A selection of sonic impressions
from the former Soviet republic of Georgia and its capital Tbilisi,
selected by Matthew Collin, author of a Global Ear report on the
city’s electronic music in The Wire 348.
Follow Cara Tolmie's choice picks of the web. Tolmie is featured
in an article by Louise Gray in The Wire 348.
Follow the sound artist’s choice picks of the web. Farmer is
featured in an article by Daniela Cascella in The Wire
348.
Nick Cain examines the inward looking spatial sonics of Florian
Hecker's recent piece Chimerization.
Mark Fell argues that the limits of technological systems do not
frustrate creativity.
In the first of a new series of columns written for
thewire.co.uk, Clive Bell pitches an imaginary book about
Westerners who rewired World Music as if they were saving the
whale.
Mark Fell argues that the limits of technological systems do not
frustrate creativity.
Mark Fisher's unedited transcript of his interview with underground dubstep artist Burial
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.
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.
A collection of tributes to the late former
editor of The Wire, who died August 2007
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.
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.
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.
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.
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.
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.
Sounds that weren't meant to be recorded have an
uncanny quality. It's these that superimpose scenes of animated yet
soulless bodies on Oscar Powell 's recent 12"s, Body
Music (Diagonal), and an untitled 12" (on Boomkat's Death Of
Rave). Sounds taken from live bootlegs of New York No Wave groups –
like chickens jerkily strutting around the yard with no heads –
pure motor movements minus autonomy and intention.
Talking to Powell for the March issue of the magazine got me
thinking about these bits in between live sets. In Powell's music
they are what makes his sound so uncomfortable – that which
separates it, in terms of its construction, crowbarring apart beats
and guitar twangs, and on a macro level, lifting it above the dense
forests of hi-fidelity frequencies currently populating
dancefloors. A trail of hyperlinks led inevitably to a series of
live supercuts.
The first, a year of The
Grateful Dead warming up...