The Wee Review

5 days ago | theweereview.com | Adam Thornton

When Li Fong (Ben Wang), student of kung fu master Mr Han (Jackie Chan), moves from China to New York City, he promises his mother that he will no longer practise martial arts due to the violent death of his older brother. Initially, he settles into his new life, helped by his new friend Mia (Sadie Stanley), and her ex-boxer father Victor (Joshua Jackson).

1 week ago | theweereview.com | Lorna Irvine

Enigmatic Pennsylvanian multi-instrumentalist Thom Wasluck has been carving his own musical niche for the last twenty years, yet has always kept a relatively low profile. Much like Richard D James or near-namesake Burial, he’s all about the music. Forever termed “gloomgaze” by the tastemakers, his oeuvre is a reminder that genres are increasingly reductive in the 2020s.

1 week ago | theweereview.com | Kevin Ibbotson-Wight

Shedinburgh Fringe Festival makes its return as a live venue with a mix of Fringe favourites, household names and rising stars appearing in a diverse line-up of theatre, comedy, performance art, live music, and talks. Today sees the first announcement of the inaugural programme of 28 one-off, one-night-only shows. Further shows are still to be announced, with special ‘Secret Sets’ revealed during the festival.

2 weeks ago | theweereview.com | Lewis Wade

Maud the Moth is the alter-ego of Amaya López-Carramero, a Spanish-born, Edinburgh-based singer and composer. Her scorched anthems build to crushing intensity and screaming crescendo despite often starting life akin to the gothier recesses of Regina Spektor’s back catalogue. López-Carramero’s a master at looping voice, piano and miscellaneous effects to construct whole worlds that she duly destroys by a song’s finale.

3 weeks ago | theweereview.com | Lorna Irvine

Parenthood, it seems, has not diluted the wayward spirit of avant-pop duo and real life partners, Merrill Garbus and Nate Brenner, aka Tune-Yards. This sixth studio album sees a return to the rawness of breakout album (the second), W H O K I L L. It’s a winning choice to strip things back a little and let Garbus’ incredible contralto soar, leaping octaves.