DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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Still some fire in Donelly's Belly
STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
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
Belly
Leeds Beckett University
TANYA DONELLY was recording a series of swansong EPs and planning her retirement from the music industry when the opportunity arose to tour with a re-formed Belly in 2016.
The Rhode Island quartet, who’d burned out after the commercial failure of second album King, had such good fun that they decided to work on some new songs. The result is the just-released Dove, their first original material in 23 years and their most collaborative effort to date.
This isn’t the only indication that time has healed any rifts among the personnel. The two-part set is characterised by the affectionate teasing families indulge in. Bassist Gail Greenwood is the ringleader, walking on stage and immediately informing drummer Chris Gorman that he can text during the largely acoustic Thief.
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