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Cameron Picton, the bassist‑vocalist behind British art‑rock outfit Black Midi, has unveiled his first solo statement under the moniker My New Band Believe. Recorded with a cadre of improvisational musicians—including veteran drummer Steve Noble, formerly of Rip Rig + Panic—the album abandons the band’s signature wall of sound for an intimate, acoustic approach.The record opens with the gentle ballad “Still,” a track originally tucked away on Black Midi’s sprawling rock‑opera Hellfire. Here, Picton’s unadorned vocal delivery replaces Geordie Greep’s theatrical croons, setting a tone of understated sincerity that runs through the entire project.Every song is built from live‑sounding instruments: fingerpicked guitars, double bass, piano, subtle percussion and tasteful string arrangements. This stripped‑back aesthetic allows the lyrics to move away from Black Midi’s often surreal narratives toward more direct, everyday subjects. For instance, the opening track “Target Practice” retains a hint of the band’s dark humor, while “Love Story” paints a nostalgic picture of a couple cooking together, and “Opposite Teacher” reflects on the challenges of fatherhood.Even within this quieter framework, Picton injects moments of tension. The second track, “In the Blink of an Eye,” introduces dissonant chords that remind listeners that “understated” is a relative term for an artist accustomed to sonic extremes. Throughout, the songs remain episodic, with sudden key changes and tempo shifts that echo the restless spirit of Van Dyke Parks’ 1967 Song Cycle—a collaboration Picton initially pursued before budget constraints halted the partnership.Highlights such as “Heart of Darkness” weave together folk‑rock riffs, jazzy drumming and an improvised coda of feedback‑like strings, while “Actress” balances sweet melodies with dramatic pauses and volume surges, ending more as a gradual fade than a conventional finish.Compared with Black Midi’s recent releases—most notably the chaotic, genre‑bending Hellfire and Geordie Greep’s solo effort The New Sound—Picton’s debut feels more approachable without sacrificing artistic curiosity. The album’s constant motion is contained by its acoustic instrumentation, making it easier to love rather than merely admire. It resists standard song structures, defies easy categorisation, and showcases a plethora of unconventional musical ideas, all while wearing its intelligence with a lighter touch.

It's been 20 years since the passing of Muriel Spark, a celebrated Scottish novelist, short story writer, poet, and essayist. With a career spanning over two decades, Spark left an indelible mark on literature with her 22 novels, which are characterized by their uncanny, astute, and witty storytelling. James Bailey, author of the biography Like a Cat Loves a Bird: The Nine Lives of Muriel Spark, provides a guide to Spark's oeuvre, highlighting her unique narrative style. A typical Spark novel begins by introducing an enclosed community, such as nuns, schoolgirls, or desert island castaways, filled with gossip, deceptions, and conflicts. This setup is then disrupted by a dramatic event, like a murder or scandal, allowing Spark to explore the consequences. For readers new to Spark's work, Memento Mori (1959) is a great starting point. This darkly comic novel follows a cast of bickering pensioners who receive anonymous phone calls with the ominous message: 'Remember you must die.' The novel raises questions about mortality, fear, and the human condition. Spark's debut novel, The Comforters (1957), is a remarkable example of her innovative storytelling. The protagonist, Caroline Rose, believes she can hear the clanking typewriter keys of an entity she calls the Typing Ghost, which dictates the events of her life. This novel showcases Spark's ability to blend diabolism, diamond-smuggling, and supernatural elements. One of Spark's most famous novels, The Prime of Miss Jean Brodie, is known for its quotable lines, such as 'Give me a girl at an impressionable age and she is mine for life.' This novel explores themes of favouritism, fascism, and the seductive power of belonging. Spark considered The Driver's Seat (1970) her finest achievement, describing it as her creepiest work. This novel follows Lise, a protagonist whose holiday romance takes a dark and unexpected turn. Spark's works often explored the contrast between public personas and private lives. Her 1968 novel, The Public Image, is a prime example, delving into the world of a film star struggling to maintain her reputation amidst paparazzi and self-absorbed relationships. Spark's short stories, collected in her Complete Short Stories, offer a glimpse into her versatility as a writer. These tales often feature unquiet spirits and explore themes of mortality, guilt, and redemption.

