⇄Escape Velocity⇆

Syn Stair – DJ NJ Drone || Tiny Mix Tapes

That’s what’s happening in these 25 minutes of Syn Stair: a glimpse of how sound subtracts, makes edges, makes bread, makes a spillway, makes mud spew, shreds ghosts, or causes quicksand. Followed by the smack of skeletal impact on concrete overflow. (Listen)

Love Streams – Tim Hecker || Tiny Mix Tapes

“She talked about the way he would stand over her and gesticulate during playback, plying the air with an impassioned response that he would conjure from the music. This bodily action and deep human connection is weirdly attributed to an “artificial intelligence-era language,” which hints at chance configuration of the vocal choir’s offerings.” (Listen)

Interview with Elysia Crampton || Rogue’s Foam

Q: Your work regularly references geographies, such as America, Axacan and Shenandoah. You have also talked about landscape and geology. How does space, place, and landscape, especially, structure your experience and how are they expressed in your music?

A: now that my relationship to the US has changed (I no longer live here), i’ve started thinking about realms of language as worldings themselves– worldings that allow or negate the birth of certain identities, ideas, expressions, laws. thinking of this prenatal weight within language that gives rise to possibility spaces while preventing and/or destroying others– a sort of necro-linguistic dimension on one end. the way reality is even processed/encountered changes with each language space. for example, in aymara, instead of implying a gaze directed forward, moving through time (with tomorrow coming sequentially “ahead” of today which came “ahead” of yesterday), speakers instead face the past and have their backs to the future (q”ipa, the word for “future” translates as behind or back– q”ipüru, the word for “tomorrow” translates to “some day behind one’s back”).[…] (Listen)

Depth on the Dancefloor: The Music of DJ Sprinkles || The New Yorker

You know: these are industries that rely on volunteerism. They rely on people agreeing to do things for little to no money just to ‘get out there.’ There is the worst kind of economic exploitation going on around these industries that supposedly represent the people who are the most liberated and in harmony between what they do and how they survive. This is a real irony that has to be exploded, immediately. That’s why I’m totally uninterested in the language of optimism and fulfillment and all of this fucking, you know, capitalist bullshit. It’s like, No. This world fucking sucks. Work sucks. It’s O.K. to admit that. We need to admit that to get to the better conversations, right?”[…] (Listen)

Please note that all soundfiles on this page will play at once (I assume Terre Thaemlitz did this on purpose.)

Get To Know Gqom, South Africa’s Slow-Burning Club Music || The Fader

“Gqom is pure fire,” he says. “I define it as the apocalyptic sound of electronic music. Gqom is creepy; it’s riot music, it’s deep and also very angry.” (Listen)

Meet the Cape Town musician resisting systematic oppression || Dazed Digital

My soundscapes have become conversation starters about our current failing government (who are) not aiding the black minority in our country. Each note is visceral, reactionary and finishing the sentences which are often left floating in abyss of our countries social political discourse. (Listen)

Goro writes and lives in Bedford-Stuyvesant, NY. He has been accepted into the ‘Spaceship Earth’ residency, an indefinite fieldwork program on the planetary ark known as Terra. He is an avid reader, listener and show goer.

Submit a comment