Catch up on our latest writing.
Not afraid to challenge their audience, Ulver are currently indulging in a different kind of pop music. Dan Franklin speaks to founding member Kristoffer Rygg about danceable gothic songs, papal conclaves, potent imagery down the centuries, and “sucking on the tit of the wolf mother”. Main Ulver portraits by Ingrid Aas
The Buzzcocks' Pete Shelley and Steve Diggle plus manager Richard Boon speak to Patrick Clarke about the unintentional genius of their landmark debut (this feature was republished on 7th December 2018 to mark the sad passing of Pete Shelley)
Everybody's looking for something - but what does Taylor Parkes find when he spends the evening with Pete Shelley of the Buzzcocks? (this feature was republished on 7th December 2018 to mark the sad passing of Pete Shelley)
Sean Kitching argues that 1978s two most idiosyncratic releases, the Residents’ Duck Stab/Buster & Glen and Pere Ubu’s Dub Housing, both released on November 30 of that year, represent a pinnacle of individualism at the outer periphery of American art rock
In conjunction with his solo show of new work, just opened at the Kerlin Gallery in Dublin, Allan Gardner interviews Liam Gillick touching on his work and practice, the progression of contemporary art in the 21st century and the need for rethinking Modernism
Samuel Coleridge-Taylor was the first musician of colour to become a superstar in 20th century Britain, says Phil Hebblethwaite, and then he all but disappeared from view. Who was he and why is it taking so long for us to recognise what he achieved, against impossible odds?
In the second in our series exploring the connections between far right politics and music, Dylan Miller investigates the satanic-fascist Order Of Nine Angles and how, via musician and artist Richard Moult and the experimental folk scene, they have connected with the UK underground. Please note - this article contains imagery that some readers might find disturbing.
With the far right in ascendence across the globe, there's never been a more necessary time to investigate fascist and racist infiltration, current and historical, into the underground culture we love. In an introductory essay to a new Quietus series, Dylan Miller explains why we're doing it