With ‘I’m Your Team’ and a 2004 Peel session by The French both newly released, the former Hefner frontman talks about writing to a drum machine, copying the ‘Hill Street Blues’ theme, and the chance of another record with John Morrison.
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From Einstein’s particles to Teo Macero’s overdubs, the trumpeter traces the ideas behind ‘Constellations and Hemispheres’ and six decades of Ankhrasmation scores.
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The Austin-born photographer shot the Big Boys, the Dicks, and the Butthole Surfers from the middle of the crowd, and in ‘Someday All the Adults Will Die! The Birth of Texas Punk,’ he lets the scene tell its story in its own Texan voices.
Scoring Francesco Zippel’s documentary ‘Ellroy vs L.A.,’ the Milanese band trace noir from Hammett and Chandler through the poliziotteschi of the 1970s, the films whose soundtracks Calibro 35 set out to revive in 2007.
Writing ‘The Juniper Tree’ for Nietzchka Keene’s 1990 film, the Berlin composer set piano against modular synths, worked birdsong and water into the score, and made room for the Japanese idea of ma.
On their self-titled debut, Allison de Groot and Rich Ruth talk through old-time music’s rigidity, influences from Joanna Newsom to Steve Reich, and two-second banjo loops as the pulse of the record.
On ‘Distorting Time,’ a family legend from the Wild West and the news from Minnesota share space with Sam Cook-Parrott’s fear of being washed up.
A dispatch from the 50th-anniversary celebration of Mort Garson’s ‘Mother Earth’s Plantasia’ at Seed Song Farm in Kingston, New York, with a conversation before soundcheck about improvising to the landscape, whether plants listen, and the dawn drive to Philadelphia for Making Time.
On ‘Enthalpy,’ bass flute and amplified trumpet push against their own electronics until the lid starts to rattle.
Recorded in London with Skinshape, 'It Could Be Today' holds the same summery, major-key sound the brothers were already writing into demos at home in 2020.
Her tenth album as a leader and the first under her own name, ‘Waterbodies’ was tracked while she was pregnant, with Shahzad Ismaily pulling together its many parts.
The Italian composer discusses ‘Oceanine’ and its companion short film, and the witches, snake-women, and Pasolini films behind both.
A look at ‘Eavesdropping,’ an ongoing phone-line drama of two characters, a piano score, and hints of a third listener, and at the telephone’s long career as a storyteller, from ‘Sorry, Wrong Number’ to the party line.
The musician, sound designer, and game maker talks through ‘This Could Be a Start,’ an AI character’s search for a soul, and writing about gender through invented characters.
Brett Bullion on recording ‘carver’ from loops cut out of his own Max/MSP jams, grieving in widening circles, and touring with Autechre.
The author of ‘Morning in Marin’ discusses the postwar movement he calls the Marinaissance, the letters in Gary Snyder’s archive, the MKUltra safe house and Gumby studio that didn’t make the cut, and the case for riskier American art.
Cameo, the S.O.S. Band, and Gap Band are the coordinates of 'Toc-Toc', an album of drum machines and bass synthesizers that sends Motta back to what the radio was playing when he was a teenager.
The New Eves’ cellist straps on an electric guitar for ‘Wild Love,’ a debut solo album of bruises, breath, and a closing salute to her foremothers.
Christian Best and Jen Kirby of Crying Laughing talk through the making of ‘Talking,’ from Moondog’s melodic percussion to the Baltimore scene that delivered the rest of the band.
A longtime devotee goes back through more than four decades of Hassell’s music and talks with co-producer Jeff Rona about the ‘City’ sessions, the self-sampling, and the posthumous ‘Music Is Invisible.’
Thacker's verses handed to synthetic voices and processed past recognition, 'Songs for Sad Poets, Vol. III' buries its words inside Amini's electronics.
On ‘At the Carousel Club,’ Mark Isham turns a wall of vintage synthesizers, Nels Cline, and a string quartet loose, all while keeping the editor in his head at bay.
On ‘Fuzzy Logic,’ Olaf Rupp pushes a small amplifier past its limit and captures the wreckage at what he calls “the volume of a kitchen radio.”
On megiapa’s ‘Intentions,’ voice notes from her grandmother, her mother, and her closest friends drift through the synth haze, a family album cut to beats.
The Istanbul-born film and television composer discusses 'For Luca' — his earlier songs recast in his friends' voices, the dog it mourns, the freedom of being one crew member among many, and the melancholy he prefers to share.
Harpist Lara Somogyi talks through 'a [time] patterned,' from delay pedals and disrupted loops to Steve Reich and 'A Pattern Language,' the architecture handbook that gave the album many of its titles.
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 Royal Trux cofounder discusses 'Bad Bunch,' the first Black Bananas album in twelve years, along with her new email newsletter, heirloom tomatoes, what's so special about a bloody T-shirt, and her thirty-five-year clothing archive bound for a Tokyo installation.
The Brooklyn musician, composer, and performer discusses 'been thinking bout confession,' her third album, which she wrote on a century-old baby grand after hitting walls with the guitar, and touches on Sondheim, the pomp of Catholicism, and whether a sound made on a computer counts.
Five years in the writing and forty in the gathering, 'Dub Revolution' rebuilds dub's beginnings out of the engineers who were there, the political map they worked inside, and the studios that doubled as shelter.