Each week, AKVK selects records that coincide, collide or conspire with Ghost Acoustics.

Why Vinyl?

SB: My interest in vinyl records is as much about the music etched into the material, intent and gesture formed through electrical current into vinyl grooves, as the distribution systems and networks that move them around the world, the tiny little operations and efforts made by independent record labels and the enormous impact these cultural artifacts leave in their wake.

DM: I am interested in site-specific sounds. Sounds of spaces themselves or how spaces change sound is a key component in my work. For me, the vinyl record is like a site itself, a location that one must go to in order to hear what is inscribed on its surfaces. For Vinyl Kiosk, I have tried to select records that approach this idea in different ways.

JB: I am interested in records both as found objects and as aural material for my own film and animation work. Their superior archival quality and ubiquity make them a practical source to draw on as a sonic accompaniment that is temporally congruent to archival moving images.
As easily accessible references of a specific mode of time, process and technology, records fascinate me. However, one of the most interesting qualities is the materiality of records - how they are capable of holding more than just a sound recording. Dust, finger prints, someone’s scrawling in short hand…these marks point to something or someone outside the medium, often no longer here. These qualities evoke narratives. How did a particular recording make its way into someone’s possession? What did it mean to them?
For me, this representational dualism is a defining aspect of the specific medium of records.