Kætø – Teasing the means of production
Kætø ”Poppers and Rotation – Processen” (self-released, 2019) – review by Wieland Rambke
Pop music as a phenomenon is both private and public. The daydreams that pop music evokes and communicates are inherently personal. A well-made pop song makes us feel that we stand in personal correspondence with the artist.
At the same time, this experience is shared with everyone that the song is singing to. It ...Læs resten
Physically Sick 2 – Music and medicine against legally administered poverty
By Emil Néné Rasmussen
In the always peculiar legal world of the USA, a particularly odd system is set in motion almost every time someone is held in custody or otherwise detained. The system is called bail, and it is the procedure of letting the detained person pay a deposit to the court in return for being released until their trial. While the exact cost of ...Læs resten
Olivier Alary – Creating intimacy from purely digital sound
By Wieland Rambke
With Olivier Alary’s “Pieces for Sine Wave Oscillators”, California-based label LINE Imprint continues its flow of conceptual and minimalist releases that refuse to draw a line between sound art and music.
At the heart of the compositions assembled here lies a strictly formalized idea: By only resorting to using sine wave oscillators as sound sources, Alary is creating sound that is only ...Læs resten
Dariush Dolat-Shahi – Persisk post-revolutionær musik i nye kredsløb
Den oprindelige indspilning af “Electronic Music, Tar and Sethar” (Folkways, 1985) med den iranske komponist og tar-mester Dariush Dolat-Shahi er blevet genudgivet her i 2012 af Dead Cert – og genaktualiseret for et nyt publikum på samme måde som Charanjit Singhs indiske “Ten Ragas with a Disco Beat”, der ikke nød anerkendelse i sin samtid.
Musikken er skrevet for elektroniske apparater nok mest ...Læs resten