Roberto Di Gioia of the German jazz collective Web Web explains his philosophy of treating music “like a newborn baby,” and why, when recording their sixth album, ‘Plexus Plexus,’ less preparation led to deeper focus.

Using hardware store materials and spiritual guidance, Hocine built an organ that breathes, complains, and refuses to be controlled. Her album ‘ātamōn’ captures each pipe’s distinct personality in the reverberant depths of an abandoned iron mine.

After four decades as a collaborator for artists like R.E.M. and Cyndi Lauper, the guitarist has retreated to rural Connecticut to create his first solo work and discover what he calls “my truth.”

The Whimbrels’ debut album features a triple-guitar assault that turns volume into art. Arad Evans and Norman Westberg discuss their new band’s obsession with alternate tunings, cheap guitars, and making audiences feel the floor bounce.

The London producer discusses how island isolation and a borrowed Gretsch guitar led to ‘Craters of the Lost Souls,’ his haunting soundtrack to an imaginary Western film that doubles as a tribute to Ennio Morricone’s cinematic legacy.

Terence Hannum discusses Locrian’s experimental masterpiece The Crystal World, its 15th anniversary reissue, and the intersection of visual art and heavy music.

Psychedelic Furs guitarist Knox Chandler discusses his Soundribbons technique, multimedia art project, and creative return to Connecticut shores.

Black Watch’s John Andrew Fredrick discusses songwriting, literary influences, and resisting modern music industry pressures in candid interview.

Saxophonist Ingrid Laubrock discusses composing “Purposing the Air,” setting Erica Hunt’s poetry to music for four vocal-instrumental duos.

Syrian clarinetist Kinan Azmeh discusses his new album ‘Live in Berlin,’ cross-cultural composition, and how music transcends geographical boundaries.