The Wire Vinyl, CD & tapes from this label at Norman Records
We've always admired The Wire for sometimes giving the cover feature to concepts rather than specific artists: for Issue 376 we get the magazine’s finest exploring music that is produced under ‘other’ names in a series of short pieces. Elsewhere, articles on Eugene Chadbourne, Finnish CD-Rs, Mikhail Karikis and much more...
The experimental music magazine that always brings the goodies, known and new. May issue includes an in depth look at the Art Ensemble Of Chicago founder Roscoe Mitchell, 80s futurist Legowelt, as well as an invisible jukebox battle with RP Boo and an epiphanies chat with Tyondai Braxton. Alongside reviews of all the latest in the experimental underworld.
Experimental music magazine featuring a bumper crop of interesting artists. Laptop queen Holly Herndon takes the cover, flailing noise-rock duo Lightning Bolt are tested by the Invisible Jukebox, and Dan Spicer writes in depth about the fertile crossover between poetry and improvised / noisy music in sunny Brighton!
Mica Levi (aka Micachu) grins at you from the cover of edition number 372 of The Wire, daring you to ask her just how many fucks she gives. Weirdo pop and modern composition all fall under her purview, this feature will explain more for you. Also includes a big Derek Walmsley piece on the Red Bull Music Academy and its cultural implications.
In this latest issue of The Wire magazine, they bring us their annual retrospective of the past year in everything underground. Expansive charts covering all genres, key criticisms and musings from all the goings on in 2014. Also featuring Rie Nakajima, Mette Rasmussen, Divine Styler and Alasdair Roberts.
Edition 363 of The Wire Magazine includes a special series of articles on compiling, compilers and compilations: potentially boring, but typically fascinating when the writing talents of The Wire’s hardy team of contributors are brought to bear on the subject. Also includes an Invisible Jukebox with the incredible Okkyung Lee!
The notion of musical freedom(s) is the main subject matter of this issue of The Wire: a theme that is carried through all the way to the exploded logo on the cover. (If nothing else, this magazine will look great lying around the house). Also, we have the usual comprehensive selection of reviews, features on the theremin and the traditional songs of the Ainu people, and trombone player Peter Zummo engaging with the Invisible Jukebox.
The latest issue of Wire concentrates on the bizarre and traditional songwriting of Newcastle folkie Richard Dawson, who is set to release a new record of narrative long-form songs. There are also features on Cooly G, Autechre, Ascetic House and all the usual coverage, plus your standard Wire Tapper!
Another issue of everyone’s favourite experimental music magazine! Number 361 has Actress on the cover, looking pretty striking it must be said. Inside, Derek Walmsley explores the music and the man in a rather good feature. Also includes a Steve Lacy Primer, an Ellen Fullman article, and an interview with the elusive Jandek.
That wise, hat-touting fella on the front page of this edition of the Wire mag is Robert Fripp of King Crimson fame. He talks about a bunch of things in this issue, and he's joined by power electronics artist Pharmakon, whose new, totally evil and vomit-inducing record (in a good way), 'Bestial Burden', is covered here. There's also Grumbling Fur and all the usual business from the best experimental music mag out there.
On the cover: Dean Blunt: David Keenan talks black metal, artisan cheese and porkmice, free-jazz, life after death and life after Hype Williams.
There's talk of saxophones, Jad Fair rumbles on, a man from Godflesh called Broadrick talks about a jukebox which doesn't exist.
And there's a plethora of reviews and articles by people about interesting and difficult music / non music. Get in!
Also George Michael talks about how he's like to get stoned with the entire planet and his hazy plans to give everyone a free doobie.
Morten Harket finally admits that he was really the frontman in Then Jericho and that Mark Shaw never really existed.
And there's a 6 page article with Simon Climie talking about the 27th anniversary of 'Climie Fisher's' classic 'Everything' album.
The August 2014 issue of the renowned experimental music magazine features a variety of features and reviews on upcoming and proudly returning artists. That's Annie Clark of St. Vincent on the cover, who released her fourth, self-titled record this year to critical acclaim, after she'd gotten over a couple of years jamming with David Byrne; Joseph Stannard writes the cover story on how she throws song structure out of the window. That's not all that's included in this edition, though, which includes Norwegian avant-garde musician and spoken word peformance artist Jenny Hval (who just released 'Innocence is Kinky' and is set to release a new record with fellow Norwegian artist Susanna this coming month) critiquing the Masayoshi Sukita portrait of David Bowie. There's also a feature on Lee Gamble and his production tricks written by Quietus writer Rory Gibb, a piece on vocal improv dude Trevor Wishart and his electronic innovations, an article about the dangers of crowd sourcing music by Emily Bick and an article about the soundsystems found around the town of Huddersfield. Yorkshire! On top of that, you'll find all the standard Wire columns and review bundles, as well as a discussion of the new, much-talked about music books hitting stores; this issue includes a review of 'The Wild, Obsessive Hunt for The World’s Rarest 78rpm Records' by Amanda Petrusich which has been cooking up conversation about how and why we collect music.
