Neil Young's Pono player is the latest entry in a debate over the fidelity of digital sound which simplifies the relationship between the medium of music and its experiential message. By Philip Brophy.
Novelist and poet Stewart Home listens in to getting pumped, and works out some listening suggestions for the more discerning gym bunny.
Writer, musician and activist Christopher DeLaurenti on sonic protest and his field recordings of social change.
Yan Jun on beer in Singapore, venues in Beijing and bloody Russians
Tony Herrington crashes Noise of Art's bogus celebration of 100 years of electronic music.
The Israeli pianist, vocalist and sound artist introduces us to Tel Aviv's underground and emerging experimental music scene.
Reasserting the roots of Kraftwerk’s sound in African-American R&B and jazz reveals how the soul of electronic dance music is being throttled by the dead hand of the culture industry. By Tony Herrington
Reasserting the roots of Kraftwerk’s sound in African-American R&B and jazz reveals how the soul of electronic dance music is being throttled by the dead hand of the culture industry. By Tony Herrington
Clive Bell laces up his travellin' shoes and goes for a wander through the clips, clops and squeaks of footwear in music.
“Somewhere between a travelling cinema and theatre troupe, a kiss-a-gram...” Read an interview with the artist and film maker about her multifaceted, confrontational Party For Freedom audio visual work. By Nathan Budzinski
Read an interview with the late composer Robert Ashley, who died on 3 March 2014
Richard Thomas weathers obscure, dilapidated venues and relcalcitrant promoters to take the pulse of NIFI – Non-Idiomatic Free Improvisation music
The inventor of the long string instrument joins forces with her partner and collaborator Theresa Wong in selecting her top websites. Fullman is in The Wire 361 Invisible Jukebox, tested on the sounds of treehoppers, Memphis gongs and the search for resonance.
The sound artist (featured in The Wire 360) shares links to verbal echoes and influences.
What does it mean to describe a recording as being of a moment in which it did not circulate? Asks Grubbs, on Henry Flynt's unrecorded and recorded output.
Clive Bell looks at the resurgent interest in near forgotten 1960s Cambodian pop music, before the Khmer Rouge came to power.
Writer, musician and Sub Jam label runner Yan Jun tells a story about Chinglish music and what happens when the King Kongs and Godzillas of world music collide.
Ergot Records label head Adrian Rew finds readymade plunderphonics and corporate mind control on the gambling floor.
Newly released recordings of experimental music from the 1960s say more about our own time than the moment of their creation, argues David Grubbs.
Francis Gooding, reviewer of the recently published book Keeping Time 1964–1974: The Photographs And Cape Town Jazz Recordings Of Ian Bruce Huntley, shares online resources on the South African jazz scene.