Category Archives: read

[2012 in Review: Wrapping It Up and Looking Ahead]

At the end of 2011, we launched our [Reviews] section and to date we have completed over 65 reviews of releases that were put out by artists or labels from the Upstate region. Unfortunately, there were loads more releases that deserved reviews, but due to time constraints and limited resources 65 was what we had to settle with. Still, that’s more than we thought we’d get to when we launched the section. Plus, the reviews we did post expanded the blog’s audience to a size that was truly unexpected.

Despite everyone hating on music reviewers these days (and for good reason sometimes), people apparently still like to read reviews. Case in point: the reviews section has easily become the blog’s most popular section and the amount of visitors that it has brought to the blog, and then to the radio show, was totally unanticipated. So without further ado, a HUGE thanks to the all the writers who contributed their time and talent to this endeavor. You can read about these fine hard-working people on our [Contributors] page. Also, a huge thanks to the labels and artists for providing us with the music when we asked for it or–even better–just sending it in when it was ready for release. Hopefully, in 2013 we can build on the number and quality of reviews.

You may have noticed that there has been some very recent changes/additions to the site and the radio show, such as the [Events] page (which will be updated weekly and can be heard read on the air during each show), a master Upstate Soundscape Spotify playlist in the side column, and a FAQ that has been added to our [About] page for artists, labels, and other interested parties on how to get your recordings on the radio show and/or reviewed by the blog, etc. There are even more additions coming in 2013. Below are some of the new wrinkles we have in store for The Upstate Soundscape radio show and blog in the upcoming year.

Guest Hosts: We’ve already had Michael Vitrano of Desire Path Recordings on to guest host back in November, while Adam Richards of House of Alchemy is coming in for the December 26th show, and Adrian Bertelone aka Ay Fast is scheduled for the January 30th show. These guest host slots are intended to–on one hand–give Needles a break and–on the other hand–get more people into the WBNY studio to share the music and sound that they’re either personally involved with or just digging at the moment. We’re shooting for one guest host per month, so stay tuned to see who else we get into the studio. Interested in being a guest host? Spots are limited, but send us an email and we’ll see.

Batch reviews: One change we’re making in an attempt to cover more ground with the reviews is to begin reviewing batches of release that labels like House of Alchemy and cae-sur-a put out, instead of trying to review each individual release within the batches. These batches of cassettes are artistic statements in themselves like curated exhibitions and perhaps should be reviewed as such. We’ll continue to do individual reviews as well of artists and releases that aren’t necessarily released in batch form. Are you a label or artist who has something you think we might want to review and/or play on the radio? Check out the new [FAQ] page for details on how to get us your sounds and what our review policies are.

Mixes: Recently both Soundcloud and Spotify made it easier to share and embed mixes on various platforms, so we will begin posting mixes on a regular basis from both of those sites, which both contain a plethora of sounds by experimental artists at work in or associated with the Upstate region. These mixes will be curated mostly by the Upstate Soundscape, but will also be curated from time to time by artists, label heads, DJs, and other people from around the region. We will also continue to post regular mixes by Upstate artists when they arise. Interested in making a mix for us or curating one on Spotify or Soundcloud? Get in touch.

Spotlights: We’ve done several [Spotlights] in the past on Upstate labels, but the [Spotlight] series is going to get ramped up a bit in early to mid 2013. The goal is to now use the [Spotlight] posts to cover other things like organizations, venues, radio shows, artists, etc. The hope is to provide a more in depth view on these other entities through an interview and/or profile. Look for the first one to be published early in 2013. Know of an artists, organization, or other entity of an experimental nature from Upstate that you think deserves a [Spotlight]? Get in touch.

