The drummer behind Sons of Kemet and The Smile brought his acoustic ensemble to Big Ears, where he discussed 'Kaleidoscopic Visions,' the intentional instrumentation that gives it depth, and the community that makes his music possible.
Tom Excell talks through the making of Nubiyan Twist's fifth record, 'Chasing Shadows,' a collision of Afrobeat, jazz, dub, and hip-hop fueled by a rotating cast of collaborators and a growing unease with the forces pulling music away from the people who make it.
A fixture in London's jazz and electronic scenes, Momoko Gill discusses her debut album 'Momoko', her years of collaborative work alongside Matthew Herbert and others, and the music she makes as the only home she's found.
In 'Shouting Out Loud,' Audrey Golden brings her background in law, gender studies, and human rights research to the Raincoats' full story, from art school in North London to the cells of the Maze.
The music journalist reflects on his two-decade tenure at the Financial Times, the tension between covering superstars and unknown artists, and his conviction that transcribing interviews by hand remains a moral compulsion in an age of automated everything.
The London pianist's 'Emotionally Suited To Be A Solo Pianist' began as a three-hour improvisation that captured winter's quieter truths about distance, solitude, and the strange calm that arrives when the world slows down.
The multi-instrumentalist and producer discusses his album 'Who Cares Wins,' realized during his time volunteering for the NHS, and how working with everyone from Sun Ra Arkestra to Σtella requires leaving ego at the door.
The electronic producer discusses his sixth album 'Tremor,' a record that pulls together shoegaze, ambient drone, and club music, and features collaborations with Alison Mosshart, New Dad, and Bdrmm.
The legendary On-U Sound producer discusses 'The Collapse of Everything,' his first solo album in thirteen years, and why treating the mixing desk as a live instrument remains his most radical act.
Dylan Henner's 'Star Dream FM' invents a radio station broadcasting adolescent memories, tracing a line between Palestrina and tape decks, field recordings and false nostalgia, and landing somewhere he describes as "shimmery."
Stacey Hine and Neil Kleiner explain how their debut 'We Weren't Programmed for This' treats guitar as a delicate interruption, electronic glitch as meditation, and degraded tape loops as the perfect metaphor for fragile memory.
The British music producer and Polish clarinet virtuoso built 'The Universe Will Take Care of You' in four spontaneous London studio days, capturing the act of playing without thinking.