In depth articles to be found on all of the following:
Huddersfield sound systems
Issue 365 of challenging-to-read-but-impossible-to-ignore musings from The Wire. Featuring:
Mattin and Xabier Erkizia on Lagos's music scene
The Inner Sleeve
King Britt on The Police’s Ghost In The Machine
And loads more...
As brief as it is, the highlight of this issue might just be the amazing Grouper writing a short piece on the also amazing Dead C: musicians you like listen to other musicians you like! On the cover is Ben Frost, working his serious beard-wearing look and talking about his acclaimed A U R O R A album. Plus all the usual news and reviews.
A big feature on The Ex, literally one of the most fun bands to see live. Straight out of the Netherlands and into your magazine, in an article that involves some especially interesting photography (buy it and see…). Also includes writing on Akira Sakata, amateur synth explorers in the early 70s, and contemporary composer Laurence Crane.
A serious coup for The Wire here: Jandek, he of the deep reclusiveness, he of the only recently allowing himself to be seen live, he of the hundreds of records of isolated-weirdo blues, turns up on the cover of a major magazine! A lengthy interview with the man himself inside. (Cue shrugs from 90% of you, amazement from the remaining 10%...)
The Wire’s annual dissection of the preceding year, in this case 2013. All publications do an end of year list, and The Wire do too, but you also get detailed and varied recollections and analyses from Wire writers and all manner of musicians too. Always worth a read. Still contains the usual set of up-to-date reviews too.
A big feature on really-really-good saxophonist/composer Matana Roberts is the centrepiece of this issue: richly deserved too. You can also learn about Australian improvisers The Necks, Buchla synth enthusiast Charles Cohen, and the tastes of Shangaan Electro don Nozinja. Plus comprehensive reviews of the period’s releases.
This edition of The Wire is coming straight outta Bristol, with a cover story on the Young Echo / Livity Sound crew. Furthermore, if you feel underinformed about Sheffield legends Cabaret Voltaire, you came to the right place: there is a Cabs Primer within these very pages. Oh and don’t forget an article on the lesser-sighted Kazuo Imai of Marginal Consort.
Wolf Eyes take the cover of Wire Magazine 351, in a big grand feature that takes in members and side-projects past and present in its overview of the American noise-rockers. You’ll also get some words on Morphosis and Oval, as well as the usual gamut of record reviews and striking graphic design.
Edition number 349 of the venerable music magazine. Mats Gustafsson graces the cover of this issue of The Wire, he of the massive saxophone skronking powers. ‘Free The Jazz!’, as Mats has been known to say. Full feature on him and his voluminous works inside, alongside a Primer on US Hardcore, and Ergo Phizmiz’s Invisible Jukebox.
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“Bass! How low can you go?”
This crucial question, first posed by Chuck D of Public Enemy in 1988, is taken up by The Wire in 2012, in a special issue devoted to the popular frequency range. Includes essays from selected writers, and mini-features on 75 major bass moments, ranging from Art Ensemble of Chicago to the Big Bang.
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How did Dave Grohl get on the cover of The Wire, you might ask? Fear not, it is in fact Sun Araw, whose sun-bleached works are discussed within. Also includes a wordy Simon Reynolds piece and a feature on mechanical-piano fan Conlon Nancarrow! And all rounded off with a free CD, The Wire Tapper 28. Pretty sweet.
The mighty Earth take the cover here, Dylan Carson dramatically flanked by drummer Adrienne Davis. Also a primer on dub lord King Tubby (very useful with his cavernous, echoing back catalogue), the Ghost Box label doing an Invisible Jukebox, and a report on one of The Ex’s trips to Ethiopia. Very interesting and varied issue.
Just look at Lil B on the cover of The Wire 336! Literally towering above the city: find out how in a nice big feature inside. The magazine also delves into the music of Keith Fullerton Whitman, a man with as many patch leads for his synths as he has hairs in his beard (eg. millions). Plus Charles Hayward, formerly of This Heat.
Beardy Roy Harper takes the cover of this issue of esoteric music publication The Wire, looking a little menacing I have to say… Also stocked with words on the dearly departed DJ Rashad, John Wall and Daphne Oram, and all rounded off with reviews of albums, live shows, and the weird little tapes that they get sent.