Punctum Records

Punctum Records is an open-access & analog publisher of music and other sonic forms that take creative, forward-flying leaps, tarry in the archive of sensible forms, build pleasurably noisy pandemoniums, and seek to make sound an interventionist medium of both disruption and connection. Discography as fever dream, house party, rhythmic riot. Sound as connective tissue, tactical media, ambient rain.

Punctum Records is an experiment in bringing together cultural theorists, musicologists, sound artists, and musicians as lovers and fighters in the ruins of the arts and humanities at a moment when information-noise overload meets a flattening out of channels and platforms for the sustainable dissemination of music, sonic art, and theory. Punctum Records is placing a wager on the label, or publishing house, as an important domain for a collective-activist experiment in the construction of what Ivan Illich called “tools for conviviality,” and for developing sound-styles that would “give priority to the protection, the maximum use, and the enjoyment of … personal energy under personal control.” [1] In affinity with punctum books’s commitment to fostering para-academic shelters for the cultivation of open, vagabond publics, Punctum Records is bent on “pressing” an unruly crowd of sounds into the ventilating system called the cultural commons, and on playing the shadow-demon-parasite-prod-supplement to the so-called “music industry.” Sound label as field of play, wandering group house, rogue frequency.

Punctum Records invites theorists, musicians, and sound artists (or any combination thereof) to propose singles, mixtapes, EPs, LPs, audiocasts, soundscapes, operas, discographies, acoustical memes, noise art, sound waves, librettos, samplers, wave emissions, soundscapes, audio channels, sonic fictions, field recordings, fugues, listening devices, radio broadcasts, digital sound exhibits, sonic archaeologies, audio-loops, acoustic manuals, ambient backgrounds, echo chambers, musical algorithims, mashups, soundtracks, live recordings, sound/spoken word poetry, sound-walls, earworms, interstellar messages, improvisational sessions, digital concerts, transcriptions, busking performances, choral reefs, and sonic-theory compositions of any kind.

[1] Ivan Illich, Tools for Coviviality (New York: Harper & Row, 1973).


Punctum Records is a non-profit organization working to support artists and critical inquiry. Please consider donating to further our cause.

Dan Rudmann, University of Texas at Austin

Associate Director
Eileen JoyBABEL Working Group

Assistant Director
Andrew Stevens

Community Manager
Catherine Naiser

Advisory Board
David Arditi, University of Texas at Arlington
Katherine Behar, Baruch College
Jamie Skye Bianco, New York University
Drew Daniel, Johns Hopkins University + Matmos
Meghan Drury, GWU
Adam Harper, London, UK

Marcus Haddon, Shivery Shakes, Austin, TX
Katie Johnson, Miami University of Ohio
Edward Keller, Parsons The New School for Design
Phillip B. Klinger, PBK
Marcus Lawyer, Transmission Events
Isaac Linder, European Graduate School + continent.

Timothy Morton, Rice University
Joseph Nechvatal, Paris, France
Daniel Northcutt, Frank, Transistor 6
Will Schrimshaw, Liverpool, UK

Jennifer Sukis, Seattle, WA
Andy Weir, Goldsmiths College, University of London
Scott Wilson, London Graduate School


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Purity of human expression and experience is not confined to guitars, to tubes, to turntables, to microchips. There is no right way, no pure way, of doing it. There’s just doing it.
— Bruce Springsteen