Compilation Series: The first one is in the can and it is fucking awesome and we can’t wait for you to hear it. HUGE thanks to the artists that contributed a recording. It will be posted for free download in early January via Bandcamp and Soundcloud. As of now, the plan is to do quarterly compilations. Eventually, we may decide to focus an entire compilation on a specific genre, or city, or something else along those lines, but for now the comps will serve as samplers of the sounds being created of all kinds throughout the Golden Horseshoe, from Toronto to Albany, and all points in between. Interested in submitting a recording to be considered for the next compilation (or radio play in the meantime)? Check out our Soundcloud group or our [FAQ] page for more details on how to get us your sounds.

All of these new components will launch once 2012 is in the rear-view mirror. In 2013 you will also see a continuation of our other regular posts, including [Free Music Friday], [Beyond the Upstate Soundscape], and [Soundmarks]. These have been going strong all year and will continue to do so in 2013.

For the remainder of 2012, however, we will begin posting Year-End lists by various people from around the region including radio DJs, label heads, and artists every couple of days starting tomorrow (Saturday, 12/15). These lists are intended to offer a different take on the critical posturing that has proliferated since the inception of music blogs. The lists you will see here are not intended to be any sort of “Best of 2012” lists, nor are they ranked. Instead, they’re lists compiled by sound enthusiast from around the region and feature very simply what they personally liked from the past year. Kind of a like a literary mixtape one friend makes for another. By no means are these lists intended to be the final word on music and sound from 2012. Instead they are intended to be a starting point to encourage dialogue within the region among people who are committed to and making experimental music and sound of all kinds.

Other things to keep an eye out for over the next couple of weeks. . .

-The Annual Year in Review radio program scheduled for this Sunday at 9pm. Tune in to 91.3FM WBNY or stream at

-Catch host Needles Numark DJing at the End of the World Party at Nietzsches (12/20) and at the Vinyl Monday’s X-Mas Eve Party at Essex (12/24).

-House of Alchemy label head Adam Richards guest hosts The Upstate Soundscape on Wed., 12/26.

-The first release in our brand new compilation series, The Upstate Soundscape: Vol. 1 (Winter 2013). Coming in very early January. And its so fucking good, its not even funny.

. . . other than that, it looks like 2012 is a wrap. Here’s to hoping to an even better 2013 for the radio show, the blog, and the Upstate experimental community. Cheers!

[Read: Music 114 – Everyday Sounds and Experimental Music Course at UB]

Looks like University at Buffalo students will actually have an interesting class to take this semester courtesy of Colin Tucker,  composer and PhD student in the UB Music Department. Tucker has designed a course titled, “Music 114: Everyday Sounds and Experimental Music.”

Check out this Course Description from the Syllabus (which you can download in full here):

In this course, we will explore the distinctions and ambiguities between music and everyday sounds. Numerous experimental musicians aim to create sonic experiences that lie in between these two extremes, heightening and playing with the resulting ambiguity. These works provoke questions such as: Are everyday sounds already music, or must they be processed and re-framed in order to become music, and in what ways? We will explore these issues as a way to ask broad questions about what music is and how we listen to it, focusing on experimental and electronic music, as well as on related developments in sound art, installation art, architecture, cultural theory, urban sociology, and mass culture. In addition to lecture and discussion formats, the class will also include in-class listening exercises, demonstrations, and informal performances. No prior musical experience is required.

The reading/listening list is even better:

Unit 1: Introduction to Everyday Sounds

August 30
Readings: R. Murray Schafer, The Soundscape: Our Sonic Environment and the Tuning of the World,
“Introduction,” pp. 3-12, and “The Hi-Fi Soundscape,” pp. 43-44
Brandon LaBelle, “Sound as Hinge,” online at

September 4
Readings: François Augoyard and Henri Torgue, eds., Sonic Experience: A Guide to Everyday Sounds,
“Synecdoche,” pp. 123-129

September 6
Readings: Henri Lefebvre, “The Everyday and Everydayness,” Yale French Studies, no. 73 (available
through JSTOR)
Henri Lefebvre, Rhythmanalysis: Space, Time, and Everyday Life, Chapter 3 (“Seen from the Window”)

