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The Lead Review
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The Lead Review
Destructive Urges: Debby Friday's Death Drive
As a society, we’ve all pretty much agreed that the world will probably end soon. How soon is d...
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The Lead Review
Bodies That Matter: Sleater-Kinney's Visceral New Pop
William Butler Yeats and his view on a ravaged, post-war Europe provides the Spiritus Mundi fro...
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The Lead Review
Trance Formers: I Is The New Album By Föllakzoid
Photo credit: Ebru Yildiz Looking at a South American map for the first time, the first thing y...
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The Lead Review
Memes To An End: Oli XL’s Anxious Electronica
The Scandinavian internet music scene is thriving right now. From Varg’s tour de force on Posh ...
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The Lead Review
Into The Nerve Ganglion: Mark Fisher & Justin Barton On Vanishing Land
“It is April, but it feels like summer,” is the opening sentiment of On Vanishing Land, with wh...
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The Lead Review
That Which Cannot Be Said: Caligula By Lingua Ignota
Hildegard of Bingen was only three when the visions started. It would be another two years befo...
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The Lead Review
The Horror Of Folk: Bobby Krlic's Midsommar Score
Credit: Corinne Schiavone If you’ve ever listened to a Haxan Cloak album you won’t be at all su...
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The Lead Review
Deep Time: The Shifting Force Fields Of Ellen Arkbro's CHORDS
CHORDS by Ellen Arkbro Near where I live there is a circular path around a riverbank that I wa...
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The Lead Review
Boom Boom Boom (Way-Ooh): Schlagenheim by Black Midi
credit: Anthrox Studios At the very end of Masahiko Satoh & Sound Breakers’ 1971 record Ama...
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The Lead Review
Prince In A Camisole: Undressing The ‘Originals’ Album
“Vanity! Vanity!” Sixth months after Prince’s accidental overdose, a singer in a raspberry red...
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