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

In The Wire 495, Daniel Spicer reviews five albums that form part of a Strata-East reissue programme that celebrates the rich legacy of the New York label

Following Michael Hurley’s death on 1 April, Ryan Meehan tracks the outsider folk singer and cartoonist’s journeys across America and remembers the restless bohemian spirit that powered them

In The Wire 494, Ken Hollings reviews two albums inspired by William Gibson’s 1984 novel Neuromancer

In The Wire 494, Daniel Spicer reviews a new collection of writing and criticism by long time Wire contributor and novelist David Keenan

In The Wire 493, Claire Biddles reviews Trent Reznor and Atticus Ross’s score for Luca Guadagnino’s film of William S Burroughs’s semi-autobiographical novel

In The Wire 491/492, Stewart Smith reviews a new autobiography by the multi-instrumentalist, composer and poet

In The Wire 491/492, John Brien argues that the humble compact disc offers efficient delivery of pure audio that bypasses the artisan fetishism of the vinyl industry

In The Wire 491/492, Peter Margasak reviews an album of inventive new settings for the compositions of Ethiopian musician Emahoy Tsege-Mariam Gebru

In The Wire 491/492, James Gormley argues that redrawing the line between public and private space has coined a dubious new currency in sonic self-help and healing experiences

In The Wire 491/492, James Gui reviews three releases that take inspiration from the world of Asian horror – with mixed results