Preceding the release of My Days of 58, the Americana legend once known as Smog discusses his Yorkshire youth, why Spotify is like the mafia and the bleak state of AI

We got married to [Smog’s] Our Anniversary. When you write songs, do you think about how listeners might carry them into their own lives, or do the songs stop being yours after they are done? Vanearle
When I wrote [2019’s] Watch Me Get Married, I thought maybe people would have that as their wedding song. But mostly it’s inconceivable what people are gonna do with a song. I don’t think about it too much because there are 100,000 places where it’s gonna live. Have I ever heard about any inappropriate uses of songs? I think having Our Anniversary as a wedding song is a little surprising, but maybe they’re realists.

As an appreciator of dub, if you could spend a week in a studio to collaborate with any dub artist at their peak, who would you go for? albertoayler
I’d have to say Lee “Scratch” Perry just because he was so crazy. He was like a little kid – just infectious excitement. I think that he would have been easy to hang out with. But also, King Tubby was such a minimalist and I’d be curious about how he determined when enough was enough – investing so much power in the fewest elements. Have Fun With God [the 2014 dub remix album of 2013’s Dream River] was very traditional – all the moves were taken from 70s Jamaican records. Maybe once is enough. But I do like the idea of recycling recorded things to make something else – that’s what initially attracted me to dub. If I did [a new remix album], I may do a chopped and screwed record.

South London house to feature never-before-seen archival items and creative workshops for young people

On the evening of 6 July 1972, thousands of young people across the UK had their lives changed when the sight of David Bowie performing Starman on Top of the Pops was beamed into their living rooms.

Come the end of 2027, Bowie fans will be able to walk the very floorboards where the young David Jones had his own Damascene cultural conversion, when his childhood home in south London, is opened to the public for the first time.

Somewhere between record label and artist project, False Aralia harks back to microhouse and dub techno with its deep, detailed productions

From San Francisco
Recommended if you like Rhythm and Sound, Ricardo Villalobos, Vladislav Delay
Up next Double LP from Topdown Dialectic released in spring

False Aralia disappears into a misty gulch somewhere between record label and artist project. It’s ostensibly a label, where each EP has a different named artist, and each sleeve, designed by Nick Almquist, features a different abstract expressionist monochrome doodle. But all the tracks are numbered, not named, and each EP is actually the work of just one producer, Izaak Schlossman (credited as IS), joined by a changing cast of collaborators.