The Wire

27 Jan. 2023

The 26 January edition of The Wire's weekly show on Resonance FM and Resonance Extra featured tracks by Zoë Mc Pherson, Avola, OPLA, Gerald Cleaver/Brandon Lopez/Hprizm, Nkisi, Andrew Cyrille, and more

From GTI
(Pointless Geometry)

Gerald Cleaver/Brandon Lopez/Hprizm
“Mainsource C1”
From In The Wilderness
(577/Positive Elevation)

Larsen/Alessandro Sciaraffa
“Golden Leaf 1” (excerpt)
From Golden Leaf

Hoshina Anniversary
“Nashikuzushi なし崩し”
From HakkyouShisou 発狂しそう
(Constellation Tatsu)

“Centripetal Vortex”
From Avebury

“Brain Worm”
From Psykor

Zoë Mc Pherson
From Pitch Blender

Siavash Amini
“Not Yet Plant-Life … No Longer Flesh” (excerpt)
From Not Yet Plant-Life … No Longer Flesh
(The state51 Conspiracy)

Andrew Cyrille
“Cowbell Ecstasy”
From Music Delivery/Percussion

“Washington Carver”
From Letters To George
(Out Of Your Head)

Art Ensemble Of Chicago
“Thème De Yoyo”
From Les Stances à Sophie
(play loud! productions)

26 Jan. 2023

Primary Information shares a segment from this new analysis of techno as Black-led folk music for an industrial society

Hi-Tech Dreams, Lo-Tech Reality

There’ll be dancing / They’re dancing in the street / It’s just an invitation across the nation / A chance for folks to meet / There’ll be laughing, singing and music swinging / Dancing in the street / Philadelphia, PA / Baltimore and D.C. now / Can’t forget the Motor City / All we need is music, sweet music / There’ll be music everywhere / There’ll be swingin’, swayin’ and records playing / And dancing in the street / Oh, it doesn’t matter what you wear / Just as long as you are there / So come on, every guy grab a girl / Everywhere around the world.” – Martha and the Vandellas

“I’ve seen a city, once thriving with Motown and the motor industry, become dreary and quiet as if the past were an illusion. Part of the inner-city is made up of ruins and homeless people, America’s hidden reality. The Music Institute in 1987 drew a boundary between past and future by accepting reality and preparing the future for a generation of brave people. Being close to the 21st century, Detroit has wiped its bygone glories and tried to move towards a new interpretation of the world. It’s electronic music reaches those people trying to dream in life and has been shining ever more year by year. Even if the reality is in fact, like hell, the many shining stars from the city allow us to empathize miles and miles away from the city.” – Tsutomu Noda

As he walks along a graffiti-covered concrete Berlin Wall and past empty lots and demolished buildings, Blake Baxter –“the Prince of Techno”– describes the function of sampling and how it changed over the years, after techno made its way to Europe. Sampling, for Baxter, is a way for frequencies to come together to “honestly compose music” and harmonize a new sound: “Now, everyone samples from Detroit style stuff, or they mimic and copy, and a lot of these artists are making a killing off of it.” Baxter explains that techno began to slip away from its Detroit originators in part because of a gap in access to technology and equipment: “We don’t have the studios or the money to come across as loud and as strong as the people who copy or are influenced by our music.” The 1996 documentary Universal Techno, produced by French-German public television service ARTE, features interviews with such major players as the Belleville Three, Aphex Twin, and LFO, in an attempt to historicise techno and rave culture as a form of global collaboration. As one of the oldest artefacts of the dance music phenomenon, Universal Techno documents their first encounters with rave culture and offers a pre-global oral history of techno’s origins in Detroit through detailed discussion of the socio-economic conditions of ’80s Detroit and its influence on key figures of the movement’s interpretative use of music technology.

In the next scene, Jonathan Fleming, author of the 1995 visual history of rave culture in Europe, What Kind of House Party Is This? flips through the pages of a magazine feature on the Belleville Three. As he does so, he gives a succinct, culturally distant portrayal of each of their contributions to techno: “Since these people were being influenced by Kraftwerk, this has become not a culture or a community in Germany, but a life thing. That is why there is such a passion for techno music in Germany as opposed to anywhere else in the world.” The Belleville Three, too, each appear in turn. In a confessional-style scene earlier in the film, Juan Atkins sits in a studio, recounting how he came to produce music at the age of seventeen: “I knew that I wanted to make a record, but that was the extent of my dream at the moment. To have it played and to have people hear it.” He had no idea that the music would travel to Europe and the world. A discussion of Kevin Saunderson’s vocal house project, Inner City – the release that brought techno to the masses – follows. Two of Inner City’s songs, “Big Fun” and “Good Life,” were crossover hits in both the dance and pop markets. Later in the documentary, Saunderson is shown at the Detroit offices of the label Submerge Recordings, pulling and playing his remix of Underground Resistance’s first release, “Living For The Night,” featuring vocalist Yolanda Reynolds – which he called one of his favourite remix jobs. Saunderson explains how The Electrifying Mojo’s midnight show included music that was different from any of the marketable hits programmed during the day: “All of these mixed sounds, which was never heard before until he came on, definitely had a lot to do with the inspiration in Detroit.”

Derrick May, who is referred to earlier in the film as “the crazy man of the group,” talks about his understanding of machinery, electronics, and industry. He explains his transition from DJing to experimenting with electronic instruments, a decision he made after watching Atkins develop a relationship with his machines over the years – in a direct affront to their typically cold, industrial working-class environment. “Machines have no love nor any feeling,” he explains, “and sometimes the people that work for these machines end up having no feeling nor love because they’re working relentless hours, they’re putting in total commitment to something that is giving nothing back.” As a DJ, May developed a philosophy of “making music with music records,” which carried over into his music productions. “We took these same ideas of machinery – not necessarily the synthesiser, but it was more or less the sound of the synthesiser – that we created our own sounds, and all these sounds subconsciously came from the idea of industry.” He takes the Universal Techno camera crew to the Michigan Theatre, an abandoned 4,000-seat French Renaissance-style establishment built in downtown Detroit in 1925 by the infamous sibling architects, Cornelius W. and George L. Rapp. “Inside this building was a theatre,” he recalls, “and they tore out the theatre and they made a car park . . .  I don’t feel sad, I feel angry. Angry at stupid people.” May comments on the arrogant exuberance of American utopian thinking, which inevitably leads to great catastrophe. “In America, nobody cares about these things... People in America tend to let this shit die, let it go with no sort of respect for history,” he complains. Despite being a controversial figure in techno, due to his pointed quips, predatory behaviour toward women, and impassioned improvisational lectures on the arts and all things romantic in the world, May was attuned to the unsustainability of Detroit’s economy and its global export of cars and music: “Being a techno-electronic-futurist, high-tech musician, I totally believe in the future, but I also believe in a historic and well-kept past. I believe that there are some things that are important. Now maybe this is more important like this, because in this atmosphere, you can realise just how much people don’t care, how much they don’t respect – and it can make you realise how much you should respect.”

In another scene of side-scrolling through aged and neglected houses and corner stores in Detroit, the camera draws visual connections with the previous shot of the Berlin Wall. “Detroit, probably as you’ve noticed, is somewhat of a depressed postindustrial city, and I think that the general attitude here with the powers that be, with the government, with the local government is that, you know, industry must die to make way for technology. I think Detroit is a city in North America that’s probably experienced the technological revolution first, and I think that it affects all of the occupants of Detroit, including the artists, the musicians and what have you.” Having coined the term “techno” from his own readings of Alvin Toffler, Atkins reflected that, “The climate has definitely affected us, and I think... we probably wouldn’t have developed this sound in any other city in America other than Detroit, and that’s the major reason why I stay here and I haven’t moved.” He concludes: “There is a certain atmosphere here that you can’t find in any other city that lends to the technological movement.”

Assembling A Black Counter Culture is available via Primary Information. Read Joe Muggs's review of the book inside The Wire 468. Wire subscribers can also read the magazine online via the digital library.

6 Jan. 2023

Stream a selection of tracks from some the releases we listened to during the making of our February 2023 issue

Aksak Maboul
Une Aventure De VV (Songspiel)


Dez Dare
Perseus War

David Dunn
Angels & Insects
(EM Records)

Glasgow Improvisers Orchestra
Flying A Kite On An Empty Beach
(New Jazz And Improvised Music)

Justin Hawkins
Justin Hawkins Rides Again

Victor Herrero
Pajarito Negro

Mark Jenkin
Enys Men: Original Score

Jussi Lehtisalo
Vinyl Factory

Francisco Mela featuring Cooper-Moore & William Parker
Music Frees Our Souls Vol 2

Meredith Monk
The Recordings

The Mystic Revelation Of Rastafari
Tales Of Mozambique
(Soul Jazz)

Old Spirit
Burning In Heaven
(Bright As Night)

(Tripticks Tapes)

Bardo Todol & Robert Millis
A Magnetic Road To Hell
(Sucata Tapes)

Compiled from the playlists of Wire staff. Find all of this month's charts on page 42 of The Wire 468.

18 Jan. 2023

Croatian archive specialist Fox & His Friends issues forgotten curios that flowered in the cracks of communist Yugoslavia. Antonio Poscic creates a playlist of standout tracks from the label's back catalogue.

Croatian label Fox & His Friends was born in 2017 out of Leri Ahel and Željko Luketić’s obsession with disco and obscure electronics, their predilection for crate digging and a desire to salvage and reanimate long forgotten Yugoslav musics. As a result, the label’s catalogue is varied and spans across genres – oddball pop, seductive funk, electroacoustic experiments, electronic rock and everything in-between – connected by the neglect and ridicule that welcomed them originally, the dust that covered them in the decades since and the hidden histories they uncover. While their releases are available digitally, the label’s format of choice remains vinyl packaged with great attention to detail and extensive liner notes.

Tomislav Simović
“In Impossible Situations We Turn Back Time”
From Visitors From The Galaxy (2017)

While Yugoslavia nurtured a fairly accomplished film industry, Dušan Vukotić’s Visitors From The Galaxy (1981) was one of only a few science fiction features it produced. The Oscar-winning director’s vision of the genre was extravagant and progressive, which in turn allowed him to populate his camp storyline with offbeat human characters and biomechanical extraterrestrial creatures modelled by Jan Švankmajer. Composer Tomislav Simović’s electronic score followed suit in style, feeling and absurdity. His mesmerising cues such as “In Impossible Situations…” open with simple motifs and faux orchestral segments, but soon devolve into abstract bleeps, pulses, disorienting effects and horror-like ambience that sound as if they had just escaped from Ina-GRM. Although they have regularly published more accessible music, this was a daring first release that has since served as a statement of intent for Fox & His Friends.

Dubravka Jusić
“Stani, Stani”
From Socialist Disco: Dancing Behind Yugoslavia's Velvet Curtain 1977-1987 (2018)

Disco as a form was often labelled ‘kuruza’ in Yugoslavia. Meaning literally ‘corn’, it was a term used to deride art of supposedly lower value made for the masses. While the musicians and songwriters involved would later come to renounce the music, these tracks, their queerness and the democratising potential of disco floors form a staple of Fox & His Friends’s publishing efforts. This compilation explores the fringes of the genre, collecting quirky one-offs into a curiously cohesive, beguiling whole. Dubravka Jusić’s assertive romp “Stani, Stani” is one of its standouts, the singer’s silky voice soaring over spacey synth rays, pumping bass repetitions and incisive drum rolls.

Alfi Kabiljo
“Moderate Motion (Theme from Slow Motion)”
From Sex, Crime & Politics: Cinematic Disco, Jazz & Electronica From Yugoslavia 1974-1984 (2019)

Primarily known for his musicals and chansons, Alfi Kabiljo composed innumerable other works, from ballets to functional music – such as the workout pieces featured on Yu Aerobic – that didn’t quite fit the composer’s public image. In these peculiarities where mainstream interest fades, Fox & His Friends begins. More than just a compilation, Sex, Crime & Politics is a re-contextualisation of Kabiljo’s scores for several Yugoslav films in the form of a thrilling and sexy new musical narrative. Here, “Moderate Motion”, the theme from Vanča Kljaković’s Slow Motion (1979), becomes the album’s archetype: a steamy funk and melancholy jazz affair supported by swirls of strings, flutes, Fender Rhodes textures and wah-wahed guitar.

“Velika Magija”
From Pop Not Pop (Songs For New Europe 1983-1989) (2020)

Dejan Kršić’s multimedia collective NEP (Nova Evropa) was imagined as a force of disruption that was to shake up the theoretical foundation of Zagreb’s art scene under the influence of pop art, Fluxus and other more or less radical movements of the time. In this context, music served both an autopoietic and functional purpose, as accompaniment for installations and performances. Divided into two halves, Pop Not Pop features several originals in multiple versions along with a deconstruction of Kraftwerk’s “Trans Europa Express”. The album’s first half is home to stomping songs that drip with darkwave grime, while the second dives into peculiar bubblegum pop. Taken from that first part, “Velika Magija” combines Einstürzende Neubauten’s idea of scuzzy experimental industrial with haunted spoken word fragments and unsettling folk tinges for great effect.

Tomislav Simović
“To Turn Back Time (Anatolian Weapons Love Mix)”
From Visitors From The Galaxy Revisited (2021)

In an effort to bridge the past and the present, Fox & His Friends provided an extended set of samples, stems and sounds from Tomislav Simović’s Visitors From The Galaxy score for a select group of composers, producers and DJs to reimagine as they saw fit. The resulting music has a dark and heavy dancefloor vibe, with the two remixes by Dutch producer Drvg Cvltvre dropping especially low. But the compilations most alluring moments are found in tracks which emphasise the warmth and empathy buried in the source material. Aggelos Baltas alias Anatolian Weapons’s “To Turn Back Time (Love Mix)” is spectacular in this sense, with lush synth pads, foggy background fabric and echoing vocal bits summoning Jamal Moss’s transcendent Chicago house and Andy Stott’s ghostly techno.

Nenad Vilović
From Prizma (2022)

Within the context of Yugoslav and Croatian pop music, songwriter and producer Nenad Vilović is primarily known as a mainstream hitmaker whose inclination towards lighter notes and commercially viable forms gained infamy in purist circles. However, his true artistic interests lay elsewhere, as can be heard on Prizma. Originally recorded in 1985, but ignored by labels and shelved since then, the album channels Vilović’s admiration of Jean-Michel Jarre, idiosyncratic film scores, electronic music and disco into a space prog rock opera laden with analogue synth textures and spaghetti western atmosphere. “Nebula” is particularly affecting, as its spiral of plaintive strings, expansive, fuzzy synth stabs and sparse acoustic guitar phrases evokes an idealistic fusion of 1980s aesthetics, from John Carpenter and Giorgio Moroder to Ennio Morricone.

