“The word ‘vibe’ is short for vibration—something that resonates and echoes, suffusing a space. In the early twentieth century, the term became associated with the vibraphone, a cousin of the marimba, which uses motorized fans beneath its bars to achieve a vibier sound. At the time of its invention, in the nineteen-twenties, musicians weren’t sure whether its nickname should be singular or plural, vibe or vibes—the latter eventually stuck. The instrument’s sound today immediately evokes a whole range of associations: Tropicália music, the mid-twentieth century’s obsession with Hawaii, shallow cosmopolitanism, and nostalgia hovering between sincere and ironic…In some ways, the rise of digital life allowed for a vibe revival. Online, we could collect and curate vibes.”
His works feel unified because they are organized around small melodic fragments that gradually develop as they are passed from voice to voice. This might seem like a description of, well, all music. But the notion of carrying a melodic “cell” through a whole work was unknown before Josquin’s time, and he was one of the most gifted experimenters with the concept.
“With field recordings, you’re listening to the surroundings. There’s so much to learn and understand from our surroundings with these sounds. You need to listen.”