Anne Hilde Neset
Anne Hilde Neset is Deputy Editor and one of the directors of The Wire magazine as well as the co-founder of art agency Electra (www.electra-productions.com). She has commissioned, curated and produced a number of projects, including the Enter series of 4 channel sound works (2008, Stavanger, Norway), Her Noise (2005, South London Gallery) film/performance commission Perfect Partner by Kim Gordon, Tony Oursler and Phil Morrison (2005, Barbican Centre and international tour) and The Sounds Of Christmas installation and performance project by Christian Marclay (2005, Tate Modern), radio installation Shipwreck Radio (2004, Lofoten International Art Festial, Norway) and group exhibition Invisible London (2001, MACBA, Barcelona). She has also worked with Daria Martin as a music consultant developing soundtracks by Zeena Parkins and Maja Ratkje, been on the curatorial committee for sound at London’s Serpentine Gallery as well as devising and teaching Sound And The 20th Century Avant Garde, a lecture series on sound art at Tate Modern. She is a radio presenter on London’s Resonance FM radio (www.resonancefm.com).
About The Wire:
The Wire is an independent, monthly music magazine covering a wide range of alternative, underground and non-mainstream musics. The Wire celebrates and interrogates the most visionary and inspiring, subversive and radical, marginalised and undervalued musicians on the planet, past and present, in the realms of avant rock, electronica, hiphop, new jazz, modern composition, traditional musics and beyond. Passionate, intelligent and provocative, The Wire wages war on the mundane and the mediocre. Its office is based in London, but it serves an international readership.
The magazine was founded in 1982, primarily as a jazz and New Music magazine, with a brief to “unravel the mysteries of music and musicians for those who look for fundamental answers about the nature of music…”. Between 1984-2000 it was owned by Naim Attallah’s Namara Group. In December 2000 it was purchased in a management buy-out organised by the magazine’s staff.
The magazine is run by a small, dedicated team of staff, plus a large international roster of over 60 freelance writers, stationed at points across the globe. There’s no written constitution and no hardened music policy for inclusion or exclusion. The Wire seeks out the best current musics in, and between, all genres; and is committed to investigating music’s past as well as its present and future. We are a 100 per cent independent operation, owned outright by the staff. There is no pressure from a publishing house to compromise our content, and we are at liberty to decide everything that’s printed in our magazine – we won’t let advertisers, record companies or press agents set the agenda.
Apart from its magazine The Wire hosts a regular radio show, Adventures In Modern Music, on Resonance FM. It releases The Wire Tapper, a compilation that comes free with the issue, twice a year, and Under The Radar, a free download compilation for subscribers four times a year. The magazine also gets involved in live events and festivals, by organising performances, curating them or supporting as media sponsors. The magazine has an active engagement in the world that it reports on.
