Fighting for Andean Resources: Extractive Industries, Cultural Politics, and Environmental Struggles in Peru

reductive. Unlike the author’s care with kroncong practices, these ‘noises’ of the Singapore rock scene are not given deeper readings. The sonic ethnography of the considerable wealth of musicianship (and noise), from The Straydogs members through Blues 77, The Machine and Khan Kontrol, with Kiang as a pivotal persona(e), is not treated in adequate depth. This is unfortunate, since musicianship is part of the emergent sense-making and meaning-making of human habit and habitat. Ultimately, as an attempt at a sonic ethnography of urban Singapore through an over projection of Blues 77, Sonic City reads as a missed opportunity.