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Archive | Interference. The project for A Sonic Geography began with a recognition of the vibrancy and increasing significance of various bodies of work on auditory space. Practices such as aural architecture, soundscaping, spatial music and sonic sculpture now find a non-specialist public and an institutional legitimacy that fosters future development.

Moreover, theoretical research tracing sonic phenomena as cartography, site-specific signifier, or spatial strategy has acquired a new maturity in recent years. Interference wishes to progress this interaction between theoretical reflection from different domains of research and sustained practical experimentation as it generates new possibilities for auditory spatial awareness. Issue Contents Issue Contents. The Sound of Ruins: Sigur Rós’ Heima and the Post-Rock Elegy for Place | Interference. By Lawson Fletcher Abstract Amongst the ways in which it maps out the geographical imagination of place, music plays a unique role in the formation and reformation of spatial memories, connecting to and reviving alternative times and places latent within a particular environment. Post-rock epitomises this: understood as a kind of negative space, the genre acts as an elegy for and symbolic reconstruction of the spatial erasures of late capitalism.

After outlining how post-rock’s accommodation of urban atmosphere into its sonic textures enables an ‘auditory drift’ that orients listeners to the city’s fragments, the article’s first case study considers how formative Canadian post-rock acts develop this concrete practice into the musical staging of urban ruin. Turning to Sigur Rós, the article challenges the assumption that this Icelandic quartet’s music simply evokes the untouched natural beauty of their homeland, through a critical reading of the 2007 tour documentary Heima .

What Music Really Is. Faeries_aire_and_death_waltz.jpg (JPEG grafiği, 1138x1635 piksel) Arizona hardcore punk rock flyer archive 1982-1984.

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