Welcome to Toneshift: The Future of Music, Today! We broke ground in 2010, and reinvented ourselves in 2018 to present daily reviews, interviews and news about the most amazing, peculiar, evocative non-mainstream concepts in sound. We always have a curated selection for our readership who expects the unexpected. With the re-emergence of cassettes and vinyl, along with new formats like USB drives, etc. electronic and experimental music has a greater chance of reaching new audiences now than ever before. Our ever-shifting focus is international in scope and we do our best to balance our musings on the latest of music and other noise.
BEND OUR EARS: BEFORE YOU SUBMIT WORK!
Physical hard copy always gets priority and goes immediately to the top of the heap of sounds that are in line for review – so before submitting your work please check-in for my snail mail address. If the work is exclusively a download/digital file we fully understand, and we also understand issues pertaining to shipping being cost-prohibitive or limited editions that are in smaller numbers than 100 – but know that we take all aspects of design and presentation into consideration. Like our readers, we enjoy getting back to the tangible. Physical media can include cds, records, cassettes, new formats – to be able to fully discuss the details of cover art, etc. We listen to all submissions, and right now about 75% of what is received is generally reviewed.
To quicken the process you can, in addition, send a digital download. Our focus areas include electronic music. This can be in forms of experimental work, and variants on ambient, microsound, drone, minimal, dub, the very rare techno record, a/v presentations, field recordings, musique concrète, electro-acoustic, sound art, (way) out jazz and composition.
NO THANKS: Please keep in mind some of our basic principles: We don’t really review pure noise records, dark ambient/gothic (per se), pop, classical music, new age, folk/world music or compilations – but may give ’em a listen. Of course some things slip through the cracks that have aspects of some (or all) of the above – but have a look at the site and what we review to get a good idea of what we generally listen to. Though it’s anything by “general”.
If you have a tip, or are a budding writer that needs to scratch that itch, or know of a record that slipped through the cracks and fits within the scope of Toneshift, or just 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.