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The Top 9 Places to Hear (and See) Experimental Music in Brooklyn, According to Musicians

The Brooklyn avant-garde music scene is no longer burgeoning; it is flourishing.

Guitarist and New England Conservatory student Gabe Boyarin, who is sure to make waves in the scene when he graduates and moves to NYC next year, says it best: “Brooklyn’s really popping right now… Some say it’s the new Manhattan.” Boyarin first learned about this world by listening to music from the Tzadik label, created by downtown musician and bandleader John Zorn . He befriended the composer John Schott and the late vocalist Jewlia Eisenberg , who showed him “what people were up to” in New York. He’s been active in Brooklyn’s experimental and improvisational music scene since the summer of 2021 when he visited from the West Coast and met guitarist John King and bassist Brandon Lopez . In November of 2023, Boyarin played on the same bill with both of them at a Gaza benefit concert featuring a performance of his composition, 1948 Nakba . He lives in Boston and makes trips to New York once a month.

And where does he go when he comes here? I asked him and a dozen other musicians—veterans, leading lights, and up-and-comers—about their favorite Brooklyn venues to hear live music. Free jazz, improv, noise, experimental, “new classical,” creative, DIY: it’s all here, always new, and all for you. Many of these spots are off the G train, so hop on, hop off, and hop on again.

#1 Roulette, Downtown Brooklyn

Start here if you know nothing about this scene. “Roulette is #1,” says pianist Kathleen Supové , who’s worked with everyone from Terry Riley to Missy Mazzoli .

Roulette began in a musician loft in Downtown Manhattan in the late 70s, where it became the place to hear radical jazz (of the Coltrane kind) and other kinds of improvised and electroacoustic music (of the John Cage kind.) It moved a few times before setting up shop in 2001 at a concert hall near Fulton Street that was part of the YMCA. Today, the best play here: William Parker , Shelley Hirsch , Nate Wooley , Bang on a Can , and the International Contemporary Ensemble (ICE) . Guitarist Ian Douglas-Moore , who curates the Striped Light concert series in Queens with David Watson, calls it “a great place to see bigger names or larger-scale shows from up-and-coming artists.” When violinist and composer Theo Haber goes to see music in his home borough of Brooklyn, he goes here. Bassoonist and former artistic director of ICE Rebekah Heller puts it at the top of her list. The people are friendly, and the drinks are cheap. Take them with you into the hall and strike up a conversation with someone. Everyone here has a story.

#2 Sisters, Clinton Hill

“Sisters is probably the best off the top of my head,” says trumpeter Nate Wooley, a key player in the Brooklyn avant-garde for the past twenty-plus years. Indeed, this venue came up more than any other among the musicians I asked. A Black-owned restaurant and bar with a beautifully decorated dining room and back room, Sisters opened in 2014 and hosts some crazy acts. David Grollman of The Jew-O percussion ensemble wore just a jockstrap and hit his crotch with a drum mallet. Other acts are less extreme. On New Year’s Eve, bassist Luke Stewart and cellist Lester St. Louis teamed up for a DJ set. Violinist and interdisciplinary artist C. Spencer Yeh says Sisters is “friendly and welcoming.” Boyarin, Supové, Heller, and Stewart himself all list it as a top venue.

#3 Record Shop, Red Hook

Don’t get it twisted, this is a specific record shop at 360 Van Brunt St. in Red Hook. David Watson , a bagpiper who has been active in New York’s avant-garde since the 80s, when he was a frequent performer at Manhattan’s Knitting Factory , highly recommends Record Shop as a prime destination for hearing musicians improvise, as do Nate Wooley and Luke Stewart. Its Pool Improvised Music Series is run by drummer/saxophonist Kevin Murray and guitarist Aaron Rubinstein . They even have their own label, 1039 Records . Rubinstein says that Record Shop “is the absolute top shelf/community scene spot.” I haven’t been yet, but from what I hear, it’s worth the walk from the Smith-9th St. G stop.

#4 P.I.T. (Property Is Theft), Los Sures, Williamsburg

A community space nestled in what used to be a vibrant Puerto Rican community, P.I.T. has an anarcho-syndicalist backbone. They accept donations for asylum seekers and for people in prison and collaborate with the Brooklyn Institute for Social Research and Southside United HDFC–Los Sures , an organization that fights for affordable housing. P.I.T. has a stacked events list, hosting acts with names like Fuckcrusher . C. Spencer Yeh told me, “It’s worth keeping an eye out for what’s going on at P.I.T., especially for improv/free jazz vibes.” Gabe Boyarin also comes here when he visits the city. (See also the nearby Williamsburg Music Center run by Gerry Eastman , brother of Julius, the famous composer, for more free jazz vibes.)

#5 Union Pool, Williamsburg

When I moved to Williamsburg, my roommates touted Union Pool as the area’s prime hookup bar, but few know how important it is to the history of experimental music. In Pratt Professor Cisco Bradley ’s essential 2023 book, The Williamsburg Avant-Garde , Union Pool shows up as one of the only remnants of the neighborhood’s once-busy DIY music scene, which peaked in the early 2000s. “Folks forget or don’t know that Union Pool is a very friendly place for the experimental,” says C. Spencer Yeh. “Much of the staff, both booking and bar, are some active/longtime members of the scene.”

#6 Blank Forms, Clinton Hill

Blank Forms not only hosts concerts, they also publish books and press records . Their output radiates a care for history and a preservation of the present. Their vibe is more spiritual and serious than some of the other venues on the list. In October, I sat on a pillow on the floor to hear Swedish musician Marcus Pal play a just-intonation piano last October. A recent highlight was a performance by the jazz group Ethnic Heritage Ensemble celebrating its 50 th anniversary.

#7 Public Records, Gowanus

GRAMMY Award winning cellist Andrew Yee , a founding member of the Attacca Quartet , recommends Public Records. Another restaurant concert venue, this one with an all-vegan menu, Public Records hosts jazz, DJ, and other electronic experimental music shows in a futuristic and comfy listening loft upstairs. Go just to experience their incredible sound system or for a sexy, elegant hang.

#8 Freddy’s Backroom, South Slope

Both David Watson and Ian Douglas-Moore are fans of Freddy’s monthly Limited Resources series, which is run by electroacoustic musician and drone guitarist Chris LiButti who serves up experimental and improvisational jazz. I haven’t been yet, but Douglas-Moore tells me that it can be loud since it is, after all, a bar, but the casual and non-precious feel creates a welcoming atmosphere. Be prepared for some gloriously noisy and cutting-edge sounds.

#9 National Sawdust, Williamsburg

Founded in 2015, this is an institution of the more formal sit-down-and-shut-up kind of concert hall. But that’s not a knock. The hall itself feels like another world, and its state-of-the-art Meyer spatial sound system enhances the listening experience. The acts, which sometimes include dance, are always polished. Some lean toward the classical end of the experimental spectrum and most veer away from the noisy, drone sort of avant-garde. Sawdust also commissions works. Composer Paola Prestini , whose entrancing work for string quartet, It Is Finished (2019) I recently heard there, is co-founder and artistic director. I heard Han Chen ’s miraculous (perhaps definitive) performance of Ligeti’s piano etudes here in September of 2023. Sawdust is another hall where you can grab a drink and bathe in sound.

Ben Gambuzza

Ben Gambuzza is the host of The Best Is Noise, a classical music show. His writing has appeared in the Village Voice, the Brooklyn Rail, and elsewhere.

Self Control

#RFBatHome (Part 2): Calvin Williams of “Lush Vibes Radio” broadcasts from Crown Heights, Brooklyn

INTERVIEW: Phranque Gallo of Karabas Barabas Chats About The Band’s Third Album “Degenerate National Anethem”

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Experimental Music

In the course of Roulette’s evolution, from its humble beginnings in a Tribeca loft, in 1978, to its present home in Brooklyn, the venue has become one of New York City’s most steadfast bastions of experimental music; there’s so much going on this week that you scarcely need to look elsewhere for aural intrigue or edification. On Dec. 5, the excellent Momenta Quartet collaborates with the composers Elizabeth Brown and Frances White in pieces that draw on Japanese folk music, Persian poetry, and a W. G. Sebald novel. The following night celebrates Sylvano Bussotti, a trailblazing Italian avant-garde composer and queer activist; Gamelan Kusuma Laras, a group that specializes in courtly Javanese repertoire, performs on Saturday. On Dec. 9, the Anagram Ensemble introduces “I Looked at the Eclipse,” a new opera by James Ilgenfritz and Sarah Krasnow which incorporates improvisation and video, and, on Dec. 10, Judith Berkson, a distinctive composer, vocalist, and cantor, presents new music with the protean ensemble Ordinary Affects. (Roulette; Dec. 5-10 at 8.)

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Recalling Experimental Music In '70s New York

Geeta Dayal

A new release shines a light on a fascinating period of music – a time and a place that’s been exhaustively covered but continues to yield interesting people and surprising art.