September 11
Guy Debord, “Theory of the Dérive,” online at
Unit 2: Sound Walks and Directed Listening

September 13: Theory
Readings: Viktor Shklovsky, “Art as Device,” in Theory of Prose
Robert Smithson, “Some Void Thoughts on Museums,” in Robert Smithson: The Collected Writings

September 18: Sound Walks
Readings: Max Neuhaus, “LISTEN,” online at
Revisit Guy Debord, “Theory of the Dérive”

September 20: Directed Listening
Readings: Pauline Oliveros, Deep Listening: A Composer’s Sound Practice, “Introduction” and “Ways of
David Dunn, [Preface], in Purposeful Listening in Complex States of Time
Dan Graham, “Performer/Audience/Mirror,” in Dan Graham: Works and Collected Writings

Unit 3: Sound Alteration through Architecture and Live Electronics

September 25: Introduction to Aural Architecture
Readings: Barry Blesser and Linda-Ruth Salter, Spaces Speak, Are you Listening, Chapter 2 (“Auditory
Spatial Awareness”) (focus on pp. 11-37, 51-66)
Steven Connor, “Resonance,” online at
Emily Ann Thompson, “Sound, Modernity, and History,” in Sound (Documents of Contemporary

September 27: Aural Architecture continued, and Introduction to Live Electronic NetworksReadings: Brandon LaBelle, Background Noise, Chapter 6 (“Conceptualizations: Michael Asher and the Subject of Space”) and Chapter 16 (“Interactions: Achim Wollscheid’s Production of the Local”)

October 2: Live Electronics continued
Readings: Seth Kim-Cohen, “The Hole Truth: Seth Kim-Cohen on Doug Aitken’s Sonic Pavillion,”
online at
Christoph Cox, “Sound Arguments” (with response by Seth Kim-Cohen), online at

Unit 4: Sound Production as Intervention
October 4: Max Neuhaus Installations
Readings: Revisit Max Neuhaus, “LISTEN”
Max Neuhaus, “Notes on Place and Moment,” online at http://www.maxneuhaus.
LaBelle, Background Noise, Chapter 10 (“Tuning Space: Max Neuhaus and Site-Specific Sound”)

October 9: Background Music
Readings: Jonathan Sterne, “Urban Media and the Politics of Soundspace,” online at
Michael Bull, Sound Moves: iPod Culture and Urban Experience, Introduction
Brian Eno, “Ambient Music,” in Audio Culture: Readings in Modern Music

October 11: Sidewalk
Readings: Brandon LaBelle, Acoustic Territories, Chapter 3 (“Sidewalk: Steps, Gait, and Rhythmic
Journey-Forms”) (focus on pp. 87-116, 123-125)
Anthony Giddens, “Trust and Modernity,” in The Consequences of Modernity, pp. 79-83

October 16: Miscellaneous
Readings: Nicolas Bourriaud, “Relational Form,” in Relational Aesthetics, pp. 11-24

October 18: David Dunn
Readings: David Dunn, “Nature, Sound Art, and the Sacred,” online at

Unit 5: Transmission & Networks
October 23: Bill Fontana
Readings: Bill Fontana, “The Relocation of Ambient Sound: Urban Sound Sculpture,” online at
LaBelle, Background Noise, excerpt from Chapter 15 (“Bill Fontana and Networking the
Soundscape”), pp. 230-237

October 25: Maryanne Amacher City Links
Readings: Ludlow 38, “Maryanne Amacher: City Links,” online at (read p. 2 and the sections about City Links #1 and
Monahan, Gordon. “God’s Big Noise: an Interview with Maryanne Amacher,” Musicworks, Vol. 41
Manuel Castells, “An Introduction to the Information Age,” City: analysis of urban trends, culture, theory,
policy, action, Vol. 2, Issue 7 (available through Taylor and Francis online) (focus on pp. 6-7, and
numbered points 1, 2, 6, 7, 9, and the conclusion)

October 30: Max Neuhaus Broadcast Works
Readings: Max Neuhaus, “The Broadcast Works and the Adium,” online at http://www.maxneuhaus.

