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“I, FOR ONE, AM SICK OF DOING SOUNDS that people can claim to have heard before.” Here’s Paul McCartney in June 1966, charging headlong into the sonic unknown via the pages of NME. He is talking about a new track The Beatles have recorded with “electronic effects” and words from the Tibetan Book Of The Dead. The track, of course, will soon be unveiled as Tomorrow Never Knows, and its parent album, Revolver, will ultimately be understood as where The Beatles consolidated their songwriting brilliance while broadening their musical horizons. Now gifted and ambitious bands could go anywhere, try anything, without necessarily alienating their fans.

This month we celebrate the arrival of a kaleidoscopic new, expanded edition of Revolver. And we also reflect on how The Beatles, so eager to explore a wider world of sound, made a magazine like MOJO possible. Stockhausen “opens your eyes and ears,” McCartney told NME, and Stockhausen figures on the eclectic roster of one of MOJO’s boldest CDs ever. But also in the issue you’ll find many more radical artists, like Björk, Don Cherry, Black Flag, Dry Cleaning, Nick Cave, Big Joanie, Marshall Allen, Diamanda Galás and Brian Eno. They might not all be to everyone’s taste, but they all make a kind of sense next to one another, vital parts of our latest monthly tack through music’s wild and diverse expanses.