The time period begins in the 1960s and continues to the present. The place is New York City, specifically that part of the city that includes Greenwich Village, the East Village, and Soho -- a place that came to be home to the "downtown music" scene. "Downtown" because it was a deliberate demarcation from the "uptown" venues for traditional concert music. The downtown scene encompassed everything from avant garde classical to noise to jazz to rock to disco.

Peter Gordon and his Love of Life Orchestra brought all of those elements together in their music. An anthology of some of their work, Peter Gordon and the Love of Life Orchestra , was released last week by the DFA label. The album is a document of the late 1970s New York music scene.

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Much of New York City's downtown culture in the late '70s has been exhumed and celebrated in recent years in numerous books, anthologies, reissues, and retrospectives. There have been major histories of the post-punk era, most notably Rip it Up and Start Again by Simon Reynolds; and in-depth biographies of New York artists, like Hold Onto Your Dreams , a recent book on Arthur Russell by Tim Lawrence. The sheer volume of reissues of music from that era in recent years has been overwhelming.

But Peter Gordon and the Love of Life Orchestra is a window into a moment that presaged many of the most visible and potent trends of the past 30 years, among them electronic music, goth and, well, Madonna's outfits.

Gordon, a composer and saxophonist, did his master's degree work at Mills College in California in the early '70s, under the tutelage of several noted modern composers, including Terry Riley (one of the fathers of minimalism) and Robert Ashley (a pioneer of electronic music). Gordon says his budding interest in minimalism and his love for funk music got him into disco. "When I first heard disco music, there was something about it which I loved -- the openness of the form," he says. "I had been drawn to Terry [Riley]'s music; I liked that steady stream. I was always into funky music, probably from growing up listening to R&B and the radio when I was a kid in Virginia. I liked that openness -- the fact that you had this steady pulsing beat, this captivating beat, and what could go on top of it was really quite open. To me, that seemed like something liberating in music."

Gordon moved to the East Village in the '70s. "I had a storefront at 210 E. 6th St," he recalls. "People would just knock and hang out. We would listen and play music and just hang. In that sense, it was very much like being in a small town."

Gordon's music is a collision of disco, rock, jazz, funk, and everything in between. Every 30 seconds or so, the songs seem to switch courses. "I'm a great tape editor with a razor blade," Gordon says. "I grew up with tape. When I first came to NYC, I worked in radio, doing edits. You'd maybe have a dozen edits within 20 seconds, so I guess that very much has impacted my thinking a lot."

His penchant for quick edits also reflects a larger philosophy about his experiences in New York City. "A song or a piece is a world unto itself, but it's a world that is not completely homogeneous, in the same way it is if you're walking around a city," Gordon says. "You find yourself in different neighborhoods, or totally different landscapes, just from turning a couple of blocks. I just see the pieces as being explorations of a multifaceted world."

The Love of Life Orchestra, a loose assemblage of musicians that Gordon brought together and named after a soap opera that was popular at the time, also reflected Gordon's free-form aesthetic. "The original impetus in putting the band together was making an environment where musicians from these different backgrounds could retain their individuality and at the same time play a common music," says Gordon. "It was both a populist idea in that sense, [and] a utopian idea of coexistence in a larger sense."

The late Arthur Russell, the gifted avant-garde cellist, singer, songwriter, and erstwhile disco luminary, was one of Gordon's closest associates and collaborators.

One of the tracks on the new reissue, Russell's "That Hat," combines Russell's soft, unmistakable vocals, a brittle drum machine beat, Gordon's saxophone, and additional soprano vocals from Rebecca Armstrong, a singer who worked with Steve Reich's ensemble. The goofy lyrics and title were typical of Russell's idiosyncratic sense of humor. "From what Arthur told me, it's a hat you put on, it has a pointed top, and all the powers and energy of the universe would go through your head through the point of your pointed hat," remembers Gordon, chuckling. "He also explained that it could be a reference to a condom."

Two tracks on the Peter Gordon and the Love of Life Orchestra reissue are credited to Justine and the Victorian Punks. "That was a project that was really initiated by the performance artist and visual artist ... Colette," explains Gordon. "She would do these installations, which might be in galleries, or installations in windows, and this one, 'Beautiful Dreamer,' was a very lush bedroom environment, in which she would sleep or be lying in bed during the duration of the installation." "Beautiful Dreamer" is one of two disco tracks on Peter Gordon -- the other is "Still You," a cover of an Italian song by Lucio Battisti. Both were made to accompany the installation.

Colette changed her name to "Justine" for the project. "In 1978, I invented my death and became Justine," she says. "It was, in a way, to make an art statement ... it was really difficult to make myself heard and respected. Artists are really revered, but it seemed like the interior designers were more respected at places like Studio 54, so that's why I invented my death. I thought as a woman it would be easier to speak to audiences as a recording star, a fashion designer, an interior designer."

Colette invented the "victorian punk." She often sported an ethereal, feminine look, dripping with lace, tulle, and beads. "'Victorian punks' was the perfect combination," she says. "I actually wore Victorian corsets and bloomers and then I would add a punk element to it. Usually if you saw a punk in those days, they would be wearing black; I would mix it with something very soft." In retrospect, it's easy to see echoes of Colette's signature aesthetic in the goth movement that picked up steam in the '80s, and in Madonna's early look during the time of "Like a Virgin."

Peter Gordon and the Love of Life Orchestra captures a time in New York culture when borders were blurrier, genres less distinct, and life was maybe a little more interesting.

2023-12-06 expect some ~FLUX~ during NEW THING launch (dec '23) –– w/ hella luv to the recurse crew programmers, especially GREG , for patiently working with me to build a thing i could never have paid for in a zillion years (lol) & being AMAZING about maintaining its ~spirit~; after years of manual updates & copy/pasting chunks of html, it's more of a relief than i could've imagined & will be better / faster for all of *u* users, too :'''') email me (subject line "SITE") if u have thoughts / feedback / ideas / see a glitch!!

SUPPORT NYC NOISE ( $5 /month)

...or if you're financially comfy?? SUPPORT ( $25 /month)

... or paypal or venmo or patreon !

NYC Noise is dedicated to presenting, promoting, & documenting NYC's experimental (slash avant-whatev, DIY, weirdo) music & artists ; Primary Goals include making sh*t accessible , performance against corporate interests , & finding ways to make this *last . * more on that in a sec, but first...

other gr8 nyc things!!

((r)evolving list, sorry if you should be here & aren't!) COMMUNITY: 3afak ( bc | insta ) • Black Science Fiction ( insta ) • cc ( gofund | insta ) • CfPT ( insta ) • LiveCode.NYC ( insta ) • PTP ( bc | insta ) • Relative Pitch ( bc | insta ) • Synth Library ( insta ) • Trevorshaus • Voluminous Arts ( bc | insta ) + LABOR + ACTIVISM: Artists Against Displacement ( insta ) • Bandcamp United ( insta ) • Music Workers Alliance ( insta ) • United Musicians & Allied Workers ( insta ) • W.A.G.E. ( insta ) + OBJECTS: Downtown Music Gallery ( insta ) • Ergot Records ( insta ) • The Record Shop • Thousands of Dead Gods ( insta ) +++ start of a list of NYC REGULARS (collectives, orgs, series, zones)

THE POINT, CONT'D

at the ~heart~ of nyc noise is a live music calendar featuring a wide range of genres, for whatever "genre" is worth to you: yes noise, "electronic," free / avant / even some cap-J jazz, contemporary classical / "new music," all things improvised, ambient, post-[whatever], glitchy techno, avant-metal, trashy art rock, performance pieces, surreal puppetry... arbitrary curation = what i like + what my friends, friendishes, & acquaintances like &/or (hopefully "&") are playing. ~ rough criteria ~ = 1) singular, live event including 2) both visual & audio components & 3) explicit attention to sound, with 4) all events in brooklyn, manhattan, queens, the bronx, or (it finally happened!!) staten island ; links provided for everything so you don't need to take my word for it & can easily find tickets / confirm details.

i'm super into affordable performances *&* people being compensated for their labor. it is expensive as f*ck to live here, & artists can easily become inadvertent agents of the gentrification that pushes them/us out. other ~big hopes~ for the site include finding ways to push for increased transparency around $$$ in music & more community partnerships so we can mobilize to help our neighbors. also working on a venue directory &/with improved accessibility info ; more on that soon!

practical sh*t

ideally this site helps you avoid socials, but sometimes fb/insta are more up-to-date, if so i include them as secondaries (in parens). calendar's updated on a daily basis , w/ events usually double-checked day-of. it's hard to keep track of stuff, so help is VERY EXTRA GREAT! deeply prefer that you email me at [email protected] ; use the subject “EVENT [date]" and include the date & time, artists, venue/address, age policy & access, & link (s) as *text * (i hate typing out yr weird illegible flyer copy lolol). u can also now share events via google calendar or google submission form here .