November 1: Internet Sound-Works
Readings: LaBelle, Background Noise, Chapter 17 (“Global Events: Atau Tanaka and Network as
Instrument”) and Chapter 18 (“Live Streams: Apo33 and Multiplying Place”)

Unit 6: Phonography

November 6: Introduction to Phonography
Readings: Peter Ablinger, “Quadraturen,” online at (read the
English text only)
Revisit Thompson, “Sound, Modernity, and History”

November 8: Acoustic Ecology
Readings: Michael Pisaro, “Ten framing considerations of the field (working notes for making field
recordings),” online at
LaBelle, Background Noise, pp. 197-200 and Chapter 13 (“Seeking Ursound: Hildegard Westerkamp,
Steve Peters, and the Soundscape”)
Revisit Dunn, “Nature, Sound Art, and the Sacred”

November 13: Musique Concrète & Xenakis
Readings: Pierre Schaeffer, “Acousmatics,” in Audio Culture: Readings in Modern Music
LaBelle, Background Noise, Chapter 2 (“Exposing the Sound Object: Musique Concrète’s Sonic

November 15: Complications and Mediations
Readings: LaBelle, Background Noise, excerpt from Chapter 15 (“Bill Fontana and Networking the
Soundscape”), pp. 237-242
Michael Pisaro, “Some thoughts on the ‘fields have ears’ series,” online at

Unit 7: Collage

November 20: John Cage 1
Readings: John Cage, “The Future of Music: Credo,” in Silence
Branden W. Joseph, “The Tower and the Line,” in Sound (Documents of Contemporary Art), focus
on pp. 43-47

November 27: John Cage 2

Readings: Yvonne Rainer, “Looking Myself in the Mouth,” October, vol. 17, focus on pp. 66-70, 73-76 (available through JSTOR)

November 29: Collage in German critical composition
Readings: Peter Niklaus Wilson, “The Element of Risk in Composition: Six Compositions by
Mathias Spahlinger,” liner notes to Mathias Spahlinger LP

December 4: Collage and the City
Readings: Roland Barthes, “The Death of the Author,” in Image-Music-Text

Sounds like my type of class.

And also, over the summer Tucker’s fellow UB composer Jacob Gotlib taught a class called “Music 113- Music and Society: Noise.” You can sample that classes syllabus, readings, and assigned sounds here. 

[Read: MUTEK_Lab presents “Tools for an Unknown Future” Symposium]

The annual Mutek festival will take place in Montreal next week.  Prior to the festival’s launch on Wednesday, 5/30 the festival organizers will host a very interesting symposium called ‘MUTEK_Lab presents “Tools for an Unknown Future.”

This symposium will run from Monday to Wednesday (5/28-2/30) before Mutek itself launches that Wednesday night. The symposium is free and open to the public. Check out the program, it sounds fascinating. See the info/links below.

Also, make sure to tune in to The Upstate Soundscape on Wed., 5/30 because we will do a Mutek special and take a look at artists that are performing at this year’s festival.


MUTEK_Lab presents “Tools for an Unknown Future” Symposium: A symposium organized in collaboration with ICAS (May 28, 2012 – May 30, 2012 in Montreal)

Featuring a mix of keynotes, panels, case studies and presentations, the Tools for an Unknown Future symposium is a 3-day conference aimed at elaborating a cohesive view of the current trends within groundbreaking artistic mediums.  
FREE ENTRY with RSVP.  To RSVP, click here.
For a detailed program click HERE. 

