Find out more about Harvey Matusow, American
ex-Communist and McCarthy collaborator-turned-avant garde
impresario. Matusow promoted the International Carnival of
Experimental Sound (ICES) at London's Roundhouse in 1972. ICES 72 –
which involved AMM, John Cage, Cornelius Cardew, Annea Lockwood,
Steve Beresford, Lol Coxhill, David Bedford, Charlotte Moorman,
Penny Rimbaud and many more – is featured in an article by Julian
Cowley in The Wire 336.
Don’t confuse online culture with digital
culture, argues Terre Thaemlitz, whose latest project pushes the
MP3 format to its absolute limits.
Don’t confuse online culture with digital
culture, argues Terre Thaemlitz, whose latest project pushes the
MP3 format to its absolute limits.
Linder, author of The Wire 336
Epiphanies article on the work of artist Barbara Hepworth, shares
her top picks of the web.
Read about Claudia Molitor's choice picks of
the web. The London based German composer is featured in The
Wire 335 in an article by Philip Clark.
Bulk giveaways of music online make it
impossible for listeners to make any sense of an artist’s work,
argues James Kirby
Bulk giveaways of music online make it
impossible for listeners to make any sense of an artist’s work,
argues James Kirby
Read about the Public Information label's top
picks of the web. The label, which focuses on archival releases and
the "pre-digital soundworld" is featured in The Wire 334
in an article by Dan Barrow. Their next release is an anthology of
work by the inventor and amateur electronic musician Fred Judd.
Read the full transcript from Derek Walmsley's interview with Jeff Mills in The Wire 300, February 2009
Grouper is the subject of a feature by Nick Richardson in The Wire 334. A I A: Dream Loss/Alien Observer is out now, self released by Harris and available here.
File sharers uploading rare and out of print
records challenge official histories of music by confronting
hand-me-down narratives with the source artefacts, argues Mutant
Sounds blogger Eric Lumbleau.
File sharers uploading rare and out of print
records challenge official histories of music by confronting
hand-me-down narratives with the source artefacts, argues Mutant
Sounds blogger Eric Lumbleau.
The culture of copying is intrinsic to all music, argues Marcus Boon. So get over it – copyright buccaneers are roadtesting creative alternatives to obsolete capitalist models.
The culture of copying is intrinsic to all music, argues Marcus Boon. So get over it – copyright buccaneers are roadtesting creative alternatives to obsolete capitalist models.
Paul Gilroy's Epiphanies article on two 1970 performances from The Voices Of East Harlem choir at the Isle Of Wight Festival and Albert Hall is featured in The Wire 333. Gilroy's latest book is Darker Than Blue: On The Moral Economies Of Black Atlantic Culture (Harvard University Press). On the cusp of the 1990s Gilroy wrote about jazz-funk and fusion for The Wire, in reviews and a regular column called New Fusion.