articles

INTERVIEW: Scuba (Paul Rose)

scuba

Originally published in BeatRoute Magazine.

“At the time, I just wanted to do something different,” says Paul Roseaka Scubaexplaining his move away from dark UK bass music and toward techno and house. “Very early on in the dubstep thingI guess just as it was becoming popular, actuallyI didn’t want to do it anymore, which from a career perspective was probably a bad idea. But you’ve got to do what you feel like, I guess.”

Rose’s first two recordsA Mutual Antipathy (2008) and Triangulation (2010)were both classic exercises in English gloom. But to the puzzlement of many long-time fans, he followed these up with a string of dancy, tech-infused releases, culminating in the aptly titled Personality LP (2012). (more…)

INTERVIEW: Erik Bünger

bunger

In the third man, Erik Bünger—a Swedish-born, Berlin-based multimedia artist—uses the format of the lecture to explore the nature of sound, memory and so-called “ear-worms.” Prior to his performance at Vancouver’s VOICE OVER mind Festival, I had the chance to ask Bünger some questions about the project. These are his responses.

(more…)

INTERVIEW: Tomomi Adachi

adachi

A performance artist/inventor/composer/sound poet/installation artist/instrument maker/sometimes theatre director with a degree in philosophy and aesthetics, Tomomi Adachi must have one hell of a business card. In the weeks leading up to Adachi’s performance at Vancouver’s VOICE OVER mind Festival, I exchanged a few words with the Berlin-based polymath over email. Here’s our conversation in full. (more…)

INTERVIEW: Petra van der Schoot

petra

In our age of digital oversaturation, Petra van der Schoot—an interdisciplinary artist based out of the Netherlands—has a surprisingly sparse internet footprint. But the description offered by Vancouver’s VOICE OVER mind Festival, in which van der Schoot will be performing later this month, paints an intriguing picture. According to the brief blurb, she’s a “multi-faceted artist with a focus and desire to bring the disciplines of image and music together in various new forms.” In the weeks leading up to the festival, I had the pleasure to speak with the artist via a grainy Skype connection. (more…)

REVIEW: Chopin’s “The Awakening”

chopin

Originally published on Goodreads.

With several hours to kill before an appointment, I decided to pop inside a bookstore to pick up something “short but old.” In pursuit of this end, I solicited the aid of the shop lady, one of those former English majors who’ve evidently forgotten everything they might have once learned in university. Following several false starts (“Sorry, ma’am, but I’ve already read both Animal Farm and The Metamorphosis“), she pulled a slender book from the shelf, saying as she did so: “I can’t remember if I read this in school, but I think people view it as important for feminism or something.”

Trying my best to ignore the garish cover design, which suggested some sort of third-rate historical romance novel, I consented to buy it. (more…)

INTERVIEW: Plaid’s Andy Turner

andy

Originally published in BeatRoute Magazine.

Over the last 30 years, electronic dance music has undergone a rollercoaster ride of fads, styles and trends. As the ‘80s transitioned into the ‘90s, the drugged-out sounds of acid house gave way to the brash grooves of big beat, which in turn succumbed to the antinomy of French house and intelligent dance music (IDM). More recently, the electronic music scene has been dominated by the exaggerated bass rumblings of dubstep, Southern hip hop and trap.

Formed way back in 1989, the London-based Plaid is almost as old as electronic dance music itself. Yet the duocomposed of Andy Turner and Ed Handleyhas somehow avoided the pull of the genre’s fluctuating fashions. Largely indifferent to the shifting scene around them, they have spent the last twenty-five years consistently producing music that’s as melodically infectious as it is intellectually demanding. (more…)

REVIEW: Kant’s “Critique of Pure Reason”

kant

Originally published on Goodreads.

Both frightfully obscure and logically scrupulous, Kant functions sort of like a philosophical litmus test. Many a metaphysical charlatan (Lacan, Žižek, et. al.) has aped his mystifying prose-style without any attempt to match his rigour. And meanwhile, the most provincial of the analytic camp, unduly equating “abstruseness” with “bullshit,” write him off as a mere historical oddity.

But the truth of the matter is that the Critique—Kant’s magnum opus—constitutes one of the most inventive, meticulous and edifying works of philosophical mind-f****ery ever to be writ. (more…)