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On this week’s dive into our editorial vaults some important sustenance as the interminable winter grinds on and on. On the top row, we’ve got our writers on their favourite David Bowie tracks that weren’t singles, in instalment of Phil Hebblethwaite’s fantastic Junk Shop Classical columns, this one on a great musical hoax, and a Baker’s Dozen from Suzanne Ciani. We’ve got another of those from Ian Astbury of The Cult, a conversation about the dubstep’s infiltration of the mainstream from a decade ago, Daniel Miller discussing the synth revolution and the rise of Mute, and a gimlet eye is cast over the lyrics of The Weeknd. Plus from our subscriber area, the first Organic Intelligence (Jennifer Lucy Allan on Swedish prog) and the Low Culture podcast featuring John and Luke discussing The Heart Of The Congos. If you’re not already a subscriber, you can access all that and bathe in the joy that you’re helping fund the continuing expansion of tQ (32,428 articles and counting) by signing up here.
You could release countless Bowie anthologies and never quite capture how special the Thin White Duke really is. Here, Chris Roberts, Nix Lowery, Joe Stannard, Frances Morgan, Petra Davis, Wyndham Wallace and John Doran reveal their favourite Bowie tunes which weren't smash-hit singles
Ten years on, the story of how English pianist Joyce Hatto and her husband scammed the classical music industry takes on an extra potency, says Phil Hebblethwaite, as if it foresaw the world we live in now, with blurred lines between what’s real and fake, and experts firmly on the ropes
Ahead of her appearance at the environmentally sustainable electronic music festival Terraforma, Suzanne Ciani talks Jude Rogers through her favourite 13 albums, from Roxy Music to Pavarotti via Terry Riley and Eva Cassidy, Carole King and Penderecki
John Calvert is a "guilt-ridden ultra-fan" of "misogynist" Canadian R&B star The Weeknd and here, instead of brushing the themes of his music under the carpet or attempting to explain them away as 'theatre', he takes a forensic look at his lyrical content
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