A Quietus Interview:
Black Midi
The Lead Review
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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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The Lead Review
Lead Review: Tara Joshi On Frank Ocean's Blond[e]
Let’s talk about the conflicting notion of “being present”. We live in an age where every...
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The Lead Review
Lead Review: Mollie Zhang On Factory Floor's 25 25
Crawling towards you, advancing slowly before eventually seizing you by the collar and giving y...
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The Lead Review
Lead Review: Wyndham Wallace On Marconi Union's Ghost Stations
The noise just gets louder every day: the wailing of those seeking refuge from conflict and the...
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The Lead Review
Ben Cardew On Hieroglyphic Being's The Disco's Of Imhotep
Poke around the outer limits of the more colourful music festivals and you will often find some...
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The Lead Review
Lead Review: Christian Eede On Flowdan's Disaster Piece
While a number of his peers as an original member of Roll Deep - namely Dizzee Rascal, Wi...
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The Lead Review
Lead Review: Tristan Bath On JK Flesh's Rise Above
In every sense of the word, the sheer volume of Justin Broadrick’s music continues to be stagge...
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The Lead Review
Lead Review: Amy Pettifer On Bat For Lashes' The Bride
The Bride A marriage ceremony is the performative utterance to end them all. Words become actions, promis...
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The Lead Review
Lead Review: Lauretta Charlton On Blood Orange's Freetown Sound
When I was a kid growing up in California, I liked bands like The Cure, The Smiths, and Catheri...
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The Lead Review
Lead Review: Karl Smith On Jambinai's A Hermitage
In early 2004 a friend introduced me to a band he’d been listening to called Explosions in the ...
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Alice Hubble
Stephen Mallinder
Tony Njoku
Gross Net
Hurtling
Ana Roxanne 
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