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On his debut record, the British electronic producer conjures an environment many of his listeners will have been pining after for eleven months.
Kaija Saariaho’s opera, which premiered in 2006 in a staging by Peter Sellars, is now available to stream in a revised chamber opera format.
On her debut album, the 20-year-old writes about identity and mental health crises with a refreshing straightforwardness.
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.
