A Quietus Interview:
Annie
The Lead Review
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The Lead Review
The Heroine's Journey: Jane Weaver's Fenella Rekindles Old Myths
It is almost symptomatic, the subtle presence of a fairy godmother muse hovering over Jane Weav...
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The Lead Review
Pants On Fire: Fibs By Anna Meredith
Navigating both politics and pop culture right now can feel like swimming through a swampy, fal...
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The Lead Review
I Am A Strange Loop: On Battles' Juice B Crypts
Sometimes it takes a spanner in the works of our expectations to realise that we’ve been taking...
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The Lead Review
Crocus In The Machine: Blossoms By Emptyset
Early one morning in February 1966, Cleve Backster was alone in his office at the Backster Scho...
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The Lead Review
Beyond Good & Evil: Breaching Lightning Bolt's Sonic Citadel
Photo: Nick Sayers So, is the new Lightning Bolt any good? I've always thought of Lightning Bo...
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The Lead Review
On The Way To A Love Supreme: John Coltrane's Blue World
It’s impossible to ignore a previously unissued studio session from the likes of John Coltrane....
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The Lead Review
High-Rise, Low-End: For You And I By Loraine James
photo credit Jase Cooper Of the multiple reasons why Loraine James’ For You and I is a wonderfu...
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Hungry Ghosts: Mike Patton & Jean-Claude Vannier's Corpse Flower
The idea of the band isn’t dead exactly, but the need for them is diminishing. The assumption t...
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The Lead Review
Songs Of Incexprence: Kemper Norton's Brunton Calciner
In 1838, a 61-year-old Scotsman called William Brunton was ruined when the Neath brewery he'd p...
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The Lead Review
Grave Threat: Pharmakon's Devour
There is a strong power of suggestion that whatever Pharmakon album you pick up is meant to ups...
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