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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A rather disappointing loss of plot
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
Clark with the London Contemporary Orchestra (LCO)
Barbican
TECHNO polymath Chris Clark reinvents himself as a classical composer with latest album Playground In A Lake, a work that saw him learn how to read and write sheet music before producing, which he performs for the first time with an orchestra.
The album feels like a continuation of his impressive soundtrack work – The Last Panthers, Kiri Variations and Daniel Isn’t Real – and is an elegiac journey that he describes as “a story about real climate change, but told in mythological terms.”
There are moments of beauty and awe, where the juxtaposition of gentle strings with electronic dystopian dissonance on Entrophy Polychord perfectly captures an imagined futurescape, producing what you would expect from a collaboration between an electronic artist and an orchestra.
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