A Quietus Interview:
Annie
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The Lead Review
The Lead Review: Lottie Brazier On Brian Eno's The Ship
In his Reith lecture last year, Eno approached his audience with the proposition that art is a ...
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The Lead Review: Chris Roberts On Knifeworld's Bottled Out Of Eden
"I can't believe we walked right out of Eden into Hell", sings a mildly aghast Kavus Tora...
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The Lead Review: Ed Power On PJ Harvey's The Hope Six Demolition Project
The Anacostia River in Washington DC is one of the most abused stretches of water on the ...
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The Lead Review: Rob Arcand On Tim Hecker's Love Streams
Throughout the early 11th and 12th centuries, there was a thing called plainsong. One of ...
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The Lead Review: Mick Middles On Gnod's Mirror
Formed in 2007, as more of an arts collective than a band, Gnod managed to add true innov...
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The Lead Review: Ed Power On Nisennenmondai's #N/A
One of the earliest documented investigations of boredom as psychological phenomenon was ...
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The Lead Review: Mat Colegate On The Body's No One Deserves Happiness
Over the last few years a peculiarly pessimistic strain has been creeping into certain ar...
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The Lead Review: Tristan Bath On Billy Bao's The Lagos Sessions
The population of Nigeria's biggest city Lagos has recently been measured at over 20 mill...
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The Lead Review: Rory Gibb On Fatima Al Qadiri's Brute
Some of the main themes informing Hyperdub, from its early years as a web magazine into i...
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The Lead Review: Leo Chadburn On Matmos' Ultimate Care II
There's a 1990 short film, of the kind that Channel 4 used to have the creative audacity ...
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Robert Hood
Bad Bunny
From Brussels With Love
Mart Avi
N To The Power
Smashing Pumpkins
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