GORDON PARSONS appreciates fine performances and a feel for ambiguity, but misses the music of the dialogue
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‘The coup and Pinochet's dictatorship left a giant wound in the Chilean psyche that still has not healed’
CHRIS SEARLE interviews the pedal steel guitarist Susan Alcorn, on the release of her album to Chile
[Andy Newcombe/flikr]
DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
The bard invites readers to a gig, raps for Clacton, and lays out the Burnham-Hurzeler conundrum
RON JACOBS recommends an important book that enhances the oppositional theories put forth by Fanon and, in doing so, remakes psychology itself
HOW did a pedal steel guitar virtuoso who grew up playing country and western music in Texas, embrace the ordeal and struggle of the people of Chile? It is a story well worth telling, and expressed in her latest album, the beautiful and moving Canto.
Born in Cleveland, Ohio in 1953, Susan Alcorn’s mother was a classical music lover who sang with the Cleveland Symphony Orchestra, her father a talented mime-artist.
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