Andrew Noseworthy describes how his engagement with genres outside classical music—prog rock, ambient, hyperpop, and electronic scenes—has shaped his thinking less in sound than in structure, access, and dissemination. He points to the way these genres treat recordings as primary artistic objects rather than documentation, allowing albums to function as clear entry points, statements of identity, and tools for connection beyond live performance. In contrast to classical music’s archival relationship to recording, Andrew emphasizes the importance of high-quality, intentional releases—especially for listeners without regular access to concerts—and questions institutional assumptions that fix a work’s identity too early. The conversation reframes recordings not as endpoints, but as evolving representations, opening space for revision, multiplicity, and flexibility over time.

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