Welcome to Toneshift: The Future of Music, Today! We broke ground in 2010, and reinvented ourselves in 2018 to present daily reviews and occasional interviews about the most evocative non-mainstream concepts in sound. Our readers have a great sense of taste so we always offer a curated selection for our those who expect the unexpected. With the re-emergence of cassettes and vinyl, along with new formats electronic and experimental music has a greater chance of reaching new audiences now than ever before. Our ever-shifting focus is to offer the most diverse and international in scope — we do our best to balance our musings on sounds from around the globe.
If you have a tip, or are a budding writer that needs to scratch that itch, made or know of a record that is deserving of critical attention, and fits within the scope of Toneshift, or if you just want to shoot the s*it about anything sound oriented contact us:
- Interview w/Concrete Shelves (Italy)
- Interview w/Ambient Music Guide (Australia)
- Co-Curated ‘Recognition Test (#118)’ w/Unexplained Sounds (Italy)
- Double-Take column w/Badd Press (1 + 2) (Canada)
TJ Norris is a multidisciplinary artist (and sometimes curator) living in Fort Worth. His work is included in many private and public collections internationally. Some of the publications he has written for include: ARTnews, Leonardo (MIT Press), XLR8R, Willamette Week, Oregonlive.com, Dusted, Signal to Noise Magazine, Brainwashed.com, Paris Transatlantic, Resident Advisor, ie Magazine, Igloo Magazine, Vital Weekly, Art Ltd. and many others. His first monograph, Shooting Blanks, was recently released and reviews are starting to appear. After Norris closed his experimental a/v gallery, Soundvision in 2003 he traveled to lead sonic sound oriented panels and discussions at various music festivals including: Mutek (2007, Breaking Barriers in the Audio/Visual Divide), Decibel (2005, The Relationship Between Technology and Art); and Intransitive (2004, Sound and Geography: Community and Place in Experimental Music). He was a media correspondent for Sonar (2003). As we grow, we plan on adding a few additional regular guest writers to contribute reviews and content.
Opinions are not facts.
SUBMISSIONS: BEFORE YOU SUBMIT WORK!
Please keep in mind that if you have released a physical hard copy (LP, CD, Tape) to please consider sending this to us — we can also appreciate and use the associated files (MP3, WAV, DL code, no FLAC). This approach will always receive priority attention for review purposes – so before submitting your work please contact us with any questions as well as for our snail mail address. If the work only exists in download/digital form we fully understand. Like our readers, we enjoy getting back to the tangible. We listen to all submissions, and right now about 70% of what is received is generally reviewed, depending on the existing queue of others in consideration.
Our focus areas primarily include experimental/electronic music in all forms, and variants on ambient, microsound, drone, minimal, dub, a/v presentations, field recordings, musique concrète, electro-acoustic, sound art, (way) out jazz and composition – as well as intersections and hybrids.
NO THANKS: Please don’t simply send pre-release ads or streaming links for review. We recommend to have a look around on the site before submitting work. In general we do not really review pure noise records, gothic/dark ambient (per se), pop, straight-up dance/techno/house, classical music, new age, folk/world music or compilations – but may give ’em a listen. Of course some recordings are fusions of some (or all) of the above – and as such may slip through the cracks and into our ears.