STEVE ANDREW enjoys an account of the many communities that flourished independently of and in resistance to the empires of old
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Plaintive pleasure in Richard Reed Parry's captivating concepts
TOM STONE urges you to catch the last dates of a New York singer/songwriter, never afraid to challenge her audiences musically or politically
JAN WOOLF examines work that aims to give viewers a material experience of the environments in the polar north and Britain equally affected by the climate crisis
The bard recalls advice received 50 years ago from his TRB muse, and sorts out appropriate legislation for football club ownership
MICHAL BONCZA and MARIA DUARTE review Facing War, Kontinental ’25, Bugonia, and Relay
MAYER WAKEFIELD is frustrated by a production of Ibsen’s classic study of an anti-heroine that fails to elucidate her motivations
PETER MASON tunes his ear into the domestic affairs of a Carribbean couple with a troublesome son
Richard Reed Parry
St John on Bethnal Green, London
HISTORY shows that side projects from members of major bands can be hit-and-miss affairs, though that's not the case with Richard Reed Parry of Arcade Fire fame, who's ditched the sing-along stadium rock of his fellow cohort to create intriguing concept albums.
His first, 2014's Music For Heart and Breath, is a remarkable slice of modern classical composition in which each note is played in time with the heart rates of the performers.
But tonight Parry showcases latest project Quiet River of Dust, which is more folk Americana a la Fleet Foxes, with On The Ground and Song of Wood standing out as ritualistic highlights.
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