Tomislav Simović
“The Dream (1982)”
From The Zagreb School Of Animated Film (Original Soundtracks 1961-1982) (2023)

A significant part of Tomislav Simović’s oeuvre is occupied by music for films that belonged to the Zagreb school of animation. His scores reflect the films’ avant-garde visual aesthetic and non-traditional structures, which stood in stark contrast to the 1950s and 1960s output of studios like Disney, with similarly daring, intricate electroacoustic compositions. On “The Dream”, from the eponymous 1982 animation, the appearance of a soprano and her scat-like inflection transforms bubbly, xylophone-haunted synthetic soundscapes into an unnerving, minimal aria and one of the most striking compositions here.

Read more about Fox & His Friends in The Wire 468. Wire subscribers can also read the magazine online via the digital library.

20 Jan. 2023

Chris Lane goes island hopping with the crown prince of reggae in his ongoing odyssey through Jamaican music classics

Dennis Brown’s 1970 cut “No Man Is An Island” was a very early highlight of his career and a true reggae classic, although according to ace reggae producer Derrick Harriott, it should have appeared on his Crystal label rather than Studio 1. By all accounts, Brown was lined up to record the song for Harriott but was somehow waylaid before the session and ended up voicing it for Coxsone Dodd instead.

Naturally Harriott – a fine singer in his own right - made sure the idea didn’t go to waste by recording it himself, on the Song Bird label.

Both Dennis Brown’s and Derrick Harriott’s versions are based on the original by The Van Dykes, a Texas based, Impressions influenced soul and doowop vocal group. “No Man Is An Island” was written by the group’s lead singer Rondalis Tandy, and released in 1965, but Tandy (a minister’s son) had got the idea for the song from the opening line of a sermon (later a poem) written in 1624 by clergyman and metaphysical poet John Donne while he was Dean of St Paul’s Cathedral. Meditation XVII is from a series of writings he called Devotions upon Emergent Occasions, and is one of Donne’s best known works.

No man is an island, entire of itself; every man is a piece of the continent, a part of the main.
If a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as if a manor of they friends`s or of thine own were.
Any man’s death diminishes me, because I am involved in mankind. And therefore never send to know for whom the bell tolls; it tolls for thee.

The song was revived a few years later with recordings from Horace Andy, John Holt and Gregory Isaacs, but the best and most successful cut was created by the late George Oban for his Movement (later Motion) project. Oban’s version is a superb Latin flavoured lovers rock classic which rocked the clubs and blues dances when released on a 12” in 1980.

There’s another song with the same title – derived from the same idea – written in 1950 by Joan Whitney and Alex Kramer, and although it was popular and probably had some sort of influence on Tandy's version, the melody and lyrics are very different. The best known is probably by The Lettermen and for us UK residents of a certain age there's the late, great Harry Secombe to enjoy!

Chris Lane is a label boss, writer, producer and selector based in London. Subscribers can read more about his Fashion Records label in Neil Kulkarni’s feature in The Wire 421 via Exact Editions. You can also catch up with instalments one, two, three, four, five and six

20 Jan. 2023

The 19 January edition of The Wire’s weekly show on Resonance FM and Resonance Extra featured a special guest mix by Ghanaian musician King Ayisoba, plus Deena Abelwahed, Gaye Su Akyol, Mayssa Jallad, and more

“Lost Riders Intro”
From Future

Mayssa Jallad
From Marjaa: The Battle Of The Hotels

Otakar Olšaník & Jan Martiš
“Regulators 2”
From Advanced Process
(Be With)

Dubmatix featuring Lone Ranger
“Ask Me (Dancehall Mix)”
From Ask Me EP
(Echo Beach)

King Ayisoba featuring Awilo One
“Bossi Labome”
From Work Hard

Deena Abdelwahed
From Flagranti

From Spellbound II
(Raund Haus)

Gaye Su Akyol
“Biz Ne Zaman Düşman Olduk”
From Anadolu Ejderi

Vusi Mahlasela/Norman Zulu/Jive Connection
From Face To Face

Dereck Higgins
“I Didn’t Hear It On The Radio”
From ZZAJ: Jazz From The 23rd Century
(No label)

Gaudi & Mista Savona
“The Ghetto Dub”
From Havana Meets Kingston In Dub
(VP Records)

Betty Griffin
“Free Spirit (Divine Situation NYC Downlow Rework)”
From Divine Situation Remixes
(Cultures Of Soul)

King Ayisoba Guest Mix

Bob Marley “War”
Atongo Zimba “Cowboys”
Fela Kuti “Who No Know Go Know”
Ragazeer “Matala Ligri”
Wiyaala “Rock My Body”
Ayuune Suley “Teza So Ndeyine”
Daddy Lumba & Borex “Twe Ben Yen”
Terry Bonchaka “Pulele”
Zea “Song For Electricity”
Atamina “Trouble Car”
Prince Buju “I Am Accused”
Sugri Haija Zenabu “Sugri”

Selection: King Ayisoba
Edit and mix: Zea

11 Jan. 2023

The Pennsylvania born composer, multi-instrumentalist and vocalist discusses how her artistic practice has evolved to centre her disability and explore it as a creative source

Music first or disability first? This is the question posed by Canadian disabled musicologist Stefan Sunandan Honisch at the start of his article of the same name, ultimately asking: “What is the difference between being a disabled musician and an able musician who happens to be disabled?”

For me, this question and its answer are ever evolving. As a disabled musician, and especially a composer and performer writing music for my physicality and embodiment, the exchange between music and disability continually fluctuates. Sometimes my artistic decisions are driven by a musical direction and sometimes by a disability direction. The ultimate challenge, however, is adequately representing these directions in order to advocate for disability in musical contexts, where it is typically feared, shunned and stigmatised.

Growing up musically, it was clear that most musical instruments are made for specific abilities. Unlike dance and visual art, where consideration of the body has grown to be considered free of physical norms and restrictions, music has consistently been tied to instruments with specific physical expectations of the performer, such as the common violin, piano, or even vocal performance. This was evident in my musical development. I was involved in a car accident at the age of seven that nearly amputated my left hand. Before the accident I played violin, and following the accident played cello and trumpet through adaptive means (such as playing cello backward, bowing with my left hand via a splint). However, when attempting to play these instruments, even through adaptive methods, I was in conflict with the instruments’ physical expectations of my body, specifically my left hand, such as using the cello’s fingerboard or properly supporting the trumpet’s weight. These expectations were something I was never going to conform to, and standards that were never going to conform to me. At the time, this unconsciously motivated me to explore music composition more, through which I did not have to consider what my left hand could or could not do. Thus at the time, the answer to the “disability first or music first” question was “music first”. I attempted to conform physically to the music rather than having the music and musical means and methods conform to my physicality.

When I started undergraduate studies, the student affairs office wanted to notify the music faculty of my impaired left hand because of the potential accommodations needed. I was horrified by the prospect of the composition faculty finding out about me because of my disability rather than my music. As an eighteen year old, I had never been labelled as disabled in previous schooling, and felt a real reckoning point with the then forced label of disability, as something forcing me to choose the “disability first” route rather than consciously and intentionally choosing it.

As my practice developed, I realised that my disabled experience is an inherent way I interact with the world and an essential channel to producing work. Much of this thinking has been developed by the discovery of disability studies and the rich world of disability arts, where artists across disciplines cultivate new work grounded in the experience of disability. This has encouraged me to embrace and recognise my disability as a critical source of creativity. Rather than conform my physicality to the music, I cultivate the music from my physicality.

Thus for me, the answer has turned to “disability first”. I would rather the world become more aware of disability and its ramifications through my work. In my opinion, disability considerations have the most wide-ranging consequences, with disability being the largest yet perhaps least acknowledged minority (26% according to 2020 CDC report, 15% worldwide in WHO/World Bank 2011 Report on Disability). Additionally, disabled individuals are often the least employed, with the employment rate for disabled individuals nearly 40% less than non-disabled individuals (2021 report by US Department of Labour). I believe these figures are often not known among the public, especially as disability is an identity that is often stigmatised and feared.

Therefore, for me the “disability first” answer has become most critical. I seek to explore the artistic and musical ramifications from this, in continually investigating disability as a creative source that all can learn from and engage with.

Read Jo Hutton's reviews of Molly Joyce's album Perspective in The Wire 466. Subscribers can also read the review via the online magazine library.

16 Jan. 2023

Leeds based noisenik and promoter Theo Gowans assembles a playlist of tracks from his DIY discography

“The way that music’s written about, it’s all about what an individual is doing and how you can relate to them,” says Leeds artist and promoter Theo Gowans, taking to Abi Bliss in The Wire 468. “Whereas I think it’s a lot more rewarding creating these spaces and a sort of music where it is super-flattened and there are zero expectations,” he continues. “It’s really DIY in the sense that you don’t even need to have gear; you can just cobble something together.”

Although Gowans has a long list of recordings and live appearances credited to his solo project Territorial Gobbing, his focus and objectives go beyond his own fluxus inspired absurdist sound practice; he's just as concerned with booking and promoting gigs at his local co-operatively run venue Wharf Chambers, for which he'll also create visual art for posters and flyers, engineer the sound and work on the door – activities that form what Bliss refers to as one big “no-audience underground ecosystem.”

This playlist – compiled by the noisenik musician and improvising performer himself – includes collaborations with fellow Leeds artist Pressure Cooker Relief Valve and Bristol's Carnivorous Plants, plus a live recording from a recent solo show at London's Cafe Oto.

Read Abi Bliss's interview with Territorial Gobbing in full in The Wire 468. Wire subscribers can also read the article online via the digital library.

12 Jan. 2023

The 12 January edition of The Wire's weekly show on Resonance FM and Resonance Extra featured tracks by Anat Ben-David, Meredith Monk, Rian Treanor & Ocen James, Michael Snow, Debby Friday, and more

Meredith Monk

“Turtle Dreams (Waltz)”
From Meredith Monk: The Recordings

Anat Ben-David
 featuring Sean Ashton
From Conversations


“Break The Ice + Michael Snow”
From Britney Spears + Noise = HOT Vol 2

Andrew Osterhoudt

“Frequency (feat. John Also Bennett and Ka Baird)”
From Out Together
(Geographic North)

Ani Zakareishvili

From Fallin
(Warm Winters Ltd)

Theophilus Oluwafifehami Ajayi

“Destination To West Africa”
From Destinations
(Club Soda)


“Axall Hasck”
From Nivraym (Revisited)
(Skin Graft)

Rian Treanor & Ocen James

“Bunga Bule”
From Saccades
(Nyege Nyege Tapes)


From Biensüre
(We Want Sounds)

Kate Fagan

“I Don’t Wanna Be Too Cool”
From “I Don’t Wanna Be Too Cool (Expanded Edition)”
(Captured Tracks)

Megadeath Extreme

“Peter Punk”
From Technoacrazia

Debby Friday

“So Hard To Tell”
From Good Luck
(Sub Pop)


“Believe What You Can”
From Speech Free

Michael Snow

“Conference: Subject: 3 Inches = 77 Milimetres = 3 Min 30 Sec ”
From Hearing Aid

Uri Katzenstein

“Half Monk Half Herring”
From Audio Works
(Black Truffle)

Amefrican Grunges

“Be Sunshine”
From Amefrican Grunges

Babsy Kounate

From Tounga
(Sahel Sounds)


“Lo Paid Runway Model”
From Midnite Fukk Train

“A Harmless Way”
From SODAA Decentralised Compilation Vol 1

MindSpring Memories

“Birds In The Window, Casting Shadows On The Wall”
From Magical Realism
(Skyline Tapes)

11 Jan. 2023

As part of her memoir of queer pre-and post-punk music and art life in London, Dorothy Max Prior recalls her involvement in the short-lived new wave outfit Rema-Rema

I’m the last to join. They’ve been meeting up since May, and now it’s August. They weren’t going to have a drummer. They considered a drum machine – had been playing around with a Mini-Pops Junior drum box, in fact – then changed their minds and put an ad in Melody Maker that mentioned Kraftwerk and The Velvet Underground, and specified ‘no hi-hats’.

I liked Kraftwerk and the Velvets, and never used a hi-hat, so that seemed fortuitous. I phoned up the number and someone called Marco, who said he was the guitarist, answered and we chatted away very merrily about all sorts, and arranged to meet up. I met Marco and singer Gary at the tea shop at High Street Kensington Tube, just round the corner from where I lived, and then got invited up to Marco’s house in Harrow a few days later so the other two – Mick and Mark – could get to meet me.


The four of them were already close friends when I joined in mid-1978, and all four of them lived in their families’ homes in Harrow or Ruislip. I came in as the ‘other’. A few years older, the only girl, the only one who didn’t live at home with their parents. And they all had, individually and collectively, a very different aesthetic to mine. I turn up at Marco’s house in Harrow for that first meeting wearing my zebra print jeans, a neon pink string vest, and a white leather jacket. Waist length red hair, Cleopatra eye make-up, and high-heeled boots. Definitely ‘other’. It didn’t take long before I followed their lead and started getting my clothes from the old warehouses in Pinner and Ruislip – striped short-sleeved shirts with button-down collars, a loose round necked collarless Beatles jacket with big buttons and black vinyl trim, tight legged airforce blue moleskin trousers with pearl buttoned back pockets. I kept the shiny high-heeled boots – though also bought some little flat pull-on winkle pickers that never lost the smell of rotting apples that vinyl gets when it’s been left in a damp warehouse for 20 years.

We had a few band gatherings at Marco’s, then decided (well, I suppose they decided) that I was in, and that we’d better make some music together. We started with an all nighter at Halligan’s Heap on Holloway Road, which then became something we did regularly. We got a cheap deal: the eponymous Halligan gave us the key and left us to it, nipping off to the pub for a different sort of lock-in, no doubt. We knew that we had to get to the rehearsal studio before 11pm so he could get to the pub on the corner before last orders, that was a crucial part of the deal.

We’re now at our first proper rehearsal. There are already songs that Mick, Gary, Marco and Mark have started work on. One of them is called “Fond Affections”. It has a lovely melancholy synth line that sounds a bit like whale song (not that I’ve heard a whale sing, but still) and mournful lyrics. I try a few different drum beats with it, but nothing feels quite right. In the end, I stick to a steady heart-beat bass drum rhythm with my right foot and a gentle bit of tambourine shaking. It’s all it needs, so that’s the way it stays. The boys in the band express approval – they seem glad to have found a Moe Tucker inspired drummer who doesn’t feel the need to fill every bit of space. There’s a very different song called “Rema Rema” – fast and beefy, with a repeated riff and rhythm that builds and builds. I put a big beat rhythm into the mix and it feels like we’re there already. This one has Marco on lead guitar, as ever – that great big rich Gibson guitar sound with his Marshall amp on overdrive, all distorted by his state-of-the-art microphase guitar pedal and WEM Copycat – and Gary on rhythm guitar playing a repetitive little riff filched from a funk song. Mick’s voice is rich and resonant on this one.

