The glitchy, vaguely dystopian composition constructed from manipulated vocals is almost widespread enough now to warrant its own genre tag. Laurie Anderson is, of course, its foremother. Recent interesting entries include Holly Herndon’s Platform, Katie Gately’s Pipes, and Giant Claw’s Soft Channel. All of them delight in detaching signifier from signified, building up intricate, oftenContinue reading “First-place winner, Musicworks’ 2017 Electronic Music Composition contest”
Artist Archives
What’s Inside Musicworks 130?
Musicworks turns 40 this year. It’s been quite a journey from the DIY newsprint tabloid published in 1978 to Musicworks 130—our first-ever full-colour issue! Buy the print issue (or print+CD combo) from our shop, or start your subscription today. On the Cover Montreal guitarist, oud player, and composer Sam Shalabi has been active across a diversityContinue reading “What’s Inside Musicworks 130?”
Spring 2018
MUSICWORKS UNVEILS 2017 CONTEST WINNERS
Musicworks is thrilled to announce the winners of its 2017 contests. Erik Ingalls’ The Gravity of Plim has won first place in Musicworks’ 2017 Electronic Music Composition contest. Ingalls’ winning piece began as an accompaniment to a science-fiction short story written by his partner. “Being a classic science-fiction fan, I had in mind an impression ofContinue reading “MUSICWORKS UNVEILS 2017 CONTEST WINNERS”