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The Portal

Kemper Norton's pick of the web

December 2012

Follow Kemper Norton's choice picks of the web. Norton is featured in Matthew Ingram's article on West Country electronic music makers in The Wire 346.

The Portal

Links: follow Loki's Portal

November 2012

Follow Loki aka IX Tab aka Saxon's choice picks of the web. Loki is featured in Matthew Ingram's article on West Country electronic music makers in The Wire 346.

The Portal

Holly Herndon Portal

October 2012

Follow the musician Holly Herndon's top links of the web. Herndon is the subject of an article by Jennifer Lucy Allan in The Wire 345, her album, Movement is released by RVNG Intl on 15 November. She'll also be performing at the Unsound festival in Krakow, Poland on 18 October.

The Mire

Family affair (Disco re-edit)

Flying Lotus stares moodily from the cover of The Wire 's October issue, his third eye caught in a blur as it materialises in the region of his right temple. A neat/corny camera trick by photographer Jake Walters, you might think. But either way it feels like an appropriate representation – after all, FlyLo is a producer-DJ whose ancestors were cosmic visionaries. As interviewer Britt Brown points out, but as all you Generation Bass cadets will already know full well, FlyLo's great aunt was Alice Coltrane, that divine messenger who appeared to us in the guise of a jazz musician – although Britt doesn't go on to state the next obvious but still rather mindnumbing fact that this meant his great uncle would have been John Coltrane himself, had he lived long enough to anoint baby Steven Ellison's head once he'd come into the world in October 1983. Another of FlyLo's great uncles...

Essay

Charles Mingus: Hit In The Soul

September 2012

After the extraordinary achievements of his early years, the great bassist/composer Charles Mingus faced crisis – and a nervous breakdown – in the mid-1960s. But his comeback in the 70s, though constrained by illness, led to a few late masterpieces. as Brian Priestley reports in the concluding part of our Mingus retrospective. This article was originally published in The Wire 76, June 1990.

Essay

Collateral Damage: archivist Will Prentice

September 2012

As recording formats become obsolete, sound archivists are rethinking the paradigms around methods of preserving our audio heritage. By Will Prentice of the British Library.

Essay

Collateral Damage: archivist Will Prentice

September 2012

As recording formats become obsolete, sound archivists are rethinking the paradigms around methods of preserving our audio heritage. By Will Prentice of the British Library.

The Portal

Links: John Butcher's Portal

September 2012

Browse the improvising sax player's top picks of the web. John Butcher is the subject of The Wire 344's Invisible Jukebox, tested by Clive Bell.

The Mire

A family affair (Wire edit)

In April 2002 Jake Walters photographed Alice Coltrane at her home in Santa Barbara for the cover of The Wire 218 . One of the extended family members hanging out at the shoot was Alice's teenage nephew, Steven Ellison. Ten years on, and Ellison is now better known as Flying Lotus, patron saint of downtempo beat makers, and now Jake has photographed him for the cover of the forthcoming October 2012 issue of the magazine . So we couldn't resist a pose with a copy of that issue graced by the numinous presence of his late, great Aunty Alice, and here it is. The October issue, complete with more images from Jake’s shoot, will be on sale from next week and on its way to subscribers from the end of this week. The digital edition will be dropping in from the ether on Tuesday.

The Portal

Ex-Easter Island Head links

August 2012

Follow Ex-Easter Island Head's choice links of the web. The Liverpool based minimalist group is featured in an article by Abi Bliss in The Wire 343.

The Portal

Peter Strickland's Portal

August 2012

Follow film maker Peter Strickland's top choice of the web, including sites devoted to favourite Soviet bus stops, visual music and more. Strickland and his film Berberian Sound Studio are the subjects of an article by Daniel Spicer in The Wire 343.

The Portal

London Sound Survey Portal

July 2012

Read Ian Rawes of the London Sound Survey sound map website's top picks of web links. Rawes and the London Sound Survey are featured in The Wire 341 in an article by Nathan Budzinski.

The Mire

Ladies and gentlemen, we are floating in space

Since 2008 Jan Jelinek has been releasing recordings from the archives of an electronic ‘outsider’ musician, Ursula Bogner . Born in 1949 and employed as a pharmacist for Schering, she devoted her leisure time to exploring electronic sound, constructing a home studio, attending workshops and building up a body of tape and synthesiser pieces that reverberate with a ghostly, eerie intimacy. Except, of course, she probably didn’t – Bogner is widely believed to be one of Jelinek’s various musical personae, despite his carefully constructed story of a chance meeting with her son followed by the donation of an archive of reel-to-reel recordings, photos and writings. After the first Bogner release in 2008 – a compilation of fragmentary works dated ‘1969-88’ – another, more fully realised album, Sonne = Blackbox , followed in 2011. This release took the tale further, coming with extensive documentation of Bogner’s research into esoteric areas such as space travel and Wilhelm Reich’s theories of ‘orgonomy’. More recently, Jelinek...

The Portal

Reinhold Friedl's Portal

June 2012

Follow the composer and Zeitkratzer founder's top picks of the web. Friedl is the subject of The Wire 341 Invisible Jukebox, tested by André Vida.

The Mire

Remix, remake, remodel

Is the term remix redundant? Music has been begging, borrowing and stealing since day one. But does a remix denote more about the working process than the actual nature of the track? When so much is on long term loan, where's the dividing line between say, a prodigiously used sample and a remix? Is 'remix' just a label that's used top-down, from label to listener, to make sure you're accessing an audience efficiently? Perhaps the trouble is that remixes are often half-baked, passed around on short deadlines to every Tom, Dick and Harry with a URL, touted as 'exclusive', when it's one from a bag of ten or more quick-fix mixes that add a lazy beat or beefed up production to give a track a longer shelf life. (The plague of bad blog-House mixes that were recycling Pitchfork-hits for desperate music bloggers got so bad The Hype Machine built in a 'no remixes' functionality.) It's the churnalism of music production....