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In his new release the Canadian musician Michael Milosh explores soft percussion and jazzy harmonies.
The Hallé is gamely testing a behind-the-scenes docu-concert hybrid, available to stream on its website.
Without an agreement to allow artists to tour visa-free after Brexit, experts say the UK’s cultural life will be decimated.
Drunk Tank Pink is, in many ways, a typical second rock album in that it reflects on the madness caused by the first.
Five years after his death, friends and admirers remember David Bowie not as an otherworldly genius but a magpie who pulled fringe ideas into the mainstream.
The electronic producer Oneohtrix Point Never on isolation, the “cloaked insults” of reviews, and what Mark Fisher got right about time.
Swift’s second album in less than five months bears the same sensitively wrought indie-folk flourishes as its older sibling, but is all the more evocative for it.
The best records of 2020, as chosen by New Statesman staff.
Listening to the Australian electro duo's third album is like floating around a zero-gravity party.
The Doncaster musician has cultivated a fanbase around his celebration of nonconformity, but his music is unadventurous.
Beneath the guitarist's flamboyant virtuosity lay a life scarred by childhood neglect and depression.
