Linda Jansma and Carsten Seiffarth, eds. Gordon Monahan: Seeing Sound: Sound Art, Performance and Music, 1978–2011. If there is one life-changing moment in the career of the Canadian composer, performer, and sound artist Gordon Monahan, it may well have been his encounter—and eventual partnership—with Laura Kikauka. Leafing through the monograph Seeing Sound, which spans over thirty years of[...] Read more

Books René van Peer Issue 113

Burkhard Beins, Christian Kesten, Gisela Nauck, Andrea Neumann, eds. Echtzeitmusik Berlin: Self-Defining a Scene. Echtzeitmusik Berlin: Self-Defining a Scene is a welcome and expansive document on the improvised music scene in Berlin. The term “echtzeitmusik,” which translates into “real-time music,” is the current working description for the type of music practiced by such[...] Read more

Books Chris Kennedy Issue 113

Brandon LaBelle and Cládia Martinho, Editors. Site of Sound: Of Architecture and the Ear, Vol. 2. Site of Sound Volume 2 follows a decade after the first volume, a period in time that has seen an increase in the activity of artists working with both sound and architecture. As LaBelle points out in the preface, the decade has also seen more discussion about the idea of the public and of[...] Read more

Books Chris Kennedy Issue 112

Daniel Kernohan, Editor. Music is Rapid Transportation... From The Beatles to Xenakis. I’m an avid music collector with wildly eclectic tastes, and this book spoke to me like few books have before. I instantly connected with the accounts by the seven individuals involved in the project. In the book’s first section, music enthusiasts and contributors Lawrence Joseph[...] Read more

Books François Couture Issue 110

Franya J. Berkman. Monument Eternal: The Music of Alice Coltrane. In the five years before her death in 2007, Alice Coltrane was subject to a considerable critical reappraisal. The release of her back catalogue on CD and the live performances she gave with her son Ravi Coltrane in support of her 2003 album Translinear Light seemed to arrive at just the[...] Read more

Books Chris Kennedy Issue 110

Tara Rodgers, Editor. Pink Noises: Women On Electronic Music And Sound. Tara Rodgers, a.k.a. Analog Tara, remarks in her introduction to Pink Noises, that the world finds it all too possible to assemble “a historical narrative of electronic music” along “patrilineal” lines, where the best that a female working in the field could expect[...] Read more

Books Andrew Hamlin Issue 109

Kyle Gann. No Such Thing As Silence: John Cage’s 4'33". Cage never used absolute silence. In the beginning (his beginning, at least), such matters did not concern him—and concern with the earlier, less-notorious John Cage forms just one part of Kyle Gann’s fascinating study of Cage’s best-known composition.  [...] Read more

Books Andrew Hamlin Issue 109

Cathy Lane, ed. Playing With Words: The Spoken Word in Artistic Practice.   “There are no more powerful things in the world than words,” says Laurie Anderson in an interview with editor Cathy Lane in Playing With Words, where the primacy of language in art and politics is discussed in a clear and compelling manner.   With over thirty-[...] Read more

Books Deanna Radford Issue 107

Tim Lawrence. Hold On To Your Dreams: Arthur Russell and the Downtown Music Scene, 1973–1992.   As the result of a string of reissues at the beginning of 2004, Arthur Russell has risen to posthumous prominence as a ravenous pluralist and unsung innovator who did not achieve due recognition prior to his untimely death from AIDS in 1992. With each re-pressing or unreleased gem it[...] Read more

Books Nick Storring Issue 107

Stuart Broomer. Time and Anthony Braxton.   Stuart Broomer knows Anthony Braxton. He has listened to the American composer and multi-instrumentalist’s music from the beginning, attended concerts by him since the early 1970s, written about the musician many times, and over the years interviewed Braxton on many occasions[...] Read more

Books Ken Waxman Issue 107

Iannis Xenakis. Translated by Sharon Kanach. Music and Architecture.   It is commonly known that Iannis Xenakis was more than a composer; that he studied engineering rather than composition; that he worked for Le Corbusier as an architectural assistant; that he taught himself computer programming in order to create composition algorithms, new methods for[...] Read more

Books James Harley Issue 106

Seth Kim-Cohen. In the Blink of An Ear: Toward a Non-Cochlear Sonic Art.   It’s happened more often than I’d like to admit that I will read the artist statement of a sonic work and be disappointed in its dated ideas. The odd time I’ve ever engaged in debate with a sonic artist I have usually been astonished by the gulf between current visual[...] Read more

Books Laura Paolini Issue 106