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The Lead Review

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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The Lead Review
Christian Eede On Actress' AZD
Three years ago, Darren Cunningham, better known as Actress, released his fourth album. G...
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The Lead Review
Aurora Mitchell On Pharmakon's Contact
Breathe in, breathe out. Breathe in, breathe out. Sharp inhales of breath increase in p...
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The Lead Review
Lottie Brazier On Gnod's Just Say No...
In December last year, a video went viral of trainee producer Nobuo Kawakami presenting a...
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