In the third of our series of posts shining a light into the darker recesses of The Wire's back issues archive, Tony Herrington continues our online tribute to Ornette Coleman by selecting seven articles that expand on the theories and music of the late saxophonist and composer
Chris Hladowski presents a wayward selection of some musical genres, instruments and regional characteristics of Pakistan and neighbouring areas, based largely on late-night YouTube sessions, web searches and the odd foray to the library
Copenhagen's experimental online radio station The Lake points to some sources of adventurous sound emissions
Flute player and pastoral electronics producer Katie English shares online and offline sources of inspiration
Derek Walmsley picks six columns from our archives by Kodwo Eshun in which the future Turner Prize nominee forged a new style of writing about dance music and club culture
Biba Kopf guides us through some of his Round Up The Usual Suspects columns from the 1980s, in which industrial culture's most wanted were tagged and bagged
Biba Kopf and Keiko Yoshida travelled to Hokkaido for The Wire 370's Global Ear feature, reporting back on the music of northern Japan’s indigenous Ainu people
Wayne Marshall, writer of the Dutch bubbling essay in The Wire 370's Freedom Principle feature, shares online links to the hyperkinetic dancehall variant's stalwarts and their sonic collages
The guitarist and songwriter looks at solo artists in their most intimate creative moments.
Kevin Martin (aka The Bug) shares his favourite online hubs to induce modular synth bliss. His latest album Angels & Devils was reviewed in The Wire 366.
The writer of the Sarkari shorts blog (featured in The Wire 366) Alexander Keefe takes us on a trip through Indian music documentaries.
Composer, percussionist and Q&A obsessive Eli Keszler guides us through his favourite artist interviews.
Bangkok based blogger Peter Doolan unravels the colourful mix of Thailand’s popular music scene. His blog Monrakplengthai is featured in The Wire 364.
Derek Walmsley traces the tracks that give their own spin on the history of not just reggae, but the entire existence of Jamaica, continuing on from his Compiler essay (The Wire 363).
The author guides us through a selection of sound art compilations of uncurated sounds and words, based on her contribution to The Wire 363 Compiler issue.
The Israeli pianist, vocalist and sound artist introduces us to Tel Aviv's underground and emerging experimental music scene.
The inventor of the long string instrument joins forces with her partner and collaborator Theresa Wong in selecting her top websites. Fullman is in The Wire 361 Invisible Jukebox, tested on the sounds of treehoppers, Memphis gongs and the search for resonance.
The sound artist (featured in The Wire 360) shares links to verbal echoes and influences.
Francis Gooding, reviewer of the recently published book Keeping Time 1964–1974: The Photographs And Cape Town Jazz Recordings Of Ian Bruce Huntley, shares online resources on the South African jazz scene.
Pastoral punk duo of Claire Titley and Christopher Tipton guide us through online resources of unofficial histories, potent topographies and resonant field recordings.
Follow Hair Police and Three Legged Race's noise man Robert Beatty as he cuts a path through the digital jungle through experimental animations and electronic scores.
The Diskotopia label co-founder and British ex-pat living in Japan shares aspects of his adopted home that escape common knowledge and debunk ideas of wacky-Japan.
The Doomed Bird Of Providence's lead man Mark Kluzek relates a selection of sites dedicated to Australia's colonial past, and fodder for his dark and violent ballads. The Doomed Bird Of Providence's Blind Mouths Eat album is reviewed in The Wire 357.
The journalist and author of the recently published book Facing The Other Way: The Story Of 4AD, networks the label's visual aesthetic.