**I will no longer review or link to any material hosted solely on Bandcamp. If you’d like to write a guest review or essay (or anything, honestly I’m not picky), just let me know.Ĭontact/submit via for physical address. I almost always restrict coverage to things that have come out in the past two weeks or so.Ĭurrently the site is written by just me, Jack, but I’m open to expanding in the future. Also, I will be much more likely to review an album if it is not sent as a promo blast/press kit. However, I only review albums I like, and the “reviews” themselves (“blurbs” might be a more accurate label, but god, what an awful word) are more intended to encourage discovery rather than to express my personal opinion. When I say nothing is off limits, I really mean it. If you have an album you’d like me to review, please email me or comment on a post. I tend to focus on material that resides in the experimental or avant-garde realm of music, but nothing is off limits. I do not agree with the statement I’ve chosen as the title for this site everything I write about here-a great deal of which could be called “noise”-is music. Here you’ll find reviews of recent albums, various features and lists, and occasional mixes. Here’s a mix of many artists who work with these methods in a modern context.Ġ0:00. Valerio Tricoli – “Le Qohelet” from Miseri Lares(PAN, 2014)Ġ8:17. Jérôme Noetinger – “La tirette à Paulette” from dR (PiedNu, 2018)ġ3:51. Grisha Shakhnes – “Utopia” from All This Trouble for Nothing(Glistening Examples, 2015)Ģ1:58. Still Image – “Undercurrent” from A Finite Line(Throne Heap, 2017)Ģ8:57. Dirch Blewn – “Day 4” from Care Work(Soft Error, 2018)ģ3:08. Giovanni Lami – “PPK1” from Bias (Consumer Waste, 2016)Ĥ0:33. John Wiese – “Superstitious” from Deviate From Balance(Gilgongo, 2015)Ĥ6:08. Max Kuiper & Thorsten Soltau – “I” from Animi Sub Volpe Latentes (Chondritic Sound, 2016)ĥ1:28. Frenchbloke & Son – Excerpt of side A of tape one from Société de radiodiffusion de l’homme et du fils français: bruit dans l’intéret de musique (Seed, 2010)ĥ6:41. Vanessa Rossetto – “Fake Cheese” from Fashion Tape(No Rent, 2018) Originally an area largely explored in an academic and compositional setting, the principles of musique concrète have been adapted by many independent sound artists who utilize them in a more guerrilla, do-it-yourself way – and if you’re anything like me, this is more up your alley. The term musique concrète, coined and developed as a practice by composer Pierre Schaeffer in the mid-20th century, refers to music produced with manipulated sounds whose source is often obfuscated or obscured completely.
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