MARIA DUARTE, FIONA O’CONNOR and ANDY HEDGECOCK review Savage House, Enzo, Madfabulous, and Erupcja
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‘A kind of species name for the odd feelings of being detached from the place you grew up in and love’
CHRIS SEARLE interviews saxophonist Sam Newbould about his album Bogus Notus
Sam Newbould, 2022
[Sven Scholten]
CHRIS SEARLE recommends a work of love and deep admiration for a great musician
KENNY MacASKILL relishes a fictionalised account of the life and death of the principled Irish anti-colonialist, executed for betraying his English imperial masters
FIONA O’CONNOR admires an ambitious first novel that loosens South Africa’s rainbow collective to examine the racial tensions within
Aussie mining corporation murder, Liverpudlian ex-cop amnesia, a naive vigilante tries to reset capitalism, and the riddle of the dead psychoanalyst
SYLVIA HIKINS is persuaded by an entertaining play that the true miracle of Lourdes would be for attitudes toward disability to change
THERE are few enough jazz albums where the listener, even before hearing the music, is haunted by the power of the sleeve design, but Sam Newbould’s Bogus Notus is certainly one of them.
Alto saxophonist Newbould, born deep in the Yorkshire Dales in 1990, explains Simon Foster’s evocative artwork in this way: “It has a doom-like feeling of industrial wasteland with its dark clouds and smoking chimneys infringing on beautiful valley scenery in a hyperbolic way — peering over the edge. It was only after I left home and came back that I began to look on the place as an outsider, developing feelings of discomfort and non-belonging.”
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