Stephen Mejias

People have been understandably curious about The Cherry Thing, the surprising collaboration between Neneh Cherry and free-jazz monster, The Thing, scheduled to be released on June 19 by Smalltown Supersound.

For now, we can hear the band’s version of Suicide’s “Dream Baby Dream.”

As I’ve mentioned, I enjoy making connections between all kinds of seemingly disparate things and ideas, but I take special interest in finding connections between different musical genres or artists. I obsess over this game, as though finding common ground between Drake and Ryuichi Sakamoto&#151an easy example, but a valid one&#151will somehow make me a stronger person, make me more intelligent and attractive, allow me to better understand others, make the world a more beautiful place.

It’s in these connections that stories are made. And I love stories. Caught by the idea that everything happens for a reason, that every event is leading to someplace meaningful and magical, I’m hungry for connections, like a DJ attempting to create the perfect mixtape, one that can represent a sum of life’s experiences, wonderful and mundane.

Seems I’m not alone. (Whew.)

Through Kickstarter, director Trevor Undi and producer Sean Barney hope to fund their Kymera Project, a sort of “visual mixtape,” setting songs to images to tell a story that takes place in New York City.

On Valot Kaukaa, Finnish producer Olli Aarni, working as Nuojuva, creates a strange, romantic world of sound. We hear wind and birdsong; crackle and hiss; hints of familiar classical pieces; cello, flute, and violin; whispers and sighs from Rachel Evans of Motion Sickness of Time Travel; and the lovely piano work of Sophie Hutchings, whose 2010 album, Becalmed, was one of my 2011 “Records to Die For.”

The April NYC edition of Classic Album Sundays will take place on Sunday, April 8, 5–8pm, at Bellwether (594 Union Avenue, Brooklyn). As a bit of solace to fans that couldn’t get tickets to the upcoming Kraftwerk performances at the Museum of Modern Art, Classic Album Sundays will present Kraftwerk’s Autobahn in its entirety. Cool.

In recent conversations with myself and with others, I’ve been trying to explain my addiction&#151and I truly do believe it’s an addiction&#151to music, new and old. A lot of times, when I’ve got an unfamiliar album in my hand, I feel like I just need to hear it. I just need to know what it sounds like. Why? I think I’m searching for connections between different times, places, and musical styles and artists. Why? I don’t know, exactly. I imagine there’s some magnificent story to be told through music, that all recorded music is somehow connected, and, if I can just trace those connections, I’ll learn something deep and special about myself and the world.

Searching for odd connections in music: It’s a game that I play.

Divine Ricochet is a three-part music series made to accompany John Chamberlain: Choices, on view through May 13 at the Guggenheim Museum. The series takes its name from Chamberlain’s 1991 work, a large and colorful, mangled assortment of painted and chromium-plated steel.

I’m in a daze. My mind is officially, seriously blown.

Nothing, seriously nothing, could have prepared me for the news that Neneh Cherry&#151Neneh “Raw Like Sushi” Cherry&#151is heading a new project with the powerhouse free jazz trio of Mats Gustafsson (saxophone), Ingebrigt Haker Flaten (bass), and Paal Nilssen-Love (drums).