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

In The Wire 502, Holly Dicker argues that in a post-pandemic age dominated by social media and celebrity, the physical engagement and countercultural spirit of rave is under imminent threat

The US drummer, pianist and composer died on 26 October aged 83. In the February 1989 issue of The Wire, he was interviewed by the magazine’s then editor Richard Cook. As a tribute, we have made that article free to read in our online library

The creative scope of French pianist Sophie Agnel is demonstrated across two remarkable albums, writes Stewart Smith in The Wire 501

In The Wire 501, Robin James argues that the influential cultural theory of hauntology does not account for developments in Black creative practices and music of the late 20th and early 21st centuries