with us two “families” who will battle it out on the sea green and pink soundstage for the honor of their family name, or -ism as it were.
Whether it is the bleeping, crunchy, ethereal sounds created using computers, traditional instruments being stretched to create exciting new harmonics, or simply the ability to hear music from distant parts of the world, contemporary composers and listeners alike have made extensive use of these new sound “machines” to expand our aural capacity.
The basic premise is for people to create their own mixes using the albums as a point of departure, thus linking the experimental music of the 1980s to the present.
The amount of music attempting to capture the culture of a specific geographical region is quite remarkable. This August, I embarked on a sonic road trip, as several American composers led me across this great American soundscape.
Music is written in order to transcend the visual and verbal boundaries of rhetoric, but how this is achieved is a point of contention for many composers, musicians and scholars.