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Sacred Bones Unveils Two Unreleased Alan Vega Tracks
Gonora Sounds — Hard Times Never Kill
Ultimate Sad Boys: Fred Macpherson’s Baker’s Dozen
Columnus Metallicus: Heavy Metal For January Reviewed By Kez Whelan
Jenny Hval Details New Album, ‘Classic Objects’
Iceboy Violet Reveals Debut Mixtape, ‘The Vanity Project’
The Strange World Of… Hermeto Pascoal
Medici Daughter — s/t
Orient Excess: James S Lee’s Drug Memoir Underworld Of The East
Tanya Tagaq — Tongues
Again With More Feeling: Harlecore Interviewed
Fuel R 30: Inside The Design-Focused Independent Publisher
Looking Backward From 2094: Nottingham Contemporary Imagines The Future
Aldous Harding Details New Album For 4AD, ‘Warm Chris’
Shinichi Atobe Releases New Album, ‘Love Of Plastic’
Warmduscher Detail New Album, ‘At The Hotspot’
Spiritualized Unveil New Song, ‘Crazy’
Éliane Radigue To Release Her First Organ Work, ‘Occam XXV’
Midori Takada Composes Score For BFI Japanese Cinema Installation
Godflesh, Årabrot And More Rework Lustmord On New Release
Stumblin’ In: Licorice Pizza And Paul Thomas Anderson’s Young Loves
FKA Twigs — CAPRISONGS
Reissue Of The Week: Redskins’ Neither Washington Nor Moscow
PJ Harvey To Publish Book-Length Poem, ‘Orlam’
Gábor Lázár Details New Album, ‘Boundary Object’
Arab Strap Share New Song, ‘Aphelion’
John M. Bennett — A Flattened Face Fogs Through
It’s Raining Menace: Burial’s Antidawn
Houghton Confirms Plans For 2022 Return
New Weird Britain In Review For January By Noel Gardner
Daniel Blumberg — The World To Come OST
Nik Colk Void Details Debut Solo Album, ‘Bucked Up Space’
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Baker's Dozen
Mighty Mighty Boosh Tones: Julian Barratt’s Favourite LPs
As Julian Barratt releases 'You Can't Handcuff The Wind', a single by alter-ego Richard Thorncroft, he guides Adrian Lobb through 13 favourite albums, from Miles Davis to Zappa, Fela Kuti and the soundtracks of the Wicker Man and more
A Quietus Interview
No Affectation Of Misery: An Interview With Matthew Loveridge AKA MXLX
Inhabiting myriad identities to build an enormous catalogue of experimental music, Matthew Loveridge’s fascinating career was briefly paralysed by personal hardship. As he returns, Alastair Shuttleworth speaks to the enigmatic composer about anhedonia, abrasiveness, and the difficult birth of his new masterpiece
