Philip Clark on Deutsche Grammophon's 1970s forays into free improvisation, and the impact of DG's current boss, former A&R pop picker Max Hole

Damon Krukowski on musicians who drop their mother tongue and sing in English – and why it's great to sing in Welsh

Read a short extract from Phil England's four hour interview with Penny Rimbaud, on the suspicious death of underground figure Wally Hope, the Stonehenge Free festivals and the birth of Crass

Ahead of his appearance at our Off The Page literary festival for sound and music in Bristol on 26 September, read an extract from Marcus O'Dair's biography, tracing Wyatt's teenage years through to the birth of his first son

Q: What album was so important that ten million copies of it needed to be pressed at once? A: Songs Of The Humpback Whale. Musician and writer David Rothenberg wonders at the complex beauty of whale song

Kevin Martin (aka The Bug) shares his favourite online hubs to induce modular synth bliss. His latest album Angels & Devils was reviewed in The Wire 366.

Philip Brophy listens in to the occultic meanderings of Ben Rivers and Ben Russell's experimental film and finds the secret power of audiovision.

"Some recordists are like hoarders, bringing home whatever they find outside with little discrimination as to what's worth preserving and what’s not." Derek Walmsley sorts through The Wire's post bag in search of the person behind the mic.

Emily Bick feels the qualitative in the different approaches improvisors and composers take to the sonification of data sets

Kasper Opstrup cracks open the Third Mind and gets into the vibe with William Burroughs and Brion Gysin, Matmos, Jennifer Walshe, Tomomi Adachi, Kouhei Matsunaga and more

Clive Bell on the recent furore over Sam Callow's accompaniments to traditional British folk singers.

“We have, at the present time, a destruction taking place, in and of nature, unprecedented in history..."

The writer of the Sarkari shorts blog (featured in The Wire 366) Alexander Keefe takes us on a trip through Indian music documentaries.

Damon Krukowski imagines a different analogue metaphor for our digital music making tools

Composers who use crowdsourcing tools to generate musical material might be pushing technological boundaries, but this model of creative sharing is an illusion – and one that reinforces, rather than breaks down, hierarchies.

“That musician really gets up my nose”. Like a bloodhound, Mr Bell picks up on the scent of a new musical accompaniment and asks whether it's gesamtkunstwerk or gimmick.

Yan Jun chews over some spicy food and experimental music: What are these enlargements of bodily experience reacting to?

Sarah Angliss traces the vocal-throwing art's continued persistence in the face of obsolescence, and the peculiar relationship between performers and their knee pals.

Since the pirate stations shipped out, the FM radio spectrum is being repopulated by the people

Composer, percussionist and Q&A obsessive Eli Keszler guides us through his favourite artist interviews.