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GORDON PARSONS recommends an entertaining account of the years between Germany’s defeat in WWI and Hitler’s seizure of power
Why nostalgia is not what it used to be
There might be something startlingly new in the shock of the old. But not always, writes James Walsh
MIGUEL YOSHIDA explains the evolution and influence of the Cuban Casa De Las Americas in joining culture to the revolutionary struggle
ANDY HEDGECOCK is charmed by a skilful adaptation of Tove Jansson’s lyrical portrait of three generations of a family, overcoming grief
ALEX HALL treads warily through a messy, dialectical struggle fought in the mundane machinery of driving licences, criminal law, and birth registries
MICHAL BONCZA, FIONA O’CONNOR, JAMES WALSH and ANGUS REID review Atlas of Disappearance, Love Me Tender, Bouchra, and This Tempting Madness
Flitting between myth and the modern world, Medusa is determined to steer clear of human affairs. When her resolve crumbles, the result is petrifying in every sense
THE PERIOD baffled future musicologists will see listed as “Britpop” ended in August 1997, when Oasis released Be Here Now, that bloated, coke-addled album of pomp and hubris.
It has not aged well but I quite like it. If you’re going to make a preposterous rock’n’roll statement of your own magnificence, you might as well do it properly. Hire seven orchestras, get Johnny Depp in on guitar and stick in as many layers of noisy solos as you can possibly get away with.
Noel Gallagher, chief Oasis songwriter and professional raconteur, has released a remixed version of Be Here Now’s opening track and first single D’you know what I mean? on YouTube to promote the forthcoming rerelease of the album.
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WILL STONE in entertained, and some, by the Irishman Shobsy and the Dutch/Kiwi combo My Baby