Baker's Dozen:
Shirley Collins
The Lead Review
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The Lead Review
Richard Fontenoy on Daniel O'Sullivan's Veld
Deep in the Blue Ridge Mountains of North Carolina, up a twisting road through the thickl...
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The Lead Review
Karl Smith On Algiers' The Underside Of Power
Considering its now well-established status as a “surprise (see also: “snap”) election,” the re...
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The Lead Review
Karl Smith On Siavash Amini's TAR
Always immersive in its layering, on previous recordings and in the realm of live perform...
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The Lead Review
Patrick Clarke On Hey Colossus' The Guillotine
One would be forgiven for thinking that 2015 was the year in which Hey Colossus reached a...
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The Lead Review
Danny Riley On Richard Dawson's Peasant
Richard Dawson has said that he really believes in Peasant, his first new album since 201...
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The Lead Review
Julian Marszalek On Jane Weaver's Modern Kosmology
One suspects that no one was more surprised at the success of The Silver Globe than Jane ...
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The Lead Review
Mat Colegate On Man Forever's Play What They Want
Man Forever's Play What They Want is undeniably a New York record. As big apple juicy as the pa...
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The Lead Review
Bob Cluness On Perc's Bitter Music
That is why we are developing and proclaiming a great new idea that runs through modern life: t...
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The Lead Review
Karl Smith On Ryuichi Sakamoto's async
Enshrined in publicity materials and regurgitated ad infinitum by the music press, by thi...
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The Lead Review
Alex Macpherson On Kendrick Lamar's DAMN.
For a word with a multiplicity of meanings and connotations, there aren't many layers to ...
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