The sound of hand drums echoed in the distance. For a second, I thought I was in Berkeley. A daily feature of my graduate school years, I can’t remember a seminar I sat in where I could not hear a jam session in progress. Located somewhere in Sproul Plaza, drum circles would normally get going in the mid-afternoon, rising in volume – and membership – by the early evening. (More…)
You didn’t want to listen to it. That is, the song you hear repeatedly in your head, untethered from your iPod, and your CD collection. Overheard in an elevator, or while shopping, such sounds have a colonizing effect. We hear it during our most private moments. We think about it when we try to script our own musical sensibilities. Everything about our sonic imaginary is defined in relation to it. (More…)
The Christal Methodists began working together during the late 1980s. Formed at Portland, Oregon’s Reed College, the group went through several lineup changes (and one band name) before it released its first cassette under the Methodist moniker on its own Goy Division label, in September 1994. (More…)
San Francisco-based Thomas Dimuzio is one of those unsung artistic figures whose influence and abilities have substantially outstripped his visibility. Composer, multi-instrumentalist, sound designer, experimental electronic musician, collaborator and mastering engineer – Dimuzio has been busy doing his thing(s) since the late 1980s, but is still only known to a small circle of electronic music enthusiasts. (More…)
As I mingle with the audience after playing a concert, or chat online about my music, I often find myself explaining the technical ways in which my work is created. I’m not sure if this is due to the fact that I’ve found my vocation as a media technician, or if I am simply less comfortable talking about the philosophy behind my music.
While it’s possible to listen to Violet Cries without thinking about history, the forcefulness with which Esben and the Witch invoke musical forebears makes the exercise a little perverse. Not to mention that, unlike many artists who are assigned to the mental bin labeled “Goth,” the band doesn’t shy away from the burden of association. Asked in an interview to discuss the term’s abuse, they declared “that Gothic should be revered in its greatest forms” suggesting that, while this sensibility “lends itself to a sense of the dramatic and the ostentatious,” it need not be an object of derision. (More…)