Christoph Cox

  • Panasonic

    What is currently being marketed as “electronica” represents the music industry’s belated attempt to capitalize on a moribund rave culture and its techno-hippie aesthetic. The hype over Prodigy, The Chemical Brothers, et al. ignores more significant efforts to extend and outstrip rave’s musical resources: on the one hand, vanguard junglists like Plug and Squarepusher stutter and fracture techno’s relentless 4/4 throb to create music of dizzying rhythmic complexity. On the other hand, electronica outfits (e.g., Oval, Autechre, Microstoria) abstract techno’s melodic and harmonic material with an

  • Sub Rosa

    “We are not, strictly speaking, a music label,” says Guy Marc Hinant of SUB ROSA, the Belgian record company he heads with Frédéric Walheer. Though, over the past decade, Sub Rosa has given us some of the most extraordinary music of the late twentieth century, the label embraces what John Cage called “the entire field of sound”—tones, voices, and noises in all their multiplicity and heterogeneity. It has put out collections of Yiddish and Judeo-Spanish songs, anticolonialist hip hop from Greenland, and field recordings of Venezuelan shamans. One series presents work by classical composers such

  • Gilles Deleuze

    GILLES DELEUZE wrote about music only in passing, yet he counted as friends and influences some of Europe’s leading composers. So it was not altogether surprising when, a few months after the French philosopher’s suicide in November 1995, Pierre Boulez held a series of concerts in his honor at the Cite de la musique in Paris. More remarkable and intriguing, though, was the appearance last spring of Deleuze tributes by two record labels on the fringe of European club culture, Sub Rosa and Mille Plateaux (the latter named after what many consider Deleuze’s magnum opus, cowritten with Felix Guattari).