All Watched Over by Adam Curtis
Daniel Barrow considers the work of Adam Curtis following the conclusion of his recent BBC series
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Daniel Barrow
Lydia Davis’ Collected Stories
Daniel Barrow explores the collected (and bulky) works of Lydia Davis
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John Cage: Every Day is a Good Day
Daniel Barrow looks at the experimental composer's retrospective exhibition at Kettle's Yard, Cambridge
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Uni activism back with a bang
Has Warwick finally rediscovered its political imagination?
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This Is England ’86
Dan Barrow reviews Channel 4's recent 80s-centric drama
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The changing face of home
Daniel Barrow sees in Ian Jack’s ‘The Country Formerly Known as Great Britain’ a rare and precise reflection on a country less familiar than it seems
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Director Profile: Chris Petit
Dan Barrow profiles British director Chris Petit
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Xiu Xiu
It’s a matter of love, first of all. Xiu Xiu, the Oakland-based project centred around Jamie Stewart and – until she departed last May for Cold Cave – Caralee McElroy, has struggled, from the first, with love – its tongue-tied impossibilities, its sundering and freezing pains, its horrid, scarring legacies,...
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Wit in the midst of absurdity
Daniel Barrow finds Bolaño’s dark hearted yet satirical fiction lurking in the deathly shadows of South American suffering
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Always so free
Good things come in small packages: Daniel Barrow finds Coventry’s Inigo Purcell’s one-act short and sweet
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Hounds of Love
This isn’t about us. The greatest pop reconfigures your nervous system, implants false memories, but always exceeds you: it gives us other narratives, other untold-of possibilities, other worlds, that remain inside us like ghosts. The expression Kate Bush achieved on Hounds Of Love is intensely personal, even esoteric, and the...
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Rolo Tomassi
Jealous is an understatement. Pretty much every member of Rolo Tomassi is younger, hotter, and more talented than your correspondent – vocalist/keyboardist James Spence recounts how, the last time they played The Flapper, all but two members were under 18, and left in the parking-lot. This time around, he and...
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Prince of Truth
Carla Bozulich’s muse is deadly: with every release since 2006’s disturbing, fractured Evangelista, the record that gave its name to the project she’s since piloted, it’s assumed a more ferocious, more sulphurous presence. Last year’s Hello Voyager intensified its electrified slow-burn into a penetratingly brilliant, fraught record – art-punk cowed...
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