Catch up on our latest writing.
A new project has begun to explore and document the wealth of experimental music in Ireland's past. Ian Maleney speaks to the Aisteach Foundation's Jennifer Walshe about ecclesiastical drone, bog-dwelling noise musicians and a hitherto uncelebrated group of queer composers
April Clare Welsh investigates the changing face of San Francisco, where minority groups and artists are being priced out of the city by the all-powerful tech dollar, and talks to activists and artists such as Erase Errata
We set crate digger extraordinaire, Bill Brewster another challenge. This week, make us a set culled from the less fashionable - mainly white, blue collar and European - backwaters of funk rock… he came up with some beauties
From its password-protected tumblr past to a purple-hued Faber present, Charles Whalley re-examines Sam Riviere's latest collection — Kim Kardashian's Marriage — via data processing, flarf (and post-flarf) poetry, the commodification of the self and the cultural tragedy of reality vs. expectation. (Image by Yung Jake)
Battered by Leveson and out of place in a swiftly-changing era of British politics, The Sun is arguably a lesser force than once it was. Yet, argues Joe Kennedy, Katie Hopkins' reprehensible comments on immigration and the complicity of newspaper staff who employ her suggest that as it declines the tabloid is lashing out with increasingly dangerous views
Politicised trio Algiers come roaring out of the American South with a righteous and heady mix of gospel, Rowland S Howard guitar noise and a drum machine. They speak to Luke Turner about the cultural void of Atlanta, colonialism, racism and the apathy of their peers
Before their appearance at Desertfest at the Camden Underworld this weekend, uber-heavy bass guitar maestros James Bryant and John Atkins of Palehorse salute their favourite bass albums with Kiran Acharya (and even include one that has no bass guitar at all)
As senior columnists and musicians complain that younger generations are no longer both musically and politically engaged, David Stubbs argues that rock and pop have never been the defiantly countercultural revolutionary corps that many claim