[Read: Squeaky Wheel Regional Artists Residency Application Deadline Extended]

Squeaky Wheel has extended the application deadline for its Regional Artist Access Residency (RAAR) to Monday, May 21. This residency is a great opportunity for artists of all kinds who live in Western New York (Allegheny, Cattaraugus, Chautauqua, Erie, Genesee, Orleans, Niagara, Wyoming, Monroe, Wayne, Livingston and Ontario counties).

See more info on the residency HERE. 

Squeaky Wheel is also looking for animated artists to contribute to their  9th Annual Outdoor Animation Festival. See more info HERE.

[Read: Buffalo Infringement Fest Application Deadline is Tomorrow]

The 2012 Buffalo Infringement Festival is accepting applications from artists of all types until tomorrow (May 1). Go HERE to fill out the application.

From the BIF website:

Thank you for considering joining us at Infringement 2012. The Buffalo Infringement Festival is an entirely volunteer operation that provides YOU with the opportunity to present your work free of entry fees, dues, or rental costs. The only way the Festival can afford to do this is by keeping the infrastructure extremely simple. Therefore, what The Festival is able to offer you is very limited. What we will do is to publicize the festival as a whole, locate venues interested in hosting your events, and coordinate the scheduling of all your performances during 11 days of infringement in Buffalo.

We are excited to see what flavors of performance you come up with. We encourage non-traditional performance, socially and politically relevant work, avant-garde productions, and street theater. At this point we don’t know what venues are offered for this summer but typically we have very few traditional theaters, and remind you to consider non-traditional performance spaces as you develop your project. For those of you developing your performance with a venue in mind we hope you encourage the venue owner to allow infringement to schedule other performances in their venue.

The proposal deadline is May 1, 2012.

NOTE: Due to the overwhelming number of musical submissions in previous years, we have had to set a cap of 125 bands that will be accepted + a waiting list of 25, all on a first-come-first-served basis.

All proposals for Infringement Festival events are stored in an online database. You can return here at any time to edit or complete your proposal.

To edit an existing proposal, log in with your e-mail address and password.

[New FB Group: The Upstate Underground Circuit]

It’s become clear after discussions with numerous artists, promoters, fans, etc., over the last few months that–as a region–we need to get our shit together when it comes to coordinating live shows, especially between artists from one part of the region and venues from other parts. There are small, but strong scenes in each and every major urban center from Albany, to Rochester, to Buffalo, to Hamilton, and, of course, to Toronto and there is no reason that Upstate artists should not be able to easily set up shows on  a regular basis throughout that entire Upstate circuit.

There is huge potential for all involved if we create a dynamic interchange of artists from one end of this region to another. The venues will have more artists coming through, while the audiences will see more shows by different artists, and the artist of course will have a chance to expand their audience, while making connections for future shows.

And that’s just the artists from this region….emails come in all the time to the Upstate Soundscape from artists looking to do shows somewhere in the region. Having a solid circuit of venues, supporting artists, and people willing to promote in place would make it easier and more likely that artists beyond Upstate would make it a point to swing through here. And who doesn’t want that?

Thus, the Upstate Underground Circuit Facebook Group is born. . .

As the ‘About’ on FB explains, the group is a “place for underground, experimental, DIY artists from anywhere in the Upstate NY/Southern Ontario region to post info about their shows or shows they are trying to set up. 

-Spread the word about your shows to other parts of the region.

-Discover new venues, new organizations, new people across the region to help you set up shows outside your own city.

-Find out about other artists to bring in for shows to your region.”

So start posting whatever events you want to the Group so we can all start getting a better feel of who is doing what beyond our own cities. Who knows, maybe audiences will start making it a point to go see shows  in other cities, while artists will find it easier to set up shows across the region…. . .guess we shall see.

[Read: Coterminus Collectiv ‘April on the Airwaves, May in the Flesh’]

Recently a group in the Hudson Valley has come together based around their shared interest in experimental electronic music and a desire to network with other like-minded artists. Going by the name Coterminus Collectiv the group launched in April and are now looking to stage a second meet up for artists who are interested in joining the group on Wednesday, April 25 in New Paltz.

