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The Lead Review

The Lead Review
His Grainy Voice: REM Reviewed By Lonelady
I’ve lived with his grainy voice for years now. Super-8 dreams signposted a way to be. Pre-inte...
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The Lead Review
Realist Of A Larger Reality: Todd Barton’s Multum In Parvo
Multum in Parvo by Todd Barton There is an intimacy in this album, this single 50-minute composi...
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The Lead Review
Hyperglobal, Hyperlocal: Kode9 & Burial’s Fabriclive 100
Eight years ago, as Mary Anne Hobbs bowed out of her weekly slot on BBC Radio 1, she aire...
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The Lead Review
Obtuse Angles: Gazelle Twin’s Pastoral
PASTORAL by Gazelle Twin England is heading into a future that resembles a vast, drab and malfun...
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The Lead Review
Escape Notes: Szun Waves’ New Hymn To Freedom
New Hymn To Freedom by Szun Waves Though I spend several hours a day listening to music, it’s ra...
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The Lead Review
We Show All The Way Up: Blood Orange’s Negro Swan
I dreamt last night that I was making music with my friend Dev Hynes. But I’m not a musician, a...
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The Lead Review
First True Love Affair: Autechre’s NTS Sessions
I’m relatively new to Autechre - it was well into the 2000s before I heard them. I’d be in frie...
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The Lead Review
Baby Wants To Ride: Gabe Gurnsey’s Physical
Listening to this album feels good, because it sounds good. It is squelchy and hard; it makes y...
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The Lead Review
Take Back Him Crown: Gaika's Basic Volume
Displacement. It’s an uneasy word that carries a lot of meanings: scientific, geographic, polit...
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The Lead Review
Techno Of The Ancients: Capitol K’s Goatherder
GOATHERDER by Capitol K Caves hold a raw fascination - for most of us they represent a hunter-ga...
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