Low-Noise

Artificial intelligence is suddenly everywhere in music: writing songs, generating voices, creating performances and raising uncomfortable questions about creativity, ownership and what it means to be an artist.But is AI really the unprecedented disruption it appears to be? Music has always evolved alongside technology, from synthesisers and drum machines to sampling, Auto-Tune and digital production.In this episode of Low Noise, we consider the arguments, the anxieties and the possibilities. Is AI a threat to musicians, simply another creative tool or the next stage in music's continuing evolution?

In this episode I am in discussion with musician Keith Cheshire.

I hope you enjoy this recording...

Mathew Woodall

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David Crosby is one of those musicians whose life story can sometimes obscure his music.The Byrds. Crosby, Stills & Nash. Laurel Canyon. Drugs, prison, fallouts, extraordinary excess and, eventually, an equally extraordinary late creative revival.It's quite a story.But take all of that away and something much more interesting remains.Because David Crosby made some very strange music.His guitar tunings didn't always behave as expected. His songs could seem to drift rather than progress. Harmonies appeared in unexpected places. And when much American songwriting seemed to be heading towards increasingly definite forms, Crosby was often interested in ambiguity.Nowhere is that more apparent than on his 1971 solo album If I Could Only Remember My Name — a record populated by some of the most celebrated musicians of its generation, but which somehow feels less like a collection of songs than a place you temporarily inhabit.And then, remarkably, decades later, Crosby began making some of the most adventurous music of his career.So beyond the mythology, the arguments and that unmistakable moustache, what made David Crosby musically different? And have we perhaps underestimated him? 

In this episode I am in discussion with Dr. Andrew Webber.

I hope you enjoy this recording...

Mathew Woodall

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Low Noise is proudly ad-free. If you would like to to say thank you for any of the content you have enjoyed (and help support the continuation of creating more), the above link provides a way to make a small donation of your choice (I also function on coffee!).

What makes The War on Drugs sound so familiar, yet so completely their own? Drawing on the widescreen sweep of classic American rock, Adam Granduciel and his band transform guitars, synthesisers and repetition into something hazy, hypnotic and strangely timeless. We explore the music, influences and atmosphere of The War on Drugs — and ask how heartland rock became a dreamscape.

In this episode I am in discussion with Dr. Andrew Webber.

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Low Noise is proudly ad-free. If you would like to to say thank you for any of the content you have enjoyed (and help support the continuation of creating more), the above link provides a way to make a small donation of your choice (I also function on coffee!).

Can an album be nostalgic for a future that never arrived?

When Donald Fagen released The Nightfly in 1982, it sounded unlike anything else. Immaculately produced, filled with jazz sophistication and lyrical detail, it looked back to the optimism of 1950s America through the eyes of a teenager convinced that tomorrow would always be brighter than today.But beneath its flawless surface lies something more poignant. Is The Nightfly really a celebration of the American Dream, or is it an elegy for a vision of the future that quietly slipped away? I'm Mathew Woodall, and this is Low Noise. Tune in to one of the finest solo albums ever made and asking why, more than forty years later, The Nightfly still sounds like tomorrow.

In this episode I am in discussion with Dr. Andrew Webber.

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Why buy me a coffee?

Low Noise is proudly ad-free. If you would like to to say thank you for any of the content you have enjoyed (and help support the continuation of creating more), the above link provides a way to make a small donation of your choice (I also function on coffee!).

Can music change the atmosphere of a room without demanding your attention?

Few bands have occupied that strange, beautiful space quite like The Durutti Column. Often associated with Factory Records, post-punk and Manchester, Vini Reilly's music somehow exists outside all of those labels. Delicate, melancholic and quietly virtuosic, these are records that whisper rather than shout.But why has The Durutti Column remained a treasured secret for some listeners while never quite entering the wider conversation? And what makes music this understated continue to resonate in an increasingly noisy world?  I'm Mathew Woodall, and this is Low Noise. Today we're spending some time with one of Britain's most singular musical voices.

In this episode I am in discussion with Dr. Andrew Webber.

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https://buymeacoffee.com/lownoise

Why buy me a coffee?

Low Noise is proudly ad-free. If you would like to to say thank you for any of the content you have enjoyed (and help support the continuation of creating more), the above link provides a way to make a small donation of your choice (I also function on coffee!).