A new world of music has recently taken the North American experimental music scene by storm. In the late 2000s, a wave of labels like Sublime Frequencies and Parallel World and MP3 blogs like Awesome Tapes from Africa redistributed regional popular music recordings as “new old” media authenticated by noise and psychedelic incommensurability. “World Music 2.0” conjoins the open source ethics of online networks with long-standing countercultural networks of circulation. Media redistributors resist hegemonic frameworks of intellectual property and cultural representation by conjuring a distortion that rehabilitates analog channels of alternative media within the emergent politics of digital culture.

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