other nyc noise stuff

beyond the calendar of events (& some livestreams), u can also check out:

• [rotating] bandcamp roundup w/ links to buy from local artists & stores [BIG list here ] • instagram ( @nyc_noise ) w/ vid/pix of performers (i hate using this so much lolol but am gonna try to post more) • youtube archive ( @nycnoise ) as soon as i figure out my storage sitch will resume updating from giganto personal collection!!, ~200 vids so far • " sites like this " page has calendar sites in different places (& also some alts for nyc!) • " regulars " page is a bunch of spots & series & curators; will make it prettier eventually, but lotsa gr8 stuff to check out • " blog " for first drafts of rants • arguments for attending church (yes rly lol, 10:30am sundays) • if you're looking for a paywall'd article i've shared, it should be in the "FTPaywall" drive folder (tho i reorganized a little, email if you can't find something) , which also includes pdfs of texts when kind ppl provide them for sharing –– most recently ethan philbrick's group works , which looks gr8!!! –– or when i've transcribed a thing (like mlkjr's " beyond vietnam ") i can't otherwise find accurate versions of online. (i removed a big chunk of the stash i hadn't double-checked for permissions, but recently re-added large verso trove ; lmk if u are verso & that makes you sad, but i promise my traffic is mostly not for books!!) • [now largely outdated] COVID-19 resources , incl. grants, petitions, venue donation list • i think we might start a weekly wikipedia-editing crew??? idk but IN CASE you're interested in the world of wiki things, i made a new NYCNoise wiki user page & am adding some tips / resources / links for quick-intro-ing people.

cuz i'm broke ¯\_(ツ)_/¯

so yeah it costs money to run nyc noise (site + domain costs, cloud storage, technology, many many hours, etc.), & i will never paywall sh*t + don't want ads, so if you use the site regularly—or are just feeling generous! or have money!— consider donating via paypal or venmo (include a note that you're heading over from the site so i can feel warm/fuzzy), patreon , or (best!!) here again are those direct subscription links from top: $5/month + $25/month . inbox gets a little overwhelming, so apologies if i take a while to respond; if i seem to have forgotten to add something, feel free to poke at me again!

the REAL nyc noise is the friends we made along the way!!! :') that said, site is a mostly-solo venture, simply cuz i don't make enough money to pay anyone (i tried to hire helpers but could only afford it for like 2 weeks lmao)... that means the people who have helped are TRU SAINTS cuz they've done it for free! there are PILES missing from this, but quickly / for now:

first mention to paul feitzinger (he's not Publicly Online so link's to my loving troll page) , percussionist / pal / linguistics research scientist / ham radio operator / Computer Person! his ~biggest contribution~ was the top-of-page calendars; if you wanna see how annoying the site was before, head to october 2018 & check out the lineup for the 10/25/18 liturgy opera—but actually DON'T, just try & then give up bc there are hundreds of events & no shortcuts to individual dates ahhh!! for like 5 years paul has also been the only other person with a password to make updates, so whenever i f*ck something up ( say i'm somewhere with terrible wifi & try to update the site anyway & it blanks out half the calendar at 2am & my connection is SO bad that i can't maintain it long enough to even load an earlier version from the revision history??? is a thing that happened june 1) , paul is who i frantically text asking if he can plz fix it!! :D

i had wildly great volunteers for church shows, including azumi O E • gavilán rayna russom (of voluminous arts ) • justine herve • greg siegel • [ with many extra zillion thanks: ] eli charm –– the last 2 can't find on Internet rn, will ask later –– most of this crew fully ran a show when i left town last-minute & needed help, amazing :''')

last & tbh most: our surprise 2023 pal, GREG .

early-pandemic "about" page

(some of that page is still relevant, but also… not…? now 2023; SH*T'S STILL WEIRD)

"Aside from the dangers of the virus itself, piles of people & venues have lost their source(s) of income since COVID-19 hit the city. Given how many of us have already been paying rent by the skin of our teeth, deal with chronic illness, don't have a full-time employer to provide paid leave, etc., keeping NYC's creative communities intact will require direct government intervention, ideally in the provision of health care & the freezing of rent, mortgage, & utility payments. That said, I personally can't make decrees about those systemic changes... So this site gathers & provides resources at the level of individuals & communities."

September 2024
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Le Poisson Rouge
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Sarah Davachi Sarah Davachi

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Jul-aug 2017

The emergence of a new black avant-garde: experimental music and text.

Over the past decade, a new wave of Black avant-garde music has been gathering momentum in New York, Philadelphia, and beyond. This wave constitutes a major new phase of the movement now commonly known as experimentalism. One of the hallmarks of this movement is the fusion of free jazz and experimental music with various forms of text, including poetry, literary works, and histories that engage deeply with African American pasts, presents, and futures. The other defining feature of this emerging wave is a direct engagement with the culture, social organizations, and politics of the era of the Black Arts Movement of the 1960s and 70s.

At the forefront is sound experimentalist/saxophonist/composer Matana Roberts, who is the leader of a new generation of groundbreaking artists mentored by the Association for the Advancement of Creative Musicians (AACM). Since 2011, she has released three chapters of a twelve-part project known as Coin Coin . Roberts describes Coin Coin as “an [exploration] of my own ancestry, alongside time periods in American history I am fascinated with.”

Coin Coin has been Roberts’s vehicle for experimenting with alternative modes of composition, while engaging with personal and historical narratives, recounting tales from her family’s past through stories, interviews, memories, histories, and myth. The name of the project and the focus of the first chapter was one of Roberts’s progenitors, Marie Therese Metoyer, known as Coincoin (1742–1816), a second-generation enslaved woman from colonial Louisiana who after gaining her freedom established herself as a prominent businesswoman and leader of a prominent Creole community, the Melrose Plantation. She bought freedom for some of her children and grandchildren. Mississippi Moonchile (2013) employs interviews that Roberts conducted with her grandmother, who grew up in an impoverished community along the Mississippi River during the Great Depression and eventually moved north to the south side of Chicago during the Great Migration. Roberts delves into blues and jazz traditions in unconventional ways, while also including an operatic tenor. Her frequent turns to Bible passages, narratives from the Civil Rights era, and quoted passages from her grandmother, altogether generate a veritable quilt of African American historical memory and consciousness. River Run Thee (2015) was largely inspired by the book Dhow Chasing in Zanzibar Waters and on the East Coast of Africa: Narrative of Five Years' Experiences in the Suppression of the Slave Trade by G.L. Sullivan. Images and narratives from the book are interwoven with poetry written by Roberts's grandfather, all set to music.

A second artist in this wave who pairs text with avant-garde musical forms is vocalist/composer Fay Victor. A straight-ahead singer in the 1990s, Victor has since created an entire vocabulary of experimental “free song” vocal improvisations employing voice as instrument. The subject matter of Victor’s work covers a wide range, but she, too, addresses historical themes. The song “Exchange Rate” discusses the process of purchasing slaves in West Africa in the eighteenth century, told through the vivid description of an African street fair. She inquires, “I see dreadlocked folks for miles with cowrie shells / in their hair and on some / earrings and necklaces / that they wear … I wonder if all the cowrie shells I see / would have been enough to pay for me / in Dahomey / in 1723?”

Another major force is Heroes Are Gang Leaders (HAGL), co-founded by poet Thomas Sayers Ellis and saxophonist/composer James Brandon Lewis in 2014. Formed as a tribute to the late writer Amiri Baraka, the band is named after one of Baraka's stories. Shortly before Baraka's death in January 2014, the Lewis-Ellis duo opened for Baraka at St. Mark's Church-in-the-Bowery in New York City. Ellis later noted, “Our preparation for that performance opened the doors, in us, to all the possibility and ways to speak and have Baraka's whole branch of the tradition speak through us.” While sitting through Baraka's funeral service, Ellis had the inspiration to form HAGL. He wrote, “I heard community and tension and traffics of living sound and struggle and loss, invention, the whole Black treasure chest in Amiri. I just didn't want to ruin it, this rare Thank You, with single-mindedness or selfishness. Amiri Baraka left us with an orchestra of us. All HAGL recordings and performances open to continue that.”

