A longtime devotee goes back through more than four decades of Hassell’s music and talks with co-producer Jeff Rona about the ‘City’ sessions, the self-sampling, and the posthumous ‘Music Is Invisible.’
Read Now Read Now
On ‘At the Carousel Club,’ Mark Isham turns a wall of vintage synthesizers, Nels Cline, and a string quartet loose, all while keeping the editor in his head at bay.
Read Now Read Now
The Istanbul-born film and television composer discusses 'For Luca' — his earlier songs recast in his friends' voices, the dog it mourns, the freedom of being one crew member among many, and the melancholy he prefers to share.
Good and evil sit in the same character, the same song, and — Moss suspects — the same person, a Catholic inheritance she hears throughout 'The Knife, The Needle.'
The producer of 'The Wall,' 'Destroyer,' and 'Welcome to My Nightmare' discusses his return to the Jayhawks on 'Sanctuary Park,' how he builds a record out of three or four live takes, what a label and a band each want from a producer, and why he thinks the album still exists.
"I get close. I always want to see the pupils in their eyes," Winn wrote of her method — and 'Grievous Angels, Trout Masks, and American Beauties' is the first gathering of what that closeness yielded, from a coffee shop outside Eureka to the Grateful Dead's ranch.
The guitarist and bouzouki player discusses 'Brooklyn Stories 1–5', his five-CD set of duos and small groups for Infrequent Seams, the years of wordless playing alongside Bern Nix that shaped his ear, and what harmolodics can mean on a nylon-string classical guitar.
The Royal Trux cofounder discusses 'Bad Bunch,' the first Black Bananas album in twelve years, along with her new email newsletter, heirloom tomatoes, what's so special about a bloody T-shirt, and her thirty-five-year clothing archive bound for a Tokyo installation.
The Brooklyn musician, composer, and performer discusses 'been thinking bout confession,' her third album, which she wrote on a century-old baby grand after hitting walls with the guitar, and touches on Sondheim, the pomp of Catholicism, and whether a sound made on a computer counts.
Five years in the writing and forty in the gathering, 'Dub Revolution' rebuilds dub's beginnings out of the engineers who were there, the political map they worked inside, and the studios that doubled as shelter.
Sova means owl, a bird of wisdom in some myths and an omen of evil in others, and on 'Alight!' the pianist wants her instrumental music just as open to interpretation.
Twenty-five years of booking bands ended in a burnout Voith is still annoyed about, and 'Recommended If You Like: A Novel' is what he did next — free, self-published, and delivered city to city out of an SUV.
Recorded with Randall Dunn, 'Manifestations in the Shadow of an Uncertain Land' turns several years of political fatigue into what Lowe calls a "multiphonic landscape of horror," and the conversation runs from Jodorowsky to low-pass gates by way of his nine years in Om.
Her mother remembers love, her father says there was none, and 'The Brothel: A Musical Memoir' lets both accounts stand before handing the story to the next generation.
The German drummer, a member of Web Web and Subtone, discusses 'Drum Seeds,' an album of drums, vintage synthesizers, and spring reverb made alone after his label asked him for drums and nothing else.
The two founders of the Ann Arbor band talk through the making of '3,' from a weekend of continuous takes with players scattered across Michigan, New York, and New Orleans, to the months Gowland then spends alone deciding which minutes survive.
Richter wants "a little garden where things can grow" without being overdetermined, and 'Mymerian' — organ, accordion, contrabass, and cello, recorded live in one cold room — is that garden at its most exposed.
Producer, art director, and label owner, Don Schlitten photographed jazz from a 1957 Monk set at the Five Spot through the Newport festivals of the sixties, and 'Love and Understanding' brings out the photographs that stayed inside jazz circles for decades.
Nobody rehearsed, nobody planned, and nobody can say with any confidence where half the sounds on 'Windy & Carl Meet Optigan Conservatory' came from.
Jeff McIlwain's tenth Lusine album, 'Melting Days,' makes the case that rhythm and atmosphere were never opposites to begin with.
Forty-five years into BC Studio, Bisi talks through hardcore and hip hop as underclass music, the trouble with the post-genre label, the taboo of anger, and the collaborators who shaped 'Dancing On The Power Lines.'
After 30 years of handing her records to producers, Veirs recorded 'Temple Songs' entirely alone, guided by wabi-sabi, the DIY ethos she took from Ani DiFranco, and a determination not to fall down perfectionism's rabbit hole.
A second anthology, ‘Zip It Up! Too,’ finds the magazine’s co-founder still keeping faith with the bands that sold ten copies rather than ten million.
For Honda, an artistic format is a language rather than an identity — a conviction she shares with Ono, and one that made curating a tribute feel less like a departure than a translation.
Recorded fast and almost entirely improvised, 'Music for Babies' sets Julia Shapiro's melodic instincts against Samur Khouja's appetite for dissonance, and the conversation takes in sad clowns, nose flutes, hearing music as a child, and why they never went to meet Maria Nissan.
Half a century after the Prestige trilogy, the tenor saxophonist marks 'Turn the Music Up' with an account of Horace Tapscott's Los Angeles, McCoy Tyner's touch, Pharoah Sanders's generosity, and a practice routine he hasn't altered since he was a teenager.
Steve Shelley, Gustavo Riviera, and Paulo Kishimoto discuss 'Catacroma,' the overlooked Brazilian rock and roller Erasmo Carlos, and the weekly radio playlist that keeps three musicians in two hemispheres listening to the same records.
The Danish songwriter sang his first album quietly into a microphone at home, and on 'Herzsprung' he had to fill a room.
Kurt Wagner discusses Lambchop's 17th album, 'Punching the Clown,' in a conversation running from untrained singers and lined-out gospel to the difference between spiritualism and religion.
The Odyssey Cult is less a band than a secret society of people whose obsession with art has gotten out of hand, and 'Vol. 3' is its communiqué.
The Florida sound artist walks through his greyfade debut 'Kicking A Dark Horse,' the punk shows that taught him to build things himself, and the modular practice that, 15 years in, no longer surprises him.
Bad filmmaking and Superflat theory turn out to be remarkably difficult to tell apart.
The Guanajuato-born photographer and sound artist on the Buchla 200's own memory, the imagined celestial space she built for her signals to travel through, and a composition that took an afternoon to patch and several months to finish.
Recorded in five days and sung in Gàidhlig and English, 'The Glorious Abysmal' draws on the waulking songs of the Hebrides, Georg Cantor's set theory, and the year Livingstone spent learning production alongside people leaving prison.