The Wire #513

On the cover: Matthew Shipp: Despite having over 100 albums under his belt, the US pianist, composer and writer is still searching for answers. By Phil Freeman; Edward George: The film maker and founder of The Strangeness Of Dub listening sessions retells history through sound. By Francis Gooding; Tears|Ov: The London performance art trio use the cut-up method to allow the uncanny to emerge. By Ilia Rogatchevski; Inside Prepared Piano: Tracing the history of keyboards and strings experimentation from John Cage to the present. By Jo Hutton; Gigi Masin: Currents past and present flow through the Venetian synthesist’s jazz infused compositions. By Abi Bliss; Invisible Jukebox: Liz Harris: Will the Grouper artist strip away the noise in The Wire’s mystery record selection? Tested by Leah Kardos; Nick Nicely: The outsider artist unearths the strangeness in suburbia. By Joseph Stannard; Tiiva: Hyperpop infused collages from Cumbria. By Claire Biddles; Bruno Silva: The guitarist linking Lisbon’s creative circles. By Antonio Poscic; Global Ear: Netherlands neighbours Tilburg and Breda. By Christiaan de Wit; Unlimited Editions: Inside the four walls of Steve Bishop’s Concentric Group. By Robert Barry; The Inner Sleeve: Brigitte Fontaine on Serge Gainsbourg’s Confidential; Against The Grain: The state of metal. By Antonio Poscic; Secret History of Film Music: Philip Brophy considers Ludwig Göransson’s scoring of The Odyssey and Tenet; Epiphanies: A Clockwork Orange kicks off Mona Mur’s teenage transgressions. And in the reviews sections: Faust: Four by four. By Abi Bliss; Kevin Martin: Dub masters. By John Morrison; Nick Harte: Free noise frenzy. By Daniel Spicer; Bone Flute To Auto-Tune: Forty Thousand Years Of Music Technology: Key notes. By Dave Mandl; Sound & Gravity: Back to basics in Chicago. By Bill Meyer, and more.