A Quietus Interview:
Black Midi
The Lead Review
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The Lead Review
Danny Riley on Shirley Collins' Lodestar
With Lodestar being Shirley Collins’ first album after 38 years of relative silence, it w...
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The Lead Review
Lottie Brazier On Gaye Su Akyol's Hologram Ĭmparatorluğu
Punk’s relationship with Turkish culture appears to manifest in two distinct, fairly separate w...
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The Lead Review
Tristan Bath on Innercity Ensemble's III
17km from the centre of the north-Polish city of Bydgoszcz, a palace at the village of Ostromec...
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The Lead Review
Eat Yr Idols: Rory Gibb On Powell’s Sport
During that opening blast of weird, muddy 12” singles in 2011 and 2012, one of the most intrigu...
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The Lead Review
Ben Cardew On DVA [Hi:Emotions]' NOTU_URONLINEU
It might help to know, when contemplating this remarkable album, that [Hi:Emotions] is a pseudo...
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The Lead Review
Danny Riley on Grumbling Fur's Furfour
Grumbling Fur have proposed a radical, optimistic new strategy for the underground. Their...
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The Lead Review
Suzie McCracken on Jenny Hval's Blood Bitch
Sometimes you need to talk about it. Around the dinner table I explain to some friends ho...
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The Lead Review
Luke Turner On Nick Cave & The Bad Seeds' Skeleton Tree
There he is on the big screen, with an incredible suit and improbable hair, that familiar...
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The Lead Review
Richie Troughton On Noura Mint Seymali’s Arbina And Interview
The ‘father of modern optics,’ 11th-century scientist Al-Hasan Ibn al-Haytham (Alhazen), was q...
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The Lead Review
Lead Review: Ben Cardew On Zomby's Ultra
Pop music has long been a tug of war between spontaneity and toil: for every hit single penned ...
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Hurtling
Ana Roxanne 
Slaylor Moon
Kim Gordon
Richard Dawson
Various
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