HAGL’s earliest record, The Amiri Baraka Sessions , remains unreleased. One of the goals of The Amiri Baraka Sessions was “to resurrect the matrimony of Black Literary Art and Music as medicine, battle cry, dirge, and the struggle for pleasure.” In July 2015, the band recorded The Avant-Age Garde I Ams of the Gal Luxury at the Jack Kerouac School of Disembodied Poetics as a tribute to beat poet Bob Kaufman. In February 2016, the band released Highest Engines Near/Near Higher Engineers , paying homage to Gwendolyn Brooks. In October 2016, the group released Flukum , honoring Etheridge Knight, Ntozake Shange, James Baldwin, and Michael S. Harper, and as Ellis noted, “Each track is an original explorative power object of sound, sense, and syncretism driving through the red traffic lights at the intersection of where poetry and jazz used to meet.” HAGL’s trumpet player, Philadelphia-based Heru Shabaka-ra, has explored the union of music and language in another way. Since 2014, he has held one of the trumpet chairs in the Sun Ra Arkestra, in which he regards Marshall Allen as the high priest of the Sun Ra spiritual tradition. Stemming from university studies in African and African American literature, he asks, “How is meaning inscribed in words and how has language served as the foundation of culture?” From his study of linguistics, he has developed a sophisticated poetic practice, using a type of proto-language. While one might identify it as a form of scatting, Shabaka-ra thinks of it rather as a form of communication derived from the roots of human language, employing the derivations or root syllables of words to get at a common language that existed prior to its splintering into distinct modern languages. He recites these poetic renderings in proto-language, intermixed with lines from the writings of Sun Ra in English, while performing with HAGL or with his own band, Sirius JuJu.

Another Philadelphia-based artist to have a major impact is Moor Mother, whose debut record, Fetish Bones , released in September, has received critical acclaim. In an interview I conducted with her, she stated, “Free jazz to me is the beginning and its expansion. It is the chants on top of foot stomps and hand claps. It is the scripture over top of the choir. Free jazz is what’s needed to travel. It is the sound of protest, of peace and of sorrow all at the same time. You cannot go to war without a drum, you cannot time travel or seek outer and inner dimensions without free jazz. Alice Coltrane music is a liberation technology, Sun Ra music is a liberation technology. That’s why I love Amiri Baraka so much. He put jazz into the poetry because if you need to go to a certain place that is the only way. I use a lot of free jazz in my music because it just expands what I am saying and takes it to a deeper level.”

Moor Mother is a scholar and practitioner of Black Quantum Futurism (BQF), which she describes as “a new approach to living and experiencing reality by way of the manipulation of space-time in order to see into possible futures, and/or collapse space-time into a desired future in order to bring about that future’s reality. This vision and practice derives its facets, tenets, and qualities from quantum physics, futurist traditions, and Black/African cultural traditions of consciousness, time, and space. Under a BQF intersectional time orientation, the past and future are not cut off from the present—both dimensions have influence over the whole of our lives, who we are and who we become at any particular point in space-time.” Moor Mother’s piece, “Creation Myth,” is a time-traveling foray through a series of race riots from 1866 to the present told from a first-person perspective through which she is bloodied, loses her limbs, and barely survives to arrive in Ferguson, Missouri, while recounting many of the fallen who did not survive. The lyrics are a call to witness, but also a call to action, and one that demands dignity for Black bodies.

Moor Mother’s work is informed by her street-based photographic practice for which she focuses on neighborhoods that are being demolished. Her work brings to life people often living in challenging circumstances like the Washington Park neighborhood of Aberdeen, Maryland where she grew up. She declared, “Just speaking my truth makes it political because of the systematic oppression that is happening in this country. Even if I am not trying to be political, my story just is political.” Throughout her work, Moor Mother crafts lyrics that speak of class war, resistance to violence, and day-to-day oppression. Much of her music feels suppressed, like a weight is placed on the sounds themselves and she is pushing upwards and outwards against it.

Different forms of meaning—experimental language and sound, the blending of history and myth, the poetic tradition reimagined, and the past-present-future continuum—are all defining features of the new Black avant-garde crafted by some of the most talented artists currently working in these volatile times.

NYCEMF 2024

Call for works 2024.

Updated 1 April 2023

Announcing the 2024 New York City Electroacoustic Music Festival

Submissions are now closed, june 16-22, 2024.

The New York City Electroacoustic Music Festival is accepting submissions for its festival in June, 2024. Now in its thirteenth year, NYCEMF is the largest annual showcase of electroacoustic music in New York City, and one of the largest festivals of its kind in the world. Full details are posted on our website, www.nycemf.org.

Submissions must be made in the cmt3.microsoft.research portal, which is now open.

Call for Works

This call is open to all composers and performers regardless of nationality, age, career state, style, or area of expertise.

I. Music and Video

Composers or performers are invited to submit works in any style of electroacoustic music in any the following categories:

Electronic music for fixed media alone, with up to 16 channels of sound.
Works involving live electronics, including computer processing, laptop orchestras, or live coding, with up to 8 channels.
Works combining musical instruments or voice with live or fixed media electronics, with up to 8 channels.
Video and multimedia works with up to 8 channels
Individuals may submit one or two works, provided that one submission is six minutes or less. Individuals may also submit a proposal for an installation, curated concert, or other track (paper or installation). Works of any length may be submitted, but, for practical reasons, we are more likely to be able to include shorter works than longer ones. Any works over 20 minutes in duration must be submitted as part of a curated concert proposal. This call is open to all composers and performers regardless of nationality, age, career stage, style, or area of expertise.
Works in progress will be considered if a substantial portion of the work is complete. The accepted work cannot exceed the duration indicated at the time of submission, and the final versions cannot be substantially different from the work submitted.
Both audio and video works must be submitted in compressed formats. Multichannel works must be submitted as high-quality stereo mixes.
Works involving instrumentalists are welcome, but if the submitter is unable to provide the performer(s), additional costs per performer will be incurred.
Performers (artists who are not the composer of the work) may submit up to two works with the agreement that they will play them if selected. If a performer wishes to submit more works, he or she may choose to propose a curated concert.
A work is eligible to be submitted only if it has not been performed at a previous NYCEMF concert.
Works must be submitted online through the Conference Management Toolkit (CMT).
All submissions should be anonymous. Please make sure that no artist markings are recognizable.
The organizers will provide in each performance space a mixing console, speaker system, microphones, cables, and a computer and audio interface for the playback of fixed media audio/video. Composers of interactive works will be responsible for providing their own computer, audio interface, and any specialized peripherals.

The featured performers for NYCEMF 2024 will be:

Madeleine Shapiro , cello
Esther Lamneck , clarinet and tarogató
Maja Cerar , violin
Marianne Gythfeldt , clarinet
Patti Cudd , percussionist
Enzo Filippetti , saxophone
Beatrix Wagner , flute
Eleanora Claps , soprano/performer
Shiau-uen Ding , pianist

Multichannel Works

All performance spaces will be equipped with at least eight loudspeakers in surround sound configuration. While we expect to be able to provide a 16-channel performance space in 2024, we cannot be absolutely certain of that. Therefore, submitters of 16 channel works should be prepared to provide an 8-channel version if necessary.

Speaker configurations will be fixed and cannot be moved for individual works.

Submission deadline: December 31, 2023. Submission fee: none. Anticipated notification date: March 15, 2024

Review of Submissions

All submissions will be subject to peer review.

Post-review

Final audio and video files must be submitted by May 15, 2024.

II. Curated Concerts

Proposals are also invited for the presentation half of a two-hour concert, not to exceed 52 minutes in duration of music. These concerts represent an opportunity for someone to put together an entire concert consisting of works of their choice. The concert may be organized around a composer, theme or idea, and it may include works of historical importance as well as more recent works. A performer may also propose a concert that he or she will play.

III. Papers

We encourage the submission of papers on research topics including but not limited to the following areas:

Acoustic Ecology
Acoustics of Music
Acoustics, Space, and Sound Distribution
Aesthetics, Theory, History and Philosophy
Algorithmic Composition
Analysis of Electroacoustic Music
Augmented Reality and Virtual Reality
Archiving & Preservation of Electro-acoustic Music
Artificial Intelligence and Music
Computational Musicology
Composition Systems and Techniques
Digital Audio Signal Processing and Audio Effects
Distributed, Telematic, and Mobile Music
History of Electroacoustic Music
Improvisation and Technology
Languages for Computer Music
Live Coding
Mathematical Music Theory
Music Education
Music Information Retrieval
New Interfaces for Musical Expression
Notation and Scores
Perception and Cognition
Piece plus Paper Presentations
Software and Hardware Systems
Sonification
Sound Synthesis
Studio Reports
The call is open to all researchers regardless of nationality, age or career stage or area of expertise.
Formats include long papers (4-6 pages) or short papers (4 pages) with optional demos.
Works presented at previous NYCEMF events are not allowed unless significantly changed.
All works must be submitted online as a PDF file through the Conference Management Toolkit (CMT).
All submissions should be anonymous: please make sure that no author names are recognizable.
The reviews are anonymous: once accepted, camera-ready papers will need to include all author names.
For conference presentation and publication proceedings, at least one author or co-author must register. A presenter only needs to register once if he or she will present more than one work at the festival.

Submission deadline: December 31, 2023 Submission fee: none. Anticipated notification date: March 15, 2024

Following notification of acceptance, authors will be requested to submit their camera-ready PDF files by May 15, 2024.

