Like Mark E Smith and The Fall, David Thomas and Pere Ubu were featured in The Wire early on in the life of the magazine, when it was still primarily concerned with jazz and improvised music. Thomas ...

In the third instalment of his rebooted Secret History of Film Music column, Philip Brophy analyses two horror scores by Gazelle Twin – Black Cab (2024) and Nocturne (2020) – and considers how psychol ...

Following the release of a new LP by the Orchestra Of Futurist Noise Intoners, director Luciano Chessa and Sanatorium Of Sound director Gerard Lebik discuss the legacy of Italian Futurist composer Lui ...

In The Wire 495, Hugh Morris argues that the word jazzy denotes a cluster of cliches that neglects to engage with jazz itself ...