Author: Desmond Bullen
Over the past decade, there’s been a parabolic swell of a very particular appreciation for modernist architecture, best exemplified by Manchester’s (and now Sheffield’s) Modernist Society.Read the full story..
Crossing the threshold into William Kentridge’s puzzle box of a touring exhibition, presently awaiting discovery at the edges of Manchester’s Whitworth, is a subtly, if pleasurably, disorientating experience, as though its terrain was the lens of a kaleidoscope at the moment a determined shift of the instrument brings the same fragments into a different focus.Read the full story..
Ben Webster finds himself in a curious position.Read the full story..
Viewed decades later, the sleeve of Unknown Pleasures anticipates the after-effects of the vinyl it enfolds: its image the radiation signature of a star long dead, its transmissions still detectable by those with ears to hear.Read the full story..
Like Dial-a-Disc or foil disposable ashtrays in takeaways, the cinema double bill has receded into the lint of a barely conceivable past yet to be reappropriated by the stylists of today’s lazy nostalgia.Read the full story..
The kids love it. They shriek, they cackle, and – to the insistent cue of I Like To Move It – they dance in their seats.Read the full story..
A minnow with ambitions.Read the full story..
“Morrissey chose it. Morrissey chose everything.” Northern Soul talks to photographer Stephen Wright
Neither of us intend it, I’m sure, but our conversation circles back time and again to a once-forgotten corner of Ordsall on a bitter December day in 1985.Read the full story..
Like the contents of a can of pop, pent-up and shaken, The Smiths fizzed dramatically if briefly, upending the charts for fewer than five years, before going flat in misunderstanding and acrimony.Read the full story..
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