THERE IS NOTHING I LOVE MORE than seeing bands of older white men reunify—off the top of my head, I can say that I’ve seen Faust, Television, the Patti Smith Group, Sonic Arts Union, and the Beach Boys all within the last four years. It’s an unholy hobby, but a hobby nonetheless. I missed the Fall, which will always be a disappointment to me, but I wasn’t going to sleep on a chance to see what remains of This Heat, the Camberwellians known for their two studio albums, This Heat (1979) and Deceit (1981), as well as their lone 12-inch, Health and Efficiency (1980). And so I forsook The Bachelorette

TONY CONRAD PASSED AWAY in 2016 at the age of seventy-six, leaving behind a sprawling and idiosyncratic body of work that spanned over five decades. His voluminous output was not always legible to the mainstream; it wasn’t always legible to the avant-garde either. The remarkable recent exhibition “Introducing Tony Conrad: A Retrospective” at the Albright-Knox Art Gallery in Buffalo, New York—with additional works on display at the University of Buffalo, where the artist taught from 1976 until shortly before he died—is wide-ranging and ambitious in scope. Was Conrad a composer, a sound artist,

ON MAY 5TH, AT THE UNION TEMPLE OF BROOKLYN, a theater called Murmrr hosted the last date of a short tour called Conversations with Nick Cave. For just two appearances in Massachusetts and two in New York, he flew over from Brighton, England. Later that night, to explain why he had come to America, Cave channeled Sinatra: “I just sort of thought if I can get through New York, I might be able to do this elsewhere.”

But why did he need to do this? In a press release, Cave wrote, “There has been a connection happening with the audience through the recent live shows where we have all shown a kind of

FROM THE RECENT BROADWAY REVIVAL of the postmodern epic Cats (1981) to NBC’s live broadcast of Jesus Christ Superstar (1970) starring Chrissy Teigen’s husband as the Son of God, Sir Andrew Lloyd Webber is everywhere these days. The tsar of the mega-musical has long been on the mind of the British experimental musician Klein, who recently graced New York with a live performance, her first since the premiere of her musical Care at London’s ICA this past February. Care, which was in part inspired by her appreciation for Lloyd Webber’s melodramatic, melodic storytelling, gave Klein a chance to work,

WHAT ARE YOU DOING WITH THAT CHAIR?

There used to be a Chinese restaurant on the corner of Avenue C and East Second Street. It was called The Golden Dragon. The filmmaker Ela Troyano owns the building. In 2005, her friend, composer John Zorn, turned The Golden Dragon into The Stone.

What the fuck are you doing with that chair?

The space was emptied of appliances and counters. In their place, a Yamaha grand piano, a small PA, and sixty or so black chairs were installed. Black sound treatment curtains were hung over the windows. Avenue C itself became the lobby. If the place wasn’t ambitious in any

THERE IS SOMETHING very homosexual about using “multiple instruments of the same kind.” This is the ensemble instruction composer Julius Eastman gave for performing some of his most exciting scores, in which groups of players work through themes and variations, all on the same musical instrument. These compositions were introduced to new music audiences in the 1970s and ’80s and have been rarely heard since. Still, they are thrilling to witness live, as was made possible by the miraculous “That Which Is Fundamental,” an exhibition and concert series presented in Philadelphia at the Slought

MUSIC FESTIVALS ARE ALL ABOUT SCALE.

On one hand, festivals solve financial problems of presenting live music by scaling up—what if, says the ambitious promoter in Tennessee, instead of eighty shows selling a thousand tickets each, we put on one show that sells 80,000 tickets…? And thus Bonnaroo is born, with an astronomical budget to work with. (Tickets this year are $337.50, which means a sell out will gross $27 million—before merch).

But on the other hand, festivals create entirely new problems for music by shifting scale like this. Not all live music—not any?—is made to be heard by 80,000

YOU MIGHT NOT BE SURPRISED to learn that there are only four degrees of separation between Jacques Derrida and Charli XCX. The father of deconstruction and the atomic pop songstress form the ends of a chain held together by A.G. Cook of PC Music and Green Gartside of Scritti Politti. Cook, who produced XCX’s late 2017 “mixtape” Pop 2, has hailed Scritti Politti’s Cupid & Psyche 85 as an example of pop music taken to its “extreme,” a limit toward which he himself aspires. As evinced by its title, Pop 2, like Cupid & Psyche 85 before it, is all about popular music. Curiously though, there is no

IN MID-OCTOBER, the seventy-six-year-old percussionist, herbalist, scientist, and martial artist Milford Graves stood before an admiring audience at the Artist’s Institute on New York’s Upper East Side. “Well, I must say this is a new adventure for me,” he began with a buoyant smile. “It’s like I’m starting all over again.” Pointing to a sculpture across the room—a dunun-carrying skeleton swathed in a tangle of wires connected to laptops, circuit boards, and anatomical models—Graves remarked, “I’m entering a whole new era, because I’m on to my next sculpture piece now, and then another

MORE THAN A FEW ASPECTS of Alice Coltrane’s life and music stand out as singular, epic, genius—and, sometimes equally, tragic. Her husband, John, passed away from liver cancer in 1967, and as a widow at just twenty-nine she raised their four children on her own, never remarrying. Throughout, she maintained a brilliant and groundbreaking solo music career. I could go on. She’s the kind of inspiring person we need to keep celebrating, and so we do.

The Coltranes were wedded in 1965 in Juárez, Mexico, and their short time together looks, on the surface of things, as if it were pretty blissful. At

Slash: A Punk Magazine from Los Angeles, 1977–80, edited by Brian Roettinger and J. C. Gabel. Los Angeles: Hat & Beard, 2016. 496 pages.

THE PORTRAIT DRAWN IN THIS BOOK—an enormous compendium of photos, mini-memoirs, drastically reduced facsimile pages from the Los Angeles–based tabloid-form magazine; original band interviews reprinted as inserts; and special sections for Gary Panter’s Jimbo comix and flaming editorials from Claude Bessy, aka Kickboy Face—is of people having fun. While oversize and heavy, the volume is fast on the eye and throughout its nearly five hundred pages maintains

THERE HAVE BEEN many unlikely events in the career of Jeff Mills, but perhaps few as odd as scoring to a Raquel Welch vehicle. Mills’s live soundtrack for the 1966 cult movie Fantastic Voyage was part of a weekend of happenings at London’s Barbican Centre this past summer that nodded to the pioneering DJ and producer’s decades-long experiments in sound and image. In 2000, he crafted a new soundtrack for Fritz Lang’s Metropolis (1927), the popularity of which led to further cinematic interventions; included among these was Mills’s arrangement for Georges Méliès’s 1902 A Trip to the Moon on the