In 1995, Polly Harvey reinvented herself as a pink catsuit-wearing vamp peddling an album of stormy gothic American blues. But was it really such a surprise? Ben Hewitt argues the transformation only put up in lights what Harvey had already shown: she was an actor as much as a singer
In 1995, Polly Harvey reinvented herself as a pink catsuit-wearing vamp peddling an album of stormy gothic American blues. But was it really such a surprise? Ben Hewitt argues the transformation only put up in lights what Harvey had already shown: she was an actor as much as a singer
The Smiths’ last studio album was their most ambitious, adventurous and experimental, too. Thirty years on, Ben Hewitt looks back on the forward-thinking record that could have been the start of a new chapter, rather than a full-stop
The Smiths’ last studio album was their most ambitious, adventurous and experimental, too. Thirty years on, Ben Hewitt looks back on the forward-thinking record that could have been the start of a new chapter, rather than a full-stop
In the fourth (and supposedly final) instalment of Mick Harvey's Serge Gainsbourg albums, Jeremy Allen finds a fitting culmination to an unprecedented 22 years of dedication to the deceased French icon – not just a satisfying end, but a promising jumping off point, too