It might not be that evident, but funk is quite a big influence on us. James Brown, Parliament, Bootsy Collins – it’s all in there. In disguise, maybe – but there. Especially the big bad Bootsy bass. The other influences are perhaps more upfront: the Velvets and Nico of course, Can, Kraftwerk, and Eno. Some of us like dub, especially Augustus Pablo. Some of us like Link Wray. Most of us like soul, jazz and big band swing. I think all of us like Phil Spector’s Wall Of Sound, and Motown. The big divide in points of view is on our peers. I’m close friends with Genesis P-Orridge and Throbbing Gristle, who Mark also loves, but Marco hates. He’s all for sound experiments, but there has to be a tune in there somewhere to keep Marco happy. His ideal band is early Roxy Music, who managed to merge musical experimentation with a pop sensibility.

And so it goes. All-nighters at Halligan’s become a regular fixture. New songs start in very many different ways. Sometimes there’s a lyric – “Bound For Glory”, for example, which develops into something that has a fantastic great wash of guitar feedback running over and through it, so we always refer to it as the “Feedback Song”, which sticks. Sometimes I start a drum rhythm and Mick, who is usually standing close to me, picks it up on the bass. Often I’m trying to copy something I’ve heard by Jaki Liebezeit, Can’s drummer, and I can’t quite pull it off, but it sounds OK. This is how some songs emerge, with me doing a kind of poor girl’s “Halleluhwah” that the others join in on. Or Mick starts a line on the bass – bass guitar as lead instrument is a feature of our music – and I pick up on it and make a drum pattern, usually on floor tom and snare, which is my favourite combination. No hi-hats needed. Sometimes Mark turns on his ARP synthesiser and some interesting noises come out, and that’s the start of something. Being analogue, there was of course a great big complicated thing of knobs and dials and sliders, and writing down the settings so the sounds could be recreated. Mark is allegedly also going to play organ – but the organ, a Vox Jaguar, is currently little more than a box of bits found in Lloyd Johnson’s warehouse. It’s supposedly being repaired, but that turns into a big fandango involving some hippies in Frestonia (a self-declared independent republic on Freston Road in Notting Hill).

There are songs – pieces of music – that are driven by the rhythm rather than a melody line, and songs that weave around a particular keyboard sound. There are even some based around a guitar riff. We decide that the five of us will co-own everything; we’ll all be credited on all the songs. We are all present in the creation, so are all part of the process, and it doesn’t matter who is in the driving seat for any particular song. It is an acknowledgement that music is about the whole sound, not just a tune and a lyric which is the usual songwriting definition. This way, we will also just pick the best things to play or record at any given time, as we are all equally committed to everything.

We’ve been rehearsing together for a good few months, but haven’t played in public yet. In a way, we’ve been happy not to perform live, just staying with the writing or rewriting and remaking of songs, music, noise, sounds or what you will. There’s a lot now. We’ve already done some recording – at first at Halligan’s with a Revox, and then (more ambitiously) in a basement studio in Portobello Road, armed with singer Hazel O’Connor’s TEAC four-track. Hazel is going out with Banshee Kenny Morris, so that’s the connection there.

And when I say basement, I mean really a basement, almost a cellar. There’s a wooden hatch in the street – the fag end of Portobello Road, by the Westway flyover – and down we go into a dingy space that becomes our home for a week. My little Pearl Maxwin drum-kit is set up (in the middle of the space rather than right at the back), and the guitars and amps and keyboards are in place. Marco and Mick have recorded before with The Models, but the rest of us haven’t a clue. And we’re on our own, no one to engineer. Marco takes charge and works out where the mics should go. He explains about bouncing down, so the four tracks can actually become more than four. There are cups of tea and cans of Pepsi and crisps and biscuits, and the fug of cigarette smoke coming from everyone except Marco. Later in the day, someone would run out to get cans of beer and curry patties with chips wrapped in newspaper.

Here in our little den, we record everything we’ve got.

69 Exhibition Road: Twelve True-Life Tales From The Fag-End Of Punk, Porn And Performance by Dorothy Max Prior is published by Strange Attractor. Read Claire Biddles's review of the book in The Wire 465. Wire subscribers can also read the review online via the magazine library.

9 Jan. 2023

New Zealand instrument builder and psychedelicist Pat Kraus compiles tracks from a selection of his albums released between 2003–2022

“My music has always been short in form, rhythmic and melodic, modal and often pentatonic,” says Tāmaki Makaurau Auckland composer Pat Kraus, speaking to Kiran Dass in The Wire 467. “I prefer focused, vivid, in the face sounds rather than washed-out impressionistic things.” Kraus has largely created his succinct electronic productions on instruments he's built himself – gear which he then makes publicly available via a lending library housed in Tāmaki Makaurau’s experimental music and sound art venue and community space the Audio Foundation.

This playlist, compiled by Kraus, features some older self-released productions as well as more recent tracks released by labels such as Soft Abuse and Ultra Eczema. The selection opens with “Into The Mirror” from Fire! Water! Air! Kraus! – his 19th solo album, which features a modular synth he built in 2010.

Read more about Kraus's future plans and releases in The Wire 467. Subscribers can also read the article via the online magazine library.

Full tracklist

“Into The Mirror”
From Fire! Water! Air! Kraus!
(Soft Abuse) 2022

“Dish Of Silver Full of Blood”
From A Golden Brain
(Ultra Eczema) 2020

“Why Oh Why”
From Grip The Moon
(Soft Abuse) 2017

“A Golden Brain”
From A Golden Brain
(Ultra Eczema) 2020

“Eat, It Is Good”
From Interior Castle
(Moniker) 2014

“Stalking Horse”
From Faster than the Speed of Time
(Dilletante Courtoisie) 2010

“Crystal Palace”
From Prince Krauss
(Self released) 2003

“Taped Sounds”
From Supreme Commander
(Moniker) 2012

“Nietzsche's Candy”
From Grip The Moon
(Soft Abuse) 2017

“Flamingos In Snow”
From Pudding Island
(Self released) 2019

6 Jan. 2023

To accompany his essay in The Wire 467 on the ongoing tradition of absurdist humour in UK experimental and improvised music, Stewart Smith compiles tracks by a selection of notable contemporary sonic pranksters

From the performance art stunts of Lol Coxhill and Feminist Improvising Group, to the surrealist action of LAFMS, there’s a fine tradition of absurdist humour in improvised and experimental music. While older generations of British free improvisors were steeped in the music hall surrealism of BBC radio’s The Goon Show, the Bonzo Dog Doo-Dah Band and Monty Python, today’s artists take their comedic cues from absurdist comedians like Vic & Bob, Neil Hamburger, Eric Andre and Limmy. Comics are another important influence, not least on Usurper, whose Malcy Duff is a celebrated cartoonist. Musically, free improvisation, sound poetry and the neo-dadaist noise of the US tape underground all go into the mix. The art of the new wave is silly, weird, often dark or unsettling, yet governed by a spirit of generosity and inclusiveness.

Secluded Bronte
“Section 5”
From Live At Supernormal
(Ffordd Allan) 2022

Brothers Adam and Jonathan Bohman and composer Richard Thomas formed Secluded Bronte 21 years ago, naming the project after a juxtaposition of words found in a catalogue of paving tiles. The group create music and sound from homemade instruments, found objects, tapes and cut-up texts, interspersed with James Holcombe’s short films. “All too often it’s presumed what we do is some form of post-Cage non-idiomatic free improvisation with text,” writes Thomas in The Wire 465, clarifying that their sets are in fact built around stories and songs. Their marvellous Supernormal 2022 set features bleeping synthesizers, post-punk guitar, tape wobble, much bowing and scraping amid mundane yet mysterious yarns, as well as guest appearances from two additional performers, Hugo Holcombe (aged 14) and Xena Holcombe (aged 10) on cello and vocals respectively.

“Part 5”
From Fishing For Tripe
(Chocolate Monk) 2013

Edinburgh’s Usurper – Malcy Duff and Ali Roberston – conduct stilted and often very funny conversations across a tabletop full of amplified junk and tapes, which they scrape, rattle and mangle. Envisioned as a wholesome document of domestic life, Fishing For Tripe throws in the gurgling of the kitchen sink, alongside vocal contributions from the duo’s partners Louise and Collette. The overlapping voices of “Part 5” sit somewhere between a Robert Ashley opera and Ivor Cutler’s Life In A Scotch Sitting Room.

Firas Khnaisser & Ali Robertson
“0.4 Miles”
From Inspiring Capital
(Takuroku) 2020

As lockdown restrictions eased in the summer of 2020, Firas Khnaisser and Ali Robertson began meeting up for al fresco jams in Lochend Park near their Edinburgh homes. Subverting the neoliberal language of Edinburgh’s official “inspiring capital” slogan, Khnaisser and Robertson make mischief in the ruins of the city’s annual festival, scraping, twanging and plinking assorted instruments and junk while seagulls squawk and people walk past. This neo-dada noise picnic is the perfect antidote to bourgeois Scottish culture.

Olivia Furey
From Various Wonderful Christmas Extravaganza Vol 1
(Fuzzbat) 2020

An Irish artist based in Edinburgh, Olivia Furey takes on a hysterical persona in her performances, throwing diva strops in the face of perceived indifference from her audiences. Her set at Glasgow’s Counterflows in April 2022 was a tour de force. “I’ve been on Radio 3, I’m fucking class,” she exclaimed. “Would you rather watch Usurper flinging marbles with teaspoons for the millionth time?” Through Furey’s sheer commitment, what could simply be a parody of an art school noise dilettante – she claims to have invented a new genre: Cluttercore – becomes oddly righteous and uplifting.

Robert Ridley-Shackleton
“I Am The Cardboard Prince”
From I Am The Cardboard Prince
(Cardboard Club)

Inspired by Prince and Suicide, Bristol’s Robert Ridley-Shackleton is a master of the DIY pop song and the free-flowing monologue. He’s released scores of tapes, CD-Rs and LPs on labels like Chocolate Monk, Goaty Tapes, Crow Versus Crow, featuring DIY electro-funk bangers and disarmingly frank discussions of mental health. The title track from his latest album, I Am The Cardboard Prince celebrates his favourite art material – as he remarked in The Wire 436, “Is [cardboard] of royal value or is it just trash?” – with promises to be “corrugated just for you” and a hilarious aside about stretched-out Turkey Twizzlers.

Territorial Gobbing
“Honk If Phillip’s Dead”
From Suffer For Succotash
(Chocolate Monk) 2022

Emerging from the creative tension between “messy noise muckabout” and “silly little songs”, Suffer For Succotash is one of the finest releases to date from Leeds based Territorial Gobbing aka Theo Gowans. “Honk If Phillip’s Dead” nods to a Thatcher-baiting skit by Scottish comedian Limmy. A newsreader’s solemn announcement of the death of Prince Phillip is hijacked by a collage of smarmy 80s pop, before Gowans sets to work on his amplified junk and pedals, chewing and slurping on a contact mic. In the final third, a DIY vocal ensemble emerge from the murk, an oddly beautiful Meredith Monk-like twist.

This Friendship Is Sailing
“This Friendship Is Sailing”
From This Friendship Is Sailing
(Scatter Archive) 2022

From Pointless
(Poot) 2021

Veteran vocal improvisors Maggie Nicols and Phil Minton have made fruitful connections with a younger generation of artists. In 2022, Nicols joined saxophonist Sam Andreae, guitarist David Birchall and vocalist Odie J Ghast for a tour of inclusive and child-friendly afternoon gigs as This Friendship Is Sailing. As the ensemble gurgle, chatter and squawk, children can be heard running around the room, squealing with delight: Nicols’s concept of social virtuosity in a nutshell. In Skatgobs, Minton joins Dylan Nyoukis and Luke Poot for an orgy of grunting, slurping, whistling and foul-mouthed Scottish ranting: Kurt Schwitters’ “Ursonate” via Seymour Glass’s neo-dada noise bible Bananafish.

The Lovely Mr Honkey & Acrid Lactations Jubilee Chorus
From Sing The Futile Tapestry
(Poot) 2021

The third collaboration between The Lovely Mr Honkey aka Luke Poot and Acrid Lactations, the duo of Stuart Arnot and Susan Fitzpatrick, is a prime slice of absurdist noise-making. The A side shrouds churning mechanical percussion in a fog of reverb, while the flip layers wobbly and phantasmal Dictaphone vocals over kitchen utensil anti-rhythms to uncanny effect.

“Eat Out To Help Out”
From Viral Cats And Dogs
(Crow Vs Crow) 2021

Yol’s barked incantations are as unsettling as they are comic. The Hull based artist fixates on images drawn from everyday life, working over a phrase with slavering fervour until his voice cracks. On “Eat Out To Help Out” – named after a UK government discount scheme that sought to revive restaurants during the pandemic, contributing to a spike in Covid cases in the process – Yol’s deranged chant of “a few days ago in the street there was a plastic fork with a nugget on it” captures the bleak absurdity of Tory Britain.

Gwilly Edmondez
“Make Your Own World Now”
From Trouble Number

One half of father-daughter duo Yeah You, Gwilly Edmondez has been honing his wild pop aesthetic since the 1980s, when he was a member of Welsh post-punk group Radioactive Sparrow. Edmondez spins improvised song from fragments of noise, power balladry, hiphop, black metal, folk and jazz. A fine example of Edmondez’s “psychoanalysis through pop waste”, “Make Your Own World” combines cracked confessionals with absurdist riffs on rock stardom. Forgoing his customary electronics, Edmondez creates a backing track with voice and Dictaphone, reimagining the chug and wail of a stadium rock band through free music.

“Nip Dip Dah”
From Grindcore My Rave Years
(self released) 2020

A Dictaphone jacker supreme, Newcastle’s Joe Posset is a key figure in the No Audience Underground. Grindcore My Rave Years finds him stripping his set-up down to just voice and tape, overlaying prerecorded parts and experimenting with procedures. Reminiscent of Hugo Ball’s sound poems and Henri Chopin’s tape pieces, “Nip Dip Dah” is a duet for micro-cassette players, the catchy title refrain bounced between machines, the scrunchy pause button edits adding a playful sense of unpredictability.

