I’m going to put together a roundup of reviews and articles about Clade soon, but in the meantime I’ve done a pair of Q&As you might like to check out. The first was for Penguin, and you can read it on their website; the other was for the fabulous Angela Slatter’s blog.
And while it’s not about the book, I’ve also just done a little thing for Zena Shapter about the music I’ve been enjoying recently. You can read the whole thing over on Zena’s blog, but because I wrote it a couple of weeks ago I didn’t include two things I’ve been loving in the past little while. The first is Israeli singer-songwriter Asaf Avidan’s fabulous album, Gold Shadow, which rather like Angel Olsen’s excellent Burn Your Fire For No Witness, looks back to the 1960s and beyond for a series of sounds and production techniques which manage to sound both retro and completely contemporary. And the other is The Beatles’ fourth album, Beatles For Sale, a record I was convinced to go back to by Jonathan Gould’s enthusiastic discussion of it in his biography of the Fab Four, Can’t Buy Me Love (which I’m planning to write something about on the weekend). For various reasons I’d come to accept the line that it’s an album born of exhaustion and creative burnout, a trough between the high points of A Hard Day’s Night and Help, but having listened to it again I’ve realised it’s actually much more interesting than I’d given it credit for, not just because original songs like ‘No Reply’ are so terrific, but because the choice of covers implies a fascinating conversation with their various influences and antecedents (and also, I suspect, prefigure the engagement with music hall and other, older forms on albums like Sgt Pepper).