Strange World Of
Bolt Thrower
The Lead Review
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The Lead Review
Mollie Zhang On Oneohtrix Point Never's Good Time
Few musicians move quite like Oneohtrix Point Never. Those who listen to 0PN, otherwise k...
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The Lead Review
Anna Wood on Madonnatron's Madonnatron
MADONNATRON by Madonnatron What is it about witches? They're so appealing, perhaps especia...
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The Lead Review
Mollie Zhang On Pan Daijing's Lack惊蛰
"Noise music is listening music. It requires some certain kind of strength": Pan Daijing’...
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The Lead Review
Lee Arizuno on Kemper Norton's Hungan
Hungan Hungan by Kemper Norton Nearly a century ago, the Austrian author Robert Musil began work ...
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The Lead Review
Richard Fontenoy on Laibach's Also Sprach Zarathustra
Friedrich Nietzsche's infamously dense philosophical novel Also Sprach Zarathustra was m...
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The Lead Review
Luke Turner On Public Service Broadcasting's Every Valley
In 1960, the BBC broadcast a documentary called Borrowed Pasture. Narrated by Richard Bur...
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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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Jane Weaver
Do You Have the Force? Jon Savage’s Alternate History of Electronic Music, 1978–82
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