The Vermont-based indie rocker reflects on building a music career outside cultural centers, the influence of Dylan's 'Street Legal' on his songwriting, and why he believes understanding yourself requires understanding the places you go.
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Three decades into his career, Abbasi returns to acoustic guitar for 'Sound Remains,' processing personal loss while questioning what it means to let go in both music and life.
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Saxophonist Jane Ira Bloom's album 'Songs in Space' brings together her pioneering approach to surround sound jazz, a vision of music in zero gravity, and a belief that silence gives the brain time to process music moving through dimensions.
The Orchestral Manoeuvres in the Dark frontman discusses why Kraftwerk matter more than the Beatles, how political resistance sparked 'Bauhaus Staircase,' and why his band refuses to make "shit records."
The experimental composer's album 'Sleep in the Shadow of the Alternator' transforms his childhood memories of Coalville's mines and factories into a dreamlike narrative about the East Midlands' vanished industry.
Isaac Sherman's debut 'A Pasture, Its Limits' spans years and cities, built from hardware synthesizers, gibberish vocals, and a belief that "the humanness comes through music when you strip away all the glitz."
The progressive trio of Pat Mastelotto, David Kollar, and Paolo Raineri constructed their second album from a rejected mafia film score. The result trades their debut's density for space and accessibility.
The saxophonist and composer left Broadway's steady income to lead a seventeen-piece ensemble in Indianapolis. His latest album, 'Communal Heart,' proves that creative independence can flourish outside traditional industry expectations.
Anthony David Vernon argues that hip-hop has lost its rebellious edge, but embracing anti-fascist resistance could restore the genre's defiant power and give artists something meaningful to fight against.
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.
On 'Cursed Month,' the young composer uses microtonal intervals to create intensity without relying on volume or overdrive. As Yang explains, "Heaviness comes from the playing itself, not just the sound."
Two musicians from different worlds found common ground in their rejection of static electronic music. The result is 'All the Light of Our Sphere,' an album that treats improvisation as narrative and loops as living things.
Nigel Blackwell's band returns with 'All Asimov and No Fresh Air,' their sixteenth album of sharp pop punk and surrealist commentary on a world gone mad.
Fred Thomas's latest release, 'Critical Violets, Dream Erosion Pt. VII,' continues his "drumless" series by embracing musical reduction as a creative philosophy, proving that stripping away familiar elements can lead to his most compelling music yet.
The electronic composer and cellist discuss their album 'Ego Death,' the art of surrender, and how their partnership is centered on creative dissolution rather than individual expression.
The Mexican-born, Chicago-based drummer discusses his album 'The Crisis Knows No Borders,' his philosophy on small daily sacrifices, and why convenience keeps getting in the way of saving the world.
Composer Jamie Hamilton collaborates with Phaedra Ensemble to turn internet-age mythology about an unexplained global drone into a "darkly humorous fever-dream" about collective hallucination.
On the album Worlds in Collision, the mathematician-turned-musician fragments voices and field recordings according to the same geometric principles that govern his guitar compositions.
From solo classical performances to improvisational duets with Francisco Mela, the guitarist explains how 'Spaces' became a study in musical presence and why being in the moment has become both her greatest challenge and her greatest gift.
Chris Moore and John Blonde discuss their new album 'Present Phase,' the creative power of treating every instrument as a noise generator, and why they'd rather enjoy the moment than chase what's next.
At sixty-six, the founder of SuperMusique and DAME Records continues championing the collaborative spirit that has defined her artistic practice since the 1980s.
As Locrian reissues their landmark album, Terence Hannum discusses the band's evolution from experimental duo to post-metal trio, his separation of visual art from music, and why heavy metal "rewards playing it safe."
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.
The ESP-Disk label manager found liberation from classical composition anxiety through distorted trombone and Phantom Honeymoon, his noise duo with theremin player Alexandra Beneski.
John Andrew Fredrick discusses The Black Watch's album 'For All The World,' how broken bones shaped his solitude, and why making demands of listeners remains essential to meaningful art.
Martin Nathan's 'Oide Oide' pairs Japanese supernatural creatures with experimental compositions, featuring collaborator Emiko Ota and dub legend Mad Professor in a project that redefines what dub music can become.
How the Seattle-based poet and keyboardist found her true voice through improvisation, plus Pearl Jam's Stone Gossard explains why Davis's talent helped revive his independent label after twenty years.
A technical failure erased the interview, but the spiritual dimensions of 'Armageddon Flower,' Shipp and Perelman's forty-sixth collaboration together, prove more durable than digital memory.
The saxophonist and composer transforms Erica Hunt's enigmatic fragments into 'Purposing the Air,' a double album that pairs poetry with four carefully chosen vocal-instrumental duos.
The prolific composer discusses his new string quartet 'Homestead,' recorded with Apartment House, and why he refuses to let centuries of classical tradition dictate his creative process.