The Wire (magazine)
The Wire (sometimes stylised as WIRE) is a British avant garde music magazine, founded in May 1982 by jazz promoter Anthony Wood and journalist Chrissie Murray. The magazine initially concentrated on contemporary jazz and New Music, but branched out in the early 1990s to various types of experimental music. Since then it has covered Electronica, modern classical, Free improvisation, Avant rock, hip hop, New jazz, Modern composition, Traditional musics and beyond.
Wire #323, January 2011
|Publisher||The Wire Magazine Ltd|
|Based in||London, United Kingdom|
Richard Cook succeeded Anthony Wood as editor, and was himself succeeded in June 1992 by Mark Sinker; he continued as a contributor for some years. Since then, the magazine has been edited successively by Tony Herrington, Rob Young, Chris Bohn (March 2004 – November 2015) and Derek Walmsley (December 2015 – present).
A series of new music compilation CDs called The Wire Tapper has been given away with the magazine since 1998. The magazine has used the strapline "Adventures in Modern Music" since 1994; on 14 December 2011 The Wire's staff announced that the magazine's old strapline "Adventures In Modern Music" had been replaced by "Adventures In Sound And Music". In addition to the Wire Tapper CDs, subscribers receive label, country and festival samplers.
Apart from the numerous album reviews every month, the magazine has features such as "The Invisible Jukebox", an interview conducted by way of unknown tracks being played to an artist, and "The Primer", an in-depth article on a genre or act. It also features the avant music scene of a particular city every issue. In addition to its musical focus, the magazine likes to investigate cover art and mixed media artistic works.
Since January 2003 The Wire has been presenting a weekly radio programme on the London community radio station Resonance FM, which uses the magazine's strapline as its title and is hosted in turns by members of The Wire.
The Wire celebrated its 400th issue in June 2017.
Annual critics' pollsEdit
1985–1991: jazz eraEdit
|1985||LP of the Year: Ronald Shannon Jackson||Decode Yourself||United States|||
|1986||LP of the Year: Pat Metheny and Ornette Coleman||Song X|||
|1987||Top LP of the Year: Ornette Coleman||In All Languages|||
|1988||Top LP of the Year: Cecil Taylor Unit||Live in Bologna|||
|1989||Critics' Poll: David Murray||Ming's Samba|||
|1990||The Critics' Choice: John Scofield[note 1]||Time on My Hands||United States|||
|1991||"Main jazz and improvised" category: Sheila Jordan /"Open vote 'beyond' category":[note 2] Kraftwerk||Lost and Found /The Mix||United States / Germany|||
- Cecil Taylor's 11-CD box set In Berlin '88 was deemed the "most impressive recording project of the year" and appeared at the top of many critics' ballots, but was kept off the main list because "11 against one wasn't really fair odds for the rest".
- The "open vote 'beyond' category" marked the first time that The Wire included a poll encompassing all genres. In previous years, the magazine only published a "main" jazz poll alongside polls of other genres. In 1992, the all-genre poll became the "main" poll for Record of the Year. The magazine continued to publish genre-specific polls.
1992–2010: Record of the YearEdit
|1992||Arrested Development||3 Years, 5 Months and 2 Days in the Life Of...||United States|||
|1996||Tortoise||Millions Now Living Will Never Die||United States|||
|1997||Robert Wyatt||Shleep||United Kingdom|||
|1998||Sonic Youth||A Thousand Leaves||United States|||
|1999||Mouse on Mars||Niun Niggung||Germany|||
|2000||Antipop Consortium||Tragic Epilogue||United States|||
|2002||Sonic Youth||Murray Street||United States|||
|2003||Robert Wyatt||Cuckooland||United Kingdom|||
|2004||Albert Ayler||Holy Ghost: Rare & Unissued Recordings (1962–70)||United States|||
|2005||The Books||Lost and Safe|||
|2008||The Bug||London Zoo|||
|2009||Broadcast and The Focus Group||Broadcast and The Focus Group Investigate Witch Cults of the Radio Age|||
2011–present: Release of the YearEdit
|2011||James Ferraro||Far Side Virtual||United States|||
|2013||Julia Holter||Loud City Song|||
|2014||Aphex Twin||Syro||United Kingdom|||
|2015||Jlin||Dark Energy||United States|||
|2016||David Bowie||★ (Blackstar)||United Kingdom|||
|2017||Chino Amobi||Paradiso||United States|||
- Jones, Steve (2002). Pop Music and the Press. Temple University Press. p. 58. ISBN 1-56639-966-1.
