A Quietus Interview:
Black Midi
The Lead Review
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The Lead Review
Lead Review: Lauretta Charlton On Blood Orange's Freetown Sound
When I was a kid growing up in California, I liked bands like The Cure, The Smiths, and Catheri...
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The Lead Review
Lead Review: Karl Smith On Jambinai's A Hermitage
In early 2004 a friend introduced me to a band he’d been listening to called Explosions in the ...
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The Lead Review
Lead Review: Noel Gardner On Nails' You Will Never Be One Of Us
You’ll be familiar, more than likely, with Groucho Marx’s most famous quote, “I don’t care to b...
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The Lead Review
Lead Review: Ben Cardew On Floorplan's Victorious
In modern music - and in particular the electronic kind - there is nothing more difficult to na...
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The Lead Review
Lead Review: Karl Smith On Gold Panda's Good Luck And Do Your Best
There’s more than a little to be said about the act of prominently taking inspiration fro...
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The Lead Review
Lead Review: Amelia Phillips On Klara Lewis' Too
It’s hard to deny your expectations when listening to new material by an artist, particularly o...
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The Lead Review
The Lead Review: Ned Raggett On Marissa Nadler's Strangers
It’s been ten years since I first encountered Marissa Nadler and her work at the sixth Terrasto...
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The Lead Review
Lead Review: Josh Gray On Skepta's Konnichiwa
Nothing proves that you’ve attained a truly global profile like being on the receiving en...
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The Lead Review
Lead Review: Tristan Bath On Jessy Lanza's Oh No
The institution of pop music is in a strange place right now. By its very definition the ...
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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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Edo Funk Explosion Volume 1
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