The Wire – #457 March 2022

“On the cover: Scratcha DVA. Scratcha DVA As the best connected mover and shaker in London’s dance underground nears 20 years in music, the producer and DJ talks to Chal Ravens about his Afrofuturist visions, his Hyperdub productions, making intercontinental connections with South Africa’s bass avant garde, and a broadcasting legacy that stretches from his pirate days at Rinse FM to NTS. Inside the issue: Eberhard Kranemann – An unheralded figure in Germany’s underground rock revolution, Eberhard Kranemann was a member of Kraftwerk and Neu! in their crucial early years before striking out on his own with the notorious Fritz Müller Rock project and later collaborations with Harald Grosskopf; Anne Gillis – The French artist and experimental sound maker trod a distinctive path through the industrial scene with projects such as Devil’s Picnic. Now, with her first album in over 15 years and new collaborations with London duo Seymour Wright and Paul Abbott, her unique rhythmic sensibility is surfacing once more. Invisible Jukebox: Lee Ranaldo & Steve Shelley – As an extensive collection of Sonic Youth’s live recordings is released, the New York pair take The Wire’s mystery record test. Global Ear: Peter Margasak investigates a new group of Berlin composers exploring the possibilities of just intonation tuning, including Catherine Lamb, Werner Durand, Marc Sabat, Chiyoko Szlavnics and Arnold Dreyblatt. Unlimited Editions: Emily Pothast talks to Ratskin Records, the Bay Area crew putting issues of accessibility and equality at the forefront of its music including in its ‘mixed reality’ online projects. Unofficial Channels: Abi Bliss investigates This Band Isn’t Real, the Twitter feed creating fictitious metal groups and album covers through the power of machine learning. Plus full page interviews with Joanne Robertson, Alabaster DePlume, Simon Grab, and Jessie Cox. “