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 Residents’ spokesman Homer Flynn traces the path from a commissioned 20-minute set to the first full staging of the group’s Arctic concept album, now expanded with songs drawn from century-old folk tales.

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 Grammy-winning trumpeter and film composer joins us to discuss ‘At the Carousel Club,’ his first solo album in 15 years, built from a wall of vintage analog synthesizers and a band featuring Nels

Producer Bob Ezrin talks The Jayhawks’ Sanctuary Park, recording live in Toronto, leaving the US, and holding artists to their best work.

David Katz on Dub Revolution: how King Tubby, Lee Perry, and Scientist built dub, and why its origins run earlier than the usual story allows.

Fling ii’s Brad Gowland and Richard Murphy on ‘3’ — forty-minute jams in a Michigan church cut to six-minute tracks, with pedal steel over motorik.

Producer Martin Bisi on the same Brooklyn building since 1979, the rezoning of Gowanus, why genres work like social movements, and Dancing on the Power Lines.