Spring brought a burst of optimism to Crystal Palace as they delivered a 3‑0 victory over Fiorentina in the first leg of the Europa Conference League quarter‑final. Forward Jean‑Philippe Mateta opened the scoring from the spot on his first start since the end of January, followed by a second‑half strike from Tyrick Mitchell and a late header from Ismaïla Sarr.The win marks a dramatic turnaround for a side that had struggled to impress at home in the competition. After a three‑week preparation window, manager Oliver Glasner implemented a disciplined game plan that saw Palace dominate possession and create clear chances, underscoring his reputation for knockout‑stage success.Fiorentina, who have reached the last eight for four straight seasons and lost two finals, were unable to respond before the break and now face a daunting task in the second leg in Florence. Even after Mateta missed a late sitter, Sarr’s header restored a three‑goal cushion, meaning the Italians must produce a “miraculous” comeback to stay alive.Mateta’s performance also silenced speculation surrounding his future. The French striker, who failed a medical with AC Milan in January, was greeted with applause after his penalty and could have added a hat‑trick after replacing the suspended Jørgen Strand Larsen.Defender Daniel Muñoz returned to full fitness after a prolonged knee injury, adding stability to a backline that kept Fiorentina’s attacks at bay. The Colombian’s presence allowed Palace to maintain pressure, with Muñoz delivering an acrobatic assist that led to Mateta’s penalty.The match also featured a quirky moment when goalkeeper David de Gea had to clear a mass of streamers from his net, a reminder of the passionate Holmesdale End supporters.Looking ahead, Palace will travel to Florence for the return leg, where they will aim to protect their advantage and secure a place in the semi‑finals – a historic milestone in the club’s first European campaign.

For many supporters, the final weeks of the football calendar feel both interminably long and suddenly over. The emotional roller‑coaster is now hitting two very different clubs at opposite ends of the English pyramid.Cambridge United have unexpectedly dropped out of the automatic promotion spots in League Two, just as the run‑in intensifies. Their recent draw against Swindon and a late‑minute error by keeper Jake Eastwood at Cheltenham have left them scrambling for points, with upcoming fixtures against Notts County and league leaders Bromley looming.Meanwhile, Tottenham Hotspur appear to be heading for a relegation battle. A 3‑0 defeat to Nottingham Forest has left them winless in the league since late December, and they sit perilously close to the bottom three as they prepare for a Sunday clash at the Stadium of Light.The club’s turmoil is compounded by the recent appointment of Roberto De Zerbi. While his résumé includes a solitary win in 13 games at Palermo, no victories in nine outings at Benevento, and just two points from five matches at Brighton, his impact at Tottenham remains uncertain. His early apology over comments about Mason Greenwood has done little to soothe a fanbase already on edge.Supporters across the country are feeling the same strain. From West Ham’s uneasy anticipation of a Wolves encounter to Liverpool fans fearing a slip below Everton, the anxiety is universal. Even lower‑league followers—whether in Ipswich, Middlesbrough, Oxford, Leicester, Harrogate, Barrow or Newport—are caught in the same cycle of hope and dread as promotion and playoff hopes hang in the balance.Amid the gloom, a few clubs enjoy relative peace. Fans of Paris Saint‑Germain and Bayern Munich can likely breathe easier, while clubs like Coventry and Lincoln savor modest successes.In the end, the season’s drama underscores a simple truth for football lovers: the joy of the game is inseparable from its inevitable panic, frustration, and the ever‑present possibility of triumph—or heartbreak—just around the corner.