Sophie Cooper
“Dial A Bone Ring Tone”
From My Sof Called Life
(self released) 2017

Please call the number below to access your personalised trombone service.

You will be asked a short series of questions that will determine the outcome catering for your every trombone need.

If the phoneline is engaged just keep trying!

Thank you for your custom.

Love, the team at Dial-a-Bone

(Your call may be recorded for security and training purposes.)

Mariam Rezaei & Kenosist
“Starm Reduction”
(TOPH) 2020

Thanks to the Tory party’s implosion, Labour leader Keir Starmer is likely to be Britain’s next Prime Minister. Singularly uncharismatic, this centre-right authoritarian has made it his mission to court the establishment and alienate the young and the left. Armed with turntables and VCV rack, Mariam Rezaei and Kenosist hit back with this outrageous slice of sonic shitposting, annihilating a radio interview in which Starmer said he’d take unconscious bias training following criticism of his description of Black Lives Matter as a “moment”.

“Part 1”
From Athlete Of Joy/Athlete Of Despair
(self released) 2019

Beamed from the kaleidoscopic mind of Glasgow artist Jamie Bolland, Mercuro-Chrome’s “Athlete Of Joy” is adapted from his poem “On All Fours”, devised to accompany a performance with costumes by Morven Mulgrew. It begins with Bolland reading out a litany of identities: “I am a seabird… the tree of Tolstoy… a vision in the body electric”. Then out of nowhere, an Ornette Coleman-derived rhythm kicks in and Bolland's voice blossoms into blissed-out Auto-Tune. Bursts of absurdist humour (a blink and you’ll miss it KRS-1 sample) are followed by moments of touching vulnerability.

Fritz Welch
“The Donal Judd Vs Elmer Fudd Inner Space Crisis”
From A Desire To Push Forward…
(Radical Documents) 2018

Resident in Glasgow since the mid-2000s, Fritz Welch brings direct experience of the US underground to the UK, having developed a practice in 1990s Brooklyn that involves customised percussion, vocal improvisation, sculpture and painting. A heavy trip into psychedelicised sound poetry, “The Donal Judd Vs Elmer Fudd Inner Space Crisis” finds Welch modulating his voice into phased gloop and hovering drones, before exploring a series of mumbles, gasps and choked utterances. There's a rigour and intensity to Welch's absurdism that ensures it’s never merely wacky.

Yes Indeed
“Lies Everything Went Right Today”
From Rotten Luck
(Bison) 2022

Laurie Tompkins’s Slip Imprint is a key node for offbeat composition and underground pop. As Yes Indeed, Tompkins and Otto Willberg revel in once verboten tones – processed slap bass, 80s synth pads – to playful and occasionally unsettling ends. With contributions from Sam Adreae and Gwilly Edmondez, Rotten Luck is their third album, its prog pop tunes and reflective instrumentals subverted by distortion and creepy vocals.

Max Syedtollan
“Four Assignments”
From Four Assignments (and other pieces)
(GLARC) 2021

Max Syedtollan first came to my attention as Horse Whisperer, whose 2016 debut The Fifth Season is a breathless collage of bedroom prog, happy hardcore and Tolkien samples. Since then, his composition has become increasingly sophisticated. Four Assignments is a picaresque adventure through archaeological sites, accompanied by the modernist chamber music of Plus-Minus Ensemble. Syedtollan performs the piece live as an illustrated lecture, the academic rigour of his slides adding to the fun. Yet for all the humour, he has serious points to make about colonialism and the construction of national identity.

22 Dec. 2022

The Wire’s releases of the year for 2022 were compiled from the individual votes of the magazine’s staff and contributors – here are those votes in full

Yewande Adeniran

Commodo Deft 1s (Black Acre)
Chrisman Makila (Hakuna Kulala)
Various Nervous Horizon Volume 4 (Nervous Horizon)
Jabes Ripples/Body Said No (Timedance)
Perisher Man With The Magic Soap (Thrill Jockey)
Manni Dee The Remedy (Silk + Steel)
Latto 777 (RCA)
Pessimist Blue 09 (AD93)
Lektor Scopes My Intentions/Dirty Games (Night Slugs)
Swimful Rushlight (SVBKVLT)

Vanessa Ague

String Orchestra Of Brooklyn/Anne Leilehua Lanzilotti/Scott Wollschleger enfolding (New Focus)
Kali Malone Living Torch (Portraits GRM)
Horse Lords Comradely Objects (RVNG Intl)
Éliane Radigue & Frédéric Blondy Occam XXV (Organ Reframed)
Joy Guidry Radical Acceptance (Whited Sepulchre)
India Gailey to you through (Redshift)
Tomáš Niesner Bečvou (Warm Winters Ltd)
Bill Orcutt Music For Four Guitars (Palilalia)
Kalia Vandever Regrowth (New Amsterdam)
Mabe Fratti Se ve desde acquí (Unheard Of Hope)

Jennifer Lucy Alan

Bill Orcutt Music For Four Guitars (Palilalia)
Diamanda Galás Broken Gargoyles (Intravenal Sound Operations)
Silvia Tarozzi & Deborah Walker Canti Di Guerra, Di Lavore E D’Amore (Unseen Worlds)
Richard Thomas The House Rabbit Of Jesus Green (No label)
The Afrorack The Afrorack (Nyege Nyege)
Wojciech Rusin Syphon (AD93)
Valentina Goncharova Ocean (Hidden Harmony)
Jon Collin Bridge Variations (Discreet)
Dale Cornish Traditional Music Of South London (Death Of Rave)
Schisms Break Apart The Idea Of Separation (Bergpolder)

Steve Barker

The Bug Absent Riddim (Pressure)
Kode9 Escapology (Hyperdub)
Yara Asmar Home Recordings 2018–2021 (Hive Mind)
Kakuhan Metal Zone (Nakid)
Jeb Loy Nichols United States Of The Broken Hearted (On-U Sound)
Chihei Hatakeyama Live At Commend (Part One) (White Paddy Mountain)
Brenda Ray Perfume Of The Soul (Emotional Rescue)
Bhajan Bhoy Shanti Shanti Shanti (Wormer Bros)
Sam McLoughlin & David Chatton-Barker Environmental Meditation Music (Hood Faire)
CTAFAD Vertical Horizontal (Shanshui)

Dan Barrow

Sarah Davachi Two Sisters (Late Music)
Kali Malone Living Torch (Portraits GRM)

Carl Stone Wat Dong Moon Lek (Unseen Worlds)
Oren Ambarchi Shebang (Drag City)
Horse Lords Comradely Objects (RVNG Intl)

Robert Barry

Alvin Curran Drumming Up Trouble (Black Truffle)
Oren Ambarchi Shebang (Drag City)
Kendrick Lamar Mr Morale & The Big Steppers (PGLang)
Carl Stone We Jazz Reworks Vol 2 (We Jazz)
Claire Rousay Everything Perfect Is Already Here (Shelter Press)
Saba Few Good Things (Saba Pivot LLC)
Maylee Todd Maloo (Stones Throw)
Loraine James Building Something Beautiful For Me (Phantom Limb)
Jack Sheen Sub (SN Variations)
Diamanda La Berge Dramm Chimp (Diatribe)

Clive Bell

Ann Eysermans For Trainspotters Only (Cortizona)
dj sniff Parallel Traces Of The Jewel Voice (Discrepant)
Cormac Begley B (Bandcamp)
Robert Storey The Eventual Window (Divine Agency)
Veda Hille Beach Practice (Bandcamp)
Nodosus Nodosus (Empty Birdcage)
Kenny Process Team Hammy (Bandcamp)
Vanishing Twin Ookii Gekkou (Fire Music)
Claire Rousay & More Eaze Never Stop Texting Me (Orange Milk)
Nils Økland Glødetrådar (Hubro)

Emily Bick

Emeka Ogboh 6°30'33.372"N 3°22’0.66" E (Danfotronics)
Carl Stone Wat Dong Moon Lek (Unseen Worlds)
Alvin Curran Drumming Up Trouble (Black Truffle)
Silvia Tarozzi & Deborah Walker Canti Di Guerra, Di Lavore E D’Amore (Unseen Worlds)
Andrew Poppy JELLY (Field Radio)
Coby Sey Conduit (AD93)
Madalyn Merkey Puzzle Music (Mana)
Lucrecia Dalt ¡Ay! (RVNG Intl)
Maggie Nicols Are You Ready? (Otoroku)
Daniel Bachman Almanac Behind (Three Lobed)

Claire Biddles

Soul Glo Diaspora Problems (Epitaph)
Carl Stone Wat Dong Moon Lek (Unseen Worlds)
My Chemical Romance “The Foundations Of Decay” (Reprise)
Kill Alters Armed To The Teeth LMOMM (Hausu Mountain)
Hikaru Utada Bad Mode (Sony)
Claire Rousay & More Eaze Never Stop Texting Me (Orange Milk)
Sky Ferreira “Don’t Forget” (UMG)
Suede Autofiction (BMG)
han The Institute Of Ecoterrorism (GLARC)
Park Jiha & Roy Claire Potter To Call Out Into The Night (Takuroku)

Matthew Blackwell

Daniel Bachman Almanac Behind (Three Lobed)
Motte Cold + Liquid (Ba Da Bing)
Moin Paste (AD93)
Richard Dawson The Ruby Cord (Domino)
Ishmael Reed The Hand Of Glory (Reading Group)
Goncalo F Cardoso Impressoes De Outra Ilha (Borneo) (Discrepant)
Moor Mother Jazz Codes (Anti-)
Manja Ristić Him, Fast Sleeping, Soon He Found In Labyrinth Of Many A Round, Self-Rolled (Mappa)
Wojciech Rusin Syphon (AD93)
Dewa Alit & Gamelan Salukat Chasing The Phantom (Black Truffle)

Helena Celle

Ashenspire Hostile Architecture (Code666)
Krallice Psychagogue (Hathenter)
Compassionizer Narrow Is The Road (ArtBeat)
Sunrise Patriot Motion Black Fellflower Stream (No label)
Wormrot Hiss (Earache)
Grim Magnolia’s Dream (Steinklang Industries)
Ahulabrum Strange Lights Portend Their Presence (Nebular Carcoma)
Sigh Shiki (Peaceville)
Voivod Synchro Anarchy (Century Media)
Artifricial Bain Artificial Brain (Profound Lore)

Julian Cowley

Oren Ambarchi Shebang (Drag City)
Anthony Moore Csound & Saz (Touch)
Caroline Shaw Evergreen (Nonesuch)
Maggie Nicols Are You Ready? (Otoroku)
Mark Ellestad Discreet Angel (Another Timbre)
Wadada Leo Smith The Emerald Duets (TUM)
Magnus Granberg How Lonely Sits The City (Another Timbre)
Brian Harnetty Words And Silences (Winesap)
John Luther Adams Houses Of The Wind (Cold Blue)
John Bischoff Bitplicity (Artifact)

Raymond Cummings

Jeff Parker ETA IVtet Mondays At The Enfield Tennis Academy (Eremite/Aguirre)
Various Point Cloud Noise II (Silent)
Parasite Nurse Caretaker (Abhorrent AD)
Sam Prekop & John McEntire Sons Of (Thrill Jockey)
Mike Shiflet Erased Tapes (No label)
The Floating Mountain Band Trails (Feeding Tube)
Pusha T It’s Almost Dry (GOOD Music/Def Jam)
How I Quit Crack Photonic (Pecan Crazy)
Acid Mothers Reynols Vol 2 (Hive Mind)
Clara de Asís & Ryoko Akama sisbiosis (Erstwhile)

Phil England

Avalanche Kaito Avalanche Kaito (Glitterbeat)
Saul Williams Unanimous Goldmine (Fader)
Rev Billy & The Church Of Stop Shopping Change Without Us (No label)
Jeff Parker ETA IVtet Mondays At The Enfield Tennis Academy (Eremite/Aguirre)
Ensemble Nist-Nah Elders (Black Truffle)
El Khat Albat Alawi Op 99 (Glitterbeat)
Dewa Alit & Gamelan Salukat Chasing The Phantom (Black Truffle)
Biped Folding Up/Contracting + Cumulative/Expanding (Avon Terror Corps)
Molly Joyce Resilience (New Amsterdam)

Misha Farrant

Sarahsson The Horgenaith (Illegal Data)
Klein Star In The Hood (Bandcamp)
Ex.sses Scanner (Tobago Tracks)
Iceboy Violet The Vanity Project (B REAL)
Acidic Male Deceased In Rotterdam (Bandcamp)
Nwando Ebizie The Swan (Bandcamp)
Ani Klang Ani Klang (New Scenery)
Nahi Mitti Aisaund Sings (Mutualism)
Not In Da Club Not In Da Club (Opal Tapes)

Tim Fish

billy woods Church (Backwoodz Studioz)
Teddy Faley Teddy Brown Brown (WATKK)
ELUCID I Told Bessie (Backwoodz Studioz)
Fatboi Sharif & noface Preaching In Havana (PTP)
Defcee & BoatHouse For All Debts Public And Private (Closed Sessions)
Tom Caruana Strange Planet (Tea Sea)
Eva Lazarus Brandy Kisses (Melonskin)
Open Mike Eagle a tape called component system with the auto reverse (Auto Reverse)
Fly Anakin Frank (Lex)
GROUP 2 (Blah)

Phil Freeman

Phelimuncasi Ama Gogela (Nyege Nyege)
Perfume Plasma (Universal)
Horace Andy Midnight Rocker (On-U Sound)
Wormrot Hiss (Earache)
Klaus Schulze Deus Arrakis (SPV)
Goatwhore Angels Hung From The Arches Of Heaven (Metal Blade)
Maule Maule (Cruz Del Sure)
Soulfly Totem (Nuclear Blast)
Buñuel Killers Like Us (Profound Lore)
Loop Sonancy (Reactor/Cooking Vinyl)

Noel Gardner

Alison Cotton The Portrait You Painted Of Me (Rocket)
The Ephemeron Loop Psychonautic Escapism (Heat Crimes)
United Bible Studies The Return Of The Rivers (Cruel Nature)
Sniffany & The Nits The Unscratchable Itch (Prah)
Ani Klang Ani Klang (New Scenery)
Special Interest Endure (Rough Trade)
Rigorous Institution Cainsmarsh (Black Water)
Robert Stillman What Does It Mean To Be American? (Kit/Orindal)
Kleistwahr In The Guts Of A Year (Fourth Dimension)
Blind Eye Decomposed (Wrong Speed)

