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Two Quietus writers, JR Moores and Alex Maiolo, pay tribute to Steve Albini who died this week, remembering him not only for his innumerable contributions to music, but his humour, his generosity, his self-awareness, and his impact on keeping communities alive. Main photograph by Maria Jefferis
In this month’s antidote to the algorithm, Mat Colegate goes deep into the bloody realm of Italian schlock scores – Goblin! Libra! Daniele Pattuchi! The soundtrack to that film about PCP maddened animals attacking Frankfurt!
It's back nearly a quarter century in this month's antidote to the algorithm as Luke Turner revisits the heady Monday nights at Trash, where the arch and exotic rhythms and deadpan chat of electroclash soundtracked cheap booze and rent of early 21st century London
In this month's essay, Jim Gibson unpicks the cultural myths of the idyllic British countryside as he reflects on Duane Hopkins' 2008 film Better Things in the context of his own life in a rural working class community
Half a century after the release of one of the all-time great live albums, John Doran argues that the Velvet Underground only really hit their true peak after they lost Nico, Warhol and Cale. This feature was first published on 2 April 2020
In this month's essay, Skye Butchard remembers their dad's collection of cassettes on which he recorded the 1981 radio version of Tolkien's classic to reflect on memory, archiving, and how familial relationships and loss are intrinsically bound up with the culture we share.
In this month’s essay, Stephanie Phillips reflects on the 1998 lo-fi, art pop album Julie Ruin, in which riot grrrl veteran Kathleen Hanna reaffirms her position in feminist art, while creating the building blocks for a dance punk future
We love it when our subscribers send in suggestions of things for us to talk about – but do we love what they’re suggesting? Is Eurythmics’ soundtrack to the 1984 film 1984 doubleplusgood or does it send John Doran into his own personal Room 101? Find out here.
In this month’s podcast, Luke Turner and John Doran sing the praises of this collection of songs both original and covers, from Grace Jones’ artistic imperial phase, recorded at Nassau's Compass Point Studios in the early 1980s