ADR – Throat

The conceptual twist here is that the album is composed of vocal samples, most scrubbed clean of any signifiers of human origin. Remembering this as you listen can be amusing, even creepy, and the overall effect is that of a futuristic gloss, each sourced note subsumed into a larger whole. Ross has built these abstract fragments into all-but-seamless collages that climb, flutter, and drop in accordance with the rules of pop songwriting, but what’s constructed here has no singular voice, no characters, no storytelling—indeed, no language, at least not in the traditional sense, though occasionally a voice will float out in an unintelligible lead. Still, these tracks brim with feeling, or feeling’s synthetic analog.



There is always a gap between affect and representation. But representations have their own affects.

Sound, Music, Affect: Theorizing Sonic Experience

In presenting forms of feeling music is not articulating any particular affective state so much that it is an event by which one may get a sense of how the world could be felt in its qualitative-relational order.

Sound, Music, Affect: Theorizing Sonic Experience

Music is…revelatory of of the sense of feelings. It neither causes nor evokes any specific affect or emotion, but presents dynamic forms whose ‘resulting gestalt “is and is not” its avowed object.’

Sound, Music, Affect: Theorizing Sonic Experience

Music’s abstractions, its semblances, show forms of vitality rather than say them, and in this regard music is able to articulate and set forth relations that language cannot – namely, relations that are revelatory rather than explanatory.

– Sound, Music, Affect: Theorizing Sonic Experience

What is significant about music…is its symbolism; the way its semblence of a lived or living time gives logical expression to forms of feeling.

– Sound, Music, Affect: Theorizing Sonic Experience

What the arts speculate on…is not the status of a truth or fact, but what it feels like to feel oneself affecting and being affected by and as an occasion of experience.

– Sound, Music, Affect: Theorizing Sonic Experience

 The Techies Who Said Sorry

The fundamental underlying problem is the system of economic exchange we’re dealing with, which is sometimes called surveillance capitalism. It’s surveillance capitalism that, by tracking and monetizing the basic informational content of our lives, has fueled the spectacular growth of social media and other networked services in the last fifteen years. Personal privacy has been annihilated, and power and money have concentrated in the hands of whoever owns the most sophisticated machine to collect and parse consumer data. Because of the logic of network effects—according to which services increase in value and utility as more people use them—a few strong players have consolidated their control over the digital economy and show little sign of surrendering it.

 The Techies Who Said Sorry | Jacob Silverman