Francis Gooding

Roc Marciano The Elephant Man’s Bones (Alc)
Tumi Mogorosi Group Theory: Black Music (Mushroom Hour/New Soil)
billy woods Aethiopes (Backwoodz Studioz)
Blue Lake Stikling (Polychrome)
Acid Mothers Reynols Vol 2 (Hive Mind)
Jamal Moss Thanks For The Tracks U Lost (Modern Love)
Afrorack Afrorack (Nyege Nyege)
Phelimuncasi Ama Gogela (Nyege Nyege)
Sun Ra Arkestra The Living Sky (Omni Sound)
Jeff Parker ETA IVtet Mondays At The Enfield Tennis Club (Eremite)

James Gormley

Tegh & Adel Poursamadi Ima (Injazero)
Lucrecia Dalt ¡Ay! (RVNG Intl)
The Afrorack The Afrorack (Hakuna Kulala)
Burka Claustrofobia (Cacophonous Revival)
Ale Hop Why Is It They Say A City Like Any City? (Karlrecords)
Diamanda Galás Broken Gargoyles (Intravenal Sound Operations)
SSWAN Invisibility Is An Unnatural Disaster (577)
RA Washington/Jah Nada In Search Of Our Father’s Gardens (Astral Spirits)
billy woods Aethiopes (Backwoodz Studioz)
Wojciech Rusin Syphon (AD93)

Kurt Gottschalk

Shiva Feshareki Turning World (NMC)
Cory Smythe Smoke Gets In Your Eyes (Pyroclastic)
The Lord † Petra Haden Devotional (Southern Lord)
Fred Moten/Brandon López/Gerald Cleaver Moten/López/Cleaver (Reading Group)
Steamboat Switzerland Terrifying Sunset (Trost)
Kurws Powięź/Fascia (Gusstaff)
Shilpa Ray Portrait Of A Lady (Northern Spy)
Kristeen Young The Beauty Shop (No label)
Eric Nathan Missing Words (New Focus)
Marcel Zael Parallel Prints (Editions Verde)

Louise Gray

Laura Cannell Antiphony Of The Trees (Brawl)
Éliane Radigue Occam XXV (Organ Reframed)
Silvia Tarozzi & Deborah Walker Canti Di Guerra, Di Lavoro E D’Amore (Unseen Worlds)
Éliane Radigue Occam Ocean 4 (Shiiin)
Laura Cannell We Long To Be Haunted (Brawl)
Diamanda Galás Broken Gargoyles (Intravenal Sound Operations)
Charlie Morrow Chanter (Recital)
Tanya Tagaq Tongues North Star Remixes (Six Shooter)
The London Sound Survey From Dusk Til Dawn (Persistence Of Sound)
Maggi Payne Through Space And Time (Longform Editions)

George Grella

Dewa Alit & Gamelan Salukat Chasing The Phantom (Black Truffle)
Christina Vantzou/Michael Harrison/John Also Bennett Christina Vantzou Michael Harrison & John Also Bennett (Séance Center)
Bennie Maupin & Adam Rudolph Symphonic Tone Poem For Brother Yusef (Strut)
Miles Okazaki Thisness (Pi Recordings)
Fred Moten/Brandon López/Gerald Cleaver Moten/López/Cleaver (Reading Room)
Giacomo Fiore/Danny Clay turntable drawing no 16 (No label)
Spacepilot Hycean Worls (Orbit 577)
Tim Berne/Gregg Belisle-Chi Mars (Intakt)
Lisa Bella Donna Travelogue (No label)
Jeff Parker/Eric Revis/Nasheet Waits Eastside Romp (Rogue Art)

Jason Gross

Petrol Girls Baby (Hassle)
Confidence Man Tilt (Heavenly)
Yard Act The Overload (Zen)
Elvis Costello & The Imposters The Boy Named If (EMI)
Raw Poetic & Damu The Fudgemunk Laminated Skies (Def Passe)
Sprints A Modern Job (Nice Swan)
SG Goodman Teeth Marks (Verve)
Gonora Sounds Hard Times Never Kill (Dust-To-Digital)
Scrunchies Feral Coast (Dirt Nap)
Linqua Franqa Bellringer (Ernest Jennings Co)

James Gui

Sobs Air Guitar (Topshelf)
Himera Sharing Secrets (Unseelie)
Horsegirl Versions Of Modern Performance (Matador)
Black Midi Hellfire (Rough Trade)
Black Country, New Road Ants From Up There (Ninja Tune)
Organ Tapes 唱着那无人问津的歌谣/Chang Zhe Na Wu Ren Wen Jin De Ge Yao (Worldwide Unlimited)
Nia Archives Forbidden Feelingz (HIJINXX)
Double Virgo Eros In The Bunker (PLZ Make It Ruins)
Odd Eyes 原題 (No label)
Mona Evie Chó Ngồi Đáy Giếng (No label)

Andy Hamilton

Mike Baggetta/Jim Keltner/mike watt Everywhen We Go (Big Ego)
Marta Warelis A Grain Of Earth (Relative Pitch)
Great Waitress back, before (Splitrec)
Sloth Racket Organising Space (Luminous)
Tania Gill Disappearing Curiosities (Tania Gill)
Robbie Lee & Mary Halvorson Seed Triangular (New Amsterdam)
Liz Allbee Rille (Relative Pitch)
Playfield Stepping Out Vol 1 (577)
Kristo Rodževski Fair Weather Friends (Port Of Entry)
Randal Despommier/Ben Monder A Midsummer Odyssey (Sunnyside)

Tony Herrington

Various Fragility Of Sounds (Ventil)
Leo Genovese Ritual (577)
Enzo Minarelli De Revolutionibus: Sound Homage To Copernicus (Other Minds)
Francisco Mela & Shinya Lin Motions Vol 1 (577)
Die Fermentierten Ghost Town (Veto)
David De La Haye With Ears Underwater (New Jazz And Improvised Music)
John Wall [Computer] – [Piano] Part 2 (Utterpsalm)
Andrew Cyrille/Richard Teitelbaum/Elliott Sharp Evocation (Infrequent Seams)
Infinite Livez First They Came For The Programmers (Bandcamp)

Miloš Hroch

Lucrecia Dalt ¡Ay! (RVNG Intl)
Eric Chenaux Say Laura (Constellation)
Marina Herlop Pripyat (Pan)
Coby Sey Conduit (AD93)
Tomáš Niesner Bečvou (Warm Winters Ltd)
Ashley Paul I Am Fog (Orange Milk)
Katarina Gryvul Tysha (Standard Deviation)
Julmud Tuqoos (Bilna'es)
Wojciech Rusin Syphon (AD93)
700 Bliss Nothing To Declare (Hyperdub)

Jo Hutton

Moor Mother Jazz Codes (ANTI-)
Various Fragility Of Sounds (Ventil)
Tasos Stamou Balkan Express (Akuphone)
Nils Frahm Music For Animals (Leiter/BMG)
Claudia Molitor Have You Ever (Non-Classical)
Jack Sheen Sub (SN Variations)
Mollly Joyce Perspective (New Amsterdam)
Xenia Rubinos & Carolina Oliveros No Me Dejes Caer Don’t Let Me Fall (ANTI-)
Neil Luck Downturn Fantasies (Aug 21)

Leah Kardos

Alice Cohen Moonrising (Styles Upon Styles)
Björk Fossora (One Little Independent)
Helms Alee Keep This Be The Way (Sargent House)
Éliane Radigue Occam XXV (Organ Reframed)
Kai Whiston Quiet As Kept, FOG (Lux)
Weyes Blood And In The Darkness, Hearts Aglow (Sub Pop)
Nadja Labyrinthine (Broken Spine/Cruel Nature)
Coby Sey Conduit (AD93)
Die Wilde Jagd Atem (Bureau B)

Joshua Minsoo Kim

Moin Paste (AD93)
Cash Cobain & Chow Lee 2 Slizzy 2 Sexy (Neva Slippin/Ferrari Fiction)
Oren Ambarchi Shebang (Drag City)
Lauren Tosswill "1, 2" (Hard Return)
Amateur Hour Krökta Tankar Och Brända Vanor (Appetite)
Staubitz & Waterhouse Common Metals (Music Is The Worst)
Dan Gilmore Dutched At Swan Cleaners (Regional Bears)
Alvin Curran Drumming Up Trouble (Black Truffle)
Asha Sheshadri Interior Monologues (Hold)
Kali Malone Living Torch (Portraits GRM)

Biba Kopf

FaUSt featuring Keiji Haino This Is The Right Path (Old Heaven Books)
Various Fragility Of Sounds (Fragility Of Sounds)
Julie Tippetts & Martin Archer Illusion (Discus)
Mali Obomsawin Sweet Tooth (Out Of Your Head)
Diamanda Galás Broken Gargoyles (Intravenal Sound Systems)
106 106 DTP02 (Bereket)
Lao Dan Self-Destruct Machine (Bandcamp)
Peter Brötzmann & Keiji Haino The Intellect Given Birth To Here (Eternity) Is Too Young (Blank Editions)
Tengger Earthing (Cardinal Fuzz)
Laibach The Future (YouTube)

Steph Kretowicz

Rosalía Motomami (Columbia/Sony Music)
33 33 69 (CANVAS)
Björk Fossora (One Little Independent)
Coby Sey Conduit (AD93)
Arca KiCK ii (Beggars/XL)
HTRK Death Is A Dream (N&J Blueberries)
Claire Rousay & More Eaze Never Stop Texting Me (Orange Milk)
umru Comfort Noise (PC Music)
Lolina Face The Music (Relaxin)
Fauness The Golden Ass ‎(Cascine)

Neil Kulkarni

Sasami Squeeze (Domino)
Johanna Warren Lessons For Mutants (Wax Nine/Carpark)
50 Foot Wave Black Pearl (Fire)
Spacemoth No Past No Future (Wax Nine)
Aldous Harding Warm Chris (4AD)
Otoboke Beaver Super Champion (Damnably)
Tanya Tagaq Tongues (Six Shooter)
7xvethegenius Self 7xve 2 (Broadband Sound)
Eve Adams Metal Bird (Basin Rock)
Cate Le Bon Pompeii (Mexican Summer)

Peter Margasak

Aldous Harding Warm Chris (4AD)
Mary Halvorson Amaryllis/Belladonna (Nonesuch)
Catherine Lamb Aggregate Forms (Kairos)
Immanuel Wilkins The 7th Hand (Blue Note)
Silvia Tarozzi & Deborah Walker Canti Di Guerra, Di Lavoro E D’Amore (Unseen Worlds)
Rob Mazurek Quartet Father’s Wing (Rogue Art)
Gard Nilssen Acoustic Unity Elastic Wave (ECM)
Jeff Parker ETA IVtet Mondays at the Enfield Tennis Club (Eremite/Aguirre)
Ellen Arkbro & Johan Graden I Get Along Without You Very Well (Thrill Jockey)
Oren Ambarchi Shebang (Drag City)

Marc Masters

Water Damage Repeater (12XU)
Bill Orcutt Music For Four Guitars (Pailalia)
Vanessa Rosetto The Actress (Erstwhile)
Weston Olencki Old Time Music (Tripticks)
Ashley Paul I Am Fog (Orange Milk)
Gavilán Rayna Russom Trans Feminist Symphonic Music (Longform Editions)
Kill Alters Armed To The Teeth LMOMM (Hausu Mountain)
Naujawanan Baidar Khedmat Be Khalq (Radio Khiyaban)
Whettman Chelmets Joan (Flaming Pines)
Posset Elvis Died And Everyone Is… (Crow Versus Crow)

Ryan Meehan

Horsegirl Versions Of Modern Performance (Matador)
Aldous Harding Warm Chris (4AD)
The Smile A Light For Attracting Attention (XL Recordings)
Alvvays Blue Rev (Transgressive Records)
DJ Sabrina The Teenage DJ Bewitched! (Spells On The Telly)
Panda Bear & Sonic Boom Reset (Domino)
Joan Shelley The Spur (No Quarter)
Wand Spiders In The Rain (Drag City)
Bitchin Bajas Bajascillators (Drag City)
Burial ANTIDAWN (Hyperdub)

Bill Meyer

Pelt Resonance/Resistance (Three Lobed)
Glenn Jones Vade Mecum (Thrill Jockey)
Mary Halvorson Amaryllis/Belladonna (Nonesuch)
Bill Orcutt Music For Four Guitars (Palilalia)
Sophie Agnel & John Butcher La Pierre Tachée (Ni Vu Ni Connu)
Jake Xerxes Fussell Good And Green Again (Paradise Of Bachelors)
Rhodri Davies For Simon H Fell (Amgen)
Daniel Bachman Almanac Behind (Three Lobed)
Jon Collin Bridge Variations (Discreet Music)
Greg Davis New Primes (Greyfade)

John Morrison

Soul Glo Diaspora Problems (Epitaph)
Lord Kayso Moor Chores (PTP)
Konjur Collective Blood In My Eye (cow: Music)
Moor Mother Jazz Codes (ANTI)
Sonic Liberation Front & The Sonic Liberation Front Singers Justice:The Vocal Works Of Oliver Lake (High Two)
The Sun Ra Arkestra Living Sky (Omni Sound)
Alexa Gold Super Looper Vol1: Visions Of Gold (No label)
Anwar Highsign Live N*gga Prophecy (No label)
Fly Anakn Frank (Lex)
Iblss Raja’s Sun (PTP)

Brian Morton

The Waterboys All Soul’s Hill (Cooking Vinyl)
Sarathy Korwar Kalak (Leaf)
Ilhan Ersahim/Dave Warrington/Kenny Wollesen Invite Your Eye (Nublu)
SeaJun Kwon Walking Cliché Sextet Micro-Nap (Endectomorph)
Ollie Hirvonen Kielo (Ropeadope)
Lucian Ban Ways Of Disappearing (Sunnyside)
Robyn Hitchcock Shufflemania! (Tiny Ghost)
The Dream Syndicate Ultraviolet Battle Hymns And True Confessions (Fire)
Richard Skelton Shear Planes (Corbel Stone Press)

Joe Muggs

Hudson Mohawke Cry Sugar (Warp)
Hercules & Love Affair In Amber (BMG)
Michael J Blood As Is (Michael J Blood)
Louis Vega Expansions In The NYC (Nervous)
Lila Tirando A Violeta Desire Path (NAAFI)
Ron Trent Warm What Do The Stars Say To You (Night Time Stories)
Hagan Textures (Python Syndicate)
Carmen Villain Only Love From Now On (Smalltown Supersound)
Kaitlyn Aurelia Smith I Could Be Your Dog/I Could Be Your Moon (Ghostly International)
Loraine James Building Something Beautiful For Me (Phantom Limb)

