As Solvent, Toronto producer Jason Amm takes electro-pop to invigorating new levels. In his studio, the sounds of grade-school science class films morph into anthems for the digital age, tracks that look forward while always keeping a keen eye on the past–the '70s and '80s, specifically. Amm's records for labels like Ghostly International and his own Suction Records–which he runs with friend and fellow producer Gregory DeRocher (a.k.a. Lowfish)–helped put synth-pop back on the musical map in the late '90s. Read more »
"When I got involved doing this stuff I never imagined that, 25 years later, we'd still be doing this," says Corey Rusk, owner of influential Chicago imprint Touch and Go. The label, which celebrates its 25th anniversary in September, was started in late 1980; named after a Michigan music fanzine, its first release was a four-song 7" by Rusk's punk band, The Necros. Read more »
On the cover of her self-titled, self-released EP, 24-year-old Tigarah (born Yuko Takabatake) looks like a pop confection, blowing a bubble while clutching chopsticks. She raps and sings in both in Japanese and English so more people can understand her. But she also claims multicultural musical cred, utilizing baile funk-inspired beats and citing Baltimore club and grime as influences. Her song "The Game in Rio" (not her only political track) is an anti-globalization screed inspired by the sight of a one-armed beggar in Brazil.
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Unfortunately, most people only remember Howard Dean's presidential run for "the roar," his outrageous and earnest "Yearghh!" blurt that circled on the internet for months after the 2004 caucuses. Beyond his derision-spurring yell, that presidential campaign is also remembered for jumpstarting online political action. Read more »
For many people, language is an afterthought–to Tauba Auerbach, it's everything. Her work centers on the power of words and alphabets, bestowing a rather mystic quality on the tools of everyday communication. Using elaborate calligraphy, reconfigured typewriters, and painstakingly rendered ink drawings that often resemble rebus puzzles, Auerbach's pieces are at first achingly simple, then ponderously complex as they force one to muse on the shortcomings of language.
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