Bret Schneider speaks with composer Katrina Krimsky about her career spanning half a century.

A vision of the grotesque, our morbid fascination with violence, and the aestheticization of war…

As if frozen in time, drone music has not developed as an art form since Young's Dream Houses, & has mostly been barbarized into a muddy ambience and cheap theatrics

Bret Schneider and Omair Hussain discuss musical composition and their albums Drunk Walks and What Goes Away.

Kevin O’Rourke reviews the album Sons Of by Sam Prekop and John McEntire.

Monique Fong discusses Surrealism with Erin Hagood.

Personally, I associate Satie’s work with a feeling of the aridity that Nietzsche came to value over Wagnerism — the gentle sea-breeze in the highest mountains that wafts in from some strange land and tickles the senses with possibilities of spiritual freedom.

NFTs reveal that relational aesthetics and post-internet art have always been the same phenomenon, differing merely in surface technique and taste.

If society no longer reliably yields a consistent aesthetic framework, and if even the immediate sensations of our own minds can no longer be trusted, how can we hope to reach the inner truth of an artwork?

Jim Igor Kallenberg interviewed the late Frederic Rzewski.

Jack’s poetry asks you, the reader, to abandon yourself, to engage with what you don’t know, and can’t understand, and enter a path of transformative gnosis.

The best possible description for the piece is one line from the poem by Billie Chernicoff that comes with the download: “The nothing inside of a bell, unfurling…”

Selected Spectral Works

If West’s works are ever “soothing,” it’s precisely because they do often succeed in revealing something true about the world, something we can relate to as listeners. If critics feel that “Wash Us in the Blood” fails to hit the mark, then, it must be for a different reason.

The question is whether these works are self-critical in their own rebellion against established forms and their limitations, or whether they dogmatically adhered to Schoenbeg’s categories in their quest for the obliteration of the subject in service of musical free will.

A critic might try to pluck TEEN from the growing heap of dance-pop bands and salvage their music by dissecting it scientifically.

Within the essence of postmodern music is embedded a struggle with the necessity to toil against the interpretative and compositional standards of the status quo, and simultaneously, a fundamental confusion about how best to accomplish this.

It is affectless electronic music at its best, and it is an exegesis of self-cancellation. 

Garden of Delete is the “determinate negation” of the Garden of Eden, whose claim to innocence it debunks.

The sounds of the tower, both percussed and ambient, are the most interesting dimensions of this project; yet, they are also what become the most compromised through Bertolozzi’s treatment of them.