Relentless

Ever changing and ever challenging, David Byrne has metamorphosed his way far beyond the paradigm of the Talking Heads frontman that made him a rock star of his day. 

Lycanthropy, shape-shifting, the power of the moon, the tidal flow of blood. These are mythologies embedded deep in the female psyche, mysteries of flesh and soul connecting even the most modern woman to her darkest, primal self. Angela Carter knew this, creating feminist transfigurations of traditional fairy tales in her volume, The Bloody Chamber, later adapted into Neil Jordan’s film The Company of Wolves. Natasha Khan knows it too. As Bat for Lashes, she weaves this dark imagery of transformation and possession into music.

Steeped in mystery and sheer awe, and with a sound bigger than the heavens themselves, the Baroque organ held the ability to stir the listener both aurally and spiritually. So deep yet so ethereal, it would quell any lingering doubt, in congregations throughout Christendom, about the existence of the celestial forces beyond man. By Karl Lutchmayer.

In the ultimate theatre of physical performance, where actors go beyond the sensations of sight and sound into a new realm ruled only by vision, noise and feeling, there is Alastair Seeley. Bombarded by the guttural roar of internal combustion, he conquers and awes the hippodromes of our day. And when the tireless whine of the engines finally goes silent, Seeley emerges victorious. By Ed Andrews.