III. Installations

We invite submissions of installation works for exhibition at the conference. Categories include but are not limited to:

Audience Participation Installations
Data-driven Installations
Interactive Installations
Multimedia Installations
Performance-based installations
The call is open to all artists/composers regardless of nationality, age or career stage.
Works must be submitted online, through the Conference Management Toolkit (CMT).
Submissions should be anonymous: please make sure that no artist markings are recognizable.
For conference presentations, the artist or at least one of the collaborators must register. A presenter only needs to register once and may be presenting more than one work at the conference. All necessary equipment, with the exception of loudspeakers and projectors, must be provided by the artist.

Review of Works

Submissions will be subject to peer review.

VII. Participation and Fees

Accepted works will require a registration fee: approximately $300. For a curated concert the registration fee will be approximately $850. Payment is required for all persons whose works are accepted. This fee covers free admission to all events at the festival. Attendance is not required, but even if persons submitting do not attend, the fee must still be paid. Submitters whose works are selected are required to confirm participation in the Festival by May 1, 2024.

A Brooklyn Music and Arts Space

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PROTOTYPE: Opera | Theatre | Now 2024

“The niche that Prototype occupies on the New York performing arts calendar … has become increasingly essential”

Contributions support PROTOTYPE: Opera | Theatre | Now, the annual festival of visionary opera-theatre and music-theatre works by pioneering artists from New York City and around the world, co-produced by Beth Morrison Projects and HERE.

A contribution to PROTOTYPE is a statement of support for the future of opera theatre and music theatre; thank you for joining us in pushing our industry into a new era of creativity and ingenuity.

From The New York Times to Observer to Associated Press , see what everyone is saying about PROTOTYPE!

PROTOTYPE is a co-production of Beth Morrison Projects and HERE, two leaders in the creation and presentation of contemporary, multi-disciplinary opera-theatre and music-theatre work.

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The 30 Best Jazz and Experimental Albums of 2023

This is always a difficult list to compile because the word “experimental” so often means music that is difficult to categorize. Or difficult to describe. Or just difficult. But these are some of our favorite unfamiliar, unsettling, provocative, transgressive, spaced-out, psychedelic, surreal, meditative, confrontational, and, sure, difficult albums of the year. This is just a tiny fraction of all the musique concrète, neo-classical, avant-garde, and ambient jazz music that was put out this year. And hopefully, this can be a launching pad to discover artists that didn’t quite fit on this list, or anywhere else for that matter.

Listen to selections from this list on our Spotify playlist and Apple Music playlist .

Check out all of Pitchfork’s 2023 wrap-up coverage here .

(All releases featured here are independently selected by our editors. When you buy something through our retail links, however, Pitchfork may earn an affiliate commission.)

André 3000: New Blue Sun

Think of the qualities we associate with André 3000: his dynamite conviction, eagerness to channel moods around him, and that impish penchant for doodling way outside the lines. Does this not sound precisely like the guy who’d drop 87 minutes of prismatic flute improv, new-age synth washes, and ayahuasca growls? All those times you wigged out to “B.O.B.,” which Three Stacks were you lionizing exactly? No doors are closed but several windows have swung open, and the breeze—accented by floral notes of Yusef Lateef, Hiroshi Yoshimura, Laraaji, and the Leaving Records community he’s spent years trilling with—is blissful. New Blue Sun doesn’t need a single bar to get its message across: that side quests are often the most memorable part of the entire game. –Gabriel Szatan

Listen/Buy: Rough Trade | Amazon | Apple Music | Spotify | Tidal

Arooj Aftab / Vijay Iyer / Shahzad Ismaily: Love in Exile

Five years after they first performed an improvised set together, the wildly talented musicians Arooj Aftab, Vijay Iyer, and Shahzad Ismaily took to the studio for Love in Exile , an LP they recorded in long takes with only light editing. Its six pieces unfold as immersive meditations, with the artists drawing from wells of jazz, Urdu poetry, and spirituality. Aftab’s vocals gesture at themes of love and loss, while Ismaily and Iyer surround her with fluid piano and softly undulating bass. Iyer has described Love in Exile as part of a deeper personal reckoning around South Asian culture and communion, and the trio’s mind-melding chemistry serves as a beacon of unspoken connection. –Allison Hussey

Bill Orcutt: Jump on It

The freewheeling noise-rock guitarist’s first solo acoustic record in a decade finds him in spry picking shape, exploring far corners with earnest curiosity. A win for the finer side of American guitar revivalism. –Allison Hussey

Listen/Buy: Amazon | Apple Music | Bandcamp | Spotify | Tidal

Tonal Union

Blue Lake: Sun Arcs

It’s no surprise that Blue Lake’s Sun Arcs started at a cabin in the woods. The latest album by multi-instrumentalist Jason Dungan has the gentle, unbothered pace of a week spent in nature: stirring with the sunrise, hiking in the forest, sleeping with the night air’s chill on your face. With his custom-built 48-string zither and a small mountain of supporting instruments, Dungan uncovers an acoustic-ambient sound that feels hewn from the spruce and pine that surrounded him when he conceived it. His lively playing, inspired equally by the open-ended explorations of free jazz and the homespun intricacy of John Fahey, breathes life into these compositions like wind through branches. –Brad Sanders

International Anthem

Daniel Villarreal: Lados B

Like Bobby Hutcherson did for his 1975 chill-out fusion classic, Linger Lane , Daniel Villarreal recorded his album outside in the California breeze. Percussionist Villarreal, bassist Anna Butterss, and guitarist Jeff Parker may have been forced into the backyard, in part, due to the pandemic, but they also deliver the tight-knit feel of a combo having a little midday potluck: Brazilian funk, dub, soul, and ambient jazz are all on the table. Think of Lados B somewhere between Villarreal’s lively debut, Panamá ’77 , and Parker’s subdued Mondays at the Enfield Tennis Academy, scented with a little more BBQ smoke and jasmine. –Jeremy D. Larson

Feeding Tube

Drazek Fuscaldo: June 22

Trumpeter/guitarist Przemyslaw Krys Drazek and vocalist Brent Fuscaldo have been working in the Chicago avant-garde scene for well over a decade, both as Mako Sica and now as Drazek Fuscaldo. This set for Astral Spirits brings out Tatsu Aoki’s shamisen and Joshua Abrams’ hypnotic double bass and taps into the history of Chicago’s psychedelic past: You can hear this as an early incantatory Thrill Jockey record or a more spiritual-jazz outgrowth of the Art Ensemble of Chicago. The music trickles out of the speakers but finds many grooves, electric and acoustic, elemental and ethereal. –Jeremy D. Larson

Listen/Buy: Amazon | Apple Music | Bandcamp

Hausu Mountain

Dustin Wong: Perpetual Morphosis

Using his guitar, voice, and an array of electronics, Dustin Wong creates sound worlds that teem with living texture. Listening to Perpetual Morphosis is like watching stop-motion footage of a rainforest floor: notes skittering around like industrious insects in the dirt while others operate on an entirely different timescale, growing and blooming with the patience of plants. Like that rainforest, the music’s surface chaos belies deep and elegant interconnectivity—take away one element and the whole thing might collapse. –Andy Cush

W.25TH / Superior Viaduct

Ellen Arkbro: Sounds While Waiting

Ellen Arkbro builds her walls of harmonic resonance by setting up sustained chords on several organs in one room. These trembling tones feel elongated yet enclosed, stretching out like miles of brightly lit tunnel. As each harmony builds on Sounds While Waiting , you can hear textures rippling, dissolving, and reemerging along the way. –Madison Bloom

Horn of Plenty

Eyes of the Amaryllis: Perceptible to Everyone

On Perceptible to Everyone, Philadelphia’s Eyes of the Amaryllis craft hushed dispatches of warped jazz and ambient murmurs. Never boiling over, their phrases of plucked guitar, papery percussion, and whispered vocals keep at a steady but quietly discomforting simmer. Like Robert Rauschenberg’s Erased de Kooning Drawing , these songs are composed of faint strokes that seem like the ghosts of a brasher canvas. –Madison Bloom

Listen/Buy: Bandcamp

Gia Margaret: Romantic Piano

Chicago’s Gia Margaret teased “a return to more traditional forms of songwriting” after 2020’s ambient, almost entirely instrumental Mia Gargaret . Nevertheless, on Romantic Piano , the follow-up, Margaret retains her mischievous minimalism through keyboard whimsy, post-rock abstraction, and guitar introspection, opting for lyrics and vocals only once, on “City Song.” The doors of perception aren’t that hard to wrest ajar; Margaret, who’s shifted the meaning of “traditional songwriting,” knows you just have to give them a playful nudge. –Marc Hogan

Gigi Masin / Greg Foat: Dolphin

This is only one of several albums that UK jazz pianist and Venetian electronic artist have put out this year, but Dolphin slides down all the faders in the house and brings out the smoothest in both of them. Masin’s seaside, ambient synth programming and Foat’s ’70s smoky, soul-jazz playing are in quiet but constant conversation, complicating your ill-advised decision to put this record on at a dinner party. If it’s not a too-funky organ line, then it’s too-beautiful modal piano riff—it’ll always find a way to pull focus and draw you in. –Jeremy D. Larson

