A Quietus Interview:
Black Midi
The Lead Review
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The Lead Review
Making Space: Kamasi Washington’s Heaven & Earth
Kamasi Washington’s journey to prominence has been an interesting one. His years of obscurity a...
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The Lead Review
Techno For An Answer: Blawan’s Wet Will Always Dry
For many electronic music producers, once you’ve finished toiling at a selection of tracks, the...
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The Lead Review
Wizard Kid: Gruff Rhys’s Babelsberg
Over the past 20 years or so, no single figure in British music has consistently afforded me mo...
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The Lead Review
Dream Story: Jenny Hval’s The Long Sleep
The Long Sleep EP by Jenny Hval There is, as you might expect from the title, something dreamy a...
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The Lead Review
Bigger Than Reality: The Last Poets’ Understand What Black Is
Understand What Black Is by The Last Poets The revolutionary flames that engulfed Paris in May 1...
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The Lead Review
Precious Metal: The Body’s I Have Fought Against It, But I Can’t Any Longer
I Have Fought Against It, But I Can’t Any Longer. by the body When is a metal band not a metal b...
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The Lead Review
Down To Earth: Idris Ackamoor & The Pyramids’ An Angel Fell
An Angel Fell by Idris Ackamoor and the Pyramids During a second listen to the title track on An...
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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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Sharky
Sadness
Erkki Veltheim
Fionn Regan
Rắn Cạp Đuôi
Oren Ambarchi
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