#427 September 2019 MAG

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Inside this issue:

Excess All Areas: Sometimes a little just isn’t enough... over 22 pages The Wire’s writers explore instances in modern music where too much is exactly the right amount.


We Lived By Night: Amid the all night revelries of the late 1980s London club scene, discoveries of sexual liberation and new modes of hearing. By Louise Gray

Celestial bodies: With police in attendance, 2000 punters locked outside and an endless ovation, Alan Silva’s Paris performance of Seasons was the most epic free jazz blowout of them all. By Alan Licht

High Emission Zone: In the face of performances with helicopter-borne quartets, globetrotting orchestras and discarded plastic, how much is too much? By Tim Rutherford- Johnson

Louis Andriessen. By Andy Hamilton

Everything All At Once. By Julian Cowley

The Clones Of Dr Funkenstein: George Clinton’s kaleidoscopic vision of P-funk extended to epic stage spectacles, a swarm of pseudonyms, and much metafoolishness on the One. By Greg Tate

Bomb Culture: A brief history of explosives in music. By Dan Wilson

Anthony Braxton's intergalactic symphonies. By Tony Herrington

Shreds Of Evidence: The density of fusion and prog. By Angel Marcloid

The Sweet Science: String arrangements added to jazz, soul and country music were treated with suspicion but acted as gateway drugs to other sounds and states. By David Toop

Crazy Collages: By Vicki Bennett

Orchestras In The Club. By Jacob Arnold

Speaking In Tongues: The overflowing desires of REM’s ninth album Monster explore the queer aspects of human nature. By Claire Biddles

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