- Lindberg, Ulf (2005). Rock Criticism from the Beginning. Peter Lang. pp. 315–317. ISBN 9780820474908. Retrieved 18 July 2015.
- Green, Thomas H. (25 October 2007). "A haven for lovers of avant-garde bagpipe music". The Telegraph. Retrieved 18 July 2015.
- Music Blog, "Inky Fingers: Maggoty Lamb on the state of the nation's jazz mags", The Guardian, 23 September 2009.
- Couture, François. "The Wire Tapper, Vol. 1 [Wire Magazine]". Allmusic. Retrieved 18 July 2015.
- Klein, Joshua (29 March 2002). "Tony Herrington, Editor: Invisible Jukebox". The A.V. Club. Retrieved 18 July 2015.
- "The Wire Presents Adventures in Modern Music on Resonance". web20158.clarahost.co.uk. Archived from the original on 22 July 2015. Retrieved 18 July 2015.
- Exact Editions. . The Wire. No. 23. London. January 1986. p. 38 – via
- Exact Editions. . Wire Magazine. No. 36. London. February 1987. p. 36 – via
- Exact Editions. . Wire Magazine. No. 48. London. February 1988. p. 39 – via
- Exact Editions. . Wire Magazine. No. 58/59. London. January 1989. p. 54 – via
- Exact Editions. . Wire Magazine. No. 70/71. London. January 1990. p. 64 – via
- Exact Editions. . Wire. No. 82/83. London. January 1991. pp. 28–29 – via
- Exact Editions. . The Wire. No. 94/95. London. January 1992. pp. 56–57 – via
- Exact Editions. . The Wire. No. 106/107. London. January 1993. p. 24 – via
- Exact Editions. . The Wire. No. 118/119. London. January 1994. p. 55 – via
- Exact Editions. . The Wire. No. 131. London. January 1995. p. 29 – via
- Exact Editions. . The Wire. No. 143. London. January 1996. p. 32 – via
- Exact Editions. . The Wire. No. 155. London. January 1997. p. 37 – via
- Exact Editions. . The Wire. No. 167. London. January 1998. p. 35 – via
- Exact Editions. . The Wire. No. 179. London. January 1999. p. 27 – via
- Exact Editions. . The Wire. No. 190/191. London. January 2000. p. 67 – via
- Exact Editions. . The Wire. No. 203. London. January 2001. p. 34 – via
- Exact Editions. . The Wire. No. 215. London. January 2002. p. 40 – via
- Exact Editions. . The Wire. No. 227. London. January 2003. p. 45 – via
- Exact Editions. . The Wire. No. 239. London. January 2004. p. 38 – via
- Exact Editions. . The Wire. No. 251. London. January 2005. p. 39 – via
- Exact Editions. . The Wire. No. 263. London. January 2006. p. 41 – via
- Exact Editions. . The Wire. No. 275. London. January 2007. p. 35 – via
- Exact Editions. . The Wire. No. 287. London. January 2008. p. 36 – via
- Exact Editions. . The Wire. No. 299. London. January 2009. p. 26 – via
- Exact Editions. . The Wire. No. 311. London. January 2010. p. 39 – via
- Exact Editions. . The Wire. No. 323. London. January 2011. p. 36 – via
- Exact Editions. . The Wire. No. 335. London. January 2012. p. 30 – via
- Exact Editions. . The Wire. No. 347. London. January 2013. p. 32 – via
- Exact Editions. . The Wire. No. 359. London. January 2014. p. 32 – via
- Exact Editions. . The Wire. No. 371. London. January 2015. p. 32 – via
- Exact Editions. . The Wire. No. 383. London. January 2016. p. 32 – via
- Exact Editions. . The Wire. No. 395. London. January 2017. p. 30 – via
- Exact Editions. . The Wire. No. 407. London. January 2018. p. 32 – via