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.

The Polish experimental musician and composer Zbigniew Karkowski died on 12 December 2013. Richard Whitelaw remembers an artist whose music could "suck the soul out of your body".

The Polish experimental musician and composer Zbigniew Karkowski died on 12 December 2013. Atau Tanaka writes an open letter to an artist of "vision and principle".

Read the introduction to Douglas Kahn's new book Earth Sound Earth Signal, on art and music's relationship to electromagnetism and natural radio.

All aboard with Clive Bell: "Musicians love trains. They sing about them, imitate their sounds, and scamper, instrument in hand, for the last departure homebound after a show."

Jazz is radical music, so why is it funded by big business? asks Dan Spicer.

Jazz is radical music, so why is it funded by big business? asks Dan Spicer.

Pastoral punk duo of Claire Titley and Christopher Tipton guide us through online resources of unofficial histories, potent topographies and resonant field recordings.

Follow Hair Police and Three Legged Race's noise man Robert Beatty as he cuts a path through the digital jungle through experimental animations and electronic scores.

Read an interview with the late composer Bernard Parmegiani, by Rahma Khazam. First published in The Wire 176, October 1998.

The Diskotopia label co-founder and British ex-pat living in Japan shares aspects of his adopted home that escape common knowledge and debunk ideas of wacky-Japan.

When funding bodies treat culture as a business enterprise, their insistence on results discriminates against music’s true value, argues Richards.