The Wire 417 (November 2018)
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Inside this issue:

Windrush Vibrations: The arrival of HMT Empire Windrush at Tilbury Docks in Essex in 1948 marked a new era of Afro-Caribbean immigration that changed UK music for (the) good. With London’s Barbican marking the 70th anniversary in a Windrush concert this month, Jason Yarde, Lez Henry, Mykaell Riley, Anthony Joseph and others reflect on seven decades of black British music

Mhysa: The alter ego of interdisciplinary artist E Jane strikes a tender blow for radical black femininity. By Tirhakah Love

Guttersnipe: The Leeds duo process extreme emotions to undermine masculinity via noise, rhythm and patterns of interference. By Abi Bliss

Bone Head: California raised producer keeps it kitsch. By Steph Kretowicz

Anja Kanngieser: The sound artist and radio producer pits spoken word and field recordings against climate change. By Lewis Gordon

Preacherman: The synth odysseys of Tim Jones hit back at a world of conspiracy. By Claire Sawers

Hairbone: Chaos reigns for the New York City performance trio. By Kurt Gottschalk

Global Ear Barunga: Indigenous art is thriving in Australia’s Northern Territory. By Marcus Boon

Invisible Jukebox: Nkisi: Will The Wire’s mystery record selection be met with a resounding NON? Tested by Meg Woof

The Inner Sleeve: Weirdcore on Aphex Twin’s T69 Collapse

Epiphanies: Musician and writer Anthony Joseph on Mighty Sparrow’s calypso