The Wire

1 week ago | thewire.co.uk | Phil England

June 2025 The 19 June edition of The Wire’s weekly radio show featured tracks by Cosmic Ear, Mark Stewart, Ensemble Nist-Nah, Musarc, Matmos, Linda May Han Oh, Steve Lehman, Hekate, Three-Layer Cake and more Tracklist Siavash Amini “Culter” From Caligo (Room40) Musarc & Heleen Van Haegenborgh “Material Affordance (Movement 1 of 3)” From Affordances (SN Variations) Maurice Louca “Lawendi لوندي” From Barĩy (Fera) برٌِي (Simsara) Matmos “Norway Doorway” From Metallic Life Review (Thrill Jockey)...

1 week ago | thewire.co.uk | Shane Woolman

June 2025 Listen to a recording of Wire staff member Shane Woolman’s closing set at this year's Stihia festival near Bukhara, Uzbekistan Full set list: Everything Is Psychedelic “My Life Is A Movie (Intro)” From The Beautiful Malaise (Live At The Clinic) The Rolling Stones “Play With Fire” (Original Single Mono Version) From The Rolling Stones Singles Collection: The London Years (ABKCO) Riddlore “Cam Flu” From Afromutations (Nyege Nyege) Dabow “Go Mira” From Weird Music Of All Kinds (Dome of...

1 week ago | thewire.co.uk | Daryl Worthington

Dusty Ballz seeks to build bridges, introducing musicians reacting to Chinese contexts into international dialogues around new music. Founded by China-born, currently London-based Mabu Li in 2020, all releases on Dusty Ballz have been recorded in China, predominantly by artists who currently live there. Several artists on Dusty Ballz, such as Lao Dan, Sheng Jie or Zhang Meng, have formal training in Chinese classical music.

2 weeks ago | thewire.co.uk | Simon Coates

June 2025 Simon Coates compiles an annotated playlist to go with his report on Dhaka’s underground music scenes in The Wire 497 The experimental music and sound work coming out of Dhaka is driven forward by three key sensations: anger, frustration and resolve. Everything is politicised in Bangladesh. Every element of day-to-day life is somehow touched by social and economic policies.

3 weeks ago | thewire.co.uk | Jo Hutton

According to Austrian broadcaster Kunstradio’s manifesto, radiophonic art is “radio made by artists”. 1920s post-First World War playwrights were exploring surrealism in radio drama, and producers, writers, technical operators focused on the potential of broadcasting equipment – tape machines, oscillators, filters – to manipulate recordings of environmental and industrial sounds for creating uncanny soundscapes. The terms radiophonic art and radio art are intertwined.