Comparing Cat Power’s new album to the fertile but featureless landscape of East Anglia might seem odd but there is something eerily beautiful, but desolate, about both.Read More
The decision by Creative Scotland to withdraw funding to twenty art organisations this year will be, for many, their death sentence. The process behind their decision has now been revealed as flawed and two members of their board have since resigned. The subsequent public outcry led to the reinstatement of funding to the two companies that worked with children, but there has been no reprieve for David Leddy’s Fire Exit theatre company. As a result, Fire Exit’s latest production The Last Bordello, may be its last.Read More
‘Indie’ feels like the wr*ng w*rd to use when describing a big-b*dget TV series with a soundtrack by a milli*naire r*ckstar, but The End of the F***ing World, Netflix’s new series and Graham Coxon’s accompanying soundtrack, are b*th unmistakably ‘indie’. That is to say they are edgy enough to surprise but not to shock, a bit like those asterisks in the title.Read More
In the 1970s the Electric Light Orchestra were one of the biggest bands in the world.
Often dismissed as Beatles soundalikes, they certainly filled a Moptop-shaped void but then swiftly outgrew it. Disco was coming through at the same time and front man Jeff Lynne’s masterstroke was to combine irresistible melodies to a four-on-the-floor disco beat, then soak everything in rich strings. The Beatles reinvented for the dance floor.Read More
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