The 30 Best Jazz and Experimental Albums of 2023

Greg Foat / Art Themen: Off-Piste

Pianist-producer Greg Foat and saxophonist Art Themen hit the slopes together on their relaxed, dazzling, and loosely ski-themed album. The pair slalom breezily through their long, downtempo, ambient-jazz passages with racks of synths strapped to their back. Spacey and groovy, feels like a blast of icy morning air with the intimate coziness of hunkering down indoors on frigid days. –Allison Hussey

Irreversible Entanglements: Protect Your Light

Since forming at a protest over police brutality in 2015, Irreversible Entanglements have become reliable purveyors of righteous free-jazz fury. Protect Your Light , the East Coast quintet’s first album for the legendary Impulse! label, keeps up the thrilling virtuosity and radiates a newfound warmth. Noise, protest, and polyrhythms remain alongside declarations of love and hope. Capturing it all is drummer Tcheser Holme on “root <=> branch,” calling to mind A Love Supreme as he chants, “We can all be free.” –Marc Hogan

jaimie branch: Fly or Die Fly or Die Fly or Die ((world war))

In a time when hope can feel especially hard to muster, jaimie branch’s Fly or Die Fly or Die Fly or Die ((world war)) is full of it. On her final album as a bandleader, recorded weeks before her sudden death at age 39, the fire-breathing trumpeter, composer, and vocalist blasts the colonialist mindset over rapturous grooves, sings of liberation from drudgery in lilting folk song, and dismantles the segregationist framework of genre by incorporating vernacular sounds both global and homegrown. The album brims with joy and righteous anger, and illuminates the communal ties that underpin both. –Jonathan Williger

Jake Muir: Bathhouse Blues

The Berlin-based sound artist offers a brooding, hazy dive into queer lust. Taking inspiration from furtive, hushed-breath bathhouse cruising between men, Jake Muir drenches his expressionistic mood piece in the sounds of footsteps and dripping water, undulating synths that dissipate into thin air, and tantalizing clips of dialogue lifted from vintage gay porn. It all blends into one pensive, hypnotic brew whose heady vapors linger long after it’s finished. –Eric Torres

Melody as Truth

Jonny Nash: Point of Entry

Jonny Nash, who runs the Amsterdam-based ambient label Melody as Truth, returned this year with Point of Entry , his first album in four years. Recorded at home during the early morning, this soft-focus music simmers at a low temperature: acoustic guitar paint brushstrokes beneath buoyant synths that seem dappled in sunlight. Nash’s gentle, meandering vocals lend the album an ebbing, stream-of-consciousness flow into which you can easily dip at your own meditative pace. –Eric Torres

Mexican Summer

L’Rain: I Killed Your Dog

With L’Rain, Taja Cheek collapses genres into smearing montages that are as alive and unpredictable as a fever dream. Her third album expands into spiky garage rock, lavish psych-folk, and misty dance-pop, turning toward romantic love as its primary subject. The sounds are more immediate and broadly appealing than ever, but Cheek hasn’t lost her restless ingenuity: The creature put to rest on its Auto-Tuned lullaby of a title track may be a cherished pet, or it may be the narrator herself. –Marc Hogan

Laurel Halo: Atlas

On Atlas , her fifth solo album, experimental artist Laurel Halo weaves entire tapestries from scraps of piano, cello, voice, and synth; she tugs at each composition’s loose threads, sometimes unraveling the entire piece, sometimes drawing it tighter. Atlas ’ contradictions are beguiling: It has a complex emotional core, a tender but firm existential pull that can be equally comforting and disquieting. It’s beautiful but not serene, dissonant but never harsh—gentle ambient music that discourages zoning out. –Dash Lewis

Unseen Worlds

Leo Takami: Next Door

You needn’t be a deep jazz head to appreciate Toyko guitarist Leo Takami’s Next Door . Each piece is an evocative and welcoming soundscape: You’ll hear a reverbed-out piano playing single notes in unison with an icy digital chorus on “Road with Cypress and Star,” and synth-like guitar tone on “As If Listening.” It sounds immaculate. Pay close attention to Takami’s playing and you’ll find it full of personality and invention, making him the rare musician who is as deft with melody and harmony as he is with stylish atmosphere. –Andy Cush

American Dreams

Lia Kohl: The Ceiling Reposes

Chicago-based cellist and composer Lia Kohl considers found sounds—like grainy radio transmissions and vibrant birdsong—to be unconscious collaborators. On her latest album, The Ceiling Reposes , Kohl braids these emissions with tendrils of cello, choral passages, concertina, and a wind machine to craft rippling compositions that subtly morph as they intertwine. Kohl, summoning resonant swells on her instrument, acts as a conduit between these sonic clippings, which sound familiar and alien all at once. –Madison Bloom

Lonnie Holley: Oh Me Oh My

Lonnie Holley’s fourth album is like a cosmic mixtape, placing the septuagenarian outsider artist’s ruminations on slavery, mortality, and intergenerational Black trauma in communion with a range of stylistic diversions and high-profile guests. While Michael Stipe’s world-weary croon enriches the title track, and Malian vocalist Rokia Koné’s untethered wail lifts up “If We Get Lost They Will Find Us,” Oh Me Oh My remains centered around Holley and his story of survival in a country that has long conspired to deny his humanity. He finds cathartic liberation in speaking his truth; as he intones on the penultimate track, these reminiscences serve “to pull myself free.” –Zach Schonfeld

Warm Winters Ltd.

Martyna Basta: Slowly Forgetting, Barely Remembering

Slowly Forgetting, Barely Remembering is an ode to memory rendered with delicate acoustic phrases and Polish composer Martyna Basta’s personal field recordings. A wind-blown bit of tinfoil, the rim of a wine glass, rustling leaves, and plucked zither are treated with equal reverence because, for Basta, a mundane object, simple as an ice cube, is a portal into the bleary realm of the past. –Madison Bloom

Natural Information Society: Since Time Is Gravity

There’s a reason they’re called Natural Information Society: this long-running Chicago ensemble is less concerned with virtuosic solo showcases than communal rhythm, each voice contributing equally to the hypnotic whole. Still, like any healthy democracy, there is room for individual expression, whether it’s tenor saxophonist Ari Brown weaving long, bluesy, and contemplative melodies above the din or bandleader Joshua Abrams spinning out a new variation with practically every percolating repetition of his basslines. The pieces on Since Time Is Gravity unfold patiently over long stretches, focused on gradual rather than sudden shifts: You might start in one headspace and find yourself somewhere completely different a few minutes later, without ever noticing that anything has changed. –Andy Cush

Modern Recordings

Pat Metheny: Dream Box

Dream Box found Pat Metheny as much as the legendary jazz guitarist made the album of his own free will. He rediscovered some of his older recordings while on tour and liked them enough to compile them for the new release. The album, with its sedate and stirring compositions for electric guitar, captures the same feeling of happenstance, rich in detail and living between familiar and mysterious. –Matthew Strauss

Instant Classic

Raphael Rogiński: Talàn

In the patient hands of Raphael Rogiński, a semi-hollow electric guitar can sound both ancient and futuristic. Drawing from free jazz, freak folk, Hasidic mystical songs, and Delta blues, Talàn takes the sparse, solo guitar meditations of 2015’s exquisite Plays John Coltrane and Langston Hughes African Mystic Music and stretches out toward eerie new crossroads. In the long pauses between notes, you can almost hear tumbleweeds blowing across Martian soil, but Rogiński’s singular finger-picking conveys a spiritual ache that is deeply, transcendently human. –Marc Hogan

Ruth Anderson / Annea Lockwood: Tête-à-tête

Sound collagists Ruth Anderson and Annea Lockwood first met by chance in the early 1970s when Pauline Oliveros recommended Lockwood to take over Anderson’s post as the director of the electronic music studio she founded at Hunter College in New York while away on sabbatical. They forged an instant connection that grew into a lifelong bond as romantic and artistic partners; the couple composed together and apart, crafting inimitably playful, minimalist works until Anderson’s death in 2019. On Tête-à-tête , a combination of archival material and new work put together by Lockwood, their quiet alchemy comes to light: During “Conversations,” the 18-minute centerpiece, Lockwood stitches together years’ worth of recordings of Anderson’s voice chatting and laughing during phone calls with brief passages from old pop songs, capturing romantic, homespun bliss at its purest. –Eric Torres

