| General | Wire Tapper 16
Melvins
John Surman
Primer: Texan Hiphop
Invisible Jukebox: Marc Ribot
Cross Platform: Charles Atlas
Steve Mackay
Reanimator
Hisato Higuchi
Beat Furrer
Tracklisting
01 DRONE SPIDERHEAD (GREEN MAN)
02 DAVE PHILLIPS JUSTICE IS AN ARTEFACT OF CUSTOM (WIRE EDIT)
03 ALAN VEGA 13 CROSSES, 16 BLAZIN' SKULLS (EDIT)
04 CASINO EATDRINKGAMBLESEX
05 CARTER TUTTI SO SLOW THE KNIFE (EXCERPT)
06 RADICALFASHION SHOUSETSU
07 WALTER & SABRINA RIMBLE MAN
08 XELA DRUNK ON SALT WATER
09 KOTRA & ZAVOLOKA COOL EYES
10 PANSONIC MACHINIST
11 HUNTSVILLE THE APPEARANCE OF A WISE CHILD
12 FLUORESCENT GREY A PERUVIAN SHAMAN SITS DOWN TO MAKE IDM ON HIS LAPTOP
13 DEREK BAILEY PLAY 4
14 TULIPOMANIA SAME OLD SONG
15 DAVE SWAIN MEDIA MONKEY
16 AMUTE HIT MY COUNTRY (EDIT)
17 CALIFONE THE ORCHIDS
18 INCH-TIME TAKE CARE, O PILGRIM! (EDIT)
19 WHITE MAGIC THE LIGHT
20 THE SLITS EARTHBEAT
21 ANTHONY KELLY & DAVID STALLING SOMETIMES YOU SEE A TREE
The unpredictable California based quartet intersperse neo-Metal albums with art film soundtracks, avant garde provocations and audience baiting antics. By Phil Freeman
The veteran saxophonist's early 70s work with The Trio, John McLaughlin and Dave Holland produced some of the most visionary moments in British jazz. By Julian Cowley
Cough syrup at the ready, Dave Stelfox presents a user's guide to the Lone Star State's own brand of 'screwed and chopped' hiphop
The versatile and prolific guitarist picks up the duende in tracks by Albert Ayler, Giacinto Scelsi, Ry Cooder and more. Tested by Alan Licht
Louise Gray connects the dots of the US film maker's work, which links Merce Cunningham to Sonic Youth and Fennesz
Best known for his blowing on The Stooges' Fun House, the saxophonist finally makes his solo debut with two albums of blazing free jazz and electronics. By Edwin Pouncey
The Portland duo's low-tech, analogue debut is infused with spectral Techno rhythms. By Philip Sherburne
Alan Cummings uncovers the workplace stress and urban alienation which frustrate and inspire the Japanese guitarist
The Swiss composer's Fama project expounds his concept of a 'listening theatre'. By Andy Hamilton
In Ethiopia, Chris Sharp succumbs to the hypnotic rhythms of Tigrean music
Sitting in on a recording session at Abbey Road in 1965, Barry Miles watches The Beatles reinvent pop music
Soundcheck A-Z
A Broken Consort
Alexander's Annexe
AntiMC
Robbie Basho
William Basinski
Franco Battiato
Belbury Poly
Andrea Belfi
Peter Blamey & Jim Denley
Lars-Gunnar Bodin
Boots/CC/Snake & Remus
Brain Donor
Sandy Bull
Eric Chenaux
Michel Chion
Clipse
Cul De Sac
William Eaton
Erase Errata
Ferran Fages/Ruth Barberán/
Alfredo Costa Monteiro
Ferran Fages/Jean-Philippe Gross/
Will Guthrie
Luc Ferrari
Otto Fischer
Gescom
John Hegre
Robert Henke
Henry Cow
Tim Hodgkinson
Hototogisu
Hototogisu & Burning Star Core
Hototogisu & Prurient
John Hudak
Huntsville
The Idealist
Jackie-O Motherfucker
Jan Jelinek
Sachiko Kanenobu
k-the-i???
Laibach
Lithops
Barton & Priscilla McLean
Lionel Marchetti
Stephan Mathieu & Janek Schaefer
Melvins
NADMA
The New Sound Of Numbers
BJ Nilsen & Stilluppsteypa
Luigi Nono
Marconi Notaro
Evan Parker
Eddie Prévost & Alan Wilkinson
Eddie Prévost/Alan Wilkinson/
Joe Williamson
Raionbashi
Maja Ratkje & Lotta Melin
The Residents
Sand
Janek Schaefer
Sci Hi
Serve Music
Sissy Spacek
Gary Smith
Alan Sondheim
Mark Stewart & The Maffia
Andy Stott
John Surman
Texturizer
To Live And Shave In LA
Various Sardinia:
Cantu A Chiterra (Guitar Song)
Chris Watson & BJ Nilsen
John Wiese
Christopher Willits
Wolf Eyes & John Wiese
Christian Wolff
Wonder
Frank Wright
Ami Yoshida & Christof Kurzmann
Zaimph
Zadik Zecharia
VJ: Audio-Visual Art + VJ Culture
Edited by Michael Faulkner/D-Fuse
And They All Sang: The Great Musicians Of The 20th Century Talk About Their Music
By Studs Terkel
Faust: Stretch Out Time 1970-1975
By Andy Wilson
Cage Talk: Dialogues With And About John Cage
Edited by Peter Dickinson
Faust
Nobody Knows If It Ever Happened - A Concert Film
DVD
AVVA
Gdansk Queen
DVD
Jeff Tweedy
Sunken Treasure: Live In The Pacific Northwest
DVD
Candice Breitz Working Class Hero (A Portrait Of John Lennon)
Newcastle, UK
Maryanne Amacher Gravity. Music For Sound Joined Rooms Series
Berlin, Germany
Negativland Adventures In Illegal Art
New York City, USA
Adventures In Modern Music
Chicago, USA
Download excerpts of sets from this festival, including music by Colleen, Rhys Chatham, OM, Edan and more. Go to WEB EXCLUSIVES > MP3 SPECIALS
Ear To The Earth
New York, USA
Instal
Glasgow, UK
Infest
Glasgow, UK
Sightsonic: Touch 25
York, UK
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| | Television | Detailed History of The Wire
FAQ:
1. What is The Wire?
The Wire is an independent, monthly music magazine dedicated to informed, intelligent coverage of a wide range of progressive, adventurous and non-mainstream musics. Its office is based in London, but it serves an international readership.