Virgil van Dijk drew a direct parallel between Liverpool’s current Champions League challenge against Paris Saint‑Germain and the club’s famous comeback against Barcelona in 2019, but warned that belief in the squad may be waning under new manager Arne Slot.Liverpool entered the quarter‑final with a 2‑0 deficit after a lackluster first‑leg loss at the Parc des Princes. Van Dijk, however, remains 100% convinced that a dramatic Anfield turnaround is still possible, citing the memory of overturning a 3‑0 first‑leg loss to Barcelona and winning 4‑0 at home.Reflecting on the 2019 semi‑final, the Dutch defender said, “We faced one of the best teams in Europe with the best player in the world, and we were injured. Now we face the European champions again, and on paper no one gives us a chance.” He stressed that success hinges on self‑belief, the manager’s game plan, and relentless intensity from the first minute to the last.Van Dijk also addressed Liverpool’s broader season, which has already produced 16 defeats across all competitions, including a penalty shoot‑out loss in the Community Shield and a recent FA Cup quarter‑final exit to Manchester City. “It’s unacceptable,” he said, describing the inconsistency as “disappointing” and acknowledging that the current squad does not match the standards set during the Klopp era.Despite the setbacks, the captain highlighted a positive sign: the team’s resilience in the previous Champions League rounds, notably the comeback against Galatasaray in the last‑16 and a strong showing against PSG at Anfield last season. He warned that “everything has to click” against a PSG side that excels in every department.Slot’s tactical shift to a three‑man central defence was only practiced for two days before the Paris match, adding to the challenges. Van Dijk admitted that recent league defeats, starting with a 2‑1 loss at Brighton, have tested the squad’s morale, but he remains hopeful that the experience gained in earlier European ties can fuel a decisive second‑leg performance.

What would Henrik Ibsen’s iconic heroine Nora look like in today’s Britain? In this bold re‑imagining, playwright Anya Reiss transports the 19th‑century drama into a world of high‑salary banking, social‑media façades and post‑pandemic consumer excess. Set against a sleek, white‑goods‑strewn stage designed by Hyemi Shin, the story follows Nora (played by Romola Garai) as the wife of a lucrative London banker, Torvald (Tom Mothersdale), who is also battling drug addiction. Though presented as a “trophy wife”, Nora is far sharper than her husband realises – she has secretly rescued the family from financial collapse and funded Torvald’s recovery, all while maintaining a veneer of festive, pre‑Christmas splurging. The familiar Ibsen plot points survive the update: a blackmail threat from Torvald’s colleague Nils Krogstad (James Corrigan) and a visit from the destitute, marriage‑for‑money‑failed friend Kristine (Thalissa Teixeira). Their interactions expose the tension between outward affluence and hidden desperation. Reiss’s version is unmistakably contemporary, peppering dialogue with references to Instagram, a stock market rattled by conflict in the Middle East, and the relentless pursuit of material status. This backdrop reframes the marital power struggle as a clash of class and modern capitalism, asking whether love can ever be insulated from market forces. Despite the heavy thematic load, the cast delivers a series of compelling performances. Garai’s Nora oscillates between calculated seduction – even donning a provocative nurse’s outfit for a flirtatious dance – and a keen intellect that refuses to be reduced to a mere commodity. Her portrayal suggests that, for Nora, the body has become a form of currency, yet she remains acutely aware of the performative nature of both marriage and motherhood. Notably, the children appear only through baby‑monitor audio, a deliberate choice that underscores the couple’s emotional distance and mirrors the original’s focus on Nora’s internal emancipation. The climax arrives in a charged confrontation where Nora questions, “Is love meant to be subject to the market?” The line encapsulates Reiss’s preoccupation with the commodification of intimacy, even as it feels like a summarising refrain rather than a fresh revelation. Ultimately, the production offers a nuanced, if occasionally over‑engineered, vision of Ibsen’s feminist aspirations. It hints at a future where Nora and Torvald might seek couples therapy to untangle their financial and emotional entanglements – a decidedly modern resolution. A Doll’s House runs at the Almeida Theatre, London, until 23 May.