Ryuichi Sakamoto: 12

It’s difficult not to consider Ryuichi Sakamoto’s final album through the lens of his death in April. He began recording it a couple of years ago, not long after receiving his second cancer diagnosis; he completed the last piece just two months before announcing that the disease had progressed to stage four. Yet these patient, contemplative, quietly rapturous studies for piano and synthesizer are not mournful—at least, no more than the rest of the composer’s gorgeously melancholy oeuvre, which spans more than four decades. Softly tracing repetitive figures and halting motifs that touch on jazz, Romanticism, and his own back catalog, Sakamoto uncovers moments of joy in changes that seem to move of their own volition, like leaves in the wind. He knew the piano inside and out, but was still finding chords that could surprise and delight. And though his days were numbered, he let these pieces unspool as though he had all the time in the world. –Philip Sherburne

Scree: Jasmine on a Night in July

The Brooklyn trio adds keys, organ, and woodwinds to support the weight of history as received through the work of Palestinian poet Mahmoud Darwish and the legacy of Arabic music in jazz. The mood is reflective and poignantly unresolved, the story never finished so long as it’s still being told. Scree tell it the way the best history books do: rich in tradition with a flair for melodrama and plenty of time to take in the scenery. –Anna Gaca

Unheard of Hope

Titanic: Vidrio

Mexico City’s Mabe Fratti turns to ornate melodic experiments in collaboration with multi-instrumentalist Héctor Tosta as Titanic. Cello, piano, drums, and horns tumble and crash around one another, with Fratti’s vocals as a floating throughline. Like bits of sea glass washing up in the surf, Vidrio ’s beauty lies in its rounded edges, beguiling haziness, and off-kilter charms. –Allison Hussey

Yara Asmar: synth waltzes and accordion laments

Yara Asmar was drawn to the accordion by fate: The Lebanese multidisciplinary artist found her grandmother’s vintage Hohner Marchesa in her parents’ attic and taught herself to play it, tapping into its warmly reedy sound to accent her synth recordings. The result is the drifting synth waltzes and accordion laments , a set that transmutes the instrument’s droning tones into a sweep of introspective, breath-catching moments of beauty. –Eric Torres

Experimental music documentary of 2024 NYT Crossword Clue

Experimental music documentary of 2024 Crossword Clue Answers are listed below. Did you came up with a solution that did not solve the clue? No worries we keep a close eye on all the clues and update them regularly with the correct answers.

EXPERIMENTAL MUSIC DOCUMENTARY OF 2024 NYT

North Carolina Musician Charged With Music Streaming Fraud Aided By Artificial Intelligence

Damian Williams, the United States Attorney for the Southern District of New York, and Christie M. Curtis, the Acting Assistant Director in Charge of the New York Field Office of the Federal Bureau of Investigation (“FBI”), announced the unsealing of a three-count criminal Indictment charging MICHAEL SMITH in connection with a scheme to create hundreds of thousands of songs with artificial intelligence and use automated programs called “bots” to stream the AI-generated songs billions of times. SMITH fraudulently obtained more than $10 million in royalty payments through his scheme. SMITH was arrested today and will be presented before a U.S. Magistrate Judge in North Carolina.

U.S. Attorney Damian Williams said: “As alleged, Michael Smith fraudulently streamed songs created with artificial intelligence billions of times in order to steal royalties. Through his brazen fraud scheme, Smith stole millions in royalties that should have been paid to musicians, songwriters, and other rights holders whose songs were legitimately streamed. Today, thanks to the work of the FBI and the career prosecutors of this Office, it’s time for Smith to face the music.”

FBI Acting Assistant Director Christie M. Curtis said: “Michael Smith allegedly produced hundreds of thousands of songs with artificial intelligence and utilized automatic features to repeatedly stream the music to generate unlawful royalties to the tune of $10 million. The defendant’s alleged scheme played upon the integrity of the music industry by a concerted attempt to circumvent the streaming platforms’ policies. The FBI remains dedicated to plucking out those who manipulate advanced technology to receive illicit profits and infringe on the genuine artistic talent of others.”

As alleged in the Indictment: [1]

Music can be streamed through music streaming platforms such as Amazon Music, Apple Music, Spotify, and YouTube Music (the “Streaming Platforms”). Each time a song is streamed through one of the Streaming Platforms, the songwriter who composed the song, the musician who performed it, and in certain cases other rights holders, are entitled to small royalty payments. Royalty payments are made proportionately to musicians and songwriters, so that streaming fraud diverts funds from musicians and songwriters whose songs were legitimately streamed by real consumers to those who use automation to falsely create the appearance of legitimate streaming.

SMITH created thousands of accounts on the Streaming Platforms (the “Bot Accounts”) that he could use to stream songs. He then used software to cause the Bot Accounts to continuously stream songs that he owned. At a certain point in the charged time period, SMITH estimated that he could use the Bot Accounts to generate approximately 661,440 streams per day, yielding annual royalties of $1,207,128.

SMITH spread his automated streams across thousands of songs to avoid anomalous streaming as to any single song. SMITH was aware that if, for example, a single song was streamed one billion times, it would raise suspicions at the Streaming Platforms and the music distribution companies that those streams were the result of streaming manipulation. A billion fake streams spread across tens of thousands of songs, however, would be more difficult to detect, because each song would only be streamed a much smaller number of times. As a result, SMITH repeatedly identified the need for more songs as crucial for facilitating the fraud scheme. For example, on or about December 26, 2018, SMITH emailed two coconspirators that, “We need to get a TON of songs fast to make this work around the anti-fraud policies these guys are all using now.”

To obtain the necessary number of songs for his scheme to succeed, SMITH eventually turned to artificial intelligence. In or about 2018, SMITH began working with the Chief Executive Officer of an AI music company (“CC-3”) and a music promoter (“CC-4”) to create hundreds of thousands of songs using artificial intelligence that SMITH could then fraudulently stream. CC-3 soon began providing SMITH with thousands of songs each week that SMITH could upload to the Streaming Platforms and manipulate the streams for. In a 2019 email to SMITH, CC-3 wrote: “Keep in mind what we’re doing musically here... this is not ‘music,’ it’s ‘instant music’ ;).”

CC-3 ultimately provided SMITH with hundreds of thousands of AI songs for which he could manipulate the streams. CC-3’s songs were typically given file names that were a randomized list of letters and numbers, such as “n_7a2b2d74-1621-4385-895d-b1e4af78d860.mp3.”

SMITH then created randomly generated song and artist names for audio files so that they would appear to have been created by real artists rather than artificial intelligence. For example, an alphabetically consecutive selection of 25 of the names of the AI songs SMITH used is as follows: “Zygophyceae,” “Zygophyllaceae,” “Zygophyllum,” “Zygopteraceae,” “Zygopteris,” “Zygopteron,” “Zygopterous,” “Zygosporic,” “Zygotenes,” “Zygotes,” “Zygotic,” “Zygotic Lanie,” “Zygotic Washstands,” “Zyme Bedewing,” “Zymes,” “Zymite,” “Zymo Phyte,” “Zymogenes,” “Zymogenic,” “Zymologies,” “Zymoplastic,” “Zymopure,” “Zymotechnical,” “Zymotechny,” and “Zyzomys.”

Similarly, an alphabetically consecutive selection of 25 of the names of the “artists” of the AI songs SMITH used is as follows: “Calliope Bloom,” “Calliope Erratum,” “Callous,” “Callous Humane,” “Callous Post,” “Callousness,” “Calm Baseball,” “Calm Connected,” “Calm Force,” “Calm Identity,” “Calm Innovation,” “Calm Knuckles,” “Calm Market,” “Calm The Super,” “Calm Weary,” “Calms Scorching,” “Calorie Event,” “Calorie Screams,” “Calvin Mann,” “Calvinistic Dust,” “Calypso Xored,” “Camalus Disen,” “Camaxtli Minerva,” “Cambists Cagelings,” and “Camel Edible.”

SMITH made numerous misrepresentations to the Streaming Platforms in furtherance of the fraud scheme. For example, SMITH repeatedly lied to the Streaming Platforms when he used false names and other information to create the Bot Accounts and when he agreed to abide by terms and conditions that prohibited streaming manipulation. SMITH also deceived the Streaming Platforms by making it appear as if legitimate users were in control of the Bot Accounts and streaming music when, in fact, the Bot Accounts were hard coded to stream SMITH’s music billions of times. SMITH also caused the Streaming Platforms to falsely report billions of streams of his music, even though SMITH knew that those streams were in fact caused by the Bot Accounts rather than real human listeners.

SMITH’s hundreds of thousands of AI-generated songs were streamed by his Bot Accounts billions of times, which allowed him to fraudulently obtain more than $10 million in royalties.

* * *

SMITH, 52, of Cornelius, North Carolina, is charged with wire fraud conspiracy, which carries a maximum sentence of 20 years in prison; wire fraud, which carries a maximum sentence of 20 years in prison; and money laundering conspiracy, which carries a maximum sentence of 20 years in prison.

The maximum potential sentences are prescribed by Congress and are provided here for informational purposes only, as any sentencing of the defendant will be determined by a judge.

Mr. Williams praised the outstanding work of the FBI.

The case is being prosecuted by the Office’s Complex Frauds and Cybercrime Unit. Assistant U.S. Attorneys Nicholas W. Chiuchiolo and Kevin Mead are in charge of the prosecution.

