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.'
Read Now Read Now
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.
Read Now Read Now
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.
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 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.
Kraftwerk's 'Radio-Activity' turns fifty this year, and half a century on, the group's first all-electronic album reads as an unintentional field report from a nuclear age that was already, quietly, beginning to fall apart around it.
'The Observer Effect' finds violinist Meredith Bates recasting quantum mechanics, feminist intuition, and acoustic ecology as one long, uninterrupted act of listening.
Inspired by the geological scale of Japan and the productive accidents of a standard looping pedal, Ethan Helm's 'Dreamscapes' extends a jazz improviser's instincts into the territory of self-reliance.
Evolfo's Rafferty Swink and Matt Gibbs on 'Of Love,' the collective improvisational process behind it, and why a seven-piece Brooklyn band decided Spotify wasn't worth the compromise.
Charlotte Cornfield's album 'Hurts Like Hell' maps a songwriter's life from drink-ticket gigs in Montreal to the steadier ground of family, community, and creative confidence in Toronto.
Wang's grounding in Beijing opera, Peel's synthesizer instincts, and their shared Taoist faith in following the flow converge in a series of improvised sessions tracing the full arc of the Chinese solar calendar.
Poet Reuben Gelley Newman and scholar Matt Marble join Carolyn Zaldivar Snow for a roundtable on Arthur Russell's radical gentleness, his uncategorizable output, and the serendipitous webs his music keeps spinning.
On 'Areas,' his trio's third album, Nick Fraser brings Messiaen-inflected harmony, electroacoustic interludes shaped by John Kameel Farah, and a compositional vocabulary deepened by eleven years of playing with saxophonist Tony Malaby and pianist Kris Davis.
The Roxy Music guitarist discusses his memoir 'Revolución to Roxy,' his lifelong immersion in Latin music and culture, the family secrets unearthed along the way, and a career built in close collaboration with everyone from Brian Eno to Enrique Bunbury.
Post-punk abrasion, unconventional violin, and lyrics sharpened by a literature degree converge on Modern Woman's debut 'Johnny's Dreamworld,' an album built around the friction of being told you're simultaneously too feminine and not feminine enough.