Daniel Neofetou

Louie Rice & Luciano Maggiore Skirting (After Action Review)
Hudson Mohawke Cry Sugar (Warp)
Peter Rehberg At GRM (Portraits GRM)
Richie Culver Post Traumatic Fantasy (Superpang)
aircode I Have Consumed And Enjoyed Media (No label)
Lolina Face The Music (Relaxin)
Andy Cowling Star Of The West (Mille Plateaux)
Kieran Daly Pre-recorded Guitar Monophony With Unaccompanied Improvisations (Madacy Jazz)
Mary Halvorson Amaryllis/Belladonna (Nonesuch)
Otto Wilberg Barbaric Mystical Bored (Why Eye)

Louis Pattison

The Reds, Pinks And Purples Summer At Land's End (Tough Love)
Daniel Bachman Almanac Behind (Three Lobed)
Garcia Peoples Dodging Dues (No Quarter)
Current 93 If A City Is Set Upon A Hill (House Of Mythology)
T Gowdy Miracles (Constellation)
Richard Dawson & Circle Henki (Domino)
Makaya McCraven In These Times (XL)
Chat Pile God's Country (The Flenser)
Nancy Mounir Nozhet El Nofous (Simsara)
Oneida Success (Joyful Noise)

Antonio Poscic

Kyle Kidd Soothsayer (American Dreams)
Editrix Editrix II: Editrix Goes To Hell (Exploding In Sound)
Siavash Amini & Eugene Thacker Songs For Sad Poets (Hallow Ground)
Carl Stone Wat Dong Moon Lek (Unseen Worlds)
Tomáš Niesner Bečvou (Warm Winters Ltd)
Nancy Mounir Nozhet El Nofous (Simsara)
Mali Obomsawin Sweet Tooth (Out Of Your Head)
Hatis Noit Aura (Erased Tapes)
Sigh Shiki (Peaceville)
Piotr Kurek World Speaks (Edições CN)

Emily Pothast

N Chambers Mirage Colony (Soft Profile)
Bennie Maupin & Adam Rudolph Symphonic Tone Poem For Brother Yusef (Strut)
Rishin Singh with Martin Sturm Mewl Infans (Beacon Sound)
Sarah Davachi Two Sisters (Late Music)
Patricia Wolf See Through (Balmat)
Phew New Decade (Mute)
Shabaka Afrikan Culture (Impulse!)
Horse Lords Comradely Objects (RVNG Intl)
Garek Druss Soft Fascination (Debacle)
Raven Chacon/Tatsuya Nakatani/Carlos Santistevan Inhale/Exhale (Other Minds)

Edwin Pouncey

Kali Malone Living Torch (Portraits GRM)
The Lord + Petra Haden Devotional (Southern Lord)
Blood Incantation Timewave Zero (Century Media)
Deliluh Fault Lines (Tin Angel)
Sun Ra Arkestra Living Sky (Omnisound)
Jeff Cotton The Fantasy Of Reality (Madfish)
Anthony Moore CSound + Saz (Touch)
Arthur Bown & Rik Patten Long Long Road (Prophecy/Magnetic Eye)
Maggie Nicols Are You Ready? (Otoroku)
Bloodbath Survival Of The Sickest (Napalm)

Mosi Reeves

Beyoncé Renaissance (Parkwood Entertainment)
billy woods Aethiopes (Backwoodz Studioz)
Mavi Laughing Until It Hurts (Mavi4Mayor)
Theo Parrish featuring Marcellus Pittman “Ooh Bass” (Sound Signature)
Soccer Mommy Sometimes, Forever (Loma Vista)
Elucid I Told Bessie (Backwoodz Studioz)
Roc Marciano & The Alchemist The Elephant Man’s Bones (ALC)
Quelle Chris Deathfame (Mello Music)
Kendrick Lamar Mr Morale & The Big Steppers (PGLang)
Junglepussy Jp5000 (Junglepussy)

Tony Rettman

Tha Retail Simps Reveberant Scratch: 9 Shots In Tha Dark (Total Punk)
Danger Mouse & Black Thought Cheat Codes (BMG)
Exek Advertise Here (Castle Face)
Gray/Smith Gray/Smith (Colophon)
Various Music From Saharan Whatsapp (Sahel Sounds)
Birth Born (Bad Omen)
Julie Tippetts & Martin Archer Illusion (Discus)
Baby? Baby Laugh/Baby Cry (Post Present Medium)
Hammered Hulls Careening (Dischord)
Cosey Fatti Tutti The Myths And The Legendary Tapes (Conspiracy International)

Simon Reynols

Dry Cleaning Stumpwork (4AD)
Burial Antidawn (Hyperdub)
Huerco S Plonk (Incienso)
Moon Wiring Club Medieval Ice Cream (Gecophonic)
Nick Edwards Landfill Elektronikz Vol 1 (No label)
Robert Haigh Human Remains (Unseen Worlds)
Babau Breadest Hits (Artetetra)
Wet Leg Wet Leg (Domino)

Mariam Rezaei

Sarah Davachi Two Sisters (Late Music)
The Ephemeron Loop Psychonautic Escapism (Heat Crimes)
Kenosist The Rising Cost Of Free Jazz (TOPH)
Iceboy Violet The Vanity Project (2 B Real)
700 Bliss Nothing To Declare (Hyperdub)
Jana Rush Dark Humour (Planet Mu)
Moor Mother Jazz Codes (ANTI-)
Melford/Halvorson/Laubrock/Reid/Ibarra For The Love Of Fire And Water (Rogue Art)
Tyshawn Sorey Trio Mesmerism (Yeros7)
Lasse Marhaug & Jerôme Noetinger Top (Erstwhile)

Ilia Rogatchevski

Hekla Xiuxiuejar (Phantom Limb)
Anadol Felicita (Pingipung)
Better Corners Modern Dance Gold Vol 1 (The State51 Conspiracy)
Interstellar Funk Into The Echo (Dekmantel)
Jeremiah Chiu & Marta Sofia Honer Recordings From The Åland Islands (International Anthem)
Ensemble Nist-Nah Elders (Black Truffle)
Nik Colk Void Bucked Up Space (Editions Mego)
Kali Malone Living Torch (Portraits GRM)
Model Home both feet en th infinite (Don Giovanni)
Roger Eno The Turning Year (Deutsche Grammophon)

Dave Segal

MC Schmidt From Fountains To Sewers (E2-E4)
Horse Lords Comradely Objects (RVNG Intl)
Zemi17 Gamelatron Bidadari (Bunker New York)
Kraus Fire! Water! Air! Kraus! (Soft Abuse)
JK Flesh Sewer Bait (Pressure)
Bennie Maupin & Adam Rudolph Symphonic Tone Poem For Brother Yusef (Strut)
Vanessa Bedoret Innce/Viper (Laura Lies In)
N Chambers Mirage Colony (Soft Profile)
Bitchin Bajas Bajascillators (Drag City)
Jeff Mills Mind Power Mind (Axis)

Stewart Smith

Moor Mother Jazz Codes (ANTI-)
Wadada Leo Smith String Quartets (Tum)
Mary Halvorson Amarylis/Belladonna (Nonesuch)
Jana Rush Dark Humour (Planet Mu)
Luke Stewart Works For Upright Bass And Amplifier Vol 2 (Astral Spirits)
Nicole Mitchel & Fabio Paolozzi Medusae (Don Giovanni)
Tyshawn Sorey Mesmerism (Yeros7)
Cassiopeia Sturm & Patrick Shiroishi The Invention Of The Saxophone (Surface World)
billy woods Aethiopes (Backwoodz Studioz)
SSWAN Invisibility Is A Natural Disaster (577)

Rosie Solomon

Richard Dawson & Circle Henki (Weird World/Domino)
Ashenspire Hostile Architecture (Bandcamp)
Joyfultalk Familiar Science (Constellation)
Emma Ruth Rundle EG2: Dowsing Voice (Sargent House)
Bjork Fossora (One Little Independent)
Fort Romeau Beings of Light (Ghostly International)
Frances Pylons Flies Pass Through The Lions Eye (Bandcamp)
Sudan Archives Natural Brown Prom Queen (Stones Throw)
Grace Cummings Storm Queen (ATO)
Kikagaku Moyo Kumoyo Island (Guruguru Brain)

Daniel Spicer

Sun Ra Arkestra Living Sky (Omni Sound)
Ustad Noor Bakhsh Jingul (Honiunhoni)
Eric Chenaux Say Laura (Constellation)
Martin Küchen Utopia (Thanatosis Produktion)
Tuluum Shimmering Cinnamon Girl (Bandcamp)
Spacefood Once They Get In Here (Taps Head) It’s Game Over Man (Square Ears)
Bitchin Bajas Bajascillator (Drag City)
Henry Franklin/Adrian Younge/Ali Shaheed Muhammad JID014 (Jazz Is Dead)
William Parker Universal Tonality (Centering)
Patricia Brennan More Touch (Pyroclastic)

Richard Stacey

Smellington Piff Roma Supreme (Real Life Drama)
JID The Forever Story (Interscope/Dreamville)
Isatta Sheriff & Koralle Eat The Kiwi Skin (Melting Pot Music)
Stinkin Slumrok Stink-O-Vision (Blah)
Dubbledge Ten Toes Down (Potent Funk)
ShittyBoyz Trifecta 2 (EMPIRE/The Hip Hop Lab Records/ShittyBoyz)
Yaya Bey Remember Your North Star (Big Dada)
Genesis Elijah None Of You Can XXXX With Me (Escape Route Music)
Jeshi Universal Credit (Jeshi)
Pengshui Destroy Yourself (MVKA)

Joseph Stannard

Devin Townsend Lightwork (InsideOut)
Dani Lee Pearce Spider Mountain (Grimalkin)
The Dowling Poole Refuse (369)
Deliluh Fault Lines (Tin Angel)
Sigh Shiki (Peaceville)
The Dream Syndicate Ultraviolet Battle Hymns & True Confessions (Fire)
Lucrecia Dalt ¡Ay! (RVNG Intl)
ShrapKnel Metal Lung (Backwoodz Studioz)
Julian Cope England Expectorates (Head Heritage)
Franck Vigroux Atotal (Aesthetical)

Spenser Tomson

Claire Rousay & More Eaze Never Stop Texting Me (Orange Milk)
Conflux Coldwell The Phantomatic Coast (Subexotic)
Richard Youngs Blue Thirty-nine (Blue Tapes)
Devin Townsend Lightwork (InsideOut)
Calsutmoran Biomechanoid Butcher Shop (Bandcamp)
The Night Monitor Their Dark Dominion (Fonolith)
Teresa Winter Drowning By Numbers (The Death of Rave)
Larry Wish The Debatable Land (Bumpy)
Sophie Sleigh-Johnson Nuncio Ref! (Crow Versus Crow)
Helena Celle Music For Counterflows (False Walls)

Rob Turner

billy woods Aethiopes (Backwoodz Studioz)
Elvin Brandhi Untitled Live CS (Sonic Protest)
Vanessa Rossetto The Actress (Erstwhile)
Sélébéyone Xaybu The Unseen (Pi Recordings)
Björk Fossora (One Little Independent)
Klein Cave In The Wind (Parkwuud)
Lucrecia Dalt ¡Ay! (RVNG Intl)
JJJJJerome Ellis The Clearing (NNA Tapes)
Arca KiCk ii-iiiii (XL)
Toshiya Tsunoda Landscape And Voice (Black Truffle)

Derek Walmsley

Lucrecia Dalt ¡Ay! (RVNG Intl)
Vanessa Rossetto The Actress (Erstwhile)
DanIel Bachman The Blackout (Three Lobed)
Gustavo Yashimura Living Legend Of The Ayacucho Guitar (Hive Mind)
Oren Ambarchi/Johan Berthling/Andreas Werliin Ghosted (Drag City)
El Khat Aalbat Alawi Op 99 (Glitterbeat)
Objekt Objekt 5 (Objekt)
The London Sound Survey From Dusk Til Dawn (Persistence Of Sound)
The Lord + Petra Haden Devotional (Southern Lord)
Rhodri Davies For Simon H Fell (Amgen)

Meg Woof

Trevor Mathison From Signal To Decay Volume 2 (
Ailie Ormston & Tim Fraser It Changes (Bison)
Ishmael Reed The Hands Of Grace (Reading Group)
Pavel Milyakov & Yana Pavlova Wandering (psyx)
Reynols Tolin Asumer (Carbon)
Silvia Tarozzi & Deborah Walker Canti Di Guerra, Di Lavoro E D’Amore (Unseen Worlds)
The Fertile Crescent Strategy Of Two Heavens (xquisite)
Coby Sey Conduit (AD93)
Gaul Plus Soiled Ether (Bedouin)
London Sound Survey From Dusk Till Dawn (Persistence Of Sound)

Shane Woolman

Julmud Tuqoos (Bilna’es)
Lady Aicha & Pisco Crane’s Original Fulu Miziki Band Of Kinshasa N’Djila Wa Mudjimu (Nyege Nyege)
Maral Ground Groove (Leaving)
Tegh & Adel Poursamadi Ima (Injazero)
Lucrecia Dalt ¡Ay! (RVNG Intl)
Carl Stone Gall Tones (Unseen Worlds)
Tanya Tagaq Tongues (Six Shooter)
Brandon Coleman Interstellar Black Space (Brainfeeder)
Horace Andy Midnight Rocker (On-U Sound)
Shit And Shine Everybody's A Fuckin' Expert (Editions Mego)

22 Dec. 2022

Listen to a selection of tracks from this year's Top 50 Releases Of The Year, as voted for by The Wire's contributors. You can read more about the albums featured in our chart, as well as those featured in the Top 50 Archive Releases Of The Year, in The Wire 467

Full chart

Lucrecia Dalt
(Rvng Intl)

Moor Mother
Jazz Codes

Bill Orcutt
Music For Four Guitars

Oren Ambarchi
(Drag City)

Kali Malone
Living Torch
(Portraits GRM)

Sarah Davachi
Two Sisters
(Late Music)

billy woods
(Backwoodz Studioz)

(One Little Independent)

Silvia Tarozzi & Deborah Walker
Canti Di Guerra, Di Lavoro E D’Amore
(Unseen Worlds)

Carl Stone
Wat Dong Moon Lek
(Unseen Worlds)

Fragility Of Sounds

Soul Glo
Diaspora Problems

Aldous Harding
Warm Chris

Sun Ra Arkestra
Living Sky
(Omni Sound)

Daniel Bachman
Almanac Behind
(Three Lobed)

Horse Lords
Comradely Objects
(Rvng Intl)

Mary Halvorson
Amaryllis & Belladonna

Jeff Parker ETA IVtet
Mondays At The Enfield Tennis Academy

Claire Rousay & More Eaze
Never Stop Texting Me
(Orange Milk)

Diamanda Galás
Broken Gargoyles
(Intravenal Sound Operations)

Vanessa Rossetto
The Actress

Coby Sey
(AD 93)

Hudson Mohawke
Cry Sugar

Hostile Architecture

Versions Of Modern Performance

(AD 93)

The Smile
A Light For Attracting Attention

Bennie Maupin & Adam Rudolph
Symphonic Tone Poem For Brother Yusef

Éliane Radigue & Frédéric Blondy
Occam XXV
(Organ Reframed)

Robert Storey
The Eventual Window
(Divine Agency)

Tegh & Adel Poursamadi

Devin Townsend

Laura Cannell
Antiphony Of The Trees

Dewa Alit & Gamelan Salukat
Chasing The Phantom
(Black Truffle)

Richard Dawson & Circle
(Weird World)

The Lord & Petra Haden
(Southern Lord)

The Afrorack
(Hakuna Kulala)

Roc Marciano & The Alchemist
The Elephant Man’s Bones

The Ephemeron Loop
Psychonautic Escapism
(Heat Crimes)


Alvin Curran
Drumming Up Trouble
(Black Truffle)

N Chambers
Mirage Colony
(Soft Profile)

Ama Gogela
(Nyege Nyege Tapes)

Eric Chenaux
Say Laura
(Constellation/Murailles Music)

Tomáš Niesner
(Warm Winters)

Brian Eno

Ishmael Reed
The Hands Of Grace
(Reading Group)

Oren Ambarchi/Johan Berthling/Andreas Werliin
(Drag City)

Fault Lines
(Tin Angel)

Bitchin Bajas
(Drag City)

Read more about the albums featured in our chart, as well as those featured in the Top 50 Archive Releases Of The Year and Contributor Charts in The Wire 467.