Obviously, that’s a bit out-of-the-way for most Upstate artists, but the success of this group so far is perhaps a good lesson for Upstate artists to learn from. As Amanda Newman writes on the group’s blog,  “this mere concept has become a reality, gaining the kind of momentum you hope for, but don’t want to allow yourself to expect. ”

In other words, maybe that crazy idea you have might be worth trying? Check out the rest of the details on Coterminus Collectiv below.

From the Coterminus Collectiv blog:

April on the Airwaves, May in the Flesh’

I can’t believe so much has happened since our first meet & greet on March 6th. Early this year, The Coterminous Collectiv was merely a concept. We had no idea who we would find, or if anyone would even be interested in meeting us. We reached out via Soundcloud, Facebook, and a slew of fliers peppered across the Hudson Valley, wondering who would be crazy enough to come out to a coffee shop in New Paltz and meet a bunch of strangers claiming to make noises.

Since then, this mere concept has become a reality, gaining the kind of momentum you hope for, but don’t want to allow yourself to expect. . .

Read the rest HERE. 

[Read:’Why a Soundscape is Worth a Thousdand Pictures’]

While doing some research I stumbled on this interview with author Bernie Krause in the New Scientist. Krause wrote a book called The Great Animal Orchestra, which is based on his study of field recordings taken in natural, wild habitats.

At one point in this interview, Krause claims that the Adirondack mountain region in Upstate NY is a soundscape of particular significance because it resembles a soundscape that existed before humans.

Regardless its worthwhile interview for those interested in field recording and the concept of soundscapes. 

Read the orginal interview over at the CultureLab blog on the NewScientist website HERE. 

Bernie Krause, author of The Great Animal Orchestra, explains how audio recordings of the natural world offer an insight into intricate habitats

Your new book is called The Great Animal Orchestra. Why orchestra?
When all the creatures in a given habitat vocalise together, they have to find their own bandwidth in order to be heard. After all, if they are vocal critters, their ability to vocalise determines their survival. These creatures are singing in niches; amphibians have their niche, birds have theirs and insects have theirs. They are vocalising together in a sort of proto-musical orchestra.

So human music was inspired by animals’ vocal niches?
When we were living closer to the natural world, we discovered links between the ways in which sounds were formed – what I call “biophonies”. We then used this structure to learn to orchestrate and vocalise. That’s how we got our music. It goes back to when humans first emerged from the forests and plains of Africa.

Does anyone still make music in tune with nature?
There are a couple of groups, like the Jivaro in South America and the BiAka tribe of pygmies in the Central African Republic. Because they live as part of the natural world, they still do this collective music. They use the natural world as a karaoke orchestra. There’s nothing primitive about it – it is far more advanced than anything we are doing.

What can soundscapes tell us about the ecology of an area?
When you photograph a forest that has been selectively logged, it will look the same as an unlogged forest because you frame your shot to get the best vantage point. You can’t do that with sound; when you set up a microphone, it tells you immediately what’s happening in a habitat. A picture may be worth a thousand words, but a soundscape is worth a thousand pictures. You can spend years evaluating a habitat from a visual perspective, but you will find out more from a 10-second sound clip than from years of visual study.

You say that humans think of noise as a sign of power. How does that affect our environment?
Former US secretary of the interior James Watt once said that noise is power. The noisier we are as a country, the more powerful we appear. In the early 2000s there was a study in Yellowstone National Park based on snowmobile noise and the effect it had on stress hormones in the faeces of wolves and elk. When snowmobile noise was present, the stress levels went up. But it’s not a choice between us or them. If we want to have fulfilling lives where we don’t have to deal with noise by taking Prozac, being in the natural world will help.

