Three pins, and nearly every signal in this business passes through them.

The magazine is named after the cable: the microphone in the booth, the line to the desk, the DMX run that fires the lights. Studio, stage and rig share the same cable. Most magazines pick one of the three. This one covers all of it, because the people we read do too — the engineer mixing a record on Tuesday is on front of house by Saturday.

Around a hundred and sixty sources, in English, Japanese, Spanish, German, French, Chinese and Italian: makers and their release notes, reviewers who put a hand on the thing, studios and touring crews, the producers and collectives surfacing this month and the scenes they came out of. Synths and modular, plugins and DAWs, guitars and drums, microphones, monitors, PA and lighting. What the trade is talking about is counted and plotted. The editor's letter has just started; it will find its rhythm.

For each story: a headline, a short excerpt, one picture and the link out. We never reprint the article, and the picture belongs to the maker or the photographer. A German review appears in German and a Japanese one in Japanese, as the writer published it; the link goes to the original.

Nothing is sold on this site. When a link leads to a shop, it is the maker's shop, not ours.

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MusikexpressEurope

Review: Kristin Hersh – SUGAR ON BLACKSTONE: Kindheit als Klangarchitektur

September 17

Mit wuchtigem Folk-Rock erinnert sich die Indie-Ikone an prägende Momente ihrer Kindheit. Mit 60 Jahren zählt Kristin Hersh zu den unermüdlichsten Musikarbeiterinnnen, legt sie doch mit SUGAR ON…

Read at Musikexpress ↗

Also covered by: The 13th Floor

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Review: Kristin Hersh – SUGAR ON BLACKSTONE: Kindheit als Klangarchitektur

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