ABSTRACT
Electronic music that incorporates soundscape samples can do more than simply avoid extractive technological processes and stereotypical soundscape representations in an era of perpetual ecological trauma, environmental disaster, climate change, and settler-colonial resource extraction from traditional Indigenous lands. By making analytical and descriptive strategies for electronic more inclusive by embracing both settler-descendant and Indigenous approaches, we also diversify who is working in electronic music and how they approach compositional resources that are connected to specific environments and nonhuman actors. This essay sketches the challenges and strategies involved in destabilizing narratives and soundscapes of colonialism in North American soundscape-based electronic music.
