Satie, This Time with FeelingAnd at a slower pace – thanks to Hey ExitJanuary 25, 2016 / By Marc Weidenbaum
Soloist at the Church of Modular SynthesisA 7-minute piece by R. BenyJanuary 24, 2016 / By Marc Weidenbaum
When a Drone Is Called Upon to Do the Work of a MelodyA glacial piece by Vyborg, Russia—based MurkokJanuary 23, 2016 / By Marc Weidenbaum
Hearing Gray but Waiting for the Orchestra to SurfaceA new track from Keith Berry's forthcoming ElixirJanuary 22, 2016 / By Marc Weidenbaum
How Erik Satie Foresaw Brendan Landis’ Excavation of His “Gymnopedie No. 1”And how Sean Dack intervened in between, back in 2011January 18, 2016January 18, 2016 / By Marc Weidenbaum
When a Song’s Development Is a Matter of DistanceIn "Arboretum" by Washington, D.C.—based Tag CloudsJanuary 17, 2016 / By Marc Weidenbaum
Listening for Patterns in Slowly Building, Slow-Motion ChaosA track from Torreano, Italy—based Aimo Scampa (aka hi.mo)January 16, 2016January 16, 2016 / By Marc Weidenbaum
Every* Recording of Erik Satie’s “Gymnopedie 1” Played at the Same TimeA sound experiment in opulent minimalism by Brendan LandisJanuary 15, 2016August 12, 2019 / By Marc Weidenbaum
Listening for Context Between Raw and Cooked Orchestral PerformancesIn a piece by composer Emilie Cecilia LeBelJanuary 13, 2016 / By Marc Weidenbaum