Bad For You

Bad For You [SINGLE ARTWORK] (1)



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Add another pandemic song to your playlist with this offering from aka george.


I’ll let his own words speak, there isn’t much I could add to it other than the fact that I like aka george’s music and approach to that music:

“i know you journalists and bloggers have short attention spans, so i’ll keep it brief.


i know you’re tired of every new artist’s bio extolling the virtues of their artistry – PRs banging on about how they’re the next <insert brit nominee here>.


thing is… i don’t think you know how famous i am.


in 2013, i was the GET LUCKY kid. my cover of Daft Punk’s “get lucky” broke the internet. i played all the instruments, filmed it at my mum’s house and uploaded it that night. it got 10 million views and pharrell DM’d me to say well done.


it put the name george barnett on the map. it also put george ezra on the map. back then his name was george barnett too. people mixed up the georges, he changed his name to ezra and the rest is history. (for anyone who’s interested, ezra’s song “did you hear the rain?” is about me. apparently he’s still bitter).


insanity ensued. within a year i had my own private jet and a chain of burger restaurants. just kidding, but major labels were in contact. i was flown to berlin to meet with universal music. warners were calling me up every other day. all my other songs were blowing up.


and then, that summer, in the middle of a tour, i deleted it.


after that, i also deleted:




… and i changed my name to AKA George.


i’ve been told i’m very self destructive. in my defence i hated the idea of being a youtuber. i didn’t want to be in the same category as conor maynard – i wanted to be an artist. i realised pretty quickly the attention i was getting was based entirely on numbers; specifically the number of views on the “get lucky” cover: a sure way to get dropped about 18 months later, which I didn’t want.


so instead, I wrote a load of songs that BBC introducing liked. i did gigs, played at Glastonbury, got a publishing deal and in the process found out what I did want. that kind of stuff takes time. now I know.


***CUT TO NOW***


i met tom sarig and signed to antifragile. i like him. and i like them.


at the risk of sounding like i reside up my own anus, i have an unwavering belief that music should be a PASSION. i love pop but i’m not interested in making cookie cutter music. whether i’m writing about sex, love, loneliness or revolution i want the songs to carry big emotions.


i write big, i sing big, i perform big. spirit is important…. and i always put my spirit into it – 100%.


so that’s where i’m at. if you want to know anything else about me, give me a call:

07802 414613


here’s my latest song “bad for you”. when asked for a quote, i said this about it:


“Bad for you is about being in a toxic relationship… but being unable to resist it. I was craving it like a drug. I knew it was bad for me but i was never going to stop. I’m one of those people who goes all in. I don’t like half measures, if I’m doing something I’m doing it 100%. That can cause problems sometimes – you can get in too deep and things become messy, especially in a relationship – but I wouldn’t have it any other way.”


it’s a pretty good song. and even if you don’t like it it’s still only 1 minute 54 seconds.


i would promise not to delete it this time… but i can’t be trusted to keep promises.”




New EP on Anti Fragile Music coming in April 2020.








Better Days

It has been said, Thomas Wolfe is credited with the original quote, that “You Can’t Go Home Again.” I have tried to go home again and failed miserably. I have driven the streets that I used to wander in my childhood with friends whose names are forever lost. I have driven by buildings that I used to call home and found dilapidated old structures or new buildings where my home used to be, and I have even found empty lots that were supposed to be full of happy memories.

I went to a school reunion a few years back and it was really awkward trying to converse with these people who I spent five days a week with on school buses and in our classrooms. People that I used to hang out with, play the guitar with, go to dances and movies with, there were a few members of the opposite sex that lived within my circle of life. But it wasn’t the same. These people had gotten old, where were my childhood friends? These people had changed, the friend that jammed with me was now an alcoholic who hadn’t played the guitar after our halcyon days of learning to play “Get Back”. The friend that introduced me to marijuana would barely say hello to me. The people that I thought I would meet at the reunion had faded away, they were only memories tied to that time and place. Having once shared a few high school classes is not enough to sustain a lifelong relationship.

