Reviews
Wesselbobs
Wesselbobs were akin to Christmas wreaths, decorated evergreen foliage, but woven on a spherical frame. These were carried from house...
Reviewed by Julian May in issue: January/February/2024
Autopoiética
Chilean singer-songwriter Mon Laferte believes her latest work is also her best. The title refers to an entity’s capability to...
Reviewed by Chris Wheatley in issue: January/February/2024
Digital Indigenous 05: Katula
Hailing from northern Malawi, this gospel choir began their recording career by accident when they began collecting money to build...
Reviewed by Nigel Williamson in issue: January/February/2024
Is What You Make It
Originally released in 2016, Is What You Make It is now being reissued. The project has a delightful origin story....
Reviewed by Tony Gillam in issue: January/February/2024
Tornadon Silmässä
The word ‘vimma’ means ‘frenzy’ in Finnish and this young band’s frenzy is against climate change and the despoliation of...
Reviewed by Simon Broughton in issue: January/February/2024
Not So Deep as a Well
For Québec-based musician, Myriam Gendron, it started with a book – a 1936 anthology of the poetry of Dorothy Parker,...
Reviewed by Chris Wheatley in issue: January/February/2024
Light Years
There came a time when certain carols were no longer welcome in church. So people went to the pub and...
Reviewed by Julian May in issue: January/February/2024
Siparia to Soweto
Hugh Masekela & Siparia Deltones
Hugh Masekela first heard the Trinidadian steel pan orchestra the Siparia Deltones when they were opening act at the inaugural...
Reviewed by Nigel Williamson in issue: January/February/2024
Den Lyse Dag
Far from being a difficult second album, Plassen’s latest release reveals how much her voice and her approach to the...
Reviewed by Fiona Talkington in issue: January/February/2024
Médikamen
Now 15 albums deep, the music of Texas-born, Louisiana-living zydeco busker Corey Ledet remains as vital as ever. However, this...
Reviewed by Andrew Daly in issue: January/February/2024
