He's Silvio in the Sopranos, Bruce Springsteen's righthand man, now Steve Van Zandt has put out his first solo album in 18 years. He talks to Michael Hann about taking gyms on tour, the Boss, and why musicians should be more grateful to major labels
He's Silvio in the Sopranos, Bruce Springsteen's righthand man, now Steve Van Zandt has put out his first solo album in 18 years. He talks to Michael Hann about taking gyms on tour, the Boss, and why musicians should be more grateful to major labels
With every pop release hailed like the coming of a prophet have the big names of the mainstream sucked up too much critical oxygen? Michael Hann asks if poptimism has merely ended up becoming as narrow minded as the rockism it usurped. (Pictured - the "pop South Sea Bubble" of PC Music)
With every pop release hailed like the coming of a prophet have the big names of the mainstream sucked up too much critical oxygen? Michael Hann asks if poptimism has merely ended up becoming as narrow minded as the rockism it usurped. (Pictured - the "pop South Sea Bubble" of PC Music)
Richard Dawson sits down with Michael Hann to discuss discord, place and politics as he connects the middle ages with the strange times of now on new album Peasant. Ogre video stills courtesy of Nigel John, sea portrait by Sally Pilkington. Richard Dawson plays this year's Green Man Festival.
Richard Dawson sits down with Michael Hann to discuss discord, place and politics as he connects the middle ages with the strange times of now on new album Peasant. Ogre video stills courtesy of Nigel John, sea portrait by Sally Pilkington. Richard Dawson plays this year's Green Man Festival.
Following the release of his ninth novel, *The Reddening*, on Halloween, Sean Kitching talks to the three times August Derleth Award winning author about moving to his own imprint, the relationship between folk music and horror and the influence of South Devon’s landscape on his new book
Iannis Xenakis has long been seen as a titan of modern composition, written about in awed tones, the subject of innumerable retrospectives. Yet why, asks Dan Siepmann, has his work for so long overshadowed non-male artists like Pauline Oliveros?