There are some good reads that explore this concept of never being able to go home. I just finished re-reading one that evoked good memories from an earlier age, Summer of ’42 by Herman Raucher. I read it the first time when I was a young man coming of age in the small home town that I previously visited, it resonated with me at that time because of the teenage emotions it evoked as I read it back then. This time it provoked the emotions of being an adult who can never go home again.

I couldn’t go back home again because it didn’t exist except in my nostalgic memories. Nostalgic memories are often tied to music, much the same as my memory of playing tunes on my first guitar. In fact, there is a song from that era that captures a lot of the sentiments that I am searching out here, it was by The Moody Blues on their album Every Good Boy Deserves A Favor, the song was titled “You Can Never Go Home” and there is a new song that I have been introduced to that further explores this concept, it is “Better Days” by Chris Collins and produced by Discrete.Better Days
Collins has drawn upon his memories of better days in his life, at only eleven-years-old, he appeared in the finals of Sweden’s televised Talang, as well as landing third place in Eurovision Young Dancers which saw him surpass 60 million viewers worldwide and Discrete who grew up in a creative household and discovered music production at thirteen. Together Collins and Discrete crafted a song that speaks to that longing of wanting to go home again. These two musicians have gifted our ears with “Better Days”, a sentiment that I am sure we all long for in these troubling times.
A sample of the lyrics:

Nothing is like yesterday
Between us two
I wish I could stay away
From you
But I’ll keep dreaming of better days
Better days with you
Discrete’s production supports singer Chris Collins through the longing in “Better Days”. Longing over a relationship that has seen better days. We find Collins yearning over a love lost and Discrete adds synths that match those words to evoke memories of yesteryear. Together they revisit the eighties and lost love through their music. Music that builds visions of disco dance floors with synth effects, analog pads and drums that Collins and Discrete use with a steady hold on today despite the push and pull of nostalgia evoked in both the lyrics and the music that backs it up.
Better Days is a song that required many listens for me to totally grasp the essence of the emotions expressed in it. I would encourage you to do likewise and see what memories it pulls up for you.

Discrete, Chris Collins - Better Days (Coverart) copy

S T R E A M (Single)

D I S C O V E R   (Discrete)



D I S C O V E R   (Chris Collins)


“Can’t We Just Be Friends Again”, no question mark. Can’t we just listen to this catchy track again? Yes, that is a question. What is not in question is the talent of these lads. Nicky Green and Jamie Maier of the band Tungz have crafted a synth, pop, jazzy, fun little single following on the heels of their EP “Okay” from 2019. “Can’t We Just Be Friends Again” opens with a metallic sound that builds tension as instruments and vocal come in until it becomes a great little tune. It is highly probable that their tour dates will be cancelled due to COVID-19 but we can still be friends with Tungz through Soundcloud,, and Apple Music. Check them out, keep listening to good music like this offering from Tungz, and stay healthy everyone.

Tungz - CWJBFA copy

The Holy – Mono Freedom

Two percussionists? Bring it on, the more the merrier.

Two offset six-string electric guitars? I love it and I want to hear more.

A keyboard player that doubles down on bass guitar? From the Rural Alberta Advantage to Helsinki’s alternative music scene, I can listen all day and not tire.

The Holy, photo / kuva: Tero Ahonen

This is The Holy, a tightly knit five-piece band from Finland that has built a reputation for themselves within the European live circuit. Starting in the live clubs in their home base of Helsinki, The Holy have stretched their sound out on the road with appearances at all the major Finnish festivals; Flow Festival, Ruisrock, Provinssirock, Ilosaarirock, as well as touring across Europe in Sweden, Germany, UK, the Netherlands, Switzerland, Luxembourg, and Austria. They have also been showcased at Eurosonic 2019, Iceland Airwaves 2019, Reeperbahn Festival, Where Is The Music, JaJaJa London, Berlin & Vienna, as well as Finland’s own Lost In Music.

The German/French TV channel Arte filmed the band’s performance at Flow Festival 2019 in cooperation with Finland’s YLE, and Seattle based KEXP filmed their show at Iceland Airwaves, which on the station’s popular YouTube channel for your viewing and listening pleasure.