For the first time, scientists have observed a 'civil war' in wild chimpanzees, where a once unified group turned on itself, leading to a years-long conflict. In a study published in the journal Science, researchers detail the dramatic shift in behavior among the Ngogo chimpanzee group in Uganda's Kibale national park.Primatologist Aaron Sandel, who led the research, noted that the conflict began in 2015 when the group's dynamics started to change. A change in social hierarchies, the death of key older individuals, and a disease outbreak in 2017 contributed to the group's fracture. By 2018, two distinct groups had emerged: the western chimps and the central chimps.The conflict escalated into 24 sustained and coordinated attacks by the western group on the central group over seven years, resulting in the deaths of at least seven adult males and 17 infants. This level of in-group violence is rare in the animal kingdom and has significant implications for understanding human conflict.Sandel suggests that human activities disrupting social cohesion, such as deforestation, climate change, or disease outbreaks, could make such inter-group conflicts more common among chimpanzees, who are already threatened with extinction. The study highlights the fragility of social ties and the potential for group cohesion to be disrupted under specific circumstances.Brian Wood, an evolutionary anthropologist, noted that the western chimps increased their Darwinian fitness by decreasing the survival and reproduction of their former community members. This conflict has resulted in the lowest survivorship ever documented in a wild chimpanzee community.

On All Hallows' Eve in 1517, Martin Luther, a 33-year-old German priest and scholar, took a pivotal step that would change the course of history. He marched up to the church in Wittenberg and nailed a document to the door, containing 95 statements, or theses, protesting against corruption in the church.Luther's actions led to his excommunication and a dramatic escape, but they also marked the beginning of the Reformation. As a musician himself, Luther knew the power of music in spreading his new doctrine. He saw music as a divine gift 'next to theology' and used it to incite people to do good and to teach them.Luther's hymns, known as chorales in the German-speaking world, were simple, memorable tunes, often adapted from popular melodies, repeated verse to verse. The words were in everyday German, and the hymn tunes were harmonized with simple, block chords, making it possible for anyone to sing along.One of Luther's most famous hymns, Ein feste Burg ist unser Gott (A Safe Stronghold Our God is Still), is still sung today in churches around the world. His hymns were widely distributed using the relatively new technology of the movable type printing press, invented by Johannes Gutenberg.Luther's musical legacy continued to influence composers, including Heinrich Schütz and Johann Sebastian Bach, who composed new chorales and clothed existing ones in rich harmonies. Bach's chorale preludes, where an elaborate melodic line unfolds until the chorale tune emerges, remain iconic.The chorales have also had a lasting impact on popular music, with arrangements by artists like the Swingle Singers and Myra Hess, and even influencing 1970s pop music, such as Apollo's 'Joy' and The Beach Boys' 'Lady Lynda'.

The latest Cannes lineup reveals a clear pivot from the usual Hollywood glamour toward a roster dominated by celebrated world‑cinema auteurs such as Pedro Almodóvar, Cristian Mungiu and Asghar Farhadi. While last year’s festival was anchored by a Mission: Impossible spectacle starring Tom Cruise, this edition offers a more eclectic mix, including debut features from Andy Garcia (who also stars in his crime drama Diamond) and John Travolta, who directs the aviation‑themed Propeller One‑Way Night Coach based on his own novel.Under the stewardship of director Thierry Frémaux, Cannes continues to bar films that are exclusive to streaming platforms, a stance that has been vindicated by recent Oscar successes for festival selections. The festival also entered the AI debate: Steven Soderbergh’s documentary John Lennon: The Last Interview employs artificial intelligence to reconstruct visual elements of the legendary interview, sparking both fascination and unease among attendees.Gender representation remains skewed, with a noticeable predominance of male directors in the competition slate, although the final list is still pending. Notably absent are any British filmmakers, despite the inclusion of Polish auteur Paweł Pawlikowski, whose biopic of Thomas Mann, Fatherland, could be loosely claimed as a UK entry given his long residence there.Geopolitical undercurrents are hard to ignore. Russian director Andrey Zvyagintsev returns with Minotaur, a film about a beleaguered Russian businessman. Zvyagintsev, once favored by Vladimir Putin, now lives in exile in France, adding a layer of political intrigue to his work amid the ongoing war in Ukraine.The competition also features a strong historical thread: László Nemes’s Moulin revisits occupied France, Emmanuel Marre’s Notre Salut explores Vichy‑era France, and Lukas Dhont’s Coward follows a Belgian soldier’s harrowing experience in World‑I trenches.Among the more provocative entries, Nicolas Winding Refn’s Her Private Hell promises shock value in the out‑of‑competition slot, while the Un Certain Regard section showcases Jane Schoenbrun’s queer slasher Teenage Sex and Death at Camp Miasma, likely to become a festival highlight.