![]() ![]() There are “blind spots” in Google’s archive of the Voice, noted John Cook at the erstwhile Gawker. ![]() In its over sixty-year run, Voice writers sat in the front rows for the birth for hard bop, free jazz, punk, no wave, and hip-hop, and all manner of downtown experimentalism in-between and after.Īmongst the many remembrances from current and former Voice staff in a recent Esquire oral history, one from editor and writer Camille Dodero stands out: “The alt-weekly’s purpose was, in theory, speaking truth to power and the ability to be irreverent, and print the word ‘fuck’ while doing so.’” Mission accomplished many times over, as you can see yourself in Google’s Village Voice archive, featuring 1,000 scanned issues going all the back to 1955, when Norman Mailer founded the paper with Ed Fancher, Dan Wolf, and John Wilcock. Hoberman, Robert Sietsema, Tom Robbins, Greg Tate, Michael Musto, Thulani Davis, Ta-Nehisi Coates-equally so. Its columnists, editors, and reviewers-Andrew Sarris, J. ![]() Its music and culture writers like Nat Hentoff, Lester Bangs, Sasha Frere-Jones, Robert Christgau and so many others are some of the smartest in the business. The Voice published hard journalism that many, including Voice writers themselves, have ruefully revisited of late. The hermetic container of its newsprint sealed out frothing comment sections no links ferried readers through rivers of personalized algorithms. There’s a gesture toward the Voice’s profane unruliness, but the alternative weekly, founded in 1955, transcended the blog age’s sophomoric nihilism. ![]() For too many reasons to list, this comparison seems to my mind hardly apt. No Mana’s “Yesterday” single is out now on Monstercat.After The Village Voice announced this week that it was folding its print operation, a couple people compared the venerable NYC rag’s demise to the end of Gawker, the snarky online tabloid taken down by Hulk Hogan and his shadowy financier Peter Thiel. “What I feel the song and No Mana have in common is its theme of being trapped in the past but being able to reminisce at the same time.” ♦ “I wasn’t involved in the lyric-writing process but I just think it’s cool that after going on a spiel about how nostalgic I want the project to be, this track called ‘Yesterday’ seems to resonate with that message,” he says. His latest release is the “Yesterday” single. I prefer to keep my head down and focus on my art when I can.” “This space has its ups and downs and despite hiccups from COVID it still seems pretty steady long-term, but I’m the worst person to give out a reliable consensus where electronic music is now. “Probably because of living costs (especially flights) mixed with saturation of newer artists-although, many of which seem to be able to make it just releasing music independently nowadays, which is amazing,” he says. Regarding the state of electronic music in L.A., the artist says that there’s a lot going on, yet it’s harder for new musicians to get going. “I could say, ‘Yeah, I sound like electro house with a ¼ teaspoon of progressive house and techno,’ but in my head my goal is to make music that reflects old emotions, and that kind of dance music just happened to be a huge part of my life, and therefore making it my medium of expression.” “A lot of them involve dance music in the background,” he says. No Mana says that the goal with his sound has been to harness the influence of emotional memories. The second was playing my first show in 2015 with deadmau5 which immediately opened up the touring part of my career.” The first was when I got my first music paycheck in 2014, which shortly after without thinking I quit both college and my job. There were two points in my life where I made jumps to take my career more seriously. We then ended up starting our own projects, and eventually, went off to our separate career paths. In 2012 after being intrigued by the sounds many artists were making at the time, I started producing with a friend in a duo project in an effort to figure out how to make those sounds together. My musical background started with orchestra classes in middle to high school playing the viola, and some garage band stuff where I played the electric guitar. “If I really had to pick the ultimate starting point, it’d probably be when my grandpa installed a new sound system in his 1999 Honda Odyssey and we abused it with several repeats of ‘Sandstorm’ by Darude right when the song came out,” he says. Electro-house producer No Mana has been a fan of electronic music for as long as he can remember. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |