In an extract from a new collection of writings and interviews by James Tenney – edited by Robert Wannamaker, Lauren Pratt and Tashi Wada – Douglas Kahn interviews the US Fluxus composer and theorist in 1999 about his influences and works

In his latest Secret History of Film Music column, Philip Brophy considers how Justin Hurwitz manipulates, distorts, multiplies and caricatures jazz traditions in his collaborations with director Damien Chazelle

The latest project from bassist Melvin Gibbs updates the bold collage techniques of 1970s Miles Davis and Teo Macero, writes Phil Freeman in The Wire 500

In an extract from his new book, Ian Thompson charts the development of Red Noise, a collection of anarchist and communist musicians brought together during the Paris protests of May 68

In The Wire 500, Mattie Colquhoun argues that critics who seek to distance themselves from cultural pessimism too often fail to deal with the unresolved impasse at the heart of 21st century pop culture

In his latest Secret History of Film Music column, Philip Brophy considers the ways in which Bobby Krlic’s psych-horror scores trap the audience in Ari Aster’s protagonists’ terror

In The Wire 499, Byron Coley reviews the final studio album by the late US troubadour Michael Hurley

In The Wire 499, the Moreskinsound duo of musician and writer David Toop and performance artist Ania Psenitsnikova argues that categories like music and dance limit our understanding of sound and movement

In an extract from his new book, Daniel Martin Feige outlines the basic principles and skills involved in improvisation

In his latest Secret History of Film Music column, Philip Brophy considers Michael Abels’s musicalisations of Black aspiration in Jordan Peele’s Get Out (2017) and Us (2020).

The reissued early 1990s output of Andrew Weatherall, Jagz Kooner and Gary Burns aka The Sabres Of Paradise still cuts deep, writes Ken Hollings in The Wire 498

Spotify’s partial catalogue of underground genres such as grime and jungle distorts listeners’ understanding of their history, argues Derek Walmsley

The US author and former Wire contributor and staff member has died after a long illness

In his latest Secret History of Film Music column, Philip Brophy analyses the techno roots of Irène Drésel’s unrelenting score to Eric Gravel’s 2021 social critique Full-Time (À Plein Temps)

In The Wire 497, Esi Eshun reviews Mourning [A] BLKstar's eighth album, Flowers For The Living, which explores strategies for resistance

British trans existence in 2025 is precarious, making the intersection of underground music and queer nightlife liberatory and life affirming, writes Rosie Esther Solomon

In The Wire 496, Jo Hutton argues that radiophonic art is its own highly developed and theorised artistic practice, not merely an offshoot of electroacoustic music

Philip Brophy analyses the musical rendering of emotional and cultural deception in Cristobal Tapia de Veer’s scores for Smile (2022) and season one of The White Lotus (2021)