Polish festival, Unsound, is taking itself across the pond for a New York edition 2–6 April. The programme will include a number of Unsound's commissions from the past few years, including last year's Krakow festival highlight, Oren Ambarchi's Knots, with Eyvind Kang, Joe Talia and Sinfonietta Krakovia. Also on the bill is Demdike Stare's Concealed, Andy Votel's Kleksploitation, Neotantrik with Suzanne Ciani, EVOL, a Ben Vida commission using the SubPac tactile speaker, a Bocian records showcase, plus Phill Niblock, Paal Nilssen-Love, Robert Piotrowicz and others. Events will take place at Issue Project Room, Lincoln Center's Atrium, BAM, The Bunker, and elsewhere. More to be announced on the Unsound site.

As part of his Arcadia events series (The Wire 361), William Basinski will be in conversation with long time collaborator Rhys Chatham next month at Cafe Oto. The series also includes a solo performance by Michael Gira (12 March), and Charlemagne Palestine and Rhys Chatham (20 March), plus exhibitions and other shows. Basinski and Chatham will be in discussion at Cafe Oto on 19 March.

Resonance FM, the home of The Wire's Adventures In Sound And Music radio show, is trying to raise money to bolster its imminent application for funding to Arts Council England. To this end, the radio station wants to build reserves – savings which indicate its financial resilience and which it can draw upon in exceptional circumstances. Resonance is a multi-award winning broadcaster, but does not own a building, so has few material assets; nor does it charge for its services, so it relies on the generosity of its listeners. Please take a moment to show your appreciation of their broadcasts and secure the station's future.

If you've dug listening to what The Wire staff have played for you on the show, or if you've raved about our shows to your friends, then help us by donating directly to Resonance or via JustGiving. The Wire's show has its own target, which equals roughly fifty listeners donating £10 each. Please mention Adventures In Sound And Music so they can keep track.

As well as various on air drives, the station is hosting a series of events around London, beginning this week. A debate on the state of music journalism takes place on Monday 10 February with Andrew Mueller, Charles Shaar Murray, Jude Rogers and David Stubbs, blues and folk the following day. On 13 February Janek Schaefer, Rie Nakajima, Yuri Suzuki and Oscillatorial Binnage perform at Cafe Oto, and LV and others will be playing at the Candela until 1am. Bruce Gilbert plays as part of Bermuda Triangle's night at The Roxy on Borough High Street and the annual Resofit comedy gig this year includes Daniel Kitson, Stewart Lee, Josie Long and Lewis Shaffer. Full details on all events are at Resonance FM.

A two day event marking the 50th anniversary of the legendary EMS centre for Swedish electroacoustic music and sound art in Stockholm takes place at Cafe Oto on 8 March. The two day event includes a performance by Mats Gustafsson with Thurston Moore, Joachim Nordwall and Christine Abdelnour, and Swedish sound artist Hanna Hartman, plus an Ake Hodell tape piece presented by the EMS studio director Mats Lindström (who also performs a live diffusion of Ákos Rózmann's Images Of The Dream And Death on 11 March.

Rie Nakajima has won the Arts Foundation Award in the category of Experimental Music. Nakajima, who performs using collections of small machines, toys and objects, receives £10,000 to help with living and working expenses. The awards were judged by Cafe Oto founder Hamish Dunbar, Richard Whitelaw from sound and music, and Brian Eno.

Aldeburgh Music have commissioned Russell Haswell to develop a piece based on the incomplete score Et Ecce Terrae Motus (Earthquake Mass). The 12 part piece was created by the Flemish composer Antoine Brumel who died in 1520, the only surviving copy of the work having rotted away. Part of the Faster Than Sound series, the event will also include vocal ensemble Exaudi. It takes place at Aldeburgh's Britten Studio in Snape, on 14 June.

In other Faster Than Sound news, nearly upon us is Richard Skelton's Aldeburgh performance, which takes place on 21 March. Skelton will be performing a new piece with an ensemble, based around the surrounding environment of Snape.

More details on both here.

A three day retrospective of work by Bernard Parmegiani is taking place in London next month. Hosted by the London Contemporary Music Festival (who put on the concert series at Peckham's multi storey car park last year), the event will include multi-channel diffusions by members of the GRM, film screenings and live performances by Rashad Becker, Florian Hecker and others.

Inside Outside: The Music Of Bernard Parmegiani takes place at Britannia House 21–23 March. More details here.

A rare performance by Cecil Taylor takes place this month at San Diego University, as part of the Kyoto Prize Symposium. Taylor will perform an early daytime show on 19 March. Admission is free but registration is required at kyotoprizeusa.com. Taylor was awarded the Arts And Philosophy Kyoto Prize last year. More details here.

Manchester's Future everything rolls around again at the end of the month, with the music arm this year hosting Mika Vainio, Source Direct, Evol, Dean Blunt, Evian Christ, Tim Hecker, The Space Lady's first European performance, among others. More details, plus information on the conference arm of the festival at futureeverything.org.

Influential Japanese label PSF is appealing for financial help. The Wire's Alan Cummings has translated label head Hideo Ikeezumi's original post:

"Some of you may have noticed that PSF has not put out any new releases for almost a year now. There are releases ready to go by Kazuo Imai, Suishou no Fune, Kyoaku no Intentions, Ai Aso, Masayoshi Urabe and others, but unfortunately over the past year it has become financially impossible for me to release anything.

PSF currently deals with 30 distributors and record stores, both inside and outside Japan. Seven of those companies have failed to pay what they owe. The total amount owed to PSF by these seven companies is around £15,000 ($25,000), and this situation has continued for over a year. CD sales are falling everywhere, it seems, and everyone has problems with their cash flow. I have asked these companies to pay multiple times over the past year, but no one has the cash. Just two years ago, everyone paid their bills on time, and PSF was able to release new albums and publish G-Modern regularly.

15 years ago, two friends who ran a real estate business and a bookstore each invested about £12,000 ($20,000). That enabled PSF to release a string of high quality releases, even though they never sold in huge numbers. Then, five years ago, both of my friends’ companies went bust and I returned their investment money to them. If I were able to get back even half of what PSF is owed, I would still be able to put out new albums and publish the magazine. If I am unable to recover any of this money, PSF will not be able to continue. I have talked with a lawyer friend and he advised that me that I should sue these companies in the small claims courts and that way I would probably get back around half of what I am owed. But I have had long relationships with some of these companies, so I am unwilling to do that now.

Instead, I have decided to try to find new investors through the PSF website. It’s pitiful, I know, but this is the only way left to me. I would like to find people who would be willing to invest at least £1,500 ($2,500). Just ten people investing that amount would mean that the label could continue. If I can’t find anyone, then going to court might be the only option. If anyone is willing to help, please get in touch. It will probably be difficult to pay a dividend immediately to the investors, but they will receive five copies of all new releases. When costs have been covered, then they will receive 10% of the profit as a dividend.

When I started the business, PSF was supported by the profits from the Modern Music shop. In the past two years, this situation has reversed and it is now the label that supports the shop. This is no longer financially sustainable, so I have taken the difficult decision to close the shop this March and make the business internet-only. I would like to thank all the customers who have supported me over the years. Rest assured that this was not an easy decision."