On the occasion of CIANI/ORKEST, Suzanne Ciani discusses handing her solitary Buchla music to a 50-piece orchestra, the ocean and the wave beneath her compositions, and the young players bringing analog modular synthesis back.
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Guitar in hand and Arthur Russell forever at his shoulder, Steven Hall turns half a century of desire into harmony he mostly sings to himself.
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Don Cento of the Austin trio Cento Threeo discusses the band's debut album 'Halfway to Mellowtown' and its jazz and Americana roots, the Ahmad Jamal influence, and a creative process built on long friendships rather than deliberate genre strategy.
Founder of Albert's Favourites and Wah Wah 45s veteran Adam Scrimshire talks through 'Bring Our Light to Every Corner,' his new album built on four years of looking for personal peace, the grimness of the UK political moment, and the music community he named for his granddad's cassettes.
Courtney Carmichael and Nikki St. Pierre discuss signing to Paper Bag Records, moving from rural Manitoba to Winnipeg, and turning pandemic isolation into sundayclub's self-titled debut album.
Saxophonist and composer Alden Hellmuth discusses growing up in Hartford's Jackie McLean tradition, her mentorship under Herbie Hancock, and the double-bass lineup behind her new album, 'Tether.'
On their fourth album, 'Escrito en agua,' the Mexico City band Diles que no me maten build songs from Mahmoud Darwish's poetry, funerary music from Oaxaca, and their own festival organizing, all filtered through loose, unresolved improvisation.
Filmmaker Matt Hinton speaks about the technical resurrection of 'Awake, My Soul', the expanding world of Sacred Harp singing, and the difference between hearing this music on a recording, hearing it in a room, and standing in the middle of the square.
On the occasion of 'Julius Eastman Vol. 5: Gay Guerrilla', Wild Up conductor Chris Rountree discusses the hybrid written-and-oral tradition of Eastman's scores, the ensemble's rehearsal practice of triangulating meaning, and the Black, gay minimalist's enduring claim on the present.
Bill Nace and David Watson discuss improvising 'On Bats' on taishōgoto and Highland bagpipes, their shared fascination with Lou Reed's 'Metal Machine Music,' and why neither of them enjoys naming a finished piece.
On 'Transcend,' his second record with the GIFTS quintet, Dave Douglas reflects on Ellington's Sacred Concerts, the slab paintings of Jack Whitten, and the moment Booker Little broke the dam for a generation of trumpeter-composers.
The Seattle-based duo of Anne Tong and Bryce Barsten speak about their new album 'Dim Sum & Then Some,' the band that began as a Mandarin lesson, their DIY aesthetic, and the unexpected resonance their music carries for Chinese American audiences.
The synthesizer pioneer behind TONTO, Stevie Wonder's classic run, and DEVO's 'Freedom of Choice' reflects on a life spent as the man behind the curtain in his new memoir, 'Shaping Sounds.'
The French artist and Shelter Press founder discusses her live score for Les yeux sans visage, the trial of Gisèle Pelicot, improvisation as a form of survival, and the politics of touring the US in 2025.
The Brooklyn trio's 'Capture the Flag' features six songs recorded live in two days—and it's the closest Tahlia Amanson has come to telling her parents the truth.
On the heels of her Sacred Bones debut 'Hard Hearted Woman,' Ora Cogan reflects on the Fairy Creek blockades, somatic practice, the whitewashing of folk music, and what it means to write a trans rights song that doesn't scream.
Long before YouTube built its pipeline and Spotify buried its royalties, two films were already asking whether you were a victim of the machine or complicit in it. Warning: contains spoilers!
Rooted in a fundamentalist household on the South Side of Nova Scotia and sharpened by crust punk and free jazz, Chik White arrives at 'face across the door' after years of tightening the distance between art and noise.
Around the release of 'E at Home,' Eliana Glass reflects on the limits of technique, setting aside her jazz training, and Nina Simone's case for making someone else's song completely your own.
Recorded in an off-grid Spanish farmhouse during a brutal La Niña winter, 'The Exit Diaries' is the sound of a musician who scrapped an entire album's worth of dark orchestral music, listened obsessively to Alice Coltrane, and arrived somewhere he hadn't expected.
Inside the VP Records vault, restoration engineer Billy Polo is in a race against the physical lifespan of tape — and the even shorter lifespan of the people who know what to do with it.
With 'ITERAE,' a collaboration with Belgian pianist Jozef Dumoulin, electroacoustic composer Joseph Branciforte turns his live-editing system into an instrument for slowing time.
With a cast of Nashville heavyweights and a philosophy borrowed from improv comedy, Burlington-based guitarist and songwriter Bob Wagner makes his long-overdue case for the front of the stage.
The ambient composer on her cassette release 'Yarrow,' frog taxis, the power of dormant seeds, and the dread of leaving one's recorder out overnight in the rain.
The drummer behind Sonic Youth, Pussy Galore, and decades of New York noise reflects on his first solo album, 'Beach Bongo Bloodbath,' a percussive distillation of a life lived at the underground's edge.
On 'Asymmetrical Dot,' Stephen Emmer turns grief and new birth into a multigenerational meditation, drawing on the Indonesian folk traditions his mother carried from Ambon to Amsterdam and the hushed compositional vocabulary that hearing loss made necessary.
On his debut LP 'Rural Deceased Undiscovered,' the San Diego-based composer takes country music's familiar palette and divorces it from all human context, in pursuit of the universal hook buried beneath the American one.
Drawing on Nordic folk lineage and the acoustic personality of grand marble rooms, Zosha Warpeha's 'I grow accustomed to the dark' is less an album about darkness than a slow revelation of what lives inside it.
zzzahara's fourth album trades the romantic preoccupations of earlier releases for something harder-won — a tender, analog meditation on grief, mixed identity, and the strange clarity of sobriety.
In 'Minimalist Music,' author and critic George Grella reframes minimalism's defining quality not as style or technique but as a specific, audible practice of composing with time — then turns to ask what becomes of that practice when those who invented it are gone.
On 'Bleeding Past the Edges,' Christopher Tignor upends the interactive electronics playbook, composing for a one-body orchestra through precise, reproducible systems aimed at a single purpose — to break the listener's heart.
As a founding member of Kluster and the author of 'Krautrock Eruption,' Seidel reframes 'Zuckerzeit,' 'Sowiesoso,' and the broader krautrock movement through the lens of postwar German social history — and finds the English-language mythology wanting.
Bonner Kramer and Thurston Moore's debut together, 'They Came Like Swallows,' arrives as a somber, guitar-driven response to a world that has not stopped producing reasons for one.
The Brooklyn-based composer and percussionist discusses her field expeditions with myrmecologists in Brazil, the feedback loops she builds between insect recordings and organic substrates, and what it means to make music from sounds too small for human perception.