For the first time, James showcases the multi-camera footage and full audio of this performance along with the extended piece for microphone/disco ball/laser, Interactive Tuned Feedback Pendulum Array, also performed at the Barbican that evening in 2012. Originally broadcast for WXAXRXP.
Delve into cumbiaton: the sound of the Mexico City underground, a 21st century fusion of cumbia and reggaeton.
A documentary following a kẹo kéo singer - a rapidly vanishing form of Sài Gòn street performer that is substantial to the city’s nightlife.
Indrė Jurgelevičiūtė sings Lithuanian folk songs accompanied by string instrument kanklės and weaves them into her own soundscapes combining acoustic sounds, field recordings, synths and electronics.
The new single from London-based songwriter piglet.
Wu-Lu performs Ten and Broken Homes from his upcoming Warp Records debut, Loggerheard.
"4tab" by Queen Black Acid, taken from the Johannesburg production duo's new project Shake OFF! Spirit Malady.
Sink into the trancelike incantations of rising New York soul singer and experimentalist keiyaA, performing as part of a series of video sessions from The Room Studios in Lewisham, South East London.
BONSAM B3SU — the new single from Brbko, featuring repeat collaborator Jawnino. #NEGROPOP #GRIME3
FAUZIA performs a new untitled song alongside its ok, from 2021 release flashes in time.
Tirzah performs Send Me, Devotion and Hive Mind from her late album, Colourgrade, out now on Domino.
Waste is fundamentally crucial to environmental discourse both in physical and digital domains. It contains the value, usage, and temporality of things, although many are unaware of how much these phygital wastes contribute to the climate catastrophe. Just from our daily lives, we are in situations that contribute to carbon emissions generated through our devices and internet use. In contrast, other parts of the world, such as Nairobi, the subject of KMRU’s piece, are battling with tactile wastes surrounded by landfills affecting communities and the life of humans and other species. waste(s) (2021, 15:48 min.) seeks to reflect on the concept of pollution. It asks: How is waste created? What happens when waste is thought of in different ways, and can waste be a source? To create the piece, KMRU collaged field recordings of waste(d) spaces, electromagnetic sounds of social media sites, and the digital debris of trashed and recycled audio fragments into new compositions. A juxtaposition between the digital-physical concept of waste is recontextualized as an artistic resource for real and imagined pollutions.
Moor Mother’s work uses “sound as a form of resistance”, understanding the sonic realm as a space of “unlimited possibility” in which “we can change anything we want”. For REUSE >> REFUSE, Moor Mother has produced two new scores that interweave images and sounds from previous works with new visual and sonic material. The first work, Moor Mother Lost Interview (2021, 10:13 min.), intersperses a filmed interview by D1L0 with an industrial soundscape that propels, highlights, and diffuses the artist’s words. The second piece, Inside the Black Womxn’s Temporal Portal (2021, 4:58 min.), sets up a haunting, rhythmic loop in which time, as shown visually in material taken from a Black Quantum Futurism installation, moves in an alternating and nonlinear pattern. Within both pieces, viewers are invited to experience an experimental model in which glitches and the discordant are brought into focus. Sounds that traditionally would be excluded or erased are given space to show their affective beauty.