MARIA DUARTE recommends a remarkable study of the friendship between a Palestinian and a Pakistani, broken by a hostile state
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Throwing a curveball
WILL STONE appreciates an artist who can swerve from industrial noise to clubby trance pop without missing a step
Kelly Lee Owens
[Henry W Laurisch/CC]
MATTHEW HAWKINS rakes through un-fancy words and flair-free summaries to find who and what might be flamboyant
PETER MASON is exhilarated by an exciting, well-considered and historically minded tribute to the great Trinidadian instrument
Reducing historical lives to ‘male’ and ‘female’ roles, we lose the nuance of those lives and a clearer understanding of past societies, suggests CLAIRE ISABELLA GILMOUR
CHRIS SEARLE relishes the genius of pianist Alexander Hawkins, his many ensembles, and his new album
Kelly Lee Owens
Brighton Chalk
WELSH electronic artist Kelly Lee Owens used to be a nurse before pursuing music – a decision encouraged by her own patients, who recognised her talent. They were not wrong.
Since her 2017 eponymous debut album, she has become one of the most regarded and versatile female producers, collaborating with the likes of techno favourites Daniel Avery and Jon Hopkins, Velvet Underground founding member (and fellow Welsh native) John Cale, and Norwegian avant-garde artist Jenny Hval.
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