The Lead Review:
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The Lead Review
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The Lead Review
Do I Need To Wear A Crash Helmet?: GNOD’s Chapel Perilous
I shouldn’t have taken it as a personal slight but I’m simply too full of anxiety and paranoia ...
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The Lead Review
To Make You Think, To Make You Dance: Janelle Monáe’s Dirty Computer
I’ve been obsessed with Janelle Monáe ever since I saw a photo of her in Vogue, more than 10 ye...
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The Lead Review
Heavenly: Emma Tricca’s St Peter
In August last year, Emma Tricca shared a sparse cover version of Graham Nash’s cosy paean to d...
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The Lead Review
Carefully Selected Angles: Mouse On Mars’ Dimensional People
Dimensional People by Mouse On Mars What are Mouse On Mars? How do you define what they do? Jan ...
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The Lead Review
Tales Of The City: Goat Girl’s Goat Girl
Right in the middle of this album - track 10 of 19 - is ‘The Man’, propelled by guitars and dru...
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The Lead Review
Divided We Squall: Anthroprophh’s Omegaville
OMEGAVILLE by Anthroprophh We enter the world of Omegaville at breakneck speed. This massive, co...
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The Lead Review
Homecoming: Ursula K Le Guin & Todd Barton’s The Music And Poetry Of The Kesh
Music and Poetry of the Kesh by Ursula K. Le Guin & Todd Barton Listening to this album, aft...
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The Lead Review
Wrong Turn: Jack White’s Boarding House Reach
A few years back I spoke to a number of the young musicians in Nashville’s thriving garage punk...
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The Lead Review
Beguile, Seduce, Transport: Eric Chenaux’s Slowly Paradise
Experimentation in music is often thought to be somehow the reserve of an elite, unattainable t...
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The Lead Review
The Time Is Kernow: Gwenno’s Le Kov
Each language holds the roots of a culture, contains an entire conceptual universe. And, of the...
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