The Philadelphia sound artist talks about the windowless clean room where he prepares chemotherapy for patients he never meets, the Trappist retreats that showed him what silence is for, and his growing conviction that irony is a poor use of anyone’s energy.

The NEA Jazz Master and four-time Grammy winner talks through a dance album about deportation and prison abolition, the Buddhist line she lives by, and the years she has gone without proper time to practice drums.

On her debut full-length, ‘Talking in a Different Way,’ the Oakland violinist trades the perfectionism of the conservatory for voice memos, out-of-tune pianos, and a tolerance for the unplanned.

Working with Umiliani’s daughters and the analog machines their father left behind, Fabrizio Martina describes ‘La luce dell’alba’ as “less a tribute than a conversation across time.”

Back in London after years of scoring films and documentaries in Los Angeles, David Norland discusses ‘La Source,’ the free hand he was given on the wordless black-and-white ‘Carousel,’ the monastery basement he intends to record in next, and the composer’s right to a full night’s sleep.

Sound artist Josh Mason on his Greyfade FOLIO release ‘Kicking A Dark Horse,’ a modular album and book built to be entered at any point.

The four-time Grammy winner on the new Social Science album, trusting collaborators before they’ve earned it, and calling herself a frustrated drummer.

The Hit Parade host on what better data revealed about hit songs, why country radio guards its gate, and his refusal to believe in guilty pleasures.

Synthesist Danalogue (The Comet Is Coming, Soccer96) on his solo debut Teleportations, vintage synths, sci-fi world-building, and imagination as hope.

Suzanne Ciani on CIANI/ORKEST, her live album pairing the Buchla with the 50-piece Metropole Orkest, quadraphonic sound, and saying yes at eighty.