The Wire, June 2025

A must for any underground music fan, The Wire reports on alternative, underground and non-mainstream musics, ‘waging war on the mundane and the mediocre.’

In this issue:

On the cover: Cosey Fanni Tutti: The industrial music icon has been to Hull and back with her new album 2t2. By Claire Biddles; Quinton Barnes: The Montreal rapper and producer flips the script in a new project with free musicians. By Emily Pothast; David Van Tieghem: The percussionist who has played with everyone on the Downtown scene receives a dedicated collection of his own work. By Robert Barry; Happy Family: Over four decades the Japanese group have moved from rigorous prog to euphoric harmony. By Daniel Spicer; Amina Claudine Myers: Honing her skills on the old school nightclub circuit, the keyboardist is now forging ambitious suites for choir and pipe organ. By Stewart Smith; Quade: Landmark album. By Lucy Thraves; Milk Eyed Sigh: Let it bleed. By Misha Farrant; Liu Zhenyang: Language games. By Josh Feola; Invisible Jukebox: billy woods: Will The Wire’s mystery record collection be recognised by Backwoodz Studioz’s main man? Tested by Mosi Reeves; Global Ear: Bratislava’s LGBTQI+ scene creates safe spaces amid repressive policing. By Chiara Rendeková; Unlimited Editions: LA’s Colorfield label creates spontaneous studio magic. By Daniel Spicer; The Inner Sleeve: Circuit Des Yeux on Weyes Blood’s Titanic Rising; Against The Grain: Jo Hutton celebrates radiophonic art as a unique field of creative endeavour; Epiphanies: Daniel O’Sullivan steps outside of himself via the ambiguous, understated moods of library music. Plus 40 pages of reviews including Stereolab: Electrically repossessed. By John Morrison; Only sounds that tremble through us: Palestinian soundscapes. By Xenia Benivolski; Julee Cruise: Night flights. By Dan Barrow; Studio Electrophonique: The Sheffield Space Age From The Human League To Pulp: Deindustrial estate. By Leah Kardos; and much, much more.