At no point in their near-30-year career have “shy” or “retiring” been adjectives you could apply to Garbage - and yet, on this their seventh record, the Scottish-American rockers go to places that they never have before.
Gary Numan says that his new album “looks at climate change from the planet’s point of view… it feels betrayed, hurt and ravaged… it is now fighting back.” Intruder is, then, a bleak, apocalyptic concept album. Given his last album explored similar terrain and that gothic dystopian wordplay has been central to his work for a decade, this isn’t new territory. Then again, his Eighties fans shouldn’t quibble.
Strangers: Essays on the Human and Nonhuman is a powerful invitation to rethink, to doubt and to engage. Beginning among the Diggers’ tilled earth in 1649 and the eco-socialist "watermelon" juices that soil still stirs, the book makes an urgent argument for recognising our uneasy intimacy with the nonhuman.
On Fire brings together a decade’s worth of dispatches from the frontline of the climate disaster – spanning the BP Deepwater Horizon oil spill (“a violent wound in the living organism that is Earth itself”), devastating tropical cyclones in Puerto Rico and choking wildfires in British Columbia.
Coming from a family of farmers, with periods of time spent working on a farm in the past ten years, I found James Rebanks’ English Pastoral: An Inheritance to be a highly urgent, important book. It is a perfect encapsulation and explanation of how and why farming in Britain has changed over the past century, and what a devastating effect this has had on the land.
Vesper Flights, Helen Macdonald’s first book following her incredibly successful memoir H is for Hawk in 2014, is an excellent collection of short pieces focused on the natural world. It’s wonderful to read a book on this subject, especially one by a woman writer, in a genre which (with notable exceptions like Kathleen Jamie) dominated by men. Macdonald has an anecdotal style, dense with information and delicately poetic.
At the age of 80, John Cleese probably doesn't care what people think of him. But then, when you were one-sixth of Monty Python and co-creator of one of TV's funniest sitcoms, you can afford not to play to the gallery as the royalties from Flying Circus and Fawlty Towers still roll in (even if, as he never tires of telling his audiences, a fair chunk goes in alimony).
The Museum of Whales is an unfolding: a slow process of describing a country, its people, and its past through its esoteric and bizarre museums. The book is structured into galleries and cabinets, like the museums it describes, and the text is accompanied by often mysterious line drawings with their own key at the end. There are just a few museums that are the main focus, beginning with the Icelandic Phallological Museum, which is just as delightfully and childishly funny as it sounds.
It’s fair to say that humanity’s relationship with nuclear energy over the last 50 years has had more highs and lows than a Spanish soap opera. From the Manhattan Project to Hinkley Point, it’s been a controversial technology that has promised both humanity’s salvation and damnation.
Tamara Kotevska and Ljubomir Stefanov’s new documentary, Honeyland, is a lament for a vanishing world. Captured with the delicacy of honeycomb, it focuses on the last wild beekeeper in Europe. Hatidze Muratova lives in rural Macedonia on a craggy farm without running water or electricity. Her ailing, aged mother, Nazife, is her only company.