Even though it has been three decades since the emergence of the term sound art, the genre is still in the process of gaining a sustained presence in the New York art world.
At the two-day Minor Musics Japan concert at ISSUE Project Room this past September, Takahiro Kawaguchi and Taku Unami (in a duo with Annette Krebs) proved that, although it is now a well-defined genre, experimental music in the Cagean vein has not become overly stylized and mannered.
This past autumn, Roulette, one of Manhattans most venerable experimental-music venues, closed shop on SoHos Greene Street and reopened their doors in Downtown Brooklyn, joining BAM and the newly relocated ISSUE Project Room; together, they solidify the neighborhoods reputation as a destination for new music.
In the past few years, the Unsound Festival has become a must-attend event for any New Yorker invested in left-of-center and experimental music. Begun in 2003 in Kraków, Poland, by writer Mat Schulz, the New York outpost was established in 2010.
In the pages of the Rail earlier this year, I reported on a tension I witnessed in live performances of experimental music, in which this genre is becoming enshrined within institutions of art.
I spent two months in the United Kingdom inundated with sound. This wasnt sound as pure physical experiencethe immersive noise of modernity or the multi-media buzz of the contemporary mediasphererather, this was sound defined and delimited as a knowable entity, an object of study, even a work of art.
Daniel Lopatin has been making music and videos under the name Oneohtrix Point Never since 2007. For his latest release, Lopatin has chosen to release his most challenging and complex record yet.