Boomkat Product Review:
The INTERMISSION book features writers already connected to Unsound through their annual discourse program, as well as voices we felt would widen the focus in necessary ways. Approaching from the perspective of 2020, the texts explore a broad range of subjects such as music-making and field recording in the year of COVID-19, protest, online intimacy and solidarity, ecology, mental health, audio-virology, nostalgia, conspiracy theories, masks, zoom calls, machine listening, movement during lockdown and more.
Authors include Agata Pyzik / Andrew Brooks / Andy Battaglia / Ayesha Hameed / Dave Tompkins / Ting Ding & Deforrest Brown, Jr. / Ewa Majewska / Gamall Awad / Harmony Holiday / Armen Avanessian In Discussion With Homar / Jace Clayton / Jay Springett / Jennifer Lucy Allan / Joel Stern & James Parker / Jt Roane / Kristen Gallerneaux / Luke Turner / Mat Schulz / Moor Mother / Olga Drenda / Philip Sherburne / S.J.Norman / Stephanie Phillips / Steve Goodman And Sylwia Chutnik
The audio compilation features exclusive aces by Jlin X SOPHIE, Chris Watson, Moor Mother, DeForrest Brown Jr. & James Hoff, 33EMYBW, Slikback, Tim Hecker and many more.
A stellar attraction of the set is ‘JSLOIPNHIE’, starring Chicago-orbiting footwork dynamo Jlin and dearly departed SOPHIE instigating a sort of gyring, weightless abstraction that only leaves us wondering many ifs. Shanghai’s 33EMYBW also gives up another highlight with the trippy tension and plasmic sway of ‘The Room’, and you can trust Slikback to keep it deeply fwd with his monstrous megastructure ‘ZETSUBO.’
Looking closer to the festival’s roots, they also make space for local artists such as Lutto Lento with the Coil-esque vignette ‘Good Morning Go Tears’, and stark Polish pains in Zosia Hołubowska & Julia Giertz’s bleak concrète scape ‘Community of Grieving - Part 1’, while the likes of Chris Watson with his vivid field recording ‘Unlocked’, and the NYC duo of DeForrest Brown Jr. and James Hoff help spell out Unsound’s interests in the contemporary avant-garde and experimental zones, while the compelling theatrics of Moor Mother & Geng firmly timestamp the set in the politics of our era.