The Wire

The world's greatest print and online music magazine. Independent since 1982


Issue 170

April 1998

The Wire Tapper
Your cut out and keep track by track guide to this month's free cover mount CD

Death Songs
Biba Kopf hears the dying of the light in the music of Albert Ayler, Nick Cave, Diamanda Galas and more

Global Ear: Siberia
Ken Hyder and Tim Hodgkinson encounter music and magic on the Tuvan Steppes

Tony Conrad
Without the Buffalo violinist there would have been no Velvet Underground. Richard Henderson meets the Minimalist drone king who discovered a whole new musical universe in one note

Jan Kopinski
Ten years ago the Nottingham saxophonist was committing jazz-punk slaughter with his group Pinski Zoo. Now he is haunted by the sound of digital mood music. By Ben Watson

Q: What's the most influential record of the last ten years? A: "Acid Trax", the 1987 single that launched Acid House. Mike Shallcross flashbacks through the history of Chicago House's finest trio

The Creators
On the trading floor of the international beat exchange, this Surrey-based duo are blue chip brokers, trading old vinyl stock with America's leading HipHop producers. By Peter Shapiro

Invisible Jukebox: David Thomas
The Pere Ubumeister enters our mysterious listening booth and tries to identify tracks by the Beach Boys, Iggy & The Stooges, The Electric EEls, Roxy Music and more. Tested by Biba Kopf

The Primer: Captain Beefheart
Mike Barnes dons his trout mask for a surrealist journey through the recorded legacy of the spotlight kid

Loren Mazzacane Connors
Long before anyone was listening, America's most self-effacing guitarist was forging new music out of the country blues and the canons of Bach and Chopin. Now he makes the cover of Billboard. By AC Lee

The Secret History Of Film Music
The films of Italy's Dario Argento are blood weddings between the symphonic Prog rock of Goblin and Grand Guignol horror. Philip Brophy screams his approval