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XLR is a magazine, a radar and a diary about music gear and the making of music — for the people who make records and put on shows, wherever they do it.

The name is the three-pin connector that every signal in the business passes through: the microphone on stage and in the booth, the line to the desk, the DMX cable that runs the lights. Studio, stage and lighting rig share it, and so does this magazine. Every few hours XLR collects what the makers shipped, what the reviewers heard, what the studios and the touring crews are doing, which producers and collectives are surfacing and what they are saying — synths and modular, plugins and DAWs, guitars and drums, microphones, monitors, PA and lights, the rooms and the people — from a few hundred sources in English, German, French, Spanish, Japanese and more, then plots what is moving. The editor writes a letter every few days. Nothing is sold here; when a link leads to a shop, that is the maker's shop, not ours.

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Les Inrocks — MusiqueEurope

Sur “Apples for Isaac”, les Bunnymen se contentent-ils de leurs échos ?

September 16

Formation cruciale des années 1980, le groupe de Ian McCulloch et Will Sergeant revient avec un treizième album parfois en pilotage automatique, mais qui ménage quelques beaux éclats.

Read at Les Inrocks — Musique ↗

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Sur “Apples for Isaac”, les Bunnymen se contentent-ils de leurs échos ?

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