Catch up on our latest writing.
Franz Treichler guides David Stubbs through the archives of the Swiss trio who repurposed the sampler to give rock a new, industrial lease of life in the 1980s, before venturing into space influenced by ambient and techno. Portrait by Charlotte Walker
Oasis are back, and a publishing supernova of new biographies examines the Manchester band... but for most of their lifespan, they were appalling. Fergal Kinney asks how do writers confront Oasis after their peak
Pulp are back with their first new album in nearly a quarter of a century; Jarvis Cocker joins us to talk about More, but also outsider art in America, an attic full of wonder in London and revolution versus violence in Sheffield. Words by Darran Anderson. All portraits by Tom Jackson
Ahead of a new Sunday show on BBC 6 Music and an appearance at MIF, the broadcaster and DJ shares some ideas about process, work ethic and a formative year spent living on a bus. Words by John Doran. Main portrait by Brett Walker
As she shares new track 'Distress Tolerance', DJ Haram speaks to Jesse Dorris about her roots in New Jersey clubs and the Philadelphia underground, the complexities of DJing and identity, and charting her own path on debut album Beside Myself
In his latest dispatch from the French fringes, David McKenna reports from this year’s New Trad Fest in the Loire region and rounds up new releases including a surrealistic Breton folk duo, Japanese gagaku-inspired drones and much more
Perturbed by a study that found young women in the north of England are struggling to feel musical, Lottie Brazier set out to speak to the promoters, artists and managers who are helping shift the dial in the region
Nobody wanted what The Soft Boys were selling in 1980, but as David Bennun recounts, their superb swan song, Underwater Moonlight, made them a Velvet Underground for new generations of jangle and psych bands. This feature was first published on 29/06/20
In 2014 Kendrick Lamar found himself in South Africa, an experience that helped to shape his third studio record, which is perhaps his most complex and enduring statement. Siobhán Kane revisits To Pimp A Butterfly