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The Mire: Tangents, threads and opinions from The Wire HQ

Exclusive ticket offer: Tatsuya Yoshida live in London

Nathan Budzinski

Tatsuya Yoshida is one of the most innovative drummer/composer/improvisors in the Japanese avant garde, pushing a unique brand of high energy music that is a mixture of contemporary composition, hardcore and Prog rock.

Best known for fronting the drums and bass duo Ruins, Yoshida has led many other groups and collaborated with John Zorn, Fred Frith, Derek Bailey, Keiji Haino, Otomo Yoshihide, Acid Mothers Temple and many more members of music's experimental jet set.

Over the weekend of 8 & 9 August, Yoshida takes up a two day residency at Cafe Oto in East London, where he will be playing solo (drums, vocal, electronics) as Ruins - Alone, and collaborating with various special guests drawn from the UK underground.

Tickets for each night normally cost £8, or £14 for a two day pass.

But in an exclusive offer, readers of The Wire can get a special discount on tickets, ie £6 per night, or just £10 for a two day pass.

For more information on the event click here:

To buy discounted tickets, click on the links below.

Tatsuya Yoshida, Sat 8 Aug: £6.00

Tatsuya Yoshida, Sun 9 Aug 09: £6.00

Tatsuya Yoshida, two day pass: £10.00


Happy 15th

Derek Walmsley

What better way to celebrate London radio institution Rinse FM's 15th birthday than with this legendary grime set from 2005? Logan Sama's last show went down in underground history not just because it featured around 20 guest MCs (take that Wu Tang!), but because of the truly incredible amount of special, one-off dubplates Logan cut for the occasion, with dubs of Vibez Cartel over Danny Weed rhythms, and all sorts of mad mash-ups. It's an incredible listen on so many levels - Wiley and Ruff Sqwad unexpectedly appear around half way though, as if drawn to the studio by the subsonic shocks extending through East London. You can also see the set on the extra DVD with the Rinse FM six CD set, but somehow it's better just heard. The set can be downloaded here, and was uploaded by blackdown and forwarded on by Dan Hancox.


Below The Radar & Into The Vortex

Nathan Budzinski

As posted here last week, The Wire will be joining forces with one of London's top music venues The Vortex to present an unmissable lineup of new music in October (with appearances by The Band Of Holy Joy, Richard Youngs & Heather Leigh Murray, Alasdair Roberts and The Caretaker amongst many others). But, well, in our haste to let everyone know about it, we posted the title Below The Radar.... which has actually now been taken up exclusively by our brand new subscriber-only download series, Below The Radar (click to find out all about it)! So now with great pleasure... and even greater resolve than before, we can reveal the new and true event title [queue drum roll]...


9, 10 & 11 October... Stick it into your diaries now and stay tuned for further information!


Toshiya Tsunoda

Derek Walmsley

Very interesting little piece from Toshiya Tsunoda about his approach to field recording, on the Erstwords blog.

Tsunoda's approach is very specific to him, but for me his comments cut through a lot of very wooly thinking which is written about field recordings. A lot of stuff intends to document/preserve certain environments, but apart from the moral dimension of this (obviously to the fore in times of climate change) it seems a rather conservative with a small c aesthetic. Who's to say what is to be preserved and what isn't? That very few field recordists come up with a compelling answer to this question makes me wonder if many of them aren't just landscape painters for a new generation.


Who'd'a thunk it?

Tony Herrington

Congratulations to the family man of UK Noise, Dylan Nyoukis, on his recent elevation to the avant garde pantheon. Ubuweb has just added a pile of tracks by Dylan to its already monumental library of 20th/21st century avant audio. The tracks feature this doyen of the DIY underground in various guises and combos, including Blood Stereo (a duo with the missus, Karen Constance).


Sublime Frequencies in Berlin

Tony Herrington

When the Sublime Frequencies European label tour hit Berlin, its hosts, Club Transmediale, set up a series of talks and discussions, including The Wire's Marcus Boon giving a talk on ethnopsychedelia, to support live sets by Group Doueh and Omar Souleyman.

All the material, live sets and talks, has now been archived online here


People get on board

Derek Walmsley

Somehow I'd missed until David Stubbs mentioned it that the longrunning US soul show Soul Train is now up on You Tube. It might have only happened recently, but if you're in the UK this is like a portal opening up into 70s Black America – Soul Train has only ever been glimpsed here in occasional clips in documentaries. They're currently putting up classic old shows recently. When I talked to Jeff Mills a while back, he mentioned the kids doing a soul train in the classroom, and I didn't quite understand what he meant, even though I knew of the show – some sort of conga line? But I guess he meant the communal dance at the end, where over some ridiculously funky tune the audience line up to take it in terms to bust their moves.

This sort of audience participation is really unfamiliar to British (and especially English) types. People clap the beat out precisely, and cheer the breakdown in a Kurtis Blow track without prompting. No fourth wall between audience and performer. The camera doesn't cut away from the dancers or edit the footage in ridiculous ways, it lingers on them. Uptight Englanders look away now.

The kind of seriousness with which the main man introduces the segment – "We now turn our attention to the soul train" – give it a life of its own. That kind of autonomous zone was kind of unheard of on UK TV, where the biggest televisual pop medium was Top Of The Pops, where you had watcher and performer with little in between. (a notable exception – BBC2's Dance Energy show in the rave era). I'll be eagerly soaking these up in the next few days. It's strange, though, considering online media-overload, how fresh and unfamilar this medium, a staple of US TV for decades, somehow feels ...