Albums Of The Year
The Best From 2019
The Lead Review
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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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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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Poppy
Field Music 
Cybernetic Witch Cult
Georgia
WaqWaq Kingdom
Thirty Pounds of Bone & Philip Reeder
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