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Reviews Section Opens - With More Reviews Of Exile & Psychedelic Renegades

25 May 2002

We have just opened a new Reviews Section on the site which will archive reviews for each book. It begins with those for the recent Psychedelic Renegades and for Exile which has been the subject of a phenomenal amount of coverage. We'll continue to list new reviews here on the News Page, while archiving them all in the Reviews Section too.

While on the subject, reviews are still appearing for Exile. A pile of knockout French cuttings arrived this week: Marie Claire wrote that 'Dominique Tarlé waited until he found the best publisher, the English Genesis, before publishing his sublime images - sublime because they do not trick, and they make this album a unique case in the history of showbiz.'

According to Nice-Matin, 'The expression "worth its weight in gold" applies in every sense to Exile (the book). Marvel of marvels as a photographic book, with its pages edged in gold, it weighs a good two kilos...'

The popular French magazine VSD described 'a sumptuous book which, thirty years after, reunites nearly three hundred of these photos, of which many are unpublished. Tarlé was part of the family and captured the Stones as no one had captured a rock group (or any artist) before and as no one will evidently be able to capture them again.'

Dominique also wrote an 8-page photo-feature on the book in the French photographic magazine De L'Air.

In Nashville Scene on 24 January, Diann Blakely wrote tht 'Exile is not only invaluable but also the work of a genius... Tarlé's powerful photographs embody the spirit of the album, rendering in a different form the same story that the music sings: one of dislocation, intimacy, collaboration, death and survival.'

Exile was also featured in Japan's Asahi Shimbun on 26 March, Frankfurter Allgemeine Zeitung on 8 April, Denmark's Ekstra Bladet on 28 April and The Northern Echo back in February.

Meanwhile Psychedelic Renegades received a 4-star rating in Q magazine which described how it 'captures the sheer sadness of its unpredictable subject's slow retreat into the self... the pictures are stunningly sharp.'

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