You tried to recreate a soundscape from a time before humans. How?
We built a hypothesis that said we could reconstruct the sound of the natural world from various insect and bird fossils that had been found in Montana. We looked at the fossil record, and added the calls of any animals that were still alive to a soundscape. It ended up sounding like the Adirondack mountains in upstate New York.

Of all of the places you have recorded, do you have a favourite?
I like being in places without a lot of people. Alaska’s my favourite because there are still large areas that are unpopulated, like the Arctic National Wildlife Refuge.

Any advice on how to hear these soundscapes for ourselves?
To learn about the physical world the best thing you can do is get out there, be quiet and sit and listen. In the US, the vast majority of land is within a third of a mile (0.5 kilometres) of a road, so the best time to listen is at dawn and dusk, when people aren’t out and messing around. The best time of year to go is in the springtime.

[Read: Chloe Lum, “Dancing on My Own Grave”]

Chloe Lum of the now-disbanded Montreal group AIDS Wolf has followed up her viral “On an End of an Era” blog post with some more thoughts in her new post “Dancing on My Own Grave.”

Lum has some interesting things to say on her ScroungyGlammer blog about transitioning out of the DIY/underground/experimental music circuit and into the visual art world. Lum seems to think that the visual art world might have more to offer avant-garde artists like her in the long run then the musical world.

Again, as with “On an End of An Era” (which was re-posted here last Tuesday), “Dancing on My Own Grave” offers a lot of insight and food for thought that experimental/avant-garde artists of any age should take into consideration.

Dancing on My Own Grave

by scroungyglammer

I couldn’t be more surprised to see my post On The End Of An Era has gotten over 3000 views , that’s probably more attention than the last AIDS Wolf record got.

On a less self-deprecating note , I’m heartened to have gotten amazing feedback via email , twitter , facebook and this blog from many of my peers and even some of my idols. Of course , it’s not a thing to celebrate that so many of us pursuing difficult music find it hard to sustain , but a I feel as a group we are smart , creative people who now that it’s all out & in the open , pursue a new paradigm for underground avant garde sounds. We can find a way to be part of the marketplace of ideas without catering to the market.

Back in the 80′s , when many of the bands we admire where in the trenches , carving out the DIY tour circuit they had no idea how clogged it would latter become , or how many bands would simply see “the underground” as a pit-stop on a road towards mainstream aspirations , lamestream sounds. . . . 

Read the rest HERE.

[Read: ‘On the End of an Era’ by Chloe Lum of AIDS Wolf]

Photo by David Walman

Montreal abstract noise jammers AIDS Wolf have called it quits and frontwoman Chloe Lum has posted a rather personal letter to her blog that I think is worth re-posting.

In the letter, Lum touches on why the band is no more, but more importantly offers her take on what it was like trying to dedicate her life to an artistic pursuit like AIDS Wolf and the trials and tribulations that came along with that.

This letter is required reading for anyone in the earlier stages of their life looking go down a similar path. It’s the type of foresight/insight that could perhaps prove invaluable to anyone who is drawn to the life of an avant-garde/experimental musician in today’s world.

From Scroungyglamour blog:

“On the End of an Era,” by Chloe Lum

So my band broke up and I’m having a lot of feelings about it. I’m going to try to make sense of those feelings here.

My band is called AIDS Wolf and we started as a 4 piece noise-rock band in Montreal in 2003. Over the years with line up changes and the growing sophistication of our own tastes we became a trio in 2009 and started calling ourselves either Formalist/Unknown Wave or Abstract Rock.

When my beau and I started the band our expectations were pretty minimal. We’d already been in 2 bands together and each several bands before meeting. Him more of the garage and punk varieties and myself of the noise and industrial ones. We dropped out of university to do a major tour with one of our previous projects , to have one of our band-mates leave the day we got home. We’d already learned that relying on others for one’s creative pursuits was dicey even in the best circumstances. . . 

Read the rest HERE.