JAMES WALSH is moved by a provocative and original take on the relationship between ecology and architecture, and a plea to work with, not against, the materials and minerals of our world
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Album reviews with Ian Sinclair
An immersive, participatory display by a queer Australian Aboriginal performer, and a rebellious unravelling of traditional Scottish dance
EWAN CAMERON witnesses a political farce that lacks a clear message
EWAN CAMERON picks out two fascinating music shows, fusing the Korean, and the Celtic, with the modern
BENJAMIN POTHIER suggests that Palaeolithic cave paintings in Spain point to the ceremonial use of hallucinogenic flora
The bard confirms that the right has a humour bypass, and replays the English Revolution on period instruments
Simone Felice
The Projector
(New York Pro)
★★★★
THOSE who have followed the Catskills-born Simone Felice from his days with The Felice Brothers and then The Duke & The King will know he is a hugely talented singer-songwriter.
His new record, full of affecting and often stripped-back ballads, is further proof of his brilliance. Gone is the soul influence of his previous work, replaced by more stately songs like the title track, with its talk of bugged phones and toasters in baths and a huge chorus supplied by Natasha Khan of Bat For Lashes.
Hustler has something of Nic Jones’s The Jukebox As She Turned about it, while the strained domesticity on Your Hands echoes the high emotions of fellow Americana songster John Murry.
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