SCOTT ALSWORTH hears the call to burn down and rebuild the video game industry from the bottom up
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Album reviews with Kevin Bryan: November 25, 2024
A new release from Nick Lowe, and reissues of Taj Mahal and Paul Williams
The Chinese language only introduced a feminine pronoun in the 1920s. Now, it might adopt a gender-inclusive one, suggests JANET DAVEY
ALEX HALL is intrigued by a detailed history of Gaza that demonstrates its historic resilience and changing economy
RON JACOBS welcomes the long overdue translation of an epic work that chronicles resistance to fascism during WWII
MAYER WAKEFIELD is chilled by the co-dependency of two lost souls as portrayed by German communist playwright Franz Xaver Kroetz
The Star's critics BRETT GREGORY, JOHN GREEN, MICHAEL BONCZA and ANGUS REID review The Stimming Pool, Misericordia, La Cocina, Irena’s Vow, and The End
CHRIS MOSS welcomes a radical history that brings marginalised stories and overlooked people and agencies to the centre
Nick Lowe
Indoor Safari
(Yep Roc)
★★★★
THE former Brinsley Schwarz and Rockpile stalwart hasn’t been too active on the recording front since the release of his 2013 album of Christmas songs, Quality Street, but the great man’s musical mojo remains firmly intact on the eloquent evidence presented by Indoor Safari.
Working in close collaboration with his like-minded Yep Roc labelmates Los Straitjackets in a musical marriage made in heaven, Nick has crafted a hook laden melodic gem featuring remixed or rerecorded versions of nine tracks which originally saw the light of day in single or EP form during the past decade or so.
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While the group known as the Colourists certainly reinvigorated Scottish painting, a new show is a welcome chance to reassess them, writes ANGUS REID
ANGUS REID recommends an exquisite drama about the disturbing impact of the one child policy in contemporary China
The phrase “cruel to be kind” comes from Hamlet, but Shakespeare’s Prince didn’t go in for kidnap, explosive punches, and cigarette deprivation. Tam is different.
ANGUS REID deconstructs a popular contemporary novel aimed at a ‘queer’ young adult readership
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