STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
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Karen Tweed: With Love from Orkney
Master musician sketches out compelling visual landscapes
MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
The bard invites readers to a gig, raps for Clacton, and lays out the Burnham-Hurzeler conundrum
RON JACOBS recommends an important book that enhances the oppositional theories put forth by Fanon and, in doing so, remakes psychology itself
JAN WOOLF relishes an extensive history of our long relationship to trees in Britain that underlines the current emergency
DIANE WATT argues that while evidence of sex is not there, a 16th‑century lesbian poet could be Scotland’s answer to Gentleman Jack
KAREN TWEED is perhaps best known as a top-drawer accordionist — take a listen to her on YouTube if you’re not familiar with her work — whose technical brilliance extracts a lyricism and layered tonalities, often crossing over into the realm of classical music rarely associated with the instrument.
But there’s a lesser-known string to Tweed’s bow. Her passion for sketching has its roots in the art education she received in the 1980s at Leeds School of Arts.
After a period of island-hopping, Tweed settled permanently on Orkney in 2018, the year her father passed away. He was her mentor and she found solace in nature and observing its ephemeral manifestations: “Nature in Orkney is also a powerful healer,” she says.
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New releases from Kennedy Administration, Melanie Pain, and Afton Wolfe
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