As AI use spreads further into the creative industries, platforms like Bandcamp must be bold in their efforts to sort the good faith from the bad, argues Erick Bradshaw

In the first essay of a short series exploring Bandcamp’s ban on AI-generated music, Vicki Bennett argues that the platform’s decision rests on the belief in a stable binary between computer and human made music

Philip Brophy analyses Colin Stetson’s use of the saxophone’s physical dimensions to evoke the disturbed voices and bodies of Texas Chainsaw Massacre (2022) and Hereditary (2018)

In The Wire 503/504, Seymour Wright appraises the hardcore saxophony of French musician Jean-Luc Guionnet

In an extract from his new book, co-authored with Kennedy Block, Josh MacPhee outlines the role of workers' songs and the making of records in supporting labour movements in the US

To make sense of ongoing tech revolutions, a new generation of musicians is making music that metabolises electronic processes through analogue forms, argues Ryan Meehan

In his latest Secret History of Film Music column, Philip Brophy explores how the signifiers of Black musics in Swarm are fragmented to indicate its main character’s psychosis

From the mainstream to the margins, bands were once again in decline in 2025, writes Antonio Poscic

The music industry's uptake of AI complicates the boundaries between listener, artist and music in troubling new ways, argues DeForrest Brown, Jr

DIY online radio stations allow humanity and personality to surface in a tide of soulless and reductive algorithmic playlists, argues Paul Rekret in The Wire 503/504

In The Wire 503/504, Lucy Thraves argues that luxury labels and conglomerates are keen to purchase some avant garde glory, but at a cost to experimental music and the ecosystem that supports it

London’s extensive railway infrastructure is both a refuge for DIY nightlife and under threat from gentrification, writes Deborah Nash in The Wire 503/504

Traditional instruments, folk cultures and mythic ideas of futurity offer slip roads exiting AI’s highway to a hollow future, argues Daryl Worthington in The Wire 503/504

In The Wire 503/504, Xenia Benivolski writes that as the speed of events and information flows increases, drone based slowness offers another mode of perception

Far beyond novelty or experiment, 2025 was the year that crossover projects rejected genre labels for endless sonic possibilities, writes Stewart Smith in The Wire 503/504

The London based MayDay Rooms’ anarcho-punk archive is a valuable resource for radical cultures and politics today, writes Seth Wheeler in The Wire 503/4

Abi Bliss reviews a new project that draws on the sound archive of BBC Radiophonic Workshop co-founder and electronic music pioneer Daphne Oram in The Wire 502

Irene Revell reflects on the life and work of Fluxus co-founder Alison Knowles, who died in October

In his latest Secret History of Film Music column, Philip Brophy analyses the musicalisation of purgatory in Japanese sci-fi series Alice In Borderland

In an extract from his new book, Mike Adcock explores the aural properties of stone and introduces some notable figures in the development of lithophones