19 Dec. 2022

Daniel Spicer talks to Ukrainian soldier and electronic music producer Timur Dzhafarov

“GarageBand on iPhone, Moog’s Model D app and anger so deep you feel it in your bones make for surprisingly fertile soil,” remarks Ukrainian musician Timur Dzhafarov.

Prior to the current war with Russia, Dzhafarov was making what he calls “experimental electronic music” under the name John Object, “playing shows in Ukraine and, occasionally, in Europe”. All that changed in February when he signed up to join the army. “I volunteered two days after the invasion, because staying at home had become completely unbearable,” he tells me via the Telegram app on his phone. For the last year, he’s exchanged the life of a musician for active service.

“I am currently a safe distance from the front lines, working with higher command on artillery calculations, orders, documents and training for deployment,” he explains. “Our base, however, is reachable by medium to long range weapons, drones, and we have lost an ammo depot during one of the attacks, watching the sky light up for several hours one night. I intend to be a musician for years and years to come, but I make a point of considering myself a soldier right now. It is my job and I am good at it, and it matters to me.”

John Object’s Bandcamp page reveals the kind of work he’s left behind. His 2018 EP Heat presents four tracks of information-rich, heavily syncopated computer funk. The full-length album Sweat collates live tracks recorded between 2017–18: glitchy, fidgety and hyper-detailed club bangers with slivers of jungle, break beat and IDM nestled within. Just before enlisting, Dzhafarov uploaded a compendious 58 track album entitled Life – “an anthology of my early/unreleased work, beginning with high school juvenilia”. It’s a markedly more contemplative collection featuring limpid keyboard studies, ambient electronic sketches, minimalist sampledelia and queasy robo-exotica alongside more typical exercises in rhythmic complexity.

Explaining his decision to share these earlier works, Dzhafarov observes with a fatalistic tone: “It seemed fairly reasonable to consider what will remain of me.” Text on his Bandcamp page fleshes out the story: “Currently we are all being bombed. I have no idea what my life is going to be like tomorrow and how much longer I have, so I felt it appropriate to share an archive of my 2010–2019 works, in case I never get to do that when I’m old.”

Despite the immediate, deadening reality of his life as a soldier, music remains an ongoing concern. “The majority of work is mechanical, numbing, so while I technically have little free time, the mind does wander. I think about music and sex pretty much nonstop.” In his downtime in the evenings, as he beds down on a yoga mat in a hangar, he uses apps on his phone to compose – “programming beats, writing basslines on the Model D, guitar riffs, lyrics in Ukrainian”.

Unsurprisingly, his experiences of the last year have changed his approach to making music. “Experimental, detached, fantasy work now feels like a whimsical luxury, born out of free time and a relatively peaceful, focused mind,” he admits. Moreover, he’s already started working in new directions: “Two records are revealing themselves: an angular, weird punk rock album, and a dark EBM thing, both specifically for a Ukrainian audience. The pieces are there: about 50 sketches for each, and I am so angry I could scream right now. I’ll start work as soon as I’m back, I promise.”

To facilitate this anticipated new work, he’s been channelling his army pay into buying new equipment, ordered online and delivered to his mother’s apartment back home. “I am in the process of remotely assembling a fairly unique Doepfer A-100 modular synthesizer, which is, for now, meant to be a polyphonic expander for a Moog Matriarch I bought in the summer. I’ve been spending every last penny on gear, just to have something to look forward to: besides the above, I got a Stratocaster, a bass, a Vox AC15, a Korg MS-20, lots of pedals, and, of course, leather and fetish gear to play dress up. Spending a year in uniform makes me want to never look normal again.”

16 Dec. 2022

The 15 December edition of The Wire's weekly show on Resonance FM and Resonance Extra featured tracks by Obituary, Meredith Monk, Lori Goldston & Greg Kelley, Satoko Fujii and more

“The Wrong Time”
From Dying Of Everything

Slumberland & Sainkho Namtchylak
“1000 Days”
From Lightkeeper

Beauty Pill
“Goodnight For Real”
From Blue Period
(Ernest Jenning Record Co)

Lori Goldston & Greg Kelley
“All Points Leaning In”
From All Points Leaning In
(Broken Clover)

Harvey Mandel
“Last Walk”
From Who’s Calling
(Tompkins Square)

Metal Preyers
“On Her Way”
From Shadow Swamps
(Nyege Nyege Tapes)

“Tips Zum Selbstmord”
From Tips Zum Selbstmord

Simona Zamboli
“Haunting Ruined Landscapes”
From A Laugh Will Bury You
(Mille Plateaux)

Meredith Monk
“Gotham Lullaby”
From The Recordings

“November 1971”
From Story We Tell Vol 1

Bardo Todol
“La Morsa Más Chiquita Del Mundo”
From Le Trompeta Morse Walrus Concreta

King Buffalo
From Regenerator

Jussi Lehtisalo
“Towards The Wall”
From I Might Be Stuck

The Album Leaf
“Magical LA Moments”
From Something In The Dirt OST

Satoko Fujii
“One Hundred Dreams, Part Five”
From Hyaku: One Hundred Dreams

14 Jan. 2023

As the independent Palestinian hiphop label readies itself for another live show in London, Nihal ElAasar runs us through standout tracks from BLTNM's back catalogue to accompany her report on the collective in The Wire 465

Palestinian record label and collective BLTNM was founded in the West Bank in 2015 after a catalytic studio session between producer Al Nather, rapper and songwriter Shabjdeed and creative director and audio engineer Shabmouri. After years working together. and despite the logistical limitations that come with being situated in occupied Palestine, the collective have more recently started to tour, presenting sold out shows in Egypt, Jordan and the UK.

BLTNM is now a larger collective but still with a cohesive sonic identity. After honing a UK-influenced leftfield bass and trap sound, the label is now stretching beyond its trademark dark hiphop and towards an exploratory sound they refer to as “Arab-futurism” or “Arab neo-synth wave”. This playlist contains selections from releases that embrace this new direction, as well as older tracks embodying the label’s early years.

Shabjdeed, Riyadiyat
“Fi Harb”

“I didn’t build a house, but I built BLTNM”, raps label co-founder Shabjdeed on this 2019 single featuring Ramallah artist Riyadiyat. Shabjdeed is at his most playful lyrically here, rapping about everything from rockets reaching Antartica to refusing to leave the house, all over a bouncy drill beat. A live favourite, the track manages to sound fun even as Shabjdeed conveys the gravity of the socio-political situation in Palestine, delivered in his usual proud yet relaxed and matter of fact way.

From 2000 EP

“Kilmeh” sounds great in the car and the beat gets you hooked from the very start. Taken from rapper Fawzi’s 2021 EP 2000, the track fuses experimental beats with impeccable flow and lyricism. The black and white music video for the track shows various members of BLTNM including Fawzi, Shabjdeed and Al Nather gathered in front of the anti-apartheid icon Nelson Mandela in Ramallah, donated by the municipality of Johannesburg to the Palestinian people.

“Aghla al Ghawali”

Maybe the most sentimental song in the catalogue, “Aghla al Ghawali” is a BLTNM classic from 2018. Shabjdeed’s ballad-like Auto-Tuned singing about a loved one is juxtaposed with a dance beat in a rare departure from his usual rap flows. Watch the crowd dance to the song when it was played as the outro to a 2018 set in Ramallah.

Shabjdeed & Al Nather
“Ya Ali”

The heavy bass track “Ya Ali” combines influences from traditional Palestinian wedding music and Iraqi music; a sonic shift that displays the label embracing more influences from around the Arab world. The 2021 single is a manifestation of the self-identified “Arab futurism” or “Arab synth-wave” direction that BLTNM is moving towards.

From R3D

“Ramadan” is taken from a self-titled EP by the trio R3D, consisting of Shabjdeed, Ramallah rapper Daboor and BLTNM’s newest member Ramadan. Here producer Al Nather samples Egyptian singer Aida el Ayoubi’s song “Warda”, providing a nostalgic feel while giving a nod to another Middle Eastern country that the label draws influence from. Warda (flower in Arabic) is a recurring theme for the record label, referenced in the track “Wen Ward” as well as Shabjdeed’s 2019 album Sindibad El Ward. The EP R3D, features two songs alongside “Ramadan”: “Ma Bijish” and “Bi Balash”. Together, all three songs form the phrase “Ramadan ma bijish bi balash”, meaning “Ramadan never comes without a cost”, a phrase that’s often repeated in BLTNM songs. It refers to the fact that the holy month of Ramadan routinely witnesses an escalation of violence from Israeli forces against Palestinians in Palestine.

Shabjdeed & Shabmouri
From Sindibad El Ward

“A life of fear doesn’t suit us”, raps Shabjdeed on the closing track of Sindibad El Ward. The song’s more sombre and serious feel distinguishes it from the rest of the album, but itstill harbours the prideful quality that underpins all of BLTNM’s projects. Never shying away from where it came from, the label is aware of the circumstances surrounding how it was born and is proud of what it has created. That is what “Bombakshen” is about.


Jerusalemite rapper Daboor’s “Wadda3” follows his 2021 EP El Gad3ana, which includes “Inn Ann”, BLTNM's most streamed song to date and considered by many to be the soundtrack of the May 2021 uprising in Palestine. “Wadda3”, meaning “Farewell”, was released on New Year's Eve 2022, and shows a more introspective Daboor, reflecting on his coping mechanisms and strategies to combat external circumstances of life in Jerusalem. Having shown us bravado and courage in the anthemic “Inn Ann”, the rapper is now inviting the listener to catch a glimpse of his inner life. This contemplativeness coupled with Arabic rhythm patterns makes good on BLTNM’s promise to evolve and explore its Arabness alongside new lyrical themes, while bidding 2022 farewell and looking to the future.

BLTNM appear live at London venue OSLO on 28 January. Read Nihal ElAasar's Unlimited Editions article in full in The Wire 465. Wire subscribers can also read the piece online via the digital library.

15 Dec. 2022

The Virginia guitarist shares an album length film for his latest release Almanac Behind, which assembles folk improvisations, radio transmissions and field recordings of climate breakdown

“In January, we had a freak snowstorm that produced really intense, heavy precipitation – caused tree damage, wrecked powerlines,” says American Primitive guitarist and composer Daniel Bachman, speaking to Louis Pattison in The Wire 467. “We lost power for an extended period because we didn’t have a generator at the time. And we’re on a well, so we didn’t have water,” he laughs. “It was pretty wild.”

This experience led to Bachman laying the foundations to his latest album, Almanac Behind, which combines field recordings of local meteorological events with his own instrumentation. “For six months from January, I’d record all the extreme, anomalous weather events happening,” he continues. “I didn’t expect to get a lot of the sounds that are on the record. But things just fell into place.”

To accompany the album's audio, Bachman also edited together a full length film, featuring weather reports, footage from his home in rural Virginia, and live performance on guitar and banjo.

Read Louis Pattison's interview with Bachman in full in The Wire 467. Subscribers can also read the article via the online library.

12 Dec. 2022

A new illustrated account of the life and work of Crass member and resident visual artist Gee Vaucher charts her influence through generations

“While the story of anarcho-punk pioneers Crass has been extensively documented, that of their resident artist Gee Vaucher is less well recorded,” writes Edwin Pouncey in his review of Gee Vaucher: Beyond Punk, Feminism And The Avant-Garde by Rebecca Binns in The Wire 466. “As Rebecca Binns’s exhaustive account of the artist’s life and work boldly underlines, Vaucher’s enormous contribution to the group’s image (through painting, collage and design) sent out a war cry that was more sociopolitically charged than first wave punk rock’s no future chorusing.” This extract discusses the returning significance of Vaucher's artwork Oh America!.

The growing recognition of Vaucher’s considerable influence on visual culture culminated in her first major (UK) retrospective, Gee Vaucher: Introspective at Firstsite (Colchester), 2016–2017. The exhibition’s opening coincided with the shock election of Donald Trump as President of the United States. The Daily Mirror featured Vaucher’s image, Oh America!, on its front cover, having been alerted to its widespread adoption as a meme on social media platforms. The publicity this generated meant the gallery incidentally received an added influx of visitors.

Oh America!
arguably came to epitomise public sentiment towards the election of Donald Trump in the same way that kennardphillipps’s Photo Op had encapsulated the disillusion of the general public with New Labour in the aftermath of the Iraq War. One telling difference, however, is while Photo Op had been created as a response to the current situation, Oh America! was an image from the 1980s that had been seized upon by social media. When Photo Op was created in 2007, Facebook had only been available for a few months, while Twitter was still a niche tech product without a clear purpose, and memes were still largely spread by email forwards. By 2016, the online world had been transformed beyond recognition, and with this came the potential for images to be repurposed to signify something completely outside the original authorial intent.

