'Margin's of Music' Fourth Door Review's
music segment looks to ways to broaden the context in which contemporary
popular experimental music writing appears. It includes and integrates
the social and environmental dimensions, and also includes musics relationships
to other media and disciplines, be it music-making as craft and skill
activity, as part of new media convergence or as aspects of the philosophy
of technology.
It's primarily interested in
facilitating an engaged, critical though broadly
constructive forum for the discussion of the various
strands of current popular experimental and popular
musics. We're also exploring the overlap with broadly
green issues, from practical discussion of how elements
of musical practice could take on a greener hue, to the
vital provision of discussion of areas such as embodiment
and virtuality, globalisation, music and place and other
themes which can draw in so many other fields
So far in issue 1 there's been interviews with
Holger Czukay of Can on the living qualities of machines, Talitha MacKenzie
and Mouth Music on the linguistic ecologies of singing in Gallic with
a hi tech music backdrop. In issue 2/3 there's a special section devoted
to 'Women and Electronic Music' "...imagining for a moment, a world
in reverse, a thousand female electronic bands webbing an ambient firmament
of soundscapes" featuring Birmingham analogue miniaturists Pram, Margaret
Feidler's Laika, and impro MIDI-Violinist Kaffe Matthews ruminating
and reflecting upon where both electronic music and its technology could
go given a exponential influx of female energy.
In issue 4 the focus in on 'music and place and
cyberspace', including, a feature on the ISDN concert group the Future
Sound of London, an interview with Tuvan Punk band Yat-Kha, David Rothenberg
on Earthjazz, the possible futures of the networked Festival and other
transnational and non-western internet concert possibilities - tieing
in with green issues of local/global,as well as other pieces on physically
originated music and the sense of place in contrast to virtual musics.
In the new issue 5 Fourth Door looks at the new
Norwegian music scene, including Biosphere, Norway's far north Tromso
techno scene, and also the new Rune Grammofon label, as well as the
cutting edge synergy between organic techno and avant-impro found in
Bergen's Supersilent.
