All published work

Looking for the sum total of the Blaise Radley writing career till now? Then look no further. Ignoring my earlier student writing career, and a select few print-only pieces this is everything I've had published since graduation. You can even use the filter to navigate by publication.

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Album review: Jimothy Lacoste - The Safeway

Jimothy Lacoste is clearly having a laugh. Everything about his persona, from his obsession for high fashion that feeds into his flexing stage name, to his insistence on sticking "Getting" on the front of every song title on his debut album, feels like the result of a popstar experiment gone wrong. And yet, it works. Jimothy's ability to play this charade totally straight elevates 'The Safeway' from curiosity to curiously compelling.

Feature: Cornish gentrification and dubbing in Bait

Seeing may be believing, but passive knowledge requires a few more senses to solidify. When you know a place—really know a place—it soaks into your subconscious, a series of sense memories that you’d never think twice about. It’s the smell of your neighbour’s hedge trimmings; the feel of uneven tarmac from a poorly bodged pothole. It’s the exact sound your front door makes as it clips against the wonky latch. You don’t process these things as significant, but, on a long enough time scale, our homes end up taking residence inside us as well.

Album review: Kelly Lee Owens - Inner Song

Kelly Lee Owens is many things—dream pop crooner, techno fuser, vinyl enthuser—but more than anything else, she’s a mood landscaper. Nestled somewhere between bedroom pop and dancefloor bop, her endlessly evocative electronic music charts the emotional throughlines that tie the night out to the morning after. Owens’ sophomore record, Inner Song, finds her searching tirelessly for emotional catharsis, and for meaning between the lines, but she’s forever haunted by the rhythmic pace of last night’

Film review: She Dies Tomorrow

All of us, at some point, must come to terms with the fact that everyone we have ever known will die, and that we ourselves will die. On an instinctive level we know this already; it’s what informs our aversions to the dark, or to sudden noises and creepy crawlies, but when that rational realisation crystallises, it’s hard to process. Death is too abstract a concept to truly comprehend, and so our fears instead seed into other aspects of our life, the areas where we can take control. In that way, grounded concerns distort into paranoia.

Feature: Good Time and the contradiction of compassion

Two months on from considering how Daniel Lopatin undercut the anxious energy of Uncut Gems (2020), it seemed fitting to analyse his work on Good Time (2017). While both films feature abrasive scores by Lopatin, aka Oneohtrix Point Never, the purpose of that abrasion is distinct. Where Uncut Gems is giddy, Good Time is dour, and where Uncut Gems saw Lopatin twist anxiety into cosmic purpose, in Good Time he’s far more in tune with the minute-to-minute seat-of-your-pants propulsion. Subservient, however, he is not.

Interview: Crack Cloud

Crack Cloud are a far cry from your typical band. When the Canadian group first started gaining buzz in 2018 off the back of two supremely vital EPs there was a clear seven-person configuration at their core, but a lot's changed since then. Not only is their debut record, 'Pain Olympics' primed and ready, but they've cast an even wider net for collaborators, drawing in a wildly diverse array of artists with little concern for medium or geographical location. It's perhaps no surprise then that Crack Cloud have also been described as a cult.

Film review: The Rental

Few trends have captured the millennial sense of self worth and (occasional) sense of self awareness as mumblecore. Defined primarily by muffled naturalistic dialogue, lo-fi production values, and a near-total preoccupation with the trials and tribulations of young middle class Americans, over the past two decades directors like Andrew Bujalski, the Duplass Brothers and Joe Swanberg have carved out their own niches in a genre characterised by nicheness.

Interview: LA Priest

Samuel Eastgate's best friend is a robot. In fact, for a period of time, it sounds as if his only friend was a robot, or rather a slightly cantankerous drum machine. With a creative process that sounds awfully similar to certain social isolation protocols, when Dork reaches him on the landline of his home in rural Wales, the current chaos all seems quite distant. "I live with my family in a really empty, isolated area. It's almost like I planned ahead... but I mean I haven't, I haven't."

Feature: Uncut Gems and the climax that never comes

What does winning sound like? Is it the rolling thunder of hands beating together; the final beep test *beep* after everyone has collapsed; the ding of a microwave containing molten leftovers? Victory, of course, doesn’t have one tone, but sounds do hold an uncanny power to trigger deep seated feelings of validation. There’s a reason mobile developers spend years perfecting the sound a treasure chest makes, hoping to trigger precious endorphins and lock you into another cycle of delayed gratification. Humans crave catharsis.

Film review: Portrait of a Lady on Fire is a rare example of pure beauty

What marks Portrait of a Lady on Fire as a more full-bodied work than its impressive romantic thread, is the wider angle Sciamma takes regarding loving relationships. With men largely regulated to off-screen spectres and the things of ancient myth, the full spectrum of female communal spirit grows in the spaces left behind. In Sciamma’s frame no woman is perfect, and yet through sororal companionship something perfect begins to take hold.
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