Music

The unfinished is, of course, something which tells us about the history of a work of art’s creation. A work of art may have been interrupted by the artist’s death, as with the paintings that Klimt left behind in his studio. Or it may simply have been abandoned when a patron failed to fulfil his obligations, or the painter had grown bored with the subject and moved on to something else. These spaces and gaps give us a glimpse of an artist at work and invite us to speculate about what Mondrian, for instance, was doing abandoning the 1934 ‘Composition with Double Lines’ or Cézanne the 1898 ‘Bouquet of Peonies’.

It’s often said that there are only seven basic plots in literature. When it comes to biographies of rock stars who died young, by contrast, there’s usually just the one: somebody mysteriously talented emerges from an unlikely background to achieve stardom, before being destroyed by drink, drugs and fame. Yet, as the film Amy proved last year, it’s a plot still capable of packing a real emotional punch — and, as Cowboy Song proves now, the life of Phil Lynott from Thin Lizzy embodies it more vividly than most. Certainly, there’s no faulting the unlikeliness of his background. Lynott was born in 1949 to an Irish teenager who’d come to

I don’t know if this counts as name-dropping, but I recently interviewed a boyhood friend of Elvis Presley’s in Tupelo, Mississippi. The interview required a bit of patience, because his memories of the young Elvis appeared only intermittently amid a lengthy ramble through more or less anything that crossed his mind. But, as it turned out, it was also good preparation for reading Stop the Clocks. Joan Bakewell published her autobiography in 2003 and this, as the subtitle suggests, is intended to be a far looser set of reflections. Nonetheless, it soon proves so loose as to present a reviewer with the kind of dilemma that could feature in the

One of the epigraphs to Peter Davidson’s nocturne on Europe’s arts of twilight is from Hegel: ‘The owl of Minerva begins to fly only at dusk’, an image of philosophy as posthumous, able to explain things only after we have experienced them. Or an image of dusk as threshold, the blue hour when light transforms itself, and other worlds become possible. The Last of the Light is a cultural companion to such notions. A cabinet of curiosities — paintings, poems, music — framed by the idea of Europe as an archipelago of regret, many of whose most vital artefacts have dealt in echo and obscure longing, translated into a feeling

At some point during your reading of this book the realisation might dawn, if you didn’t already know about his creative double life, that Richard Skelton demonstrates an unusual sensitivity to sound. Barbed wire unfolds over a dry-stone wall, an image which he reimagines as a mutant stringed instrument. ‘What harmonies would result if all were sounded in unison?’, Skelton asks — a question which he is uniquely placed to answer. Beyond the Fell Wall is a graceful meditation upon the relationship between landscape, language and sound, written by the most strikingly original composer of electronic music currently working in the UK — a man who spends his days exploring