Oh America! was created in 1989 as the front cover image for experimental hip-hop outfit Tackhead’s Friendly As A Hand Grenade LP. The core members had previously been the rhythm section for Sugar Hill Records (NYC), providing the basslines for iconic, early, politically inflected hip-hop tracks such as Grandmaster Flash’s “The Message” (1982), and Melle Mel’s “White Lines” (1983). By the late 80s, UK producer Adrian Sherwood had persuaded them to relocate to England, where they played a similar role on his pioneering On-U Sound project.

Tackhead was a collaboration between the band and Sherwood that brought heavy, industrialised sounds combined with a politicised message to hip-hop. Its staccato, collaged style, often using sampled ‘found’ vocals, has some associations to the visual style Vaucher used for Crass, especially in her visual backdrops for their live shows. Her contribution to the album, however, resists collage and is instead a painted depiction, although as with much of her work, it takes a recognisable image and alters it to communicate new meaning.

Its release coincided with Reagan’s vice-president, George Bush, being elected for a third term by a Republican candidate, but the image itself seems to be more a reflection on the failure of the American Dream. While her work with Crass had a clearly definable subcultural audience, away from their home territory of New York, Tackhead struggled to articulate any subcultural connection, and despite the power and innovation of the music, the project failed to live up to expectations. That said, the cover image provided by Vaucher served as a clear statement of intent, and reflected the group’s political leanings. Indeed, it influenced how the tracks – many of which were instrumental – were interpreted by the audience, who read into the heavy industrial beats a politicised commentary on contemporary America. By contrast, the meme came to function as a shorthand for despair, expressed humorously, in the wake of Trump’s election victory. While retaining its power as an image, its functioning as a meme in this respect is fleeting and reductive. As such, while the image reached a far wider demographic than would have been the case with her earlier politically charged work, the complexity of the messaging was necessarily reduced.

Read Edwin Pouncey's review of Rebecca Binns's Gee Vaucher: Beyond Punk, Feminism And The Avant-Garde in The Wire 466. Subscribers can read the full article via the online library.

14 Dec. 2022

The US sound artist and producer presents a psychedelic new video made in collaboration with Rey Sapienz & Chrisman

“When streaming took over, I was a little disappointed,” admits Miami based multidisciplinary sound artist Suzi Analogue, speaking to Neil Kulkarni in The Wire 466. “I came up in the cassette tape era and I have always loved physical music. For Infinite Zonez I wanted a physical iteration of my Zonez 1–4 series of mixtapes, so I sifted through 44 tracks and with the help of Matthew from Disciples we found the ones that would sound great on vinyl.”

Infinite Zonez is a retrospective collection of pre-pandemic tracks by Analogue, who is also the founder of experimental electronic label Never Normal. In her Wire interview the producer outlines her artistic concept of zones – informed by geographical locations and their inhabitants, technology and energy – and how this underpins her practice.

Conceived and filmed by Congolese audiovisual artists Rey Sapienz and Chrisman, the video for Analogue's track “Stay Ready/Ur Dreamz” was largely shot on tour in Kampala, Uganda. “The two envisioned shooting a raw moment of me in some kind of psychedelic Analogue dream in our environment,” she explains over email. “We shot at night, even filmed me riding on boda boda [motorcycle taxi], and invited friends to the collective space to have a party, shadowing how we are used to coming together in the night with our beats. Additional footage was shot in Miami on 35mm by Alexandre Merbouti.”

Read Neil Kulkarni's interview with Suzi Analogue in full in The Wire 466. Subscribers can also read the feature via the online library. Infinite Zonez is released by Disciples.

14 Dec. 2022

Manuel Göttsching died in Berlin on 4 December, aged 70. Read Keith Moliné's 2011 cover story with the Ash Ra Tempel guitarist and electro-minimalist pioneer via our online library for free

Playing the long game: Keith Moliné's interview with Manuel Göttsching in The Wire 334 from December 2011

13 Dec. 2022

The experimental noise and voice duo share a DIY video from their new collaborative album Lightkeeper

“The latest release from Slumberland (aka Belgian producer and instrument builder Jochem Baelus) features [Sainkho] Namtchylak in a co-headlining role,” writes Rosie Esther Solomon in their review of the duo’s album Lightkeeper in The Wire 467, “her vocals weaving their way between the hand built instruments, stirring a pot that simmers on the brink of noise, threatening to boil over.”

Though Lightkeeper is their first collaboration, both Slumberland and Namtchylak have been active forward-thinking noise makers for many years. Namtchylak, who explores the traditional throat singing style of her birthplace Tuva – an autonomous Russian republic north of Mongolia – in new improvising and songwriting settings, released her first solo album Lost Rivers in 1991, and Baelus has built new instruments for his productions under the Slumberland alias since 2013.

Filmed by Baelus on the remote North Atlantic volcanic island Terceira, the video collages imagery from the Azores landscape to focus the tension-building energy of the album's lead single “Zarja Zakat Zarja”.

Co-produced by Baelus and Radwan Ghazi Moumneh of Jerusalem In My Heart, Lightkeeper is released by Morphine.

Read Rosie Esther Solomon’s review in full in The Wire 467. Wire subscribers can also read the review in full online via the magazine’s online library, as well as Phil England’s 2000 interview with Namtchylak in The Wire 201.

12 Dec. 2022

The 8 December edition of The Wire's weekly show featured tracks from Kali Malone & Maria W Horn's XKatedral label

Caterina Barbieri & Kali Malone
From XKatedral Volume III

Kristofer Svensson
“Ir Himinn, Grœnn”
From XKatedral Volume II

Marta Forsberg
“Disquiet (Heart)”
From XKatedral Volume II

Ellen Arkbro
“For Disclavier And Tapes”
From XKatedral Volume II

Maria W Horn
From Kontrapoetik

Maria W Horn
From Magenta

Maria W Horn & Sara Parkman
“Evightens Sommar
From Funeral Folk

Maria W Forn & Sara Parkman
“Memento Mori”
From Funeral Folk

Tongue Depressor
“Graver’s Block”
From Burnish

Daniel M Karlsson
“A Loss Of Self
From A Loss Of Self

Mats Erlandsson
From 4-Track Guitar Music

Isak Edberg/Mats Erlandsson/Victor Lisinski
“Dissolving Ceremony”
From XKatedral Anthology Series I

David Granström
“The Other Side”
From A Distant Color, Secluded

David Granström
From Ephemeris

Golden Offence Orchestra
“To Valerie Solanas And Marilyn Monroe In Recognition Of Their Desperation”
From Ode To Pauline Oliveros

Kali Malone
“Velocity Of Sleep”
From Velocity Of Sleep

7 Dec. 2022

Contributor Emily Pothast selects ten pieces of writing from The Wire's back pages that “capture particularly pivotal moments in the lives of the artists they feature”. All selected articles are available to read in The Wire's digital library with a Wire print or digital subscription

When I became a regular contributor to The Wire in 2017, I also got a digital subscription, both to be able to read the magazine before it physically arrives in the US and in order to access the archive of the magazine’s back issues. While I regularly consult these archives to see what has been written in the past about the artists I am writing about, I also love to flip through the (virtual) pages and enjoy them for their own sake—the photography, the graphic design, and seeing how other writers approach interviewing artists and describing sounds. I especially value interviews with artists who are no longer living or who have otherwise transformed in ways that could not be anticipated at the time. The following list is in no way comprehensive, but here are ten pieces of writing from The Wire archives that capture particularly pivotal moments in the lives of the artists they feature.

Along came Ra: Graham Lock interviews Sun Ra, The Wire 6 (Spring 1984) and The mysteries of Mr Ra: Graham Lock interviews Sun Ra, The Wire 78 (August 1990)

The Wire’s first decade as a magazine happened to overlap with the final decade of Sun Ra’s tenure on this mortal plane. During this time The Wire ran two cover features on the great cosmic bandleader: in the Spring 1984 issue (The Wire 6) and in the August 1990 issue (The Wire 78). Both pieces were written by Graham Lock, who would go on to write a book examining the utopian currents in Sun Ra’s music. It’s interesting to compare these two interviews as a means to chart not only Lock’s evolution as a writer, but also how that shift reflects the magazine’s editorial voice during its formative first decade. The first time Lock speaks with Sun Ra, his tone toggles between veneration and amusement. Six years later, he’s asking in-depth questions about Sun Ra’s cosmology, while aiming to contextualize Ra’s interest in both outer space and ancient Egypt within broader mid-century cultural currents. In this latter interview, Lock seems aware that he is not just writing for a contemporary audience, but also for the future, collecting information as it flows from the elderly master into a kind of time capsule for posterity.

The idea of north: Louise Gray on Björk, The Wire 177 (November 1998)

Another artist to receive multiple cover features early on is Björk, and once again, they are interesting to compare. The first, written by Avril Mair, appeared in 1993 (The Wire 114), just after the release of Debut. It emphasises the feminist import of Björk going solo during what Mair describes as a watershed year for women artists in indie pop. The second was written by Louise Gray, and appeared in November 1998 (The Wire 177), a year after the release of Homogenic. By this point, there is no need to try to place Björk in conversation with Riot grrrl or PJ Harvey in order to acknowledge her contributions to the field. Instead, she is given free rein to talk about what appeals to her about the music she loves best, whether it’s Boney M or Stockhausen: “It's a surrender to nature, I guess. It's just a place where everything falls into place, where logic doesn't get in the way.”

Enduring love: Edwin Pouncey interviews Alice Coltrane, The Wire 218 (April 2002)

Edwin Pouncey’s 2002 interview with Alice Coltrane is another example of writing for posterity. For this feature, the author visits Coltrane in her California home, which he describes as a “sacred space” filled with musical instruments, recording equipment, and artefacts commemorating her late husband’s career. The remainder of the article provides a compelling primer to the life and work of Alice Coltrane, from her musical beginnings in Detroit to her spiritual journey, which culminated in her pan-religionist vision of Universal Consciousness as a fundamentally sonic phenomenon.

Phew and far between: Biba Kopf interviews Phew, The Wire 234 (2003)

The Wire 234 might have been the first issue of The Wire I ever read, because I was a fan of some of the bands featured in David Keenan’s New Weird America cover story. Almost 20 years later, I found myself revisiting this issue via the digital archive to consult Biba Kopf’s feature on Japanese punk legend Phew. I had been commissioned to interview Phew for a cover feature (The Wire 460), and I wanted to avoid retreading the same ground that had already been covered. Instead, what I found were some fascinating threads I wanted to help extend into the future, particularly regarding Phew’s thoughts on the relationship (or distance) between sound and meaning in different languages.

Potion of sound: Joseph Stannard interviews Broadcast, The Wire 308 (October 2009)

Joseph Stannard’s 2009 interview with Trish Keenan and James Cargill has a charming aura of familiarity, as the three of them bond over shared cultural touchstones in the realm of British sci-fi and psychedelia. With the untimely death of Trish Keenan a little over a year later, this warm conversation would come to feel heartbreakingly bittersweet, while Keenan’s musings on the evocation of memory in the music of Broadcast feel even more portentous and prophetic: “When you go back to a previous musical time, you’re trying to recall a memory that never happened to you, that is not stored, so it would make sense that you hear a fuzzy, dissolving sense of time and place. When you make music in backwards time travel, it’s a shadowy or faint impression, as though you’re looking back through two clouded lenses. One is the time travel portal, the other is a false recollection process”.

She has the technology: Frances Morgan interviews Laurie Spiegel, The Wire 344 (October 2012)

Laurie Spiegel has helped to shape the way we think about computer music, building her own software to achieve a surprising degree of fluidity. In her 2012 interview with Spiegel, Frances Morgan describes the qualities that make the composer’s use of computers so distinctive: “The drone based title track of Spiegel’s The Expanding Universe was devised using algorithms, but to a non-analytical ear it feels immediately different from its number crunching predecessors. Its complex processes are expressed in warm, organic timbres, and hints of melody, like points of light, guide the listener through its 28 minutes in a way that’s subtle and unforced.”

Listen to your heart: Alan Licht interviews Milford Graves, The Wire 409 (March 2018)

Alan Licht’s interview with Milford Graves at his Queens, New York home, just three years before the legendary percussionist passed away, is another beautiful treasure for posterity, as are the accompanying photographs Andreas Laszlo Konrath took of Graves and his studio. Especially fascinating is the conversation around the biomedical aspects of Graves’s work, which views the heartbeat as the basis for all rhythm. “There are so many different kinds of heart rhythms,” Graves tells Licht. “They’re very similar to what we’re doing with ritual drumming… It’s so biological, it belongs to all of us.”

Joshua Minsoo Kim reviews White Boy Scream's Bakunawa, The Wire 437 (July 2020)

In addition to being a contributor to The Wire, Joshua Minsoo Kim is also the editor of the music newsletter Tone Glow. I love his extended review of White Boy Scream’s Bakunawa, in which noise artist and soprano Micaela Tobin channels the Indigenous mythology of the Philippines into a multimedia operatic work. Kim gives Tobin a careful listen, emphasising the role that works of art can play in cultural preservation, even serving as “cudgels against imperialism”.

Raymond Cummings reviews Death Convention Singers and Black Drink, The Wire 438 (August 2020)

Raymond Cummings writes the “Noise, Industrial & Beyond” column in the months where I don’t; he’s also a sound artist in his own right. His dual review of albums by Death Convention Singers and Black Drink (both featuring Raven Chacon) is full of evocative passages that exemplify why I always look forward to reading his writing: “Feedback broods until it klaxons, a panicking kaleidoscope; stapling stickwork seems to cause the sound mass to feast upon itself, then corkscrew into spinning vortexes. A thin, murmuring buzz of effects throbs and rustles; before you’re ready, the music has resolved into something monstrous, accruing torpor by degrees: vaguely mechanical, engagingly junkyard.”

Meta machine music: Daniel Spicer interviews Richard Pinhas, The Wire 466 (December 2022)

I learned a lot from Daniel Spicer’s recent interview with Richard Pinhas, and all of it made me want to drop everything and listen to his music: about Pinhas’s pre-Heldon days as a teenage protester with Molotov cocktails hidden in his coat, about his friendship with Gilles Deleuze (begun at Deleuze’s initiation), about his PhD dissertation “Science Fiction, The Unconscious, And Other Things” (what other things?!), about what happened to his brain when he read Philip K Dick’s Ubik through the prism of “maybe six or seven” acid trips, and finally about his own book on the philosophy of music, which has never been translated into English. When I finally finish writing my own dissertation (which I am now seriously considering calling “A Media History Of Apocalypse And Other Things”), Pinhas’s livre might just be the first book I sit down with for ‘fun’.

Read all these interviews and reviews in full by taking out a print or digital subscription and acquiring access to The Wire's full digital library of back issues.