During the last two years, Loula Yorke has released six albums and a mixtape and she’s only just getting started. Joe Muggs talks to the modular synthesist about a background in raving and activism, and why it’s time to start thinking of herself as an artist

Portrait by David Brookes

Time is a Succession of Such Shapes by LOULA YORKE

Loula Yorke is a fixture in leftfield electronic music now. She’s one of those artists whose name is a watchword for a very particular sound. In her case this means oneiric, immersive patterns created on a modular synthesiser, often blended with field recordings that have a pastoral sensibility – a feeling which she calls luminous. Her music sits somewhere adjacent to the very…

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Ben Vince

Street Druid

Premium sax honker Ben Vince is bringing sexy back in 2026 (sort of), says Bernie Brooks

Street Druid by Ben Vince

It’s hard to feel sexy these days.

2025 was screeching tinnitus all the time, was a tsunami-warning klaxon every five minutes. 2026 is workmen sawing through the pavement just outside your window at five in the morning, except that five AM feeling lasts all day. 2026 is cinema zombies clacking and grinding their teeth. The clacking is in your right ear, the grinding in your left. Constantly. That’s not sexy. That’s not sexy at all.

With his new LP Street Druid in tow, premium sax honker Ben Vince is here to help bring sexy back in 2026. Well, sort of. And…

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Audrey Golden’s book, Shouting Out Loud: Lives of The Raincoats, reframes punk history, making space for voices excluded from the usual male-dominated narratives of rock history

Raincoats, 1981, photo by Shirley O’Loughlin

Audrey Golden opens Shouting Out Loud by rejecting a premise most biographers accept without question: that any single account can claim definitiveness. Her methodology instead builds toward something more useful: a history constructed from voices that standard rock narratives systematically exclude. The result demonstrates what becomes visible when you start listening to people who were actually there, but who were never asked.

This approach was first developed in her earlier book on Factory Records. While researching I Thought I Heard You Speak: Women at Factory Records, Golden found that women…

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Three decades on from the release of Roots, Keith Kahn-Harris digs in to the legacy Sepultura’s much vaunted sixth album. This feature was first published 15/02/21

A few years ago, the Guardian’s ‘Notes and Queries’ section posed the question, “Who is the least influential band ever?” I remember only one of the suggested answers – Frankie Goes To Hollywood – but the question has resonated with me ever since. It provides a useful reminder that commercial and/or artistic success do not necessarily mean that anyone follows in your footsteps.

I am not going to claim that Sepultura’s Roots influenced no one, but in revisiting the album 30 years after its release, I found pinning down its impact much more challenging than I…

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source https://thequietus.com/opinion-and-essays/anniversary/sepultura-roots-review/?utm_source=rss&utm_medium=rss&utm_campaign=sepultura-roots-review

Indigenous artists across are reclaiming spaces and narratives through music and song. Vanessa Morris (Yorta Yorta, Dja Dja Wurrung, Wiradjuri) delivers her guide

Solchld. Photo by Georgia Wallace

From weaving spoken word truth-telling with improvised jazz, to experimental dub soundscapes infused with ceremonial song, to ambience and electronics laced with field recordings, First Nations artists are pushing the boundaries of the musical landscape of so-called Australia.

Song has been integral to Indigenous cultures for millennia – and before the arrival of the First Fleet in 1788, hundreds of Indigenous nations, languages and dialects existed across the continent today known as ‘Australia’. It would feel remiss not to first acknowledge the violence and dispossession of that colonial project, starting with the Frontier Wars and…

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Francis Buseko Mubanga looks back two decades to Clipse’s Coke Rap album par excellence, reissued this week by CMG

 

There’s a particular moment in an artist’s life when experience finally catches up with ambition — when the years of work, mistakes, refinement and persistence begin to cohere into something deeper than momentum. It’s the sense of having gathered your forces, learned enough about your craft, and lived enough life to finally say something with clarity. Listening to Hell Hath No Fury in 2026, nearly twenty years after its release, that feeling becomes impossible to ignore. What once sounded urgent and confrontational now sounds assured – not because the record has changed, but because the world around it has.

From 2006 to 2026…

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Two decades on from the release of Liars third album, Luke Turner argues that its percussive invention shouldn’t obscure a rich, emotional core. For our top tier subscribers, this Anniversary feature comes with a playlist by Liars of the music they were listening to when the album was made.

There were arses everywhere. Male and female arses alike, pale against the green paint of the metal fence that darkened with urine, or sticking out from behind swamped portaloos and food stalls, pissing into the municipal grass. The bogs were overwhelmed but so were the bars that fuelled them, staff facing epic queues of angry punters who got to the front only to be told the booze had run out. By the…

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Peaches

No Lube So Rude

Back after eleven years and filthier than ever, Peaches returns with an album full of bangers and more than a few profanities – but does it all get a bit one note sometimes?

No Lube So Rude by Peaches

If the personal is the political then No Lube So Rude is a deeply political album. In a new dark age of censorship, from the UK’s Online Safety Bill to the takeover of TikTok by Trump-affiliated right-wing multibillionaires in the US, our right to say and see what we want is being quietly but quickly eroded. Peaches’ new album is a kind of corrective, a brazenly filthy collection of songs that in another age could have instigated an obscenity trial or…

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It’s the band’s contribution to War Child’s forthcoming HELP(2) album

Pulp have released a new song, called ‘Begging For Change’.

Recorded at Abbey Road Studios and produced and mixed by James Ford and Animesh Raval, the song appears on the forthcoming War Child album HELP(2), which is inspired by the charity’s previous 1995 release of the various artists album HELP.

Pulp’s song features contributions from a children’s choir, as well as backing vocals from guests Damon Albarn, Grian Chatten, Kae Tempest and Carl Barat at the beginning of the track.

In 1996, the band’s album Different Class was nominated for the Mercury Prize alongside the original HELP compilation. After winning the award, Jarvis Cocker dedicated it to War Child, and donated the £25,000 prize money to the charity during…

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The recordings were captured at jazz clubs in New York and Philadelphia between 1961 and 1965

Photo by Francis Wolff

A fabled collection of John Coltrane live recordings dating back to the 60s are set to get their first official release this year.

The recordings featured on Tiberi Tapes were captured at jazz clubs in New York and Philadelphia between 1961 and 1965 by saxophonist Frank Tiberi, but had been stored away in a private collection until now. They will now be unleashed to the world as part of celebrations of what would have been Coltrane’s 100th birthday this September, with an initial exclusive release scheduled for Record Store Day on 18 April and a wider release to follow in September.

Record label Impulse!’s…

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