Ahead of two special Halloween shows in London's Union Chapel this weekend in which he will play some of the best know of his soundtrack collaborations with John Carpenter, Alan Howarth talks to Mat Colegate about his long and distinguished career in soundtracks and sound design
Ahead of two special Halloween shows in London's Union Chapel this weekend in which he will play some of the best know of his soundtrack collaborations with John Carpenter, Alan Howarth talks to Mat Colegate about his long and distinguished career in soundtracks and sound design
Simon Pegg says that he wants to become a 'serious' actor and leave sci-fi behind. Mat Colegate takes him to task for parroting the tired old argument that geeks are infantile creature who refuse to leave their childhoods behind
Simon Pegg says that he wants to become a 'serious' actor and leave sci-fi behind. Mat Colegate takes him to task for parroting the tired old argument that geeks are infantile creature who refuse to leave their childhoods behind
‘Paintwork’, an album track from This Nation’s Saving Grace, is in some respects the key to the song-writing processes of The Fall. John Doran looks back to 1985 with some help from Mark E. Smith. Originally published in 2010
Thirty-five years after they burned slow and bright, Galaxie 500 remain one of indie rock’s most quietly untouchable constellations. In conversation with Dean Wareham, Naomi Yang and Damon Krukowski, Brian Coney provides ten points of entry to the dimmer recesses of their back catalogue
Elsa Court unpicks the cinematic relationship between Agnès Varda and Jean-Luc Godard. With her new film, Faces, Places, in UK cinemas soon, and a retrospective currently on screen at the BFI Southbank, a reassessment of the often marginalised Varda feels more vital than ever
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