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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
No art pranks tonight, just gorgeous sounds
James Walsh’s Culture Matters: The celebratory mood of the man from Buenos Aires and Kentish Town.
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
A man stands directly in front of the stage, facing ex-Auteurs singer Luke Haines, who is in London for a root around his burgeoning back catalogue.
The man is wearing a Suede t-shirt and, during large portions of the set, checks his phone for the football scores. I begin to wonder if he is some kind of performance art, making reference to Haines’s ’90s beef with the Britpopping androgynysts and Haines’s own descent into a kind of amused irrelevance.
I wouldn’t put it past him — last time I saw Luke on this stage, I was offered liver sausages by a man dressed as Kendo Nagasaki.
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WILL STONE in entertained, and some, by the Irishman Shobsy and the Dutch/Kiwi combo My Baby
WILL STONE applauds a comprehensive survey of love in its many moods and musical forms