Apparently, a lot of people really like this band, The Holy. So what do I think? Do I like their music? Fasten your seatbelt, this is going to be a quick review of their sophomore album, Mono Free.

Yes, I like it. I could end the review right here with that statement but as far as music reviews go that would be pretty lame to I will expand a bit on why I like the music of The Holy.

Expansive. Yeah, their music is expansive. It covers a wide range, the music fills the empty spaces with an expansive sound, unrestrained and free. Their use of two percussionists and two electric guitars add to this feeling of expansiveness, they are able to fill the sound without making it feel crowded. It would be all too easy for the drummers to play over each other, and the guitars as well, but they don’t. The Holy use the extra sound to create an expansive and wide-open sound the moves easily from one space to another, from one song to another. Adding to the fullness of this album are some very talented people that The Holy collaborated with. Eetu Henrik Iivari: “Jarno Takkumäki (Lac Belot) did the mixing and some of the recording and he was also the spiritual guide for the whole band during the process. Our frequent collaborator Elias Riipinen wrote and played amazing string arrangements and Antti Hevosmaa (Virta) pulled off some great trumpets. Jazz pianist Eetu Palomäki contributed to a few songs with some lush tracks and Tero Ahonen brought the big visual side of the record to life.

Expansive and intelligent. The intelligence is not confined to the lyrical content, they are smart at creating intelligent music. The lyrics of this album were inspired by Eetu’s reading of the book The World Without Us by Alan Weisman and while this could have easily created a dark and dystopian album, it didn’t. Eatu again: “But even though the theme is not the lightest in the world, I wanted the album to mirror hope and to be empowering. A friend for people having similar thoughts. The new album Mono Freedom is a utopian theme album. A fictional story about Mother Nature taking over the earth and how the last humans on earth pack their stuff, build a rocket and head over to the nearest black hole. They know that there is probably nothing out there, but it’s one of humanity’s last ideas. All this is seen as a positive, not as a dark dystopian vision, as is usually the case. The record and the lyrical themes are inspired by Alan Weisman’s book The World Without Us, a classic science book that explores a bunch of scenarios of what would happen to Mother Earth if humans were to disappear today. “

Expansive, intelligent, and listenable. I have listened to some music over the years that had intelligent lyrics but didn’t have the music to move it forward. I have also listened to expansive music that didn’t go anywhere because it wasn’t easy to listen to. Mono Freedom is listenable as well as being intelligent and expansive. It hits a lot of the right notes and that is alright in my books and on my listening device. Please excuse me while I go and listen to this album one more time.

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The singles No Trial In The Dark and Twilight Of The Idiots are available for streaming on your favourite platform, including iTunes, the album Mono Freedom will be released on April 17th.

The Holy are:

Eetu Henrik Iivari – Vocals, Guitar 

Pyry Peltonen – Guitar

Laura Kangasniemi – Bass

Mikko Maijala – Drums

Eero Jääskeläinen – Drums

Social links:



Music video links:

The Holy – Land Before Time

The Holy – Ramses The Evil Brother

Live video links:

KEXP Live @ Iceland Airwaves

ARTE Concert, Live @ Flow Festival



Trinifold UK

Lydia Kirschstein


Playground Music Scandinavia

Nick Triani


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Cubicolor happened when Peter Kriek and Ariaan Ollieroock teamed up with UK vocalist and multi-instrumentalist Tim Digby-Bell in 2017. Their debut album ‘Brainsugar’ received international acclaim with bragging rights to over 40 million streams. As a three-piece live band, Cubicolor is able to showcase their wizardry at manipulating and texturing sound. Cubicolor continues their climb up the charts with the bands sophomore album, Hardly A Day, Hardly A Night and the new single Rituals.

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Amsterdam-based producers Ariaan Olieroock and Peter Kriek, and British singer-songwriter Tim Digby-Bell, Cubicolor are a band that smartly delivers conventional instruments alongside synth-driven melodies and thought-provoking songwriting. As I listened to them for about the dozenth time I struggled to compare them to any other band, they have a Cubicolor sound, but I eventually heard a bit of Low Roar in the mix, and that’s a good thing.

