A Quietus Interview:
Annie
The Lead Review
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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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The Lead Review
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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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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Francisco Mela
HHY & The Kampala Unit
(G)I-DLE
Shame
Haroon Mirza / Jack Jelfs
Lice
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