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Comprised of the artists and musicians Cory Arcangel, Howie Chen
and Alan Licht, Title TK is a "band" that performs in music or art
contexts. While they appear on stage as a band, the members do not
play live music. Instead the performances are conversations between
the three artists about music, performance and the music industry,
and their act plays with the tensions created by the audience's
expectations and the actuality of their performance. Though
ostensibly not music, their spontaneous banter nonetheless
demonstrates Arcangel, Chen and Licht's incredible range of
artistic influences and preoccupations, all of which stem from a
sophisticated understanding of music and composing. The
conversations engage each audience as the performer reveals his own
infatuations with popular culture, music and art. "Title TK: An
Anthology" collects the transcripts of these live performances from
2010 to 2014, charting the group's development.
W - Sweeney called me and said that Johnny Cash just recorded "I
See A Darkness." We had a Bowery Ballroom show a week or two later,
and he invited Rick Rubin to come to the show; he came to the show
... and asked if I wanted to play piano on the song. A - Which you
agreed to do despite not knowing how to play piano. W - Yes... A
man who acts under the name Will Oldham and a singer songwriter who
performs under the name Bonnie Prince Billy has, over the past
quarter of a century, made an idiosyncratic journey through, and an
indelible mark on, the worlds of indie rock and independent cinema,
intersecting with such disparate figures as Johnny Cash, Bjork,
James Earl Jones, and R. Kelly along the way. These conversations
with longtime friend and associate Alan Licht probe his highly
individualistic approach to music making and the music industry,
one that cherishes notions of intimacy, community, mystery, and
spontaneity.
The first edition of Sound Art Revisited (published as Sound Art:
Beyond Music, Between Categories) served as a groundbreaking work
toward defining this emerging field, and this fully updated volume
significantly expands the story to include current research since
the book's initial release. Viewed through a lens of music and art
histories rather than philosophical theory, it covers dozens of
artists and works not found in any other book on the subject.
Locating sound art's roots across the centuries from spatialized
church music to the technological developments of radio, sound
recording, and the telephone, the book traces the evolution of
sound installations and sound sculpture, the rise of sound art
exhibitions and galleries, and finally looks at the critical
cross-pollination that marks some of the most important and
challenging art with and about sound being produced today.
The first edition of Sound Art Revisited (published as Sound Art:
Beyond Music, Between Categories) served as a groundbreaking work
toward defining this emerging field, and this fully updated volume
significantly expands the story to include current research since
the book's initial release. Viewed through a lens of music and art
histories rather than philosophical theory, it covers dozens of
artists and works not found in any other book on the subject.
Locating sound art's roots across the centuries from spatialized
church music to the technological developments of radio, sound
recording, and the telephone, the book traces the evolution of
sound installations and sound sculpture, the rise of sound art
exhibitions and galleries, and finally looks at the critical
cross-pollination that marks some of the most important and
challenging art with and about sound being produced today.
Since it was founded in 1982, The Wire magazine has covered a vast
range of alternative, experimental, underground and non-mainstream
music. Now some of that knowledge has been distilled into The Wire
Primers a comprehensive guide to the core recordings of some of the
most visionary and inspiring, subversive and radical musicians on
the planet, past and present. Each chapter surveys the musical
universe of a particular artist, group or genre by way of a
contextualizing introduction and a thumbnail guide to the most
essential recordings. A massive and eclectic range of music is
celebrated and demystified, from rock mavericks such as Captain
Beefheart and The Fall; the funk of James Brown and Fela Kuti; the
future jazz of Sun Ra and Ornette Coleman; and the experimental
compositions of John Cage and Morton Feldman. Genres surveyed and
explained include P-funk, musique concrete, turntablism, Brazilian
Tropicalia, avant metal and dubstep. The Wire Primers is a vital
guide to contemporary sounds, providing an accessible entry point
for any reader wanting to dig below the surface of mainstream
music.
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