Baker's Dozen:
Shirley Collins
The Lead Review
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The Lead Review
Techno Of The Ancients: Capitol K’s Goatherder
GOATHERDER by Capitol K Caves hold a raw fascination - for most of us they represent a hunter-ga...
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The Personal & The Political: Lotic’s Power
Power by Lotic Recently I read an interview with Lotic where they describe being evicted from th...
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Shine Bright: Okzharp & Manthe Ribane’s Closer Apart
Closer Apart by Okzharp & Manthe Ribane It’s an indictment of our times that opting to be po...
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We Got This: Let’s Eat Grandma’s I’m All Ears
We’ve crash-landed into Cancer season - a time for ocean-deep creativity and acute emotion, aft...
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Making Space: Kamasi Washington’s Heaven & Earth
Kamasi Washington’s journey to prominence has been an interesting one. His years of obscurity a...
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Techno For An Answer: Blawan’s Wet Will Always Dry
For many electronic music producers, once you’ve finished toiling at a selection of tracks, the...
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Wizard Kid: Gruff Rhys’s Babelsberg
Over the past 20 years or so, no single figure in British music has consistently afforded me mo...
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Dream Story: Jenny Hval’s The Long Sleep
The Long Sleep EP by Jenny Hval There is, as you might expect from the title, something dreamy a...
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The Lead Review
Bigger Than Reality: The Last Poets’ Understand What Black Is
Understand What Black Is by The Last Poets The revolutionary flames that engulfed Paris in May 1...
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The Lead Review
Precious Metal: The Body’s I Have Fought Against It, But I Can’t Any Longer
I Have Fought Against It, But I Can’t Any Longer. by the body When is a metal band not a metal b...
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Nicolas Bougaïeff
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