With the long-awaited release of David Lynch's masterpiece _Eraserhead_ on DVD region 2, Austin Collings misses the enigma of the original as opitomised in its iconic poster. Plus, The Quietus collects the other 20 most enticing posters of all time.
With the long-awaited release of David Lynch's masterpiece _Eraserhead_ on DVD region 2, Austin Collings misses the enigma of the original as opitomised in its iconic poster. Plus, The Quietus collects the other 20 most enticing posters of all time.
Any day now a horde of parka wearing divs will pile out off various National Express coaches clutching new reissues by The Smiths, New Order and the Inspirals, on their way to Uni in Manchester. Let it fucking go already says Austin Collings
Any day now a horde of parka wearing divs will pile out off various National Express coaches clutching new reissues by The Smiths, New Order and the Inspirals, on their way to Uni in Manchester. Let it fucking go already says Austin Collings
Music and intoxication have gone hand in hand since prehistory, but the relationship of music and cannabis is particularly strong and complex, says Jono Podmore, a former habitual smoker, as he investigates a groundbreaking new study which may get us closer to understanding these links
In a year that sees him finish his 'magical memoir', a new album with The Red Elastic Band and a career-spanning homecoming show in Liverpool, former Shack, Strands and Pale Fountains frontman Michael Head takes Patrick Clarke through the 13 records that shaped him
In our monthly subscriber-only essay, writer Paul Flynn describes being handed a flyer for an unusual literary event which acts as a madeleine, casting him back to the 1980s, and a sexual and sonic awakening. Detail from the UK AIDS Memorial Quilt photographed by the author
On the release of his new film Vortex, Gaspar Noé takes Patrick Clarke through an intense and adventurous Baker's Dozen of favourite films, and the lessons they've taught him on the extent of human cruelty and the joy of shocking an audience
Digging into Klara Lewis' second full-length, Amelia Phillips finds an artist balanced on the knife edge of internal/external experience, and a musical narrative that puts the listener at the subjective forefront even as it details and abstracts the objectivity of the physical world around it