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5 days ago | 
thequietus.com | Patrick Clarke
In her composition Thar Farraige (Over Sea), award-winning composer Linda Buckley weaves together several threads. Commissioned by Chamber Music Scotland, the work combines chamber music and folk song, Irish and Scottish traditional music and language, as well as electronics, blurring the boundaries of where each sound source begins and ends; the drones of Scottish smallpipes and the playing of a string quartet interweaving, coalescing, departing and reuniting.
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1 week ago | 
thequietus.com | Patrick Clarke
The longstanding folk musician Martin Carthy will play a special show at London’s EartH on 27 September, alongside a number of guests including Billy Bragg, Graham Coxon, Peggy Seeger, Maddy Prior, Marry Waterson, and many more.
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1 week ago | 
thequietus.com | Patrick Clarke
I spent most of May feeling disconnected from music, something that happens from time to time, usually in lockstep with cycles of overwork and burnout that have come to define the experience of most people I know who work within underground, DIY and experimental creative spaces.
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1 week ago | 
thequietus.com | Patrick Clarke
It’s been almost a decade since Mohammad Syfkhan, temporarily living in an Irish holiday camp having just arrived from Syria, chanced upon Lankum’s Cormac Mac Diarmada. Mac Diarmada was among a group who’d been asked to perform a few tunes there on Christmas Eve, and Syfkhan asked if he could fetch his bouzouki and join in.
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1 week ago | 
thequietus.com | Patrick Clarke
Never trust an artist. Returning to his apartment, the young Soviet cinematographer Aleksandr Lemberg discovered his friend and colleague David Abelevich Kaufman had blackened the walls and ceiling in soot, upon which, he had drawn a multitude of clocks in chalk, all showing different times with wildly swinging pendulums. “I did not like this at all,” Lemberg later recalled. Kaufman was, by contrast, manic in his enthusiasm.
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1 week ago | 
thequietus.com | Patrick Clarke
To the Shrewsbury Hotel by a bend in the Severn, where the décor features images of the city’s most famous son – Charles Darwin. Darwin with beard, Darwin with birds, Darwin with a monkey. There will be more monkey business in The Shrewsbury as the day evolves. Robert Lloyd, head Nightingale, Cannock Man, sits studying the form in his copy of the Racing Post. As hinted in Stewart Lee’s superb film on the songwriter, King Rocker, Lloyd is something of a savant when it comes to betting.
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1 week ago | 
thequietus.com | Patrick Clarke
Forming Haze collects recordings made between 1985 and 1986 by The Crippled Flower, a band from Dusseldorf who existed for just a few years. The six-piece’s singer, Phil Elston, was a Brit with a love for Kraftwerk, an interest which, according to the release notes for this collection, his German bandmates “found strange” (which I take to suggest Kraftwerk were not quite as hip in Germany in the 1980s as they were abroad).
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2 weeks ago | 
thequietus.com | Patrick Clarke
It’s a Saturday night in 1993 and you’re looking for a place to go out, maybe a club, maybe a rave. A friend knows someone who knows someone who’s having a house party. When you arrive you put your bottle in the kitchen. The living room is pitch black, the furniture’s been pushed back against the walls, and the first thing that hits you is the sound. The system is booming, your heart is pounding, you don’t know where you end and the music begins. It’s cramped because there are so many people.
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2 weeks ago | 
thequietus.com | Patrick Clarke
It’s been over a decade since Peter Murphy last released an album – 2014’s Lion – but the intervening years have been far from quiet. Between solo tours – both with a full band and stripped back – Murphy undertook a partial Bauhaus reunion with bassist David J to celebrate 40 years of their debut In The Flat Field. He also began a residency at Le Poisson Rouge in New York in 2019, which was cut short when Murphy suffered a heart attack.
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2 weeks ago | 
thequietus.com | Patrick Clarke
Backxwash’s musical identity has been reborn on her newest record Only Dust Remains. Under the moniker, Ashanti Mutinta had broken out with a trilogy of metal-infused industrial hip hop albums, each one more ear-bleeding than the other. Snagging the Canadian Polaris Prize for the first instalment, 2020’s God Has Nothing To Do With This Leave Him Out Of It, its follow-up, 2021’s I Lie Here Buried With My Rings And Dresses was longlisted for the prize once again.
