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

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

Six Finger Satellite frontman and synth player J Ryan talks to Joseph Stannard about the making of the Rhode Island group’s newly reissued 1995 Severe Exposure album

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