Scream Queens:
2020's Feminist Horror
The Lead Review
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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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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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Charli XCX
Primo!
Footsie 
Klara Lewis
Grid
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