The Cornell Daily Sun (https://cornellsun.com/tag/electronic-music/)
The University celebrated the life of Robert Moog Ph.D. ’64 in a three day long event, featuring panel speakers, concerts, exhibits and workshops. Moog created the electronic synthesizer, used by the likes of The Beatles and The Rolling Stones.
As electronic music is often associated with the newfound idea of digital agency, it inadvertently speaks to the rhetoric of digital utopianism
Who the fuck is Katie Dey stealing from? I’m scratching my head and listening to Flood Network over and over and over again, but I just can’t figure it out. At first glance it seems like there’s no way an album so steeped in internet culture, electronic beats and that post-ironic brand of savvy melancholia which has come to define bedroom maestros the world over could possibly have sprung into itself sounding so brashly little like anything else in the world. But — excepting Dey’s first EP, asdfasdf — it does. It’s an album to itself, and a remarkable, confusing, comforting, vulnerable, terrifying, difficult one at that.
Tim Hecker has always made physical music. His pieces target not only the mind or the emotions. They also aim at the body. Beyond the usual heart and soul, Hecker’s compositions induce quivers and shakes up and down the skin. Sentiments of love or hurt — the expected, comfortable motifs — fade out and give way to sensations of terror and reverence.
On the surface, it might appear that Beau Mahadev ’18 spends their time wearing two pretty different hats: that of an engineering student on the one hand, and that of an active member of Ithaca’s sprawling DIY scene on the other. On the former front, Beau studies computer science here at Cornell; on the latter, they’ve immersed themself in the music of Ithaca on multiple levels. As an active volunteer for Ithaca Underground, as the Vice President of Fanclub Collective and as a burgeoning local musician and performer in their own right, Beau has carved out what might seem like a respectable side project apart from their engineering studies. But Beau doesn’t use guitars, drums, keyboards or anything else most people would associate with traditional instrumentation; Beau uses the tools of their trade. Crafting experimental noise music with synths, circuits and gadgets galore, Beau is part of a larger Ithaca community — itself a subset of an international experimental movement stretching back to at least Varese’s work of the 1920s — of noise-makers and barrier-breakers.