avant . leftfield . post-rock . drone . experimental


The Wire

Issue 423: May 2019

    Inside this issue:
    Tanya Tagaq: Through extended vocal technique and dedication to oral tradition, the Inuk composer and performer draws attention to Canada’s destructive colonial past. By Phil England

    A Tribe Called Red: First Nation resistance takes on sonic force and physical form in the performances and recordings of the radical Canadian collective. By Marcus Boon

    The Primer: William Parker: Over a career of nearly 50 years, the bassist, composer, improvisor, poet and theorist has taken numerous paths to enlightenment. Here we present a user’s guide to his work. By Daniel Spicer

    Angel Marcloid: The Chicago based producer builds sci-fi popscapes from Weather Channel jazz and 1980s prog. By Emily Bick

    Sholto Dobie: The instrument builder and improvisor weaves myth and magic from his South London base. By Claire Sawers

    Ava Mendoza: Derek Bailey and Trey Azagthoth meet in the Brooklynite’s fiery guitarrorism. By Phil Freeman

    Julia Reidy: Adventures in microtonality with the Australian 12-string guitarist. By Abi Bliss

    Global Ear: Bristol: The West Country’s most musical city nurtures a fertile Indian classical music scene. By George Howlett

    Collateral Damage: The voices of Indigenous musicians must be heard. By tanner menard

    Invisible Jukebox: Dylan Carlson: Will The Wire’s mystery record selection bring the drone metal pioneer down to Earth? Tested by Emily Pothast

    The Inner Sleeve: Wayne Shorter on fantasy and action figures

    Epiphanies: The London Sound Survey’s Ian Rawes finds inspiration in the spectral echoes of the city.

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