MATTHEW HAWKINS applauds a psychotherapist’s disection of William Blake
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] 
New releases from Christina Alden and Alex Patterson, Odette Michell, Clementine Lovell
JOHN GREEN is fascinated by a very readable account of Britain’s involvement in South America
Strip cartoons used to be the bread and butter of newspapers and they have been around for centuries. MICHAL BONCZA asks our own Paul Tanner about which bees are in his bonnet
GORDON PARSONS acknowledges the authority with which Sarah Kane’s theatrical justification for suicide has resonance today
RON JACOBS welcomes a timely homage to one of the IWW and CPUSA’s most effective orators
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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WILL STONE witnesses a thrilling festival super-charged with opposition to the British government’s policies on Gaza
BBC accused of silencing acts at Glastonbury for standing in solidarity with Palestine
