Joseph Branciforte and the Memory in the Machine
With 'ITERAE,' a collaboration with Belgian pianist Jozef Dumoulin, electroacoustic composer Joseph Branciforte turns his live-editing system into an instrument for slowing time.
Deep Listening, Deep Soil — Lisa Ann Schonberg's Myrmecological Music
The Brooklyn-based composer and percussionist discusses her field expeditions with myrmecologists in Brazil, the feedback loops she builds between insect recordings and organic substrates, and what it means to make music from sounds too small for human perception.
Against the Flattening — Weston Olencki's Southern Reckonings
The innovative composer discusses 'Broadsides,' an electroacoustic project set in the American South that treats traditional instruments as loaded cultural objects while pushing back against regional homogenization.
Abstracting the Personal — Lila Meretzky's Musical Afterimages
The New York-based composer discusses her debut album 'Simultaneous Contrast,' how Josef Albers's color theory shapes her music, and why she views composition as discovery rather than self-expression.
Patrick Shiroishi's Sonic Resistance to Erasing the Past
After years of touring with Godspeed You! Black Emperor and SUMAC, Patrick Shiroishi unveils his two-suite composition 'Forgetting is Violent,' his saxophone tones carrying the weight of Japanese American internment camps and contemporary racist violence.
That Obscure Object — Marko Ciciliani's Speculative Sound Stories
The innovative composer's transmedia work 'Why Frets?' invents an elaborate fictional history of the electric guitar and critiques New York's downtown music scene from an imaginary future.
Breaking Free from the Death Cult — Kory Reeder on Creative Liberation
The prolific composer discusses his new string quartet 'Homestead,' recorded with Apartment House, and why he refuses to let centuries of classical tradition dictate his creative process.
Dirt in the Machine — Hiroki Chiba Joins Hinode Tapes for 'Ita'
Piotr Kaliński explains why the Polish trio's third album required expensive tape, cheap equipment, and a Japanese bassist who could read minds from thousands of miles away.