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

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

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

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

A new Foley based production at London's Royal Court Theatre invites us into the sound-making world of animals, writes Giles Bailey

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

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

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

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Flutist, sound artist and composer Barbara Held worked closely with Japanese composer Yasunao Tone, who died earlier this month. Here, she remembers their collaborations and friendship