A Quietus Interview:
Black Midi
The Lead Review
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The Lead Review
Carefully Selected Angles: Mouse On Mars’ Dimensional People
Dimensional People by Mouse On Mars What are Mouse On Mars? How do you define what they do? Jan ...
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The Lead Review
Tales Of The City: Goat Girl’s Goat Girl
Right in the middle of this album - track 10 of 19 - is ‘The Man’, propelled by guitars and dru...
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The Lead Review
Divided We Squall: Anthroprophh’s Omegaville
OMEGAVILLE by Anthroprophh We enter the world of Omegaville at breakneck speed. This massive, co...
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The Lead Review
Homecoming: Ursula K Le Guin & Todd Barton’s The Music And Poetry Of The Kesh
Music and Poetry of the Kesh by Ursula K. Le Guin & Todd Barton Listening to this album, aft...
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The Lead Review
Wrong Turn: Jack White’s Boarding House Reach
A few years back I spoke to a number of the young musicians in Nashville’s thriving garage punk...
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The Lead Review
Beguile, Seduce, Transport: Eric Chenaux’s Slowly Paradise
Experimentation in music is often thought to be somehow the reserve of an elite, unattainable t...
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The Lead Review
The Time Is Kernow: Gwenno’s Le Kov
Each language holds the roots of a culture, contains an entire conceptual universe. And, of the...
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The Lead Review
Uneasy Does It: Insecure Men Reviewed
“There’s something creepy about British light entertainment and there always has been. Joe Orto...
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The Lead Review
Lost In The Flood: Laurie Anderson & Kronos Quartet’s Landfall
“October 2012. The river had been rising all day, and the hurricane was coming up slowly from t...
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The Lead Review
Insight Specific: Bas Jan’s Yes I Jan
Yes I Jan Yes I Jan by Bas Jan This album starts like a sparkling groggy morning, like a pleasant hangover...
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Sharky
Sadness
Erkki Veltheim
Fionn Regan
Rắn Cạp Đuôi
Oren Ambarchi
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