The radio feature from the series “Zündfunk Generator” deals with new and old strategies of (extreme) right-wing groups (“Alt-Right”) in the USA – in the context of popular culture, pop music and (political) provocation.
Browsing: Popular music
Heinrich attended an event at the Volksbühne in November 1997, to which the English publicist Kodwo Eshun was also invited. Eshun was probably talking primarily about the African-American underwater worlds of the enigmatic duo Drexciya from Detroit.
Temporary performing radio station, performative studio and living archive. Pan-African-Space-Station (PASS) is an online radio station and audible exhibition space.
In 1979, the publicist Henryk M. Broder, together with Michel R. Lang, publishes a book: “Fremd im eigenen Land. Jews in the Federal Republic.” Some thirteen years later, three young musicians from Heidelberg are unable to find a label for their songs, so without further ado they self-publish their single in 1992.
It jingles and rings, here and there bright bell tones, a wide bass surface moves up and creeps under the smooth keyboard sounds, hisses and hisses monotonously. This album sounds like a video game, threatening, is slick and superficial, this album doesn’t falter for long, you listen to it and realize right away: something is wrong here.
Published in 1998, British journalist and writer Kodwo Eshun’s book spoke and speaks so eloquently about music and identity(s), drum computers and (non-)human bodies, electronic sound aesthetics and Afrofuturism, forms of world appropriation and worldliness of popular music, that one can easily become dizzy.
The album by the Belgian-British musician Natacha Atlas is a frequently cited example of an attempt to sonify existential experiences of (post-)colonial life worlds.
The track by Berlin rapper Quio (“Qu for quatsch, I for Eisbein, O for Otto-Motor”) tells of national belonging, cultural representations and essentialist notions of “German” culture – and of how crumbling it all is.
The duo consists of Ghanaian and Ghanaian-Romanian musicians M3nsa and Wanlov the Kubolor. They do “Gospel Porn” – making them, in their own words, “the most celebrated Ghanaian music duo in the world due to their most unconventional way of entertaining with ingeniously tasteful shock lyrics, revolutionary performance art & indulgent progressive sounds.”
The album by Daniel Mburu Muhuni and Sven Kacirek is subtitled A Sonic Anthropology and tells the story of the impact of the Economic Partnership Agreement (EPA) in 11 tracks consisting of interview excerpts with smallholder farmers, activists and local politicians as well as various sound tracks.
In this literary essay, Kenyan writer Binyavanga Wainaina, drawing on an interview with Senegalese musician and politician Youssou N’Dour, tells of colonialism and learning to swim, of politics and poetry, of music and essentialist understandings of culture and identity.
The online magazine calls itself a “Network for local and global Sounds and Media Culture.” and writes about itself: “Norient searches worldwide for new music, sounds and noise. It discusses current viewpoints of the music world critically, from different perspectives and always close to the musicians and their networks.(…)”