A Quietus Interview:
Black Midi
The Lead Review
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The Lead Review
Family Trio: Big Joanie’s Sistahs
The title is an affirmation of solidarity: black feminism channeled through guitar, bass and dr...
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The Lead Review
Bless My Homeland Forever: Laibach’s The Sound Of Music
In the sleevenotes to The Sound Of Music, their interpretations of songs from the 1965 musical,...
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The Lead Review
Strings Theory: Galya Bisengalieva’s EP One
The bowed lyre has been on my mind for the past few weeks, ever since I followed a sign on our ...
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The Lead Review
Dazzling Conglomeration: Hen Ogledd’s Mogic
A year and a half on from his universally lauded, lore-revising masterpiece Peasant, Richard Da...
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The Lead Review
Songs In The Wonky Of Life: Audiobooks’ Now! (In A Minute)
I saw Audiobooks at their first ever gig, a support slot at Heavenly Records’ colossally fun th...
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The Lead Review
Mad World: Julia Holter’s Aviary
Aviary by Julia Holter Julia Holter has lost her mind. But it’s okay, you probably have too. Ove...
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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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Tony Njoku
Gross Net
Hurtling
Ana Roxanne 
Slaylor Moon
Kim Gordon
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