Their newest LP Hardly A Day, Hardly A Night comes four years after Brainsugar, their powerful debut that solidified Cubicolor as a formative force in underground electronica, accruing over 40 million streams, press from Mixmag, RA, and DJ Mag, and overwhelming support from the likes of Dixon, Ame, Tale Of Us, Joris Voorn, and Kölsch.

Thematically and visually inspired by impermanence and the cyclical nature of time, Hardly A Day, Hardly A Night can be seen as a culmination of seminal moments in the bands’ past few years. One significant moment being the completion and subsequent scrapping of their proposed second album in early 2018, as Digby-Bell recalls: 

“We got home and listened to it, then got on the phone with each other and decided to drop the whole thing. The next week we went back into the studio and started again. We didn’t keep anything, we shut ourselves on the boat in Amsterdam where we work and didn’t stop until we made the record we wanted to make.”

This unwavering dedication to sincerity is reflected in the emotions and sound of Cubicolor’s final record. Poignant lead single ‘Points Beyond’ reflects on the loss of Digby-Bell’s close friend, whilst second single ‘Wake Me Up’ explores our transient sense of identity. Instrumentals such as ‘Prelude’ and ‘Pale Blue Dot’ are imbued with these powerful themes in their arrangements, particularly evoking the sense of uncertainty that the band felt during the album writing process:

“There were a lot of moments when we weren’t sure we’d ever find what it was we were looking for. On the way, we lost friends, lost loves, battled health issues, lost an album, lost each other and came back together again. Looking back now it was pretty crazy but the world keeps spinning and I guess we just didn’t want to put out anything that wasn’t true to ourselves as a band, and the very best we can do as musicians, no matter how long it took.”

Hardly A Day, Hardly A Night tells the story of Cubicolor, painting a provocative but relatable picture of their evolution as a band.

The band will celebrate the album release by taking their live show to festivals around the world in the summer of 2020, I do hope they appear in my home town, as well as your’s because I think hearing them live would cement my attachment to their music.

The album is available to pre-order now, digitally, on CD and on limited edition 2×12” mirror board gatefold vinyl:

Press enquiries please contact

James Barker | Mystic Sons | Director

Tel: +44 (0) 2075 804 257

Mob: +44 (0) 7956 241 508

First Floor | Creative Works | 7 Blackhorse Lane | London | E17 6DS 

Press | Radio | Events 

Review by Norman @

Christian Cohle


Dubliner Christian Cohle’s debut video and song, Breathe, cue up heady ambient music that explores the disconnect between humanity and the world that we have created and live in right now. Synth’s weave in and out with bass and drum moving the songs forward. Christians sing slides in and out between the notes and everything comes together in an album that is a really good listening experience.

Cohle says: “Breathe was predominantly informed by experiences I was going through at the time, but also very much influenced by the neo-noir science fiction film, Blade Runner 2049.” I was hooked at the mention of Blade Runner and the music fits nicely with the content of the movie.


Breathe opens with what sounds like a double kick drum beat and from there moves seamlessly into synth and vocals that build momentum. I am pleased with the way Christian built tension, almost imperceptible at times, but never the less it did build and then release. The video, from the creative mind of Tristan Heanue, alternates between the starkness of a windswept beach to Blade Runneresque shots of Christian in a room alone. Wanting life but being broken and alone are deftly portrayed in both song and video. Director Heanue comments on the video; “The character struggles as his sense of connectivity to his world declines, and he is forced to adjust. Gradually he moves between this captivity and liberation, sometimes only briefly until he finally crosses over the threshold, and is freed, accepting his reality.”

Discussing the inspiration behind his new record, Cohle says: “Breathe was predominantly informed by experiences I was going through at the time, but also very much influenced by the neo-noir science fiction film, Blade Runner 2049.” 

Come on, an album that is influenced by Blade Runner hooks me right there, and then the music seals the deal. Christian Cohle is worth spending time listening to. And watch the video too, they are both darn good.




