A Quietus Interview:
Black Midi
The Lead Review
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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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The Lead Review
First True Love Affair: Autechre’s NTS Sessions
I’m relatively new to Autechre - it was well into the 2000s before I heard them. I’d be in frie...
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The Lead Review
Baby Wants To Ride: Gabe Gurnsey’s Physical
Listening to this album feels good, because it sounds good. It is squelchy and hard; it makes y...
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The Lead Review
Take Back Him Crown: Gaika's Basic Volume
Displacement. It’s an uneasy word that carries a lot of meanings: scientific, geographic, polit...
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The Lead Review
Techno Of The Ancients: Capitol K’s Goatherder
GOATHERDER by Capitol K Caves hold a raw fascination - for most of us they represent a hunter-ga...
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The Lead Review
The Personal & The Political: Lotic’s Power
Power by Lotic Recently I read an interview with Lotic where they describe being evicted from th...
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The Lead Review
Shine Bright: Okzharp & Manthe Ribane’s Closer Apart
Closer Apart by Okzharp & Manthe Ribane It’s an indictment of our times that opting to be po...
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The Lead Review
We Got This: Let’s Eat Grandma’s I’m All Ears
We’ve crash-landed into Cancer season - a time for ocean-deep creativity and acute emotion, aft...
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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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Tony Njoku
Gross Net
Hurtling
Ana Roxanne 
Slaylor Moon
Kim Gordon
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