Extreme Metaphors having been in the public sphere for just over a week, the book's editor and Ballard aficionado Simon Sellars discusses the relevance of the collection and its subject to contemporary culture with Quietus literary editor Karl Smith
In his latest survey of the French music scene, David McKenna takes stock of a tumultuous few months in French politics, picks some recent cultural highlights and reviews culture-straddling music from Marseille as well as new folk, occult rock and an adventurous gamelan ensemble
Recorded at King Crimson’s nadir, Red looked destined to be just another forgotten final album, its release playing second fiddle to Robert Fripp’s idiosyncratic “retirement”. 50 years later, its influence is immeasurable, the perfect distillation of what’s possible from a rock trio, says Jeremy Allen
On the fiftieth anniversary of Nick Drake's death, Rob Chapman argues that his legacy has been let down by a culture that allows his mental health struggles to overshadow his art, and that turns his songs into fodder for wellness-adjacent twee whimsy
Oasis are back, and a publishing supernova of new biographies examines the Manchester band... but for most of their lifespan, they were appalling. Fergal Kinney asks how do writers confront Oasis after their peak
Following the recent release of a ten-disc compilation and a ferocious sequel to his 2002 record Sheer Hellish Miasma, Kevin Drumm speaks to Daryl Worthington about key releases in his three-decade spanning catalogue, covering music from the almost absent to the blisteringly present
Tatsuya Yoshida of Ruins' lifelong love of Magma lead him to form the band Kōenjihyakkei. Warren Hatter reckons that their fourth album Angherr Shisspa is the point at which he created something that eclipsed the work of his inspiration
In the latest edition of New Voices Ukraine, tQ's new collaboration with 20ft Radio, Neformat, the British Council and Ukrainian Institute, Yaryna Denysyuk of Neformat continues her look into Ukrainian DIY record labels. Having surveyed those attempting utopian collective approaches in part one, this time she examines the unavoidable downsides of running a label during wartime