Bad For You

In the spirit of some of the best that rock and roll have to offer, AKA George is dropping a new EP, ‘Bad For You’. George Barnett, AKA George, got some serious musical traction with his YouTube cover of Daft Punk’s ‘Get lucky.’ It has garnered 30 million views, 30 million and 2, I listened to it twice today, and received attention from several labels and the BBC, which led to AKA George headlining the BBC Silverhayes stage at Glastonbury in 2016.


The first official release from AKA George, “Stone Cold Classic”, written, produced and performed by George and mixed by Grammy-nominated producer Dan Lancaster (5SOS, Bring Me The Horizon, Lower Than Atlantic, Don Broco) has 13 million streams to date on Spotify alone. George’s remix, Stone Cold Classic 3000, mixed by ShaneShanahan (Kanye West) was featured in an advert for a major car company that rhymes with soda.

The new single, Up All Night, from the soon to be released EP Bad For You, is streaming now, the EP will be released this April on the NYC label Anti Fragile Music. AKA George had this to say about his music: “I always want to make something fresh and exciting and new. I want to make songs that aren’t written by a committee. It’s a lot to ask someone to listen to your music. So it’s important to me that they’re hearing something authentic and genuine that comes from a real place… from a person.” 


That real person is George Barnett, AKA GEORGE, and it might get loud if you listen to his music. This is music that brings to mind The Raconteurs with the gritty guitar driving the beat, or even the good old driving classic Radar Love. Turn up the volume, roll down the highway and let the music take you away, Bad For You is good for me, and you.

AKA George’s first track “Up ALL Night” from the forthcoming EP “Bad For You” is out Feb 7, 2020, through AntiFragile.






Review by Norman Weatherly



My first listen to Erki Pärnoja’s new album Leva was very, very good, it hooked me from the first song, Maa, to the last, Saudade, and in between, I alternated toe-tapping with contemplative listening.

Erki Pärnoja_photo by Helina Kõrm_2[1]

Erki Pärnoja is an Estonian musician who has won numerous awards for his work with the indie-pop band “Ewert and The Two Dragons” as well as solo awards from his previous albums, “Himmelbjerget” (2015), “Efterglow” (2017) and and “Saja Lugu” (2018) It is easy to hear why he has been a favourite of the music community, he creates extremely listenable music. His primary weapon is the guitar, however, he is also a wizard at creating interesting soundscapes that harness everything from the Mali band Tinariwen, which he first heard in Canada, my home base, to ethereal instrumentation that has the ability to evoke images of islands at dusk or the solitude of a desert. Erki states: “The whole album is about living and the different lives people lead and that we can’t really get a look into other people’s worlds.”

Leva is the first time that Erki used lyrics with his surrealistic Nordic instrumentals. The lyrics of his opening song MAA “starts off as a harmless dreamy waltz and moves with baby steps into this vast open field with all the space and possibilities in the world.” MAA

I chose this one as an opening for the record because the song is revealing its essence bit by bit. The whole album is about living and the different lives people lead and that we can’t really get a look into other people’s worlds. The song gradually reveals a view into one world. It starts off as a harmless dreamy waltz and moves with baby steps into this vast open field with all the space and possibilities in the world. In the middle of the album, Erki states that the song EHA “is a story about the search for inner peace and belonging. It is also like a wake-up call to one’s self calling out to take a breath and look around.” Closing out the album and the third song with lyrics is SAUDADE. Erki states that this song “sums it all up for me. If you search for materials about Saudade you will find that the word is basically untranslatable. The best way to describe it is the presence of absence. It is a longing for someone or something that you remember fondly but know you can never experience again.” Check out the new video now for Soledad, described by “The Line Of Best Fit” as 

“Layered, plucky guitars with angelic, harmony-driven vocals”.

Erki Pärnoja – Soledad

Leva is a cohesive album that engages the listener from the opening chords to the closing string section. I highly recommend this recording, after three listens I could easily listen to it again.

Connect with Erki at:

Press enquiries please contact or

dranking songs of the midwest

Wikipedia has a whole category for songs about alcohol.

Google search “albums about alcoholism” and there are pages and pages of songs about drinking, very few albums, however, and not many lists, songs or albums about recovery.