The charges contained in the Indictment are merely accusations, and the defendant is presumed innocent unless and until proven guilty.

[1] As the introductory phrase signifies, the entirety of the text of the Indictment, and the description of the Indictment set forth herein, constitutes only allegations, and every fact described therein should be treated as an allegation.

Nicholas Biase, Shelby Wratchford (212) 637-2600

Constantine Orbelian to attempt revival of New York City Opera after drop in money and performances

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NEW YORK (AP) — Constantine Orbelian was promoted Tuesday to executive director of the largely dormant New York City Opera, which hasn’t given a staged performance since 2022 and says it will return with William Grant Still’s “Troubled Island” at City Center in 2025-26.

Orbelian, 68, became music director for the 2021-22 season and added the title of executive director one day after Michael Capasso’s retirement as general director was announced by board chairman emeritus Roy G. Niederhoffer.

“I’m a person who likes to try to resurrect things. I have a kind of a pretty good track record of doing that,” Orbelian said.

City Opera has been limited to occasional recitals and parks performances since 2022, when it gave the world premiere of Ricky Ian Gordon’s “The Garden of the Finzi Continis” at the National Yiddish Theatre Folksbiene and performances of Peter Rothstein’s “All Is Calm: The Christmas Truce of 1914″ at Sacred Heart University in Fairfield, Connecticut.

Its tax return for the year ending in June 2023 showed assets of $977,303 and liabilities of $2,055,101. Contributions and grants declined to $599,634 from $1.22 million in 2021-22 and ticket revenue was $237,547.

“There needs to be, of course, a minimal amount of money to be able to function,” Orbelian said. “We’re not going to jump into huge deficits or anything like that,.”

City Opera gave its first performance in 1944 and presented more than 100 in some seasons, first at City Center and then at Lincoln Center’s New York State Theater starting in 1966. It gave exposure to Beverly Sills, Plácido Domingo and Renée Fleming early in their careers.

Its fortunes began to decline when it skipped its regular 2008-09 season to allow renovations at the State Theater, then appointed George Steele as general director in 2009. City Opera filed for bankruptcy in 2013 , returned in 2016 and presented several productions per season through 2018-19, then dropped two in 2019-20 — cut to one because of the pandemic. Its endowment shrunk from $48 million in 2008 to $5.1 million in 2012 to $1.4 million in 2022, according to tax returns.

Capasso said the decision to leave was made by him and not the board. His plan in 2016 had been to eventually reach 75 performances per season.

“It was hard. And it’s going to be more difficult even now,” he said. “I’ll direct something in Europe where I don’t have to worry about paying for it, somebody else’s paying for it or the government’s paying for it.”

Orbelian was music director of the Moscow Chamber Orchestra from 1991-2010, and general and artistic director of the State Academic Opera and Ballet Theater in Yerevan, Armenia, from 2016-21. He has been principal conductor of the Kaunas City Symphony Orchestra since 2014.

He said he increased the Moscow Chamber Orchestra’s schedule to 150 concerts per year outside of Russia.

‘I kind of resurrected the Armenian opera house by bringing in 14 new productions in three years when they had four productions in the previous 18 years,” he said. “I love a challenge.”

“Troubled Island,” with a libretto by Langston Hughes and Verna Arvey, was given its world premiere by City Opera on March 31, 1949, and was the first opera by a Black composer produced by a major U.S. company. The work focuses on Jean Jacques Dessalines and a Haitian revolution.

City Opera plans a Carnegie Hall concert this season of works by Mieczysław Weinberg and Erich Wolfgang Korngold. Orbelian said future plans include Pietro Mascagni’s “Isabeau,” a co-production with Opera Holland Park that was presented in London in 2018.

“Tomorrow we’re not going to be building new sets,” Orbelian said, “but we do have 15 productions that we actually own that are in the warehouse, and a number of them have not been done yet here in New York.”

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Live updates, diddy sued by ex-‘making the band’ member who claims he sexually abused her — and she witnessed horrifying violence against his girlfriends.

Sean “Diddy” Combs was slapped with yet another lawsuit from a woman who claimed the hip-hop artist and music executive sexually abused her — and that she witnessed him allegedly beating former girlfriend Cassie Ventura, according to a new report.

Singer Dawn Richard, a participant on Combs’ 2004 MTV show “Making The Band,” claimed the music mogul once broke into her dressing room and began groping her breasts and butt, TMZ reports .

During another incident, Richard said Combs demanded she come to his Miami home, where he greeted her while only wearing his underwear.

When she asked him to put on clothes, Diddy refused and yelled, “This is my f–king house!,” according to the lawsuit.

Along with the alleged sexually inappropriate behavior, Richard slammed Combs as an abusive man who once forced her to rehearse 48 hours at a time without sleep.

The Grammy winner also allegedly locked her inside a car once for two hours as she screamed for help, she alleged in the lawsuit.

The incident saw Richard’s father travel from Baltimore to New York to free his daughter and confront Combs, threatening to report him to the police, the lawsuit claims.

Dawn Richard posing for a photo at the 2024 Hollywood Climate Summit in Beverly Hills, California

Combs allegedly warned Richard’s father to consider his daughter’s career if he called the cops.

The lawsuit also echoed the abuse Combs allegedly inflicted on Ventura, who he has publicly apologized for attacking in 2016 after footage of the incident surfaced earlier this year.

Richard was allegedly present when Combs first met Ventura in 2006, describing his behavior as “predatory.”

By 2009, Richard claims she saw Combs, high on drugs, slam Ventura against a wall, choking her and dragging her up a flight of stairs in his Los Angeles home.

The singer also alleged that Combs once hurled a scalding pan of eggs at Ventura screaming, “I’ve been asking you for my s–t; I can’t stand you bitch, you never do it right!”

During another incident, Combs allegedly struck Ventura in the face and attempted to strangle her, the lawsuit states.

When Richard and other women came together to support Ventura’s decision to leave Combs, the Grammy winner allegedly lashed out and threatened them, according to the legal filing.

“Y’all bitches don’t get in my relationship,” Combs allegedly yelled. “Don’t tell my bitch [Cassie] what she need to be doing.

Sean 'P. Diddy' Combs and singer Dawn Richard performing on stage at the ETalk festival party during the 2008 Toronto International Film Festival

“… Just make money and shut the f**k up … I end artists … I shelve careers … You could be missing … You bitches want to die today,” he added.

The lawsuit also suggested that Combs also beat another former girlfriend, Kim Porter, as she once witnessed the woman crying with a bruised face and running from Combs’ music studio in 2005.

Combs has yet to respond to the latest allegations against him.

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Frankie Beverly, Soul Singer and Maze Frontman, Is Dead at 77

He had announced a short farewell tour earlier this year and said he would retire after more than 50 years in the music business.

Frankie Beverly in all white holding a microphone on stage and looking at the crowd as a drummer and a guitarist stand behind him. There are neon lights pointed at them.

By Derrick Bryson Taylor

Frankie Beverly, the lead singer and songwriter of the soul and funk band Maze, who wrote and performed songs including “Golden Time of Day,” “Joy and Pain,” “Happy Feelin’s” and others that provided the soundtrack to countless summer cookouts and family reunions for more than five decades, died on Tuesday. He was 77.

His death was announced in a statement by his family posted to his Instagram account . A cause of death was not given.

“He lived his life with pure soul as one would say, and for us, no one did it better,” the statement said. “He lived for his music, family and friends.”

Earlier this year, Mr. Beverly announced a farewell tour with a handful of dates. He said he would go on the road one last time and then retire.

“Thank you so much for the support given to me for over 50 years as I pass on the lead vocalist torch to Tony Lindsay,” Mr. Beverly said in a statement to Billboard at the time. “The band will continue on as Maze Honoring Frankie Beverly. It’s been a great ride through the decades. Let the music of my legacy continue.”

It would be difficult to count the number of artists who have cited Mr. Beverly’s music as inspiration or sampled from his ever-expanding playbook of infectious melodies and harmonies, but many have lovingly covered his work — some with more fanfare than others.

Mr. Beverly’s 1981 song “Before I Let Go,” which The New York Times described in 2021 as having a unique ability to gather and galvanize, was covered by Beyoncé on her live album “Homecoming” in 2019.

In 1970 in Philadelphia, Mr. Beverly formed the group “Raw Soul” and soon moved to San Francisco. Marvin Gaye eventually took the group under his wing, according to Mr. Beverly’s official website . Mr. Gaye also suggested the group change its name to Frankie Beverly and Maze.

The group released a debut album in 1977 under Capitol Records and released at least eight more albums, not including live recordings, over the next few decades, including “Silky Soul” in 1989 and “Back to Basics” in 1993.

A full obituary will follow.

Derrick Bryson Taylor covers breaking and trending news and is based in London. More about Derrick Bryson Taylor

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