2. How old is The Wire?
The magazine was founded in 1982 by Anthony Wood, primarily as a jazz and New Music magazine, with a brief to "unravel the mysteries of music and musicians for those who look for fundamental answers about the nature of music...". Between 1984-2000 it was owned by Naim Attallah's Namara Group. In December 2000 it was purchased in a management buy-out organised by the magazine's staff and has been run independently ever since.
3. Who is The Wire?
The magazine is run by a small, dedicated team of full-time staff, plus a large international roster of over 60 freelance writers, stationed at points across the globe. Acclaimed music critics and experts amongst our contributors include Kodwo Eshun, Biba Kopf, Ian Penman, Simon Reynolds, Mark Sinker and David Toop. 'Star' contributors have also included Brian Eno, Lee Ranaldo (Sonic Youth), Julian Cope, Greil Marcus, Robert Fripp, Jon Hassell, Robin Rimbaud, Paul Schütze and Howard Skempton.
4. What's The Wire's agenda?
There's no written constitution and no hardened music policy for inclusion or exclusion. The Wire seeks out the best current musics in, and between, all genres; and is committed to investigating music's past as well as its present and future. We are a 100 per cent independent operation, owned outright by the staff. There is no pressure from a publishing house to compromise our content, and we are at liberty to decide everything that's printed in our magazine - we won't let advertisers, record companies or press agents set the agenda.
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The magazine is available at all good newsagents and record shops in the UK. Click here for distribution details. If your local retailer doesn't appear to stock the magazine just ask and they should be able to get you a copy via their wholesaler without problem. We are also available at large retailers in the US and Japan like Tower, as well as selected, like-minded shops and newsagents in most European countries. But the best way to get hold of us is to subscribe: you receive your issues ahead of the street date, avoid import charges, and receive free CDs regularly.
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You get free CDs or free issues with your subscription; you receive The Wire Tapper CDs regularly, as well as other exclusive subscription CDs; you get reduced rates on renewal; and you get various offers from relevant labels, galleries and publishers.
7. How do I submit a record for review?
All CDs, records, books, etc for inclusion in The Wire should be sent direct to our postal address. We can never guarantee to review or give feedback about any unsolicited material, but we listen to everything that comes our way (and there's a lot of it). Send to individual writers as well if you like, but bear in mind that they may not receive packages for several months, or may not tell us they've received them (so we'll be none the wiser). All unsolicited items become property of The Wire: send at your own risk. NB: we prefer not to receive demos or unsolicited MP3s; we cannot offer feedback or consultancy on music not intended for public consumption.
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If you are interested in writing for the magazine on a freelance basis, it's best to contact the editor, Chris Bohn, outlining any particular areas of interest, some suggested feature/review ideas, and enclosing some examples of your writing (either published or unpublished). We are always interested in submissions to our regular Global Ear section, a monthly report from a different town or city anywhere in the world.
All the portrait photography in The Wire is commissioned by our art director, James Goggin. Live events photography is commissioned by Louise Gray, the magazine's Acting Deputy Editor (Maternity Cover). So if you are a photographer interested in contributing to the magazine, drop a line to whichever seems most appropriate to the kind of work you do.
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12. What else does The Wire do?
We don't only publish a magazine. The Wire is regularly invited to curate and attend music events at a variety of international festivals. We work closely with annual events such as Sonar (Barcelona) and MUTEK (Montreal). We have also collaborated over the years with the now defunct Lux Centre (the Interference talks series, London), The Hayward Gallery (Sonic Boom, London), Futuresonic (Manchester), Batofar and Instants Chavires (Paris), Blå Club and Ultima Contemporary Music Festival (Oslo, Norway), Kongsberg Jazz Festival (Kongsberg, Norway), Molde Jazz Festival (Molde, Norway), Avanto (Helsinki, Finland), Impakt (Utrecht, Netherlands), Elektronikaldia (Donostia-San Sebastian), Periferias (Huesca, Spain), Le Weekend (St Andrews, Scotland), NOW Festival (Nottingham), WMF Club (Berlin), CMN Tours (UK), and the British Council (Tokyo/Osaka, Japan). We have published two books: Invisible Jukebox (Quartet 1997) and Undercurrents: The Hidden Wiring Of Modern Music (Continuum 2002). Many of our writers have authored books, and make music themselves. See our News page for news about extracurricular Wire activities, or subscribe to our news bulletin, The Conduit, to keep updated.
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ARCHIVE
Recently added: An archived essay by Kodwo Eshun on Drexciya called "Fear Of A Wet Planet" from our sold out Issue 167, January 1998, Biba Kopf on Sonic Youth and Savage Republic with "Cities On Fire With Electric Guitars" from New Year 1989, a selection of Tony Herrington's Editor's Idea columns from the 1990s, Edwin Pouncey's interview with MC5's Wayne Kramer and John Everall's interview with Coil, from the April 1995 issue. Plus two archived interviews with Ornette Coleman, one by Steve Lake from 1985 and another by Howard Mandel from 1987.
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