Being a reformed alcoholic myself, as well as being a former addictions counsellor, I have listened to lots of songs and albums that deal with alcoholism and recovery. I won’t bore you with the whole list but I want you to know that there is a plethora of good music, and lyrics, about addiction recovery. Here is a shortlist of a few favourites of mine:

“12 Stories” by Brandy Clark


“III” by The Lumineers

III Lumineers

Lumineers co-founder Jeremiah Fraites said, “This collection of songs worked out in a beautiful way, and I feel with this album we’ve really hit our stride.” In an interview with NPR, Fraites and Schultz both explained how their lives have been impacted by addiction, and that this album was intended to chronicle the effects of addiction on family members and loved ones.

I will add that I was deeply moved by this recording and equally touched by the new album from Anothony Mills titled “dranking songs of the midwest”.final-coverart_RustyCadillac_800x800

Anthony Mills does not dodge the pain of addiction in his lyrics and that story is only reinforced by the sparse instrumentation, mostly jangly barrelhouse piano and cajon, that allows us to focus on the lyrics that are delivered in a style reminiscent of traditional plantation song storytelling as well as Anthony Mills hip hop and rap influences, which is where he started his musical journey. A journey that mingles the complex relationship of his deep south heritage as seen in the video “rusty Cadillac” with his family’s migration to the industrial north of the USA and their lives in blue-collar towns. “Blue Collar Work Ethic” was Anthony’s most recent release before “drunking songs of the midwest”.blue collar work ethic

In the song “rusty cadillac” Anthony tackles the rawness of using booze to suppress emotions and he also sings of the loneliness that often comes with addiction in the song “drinkin by myself (again)”, self-loathing in “stink”, honesty in “snake oil” and it all comes together as a package deal called “drankin songs of the midwest”.

I have listened to this album over and over today, just like I did when I got the vinyl of “III” by The Lumineers. These albums grabbed me and held me transfixed. Anthony tells us in “dranking songs of the midwest”, ah heck, I’ll just let Anthony tell you:

“I wanted to teleport the listener to the whorehouse, the saloon, with me and a piano man. Every statement is weighted with a shot of life, sweat and sex.
The feeling of wanting to get hammered, and there was always more going on psychologically, but that takes a back seat to getting ‘wet’ walking zig-zag and still
getting home”

And taking us home he does, in “dranking songs of the midwest” a most splendid, luminous and admirable recording, even the parts that hurt. Thank you Anthony.

New single & video ‘rusty cadillac’ came out January 17th 2020 on all platforms.

New album ‘dranking songs of the midwest’ is coming in April 2020.




For all press enquiries, please contact or

Review by Norman Weatherly



Cubicolor is the band name of former Duologue frontman  Tim Digby-Bell and Amsterdam-based producers Ariaan Olieroock and Peter Kriek, and electronic music is what they make. Damn good music is what they make, using both synths and music concrete they are adept at blending it together in a nice album called Hardly A Day, Hardly A Night.


[Album cover] CC-HDHN-Tab---Packshot_3000x3000_new_tab

It has been a long wait since their debut album, Brainsugar, was released in 2016, also on the electronica label Anjunadeep. The wait, however, has been worth it.

After shelving a complete album that would have been released in 2018 they replaced that albums 12 tracks with 12 tracks on their new album Hardly A Day, Hardly A Night, 12 luscious tracks that weave together the cycles of time and the planets along with feelings of loss, hope, and acceptance.

Blending the signature vocals of British singer-songwriter and former Duologue frontman Tim Digby-Bell with Amsterdam-based producers Ariaan Olieroock and Peter Kriek, Cubicolor is a band to watch for as they bring their one of a kind production and instrumentation to shows around the world in 2020. Cubicolor will kick start it with an album release event in London in February 2020, before taking their live show on the road in the summer. 

 ‘Hardly A Day, Hardly A Night’ is available to pre-order now, digitally, on CD and on limited edition 2×12” gatefold vinyl, due for release 21 February 2020. I can see this album becoming a listen that I can’t go hardly a day or hardly a night without listening to. Check it out:

Follow Cubicolor:







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Review by Norman Weatherly