Holly Herndon’s Platform was named for the work of design strategist Benedict Singleton, and it’s a title that packs a lot in: the geometric language and corporate obfuscation of media-tech talk,
a space for boosting fellow artists’ work (which, it’s worth noting, Herndon does; on Platform she curates the work of dozens of others),
the sense of something elevated. Indeed, each track on Platform bursts with more ideas and theories and gorgeous musique concrète scrambling than many artists manage on entire albums, and proves Herndon’s whirlwind imagination as a composer.
The through-line, though, is an argument for the undervalued artistic utility of the voice.
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