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Sokolonko

Ukraine-based electronic producer 6TH CROWD (a.k.a. Dari Maksymova) presents her new single ‘Sokolonko’, inspired by an old harvest song. This is the first offering from the album ‘Step’ (the Ukrainian word for Steppe), which she was working on when Russia invaded Ukraine, turning the country into a war zone.  

“This is a Ukrainian song from Donbas, my dear home region, which Russia is tearing apart right now. I didn’t know if I’d have a chance to do it later. In my research, as I learned more about folk Ukrainian music, I noticed that modern culture has plenty of references to music from western and central parts of my country, but nothing from the east.  Nothing from my home. Culturally it simply didn’t exist. So I decided I wanted to change that balance and bring songs from East Ukraine back to life, to remind myself and everyone that Donbas is a historical part of Ukraine, no matter how badly Putin wants to destroy it,” says Dari Maksymova.

“If people don’t remember their own history, someone can rewrite it for them. And then come with guns to “defend” Russian people in Ukraine, Moldova, or Serbia.”

In 2020, 6TH CROWD emerged on the electronic music scene with her debut ‘Avoid The Void’ EP, which addressed certain issues regarding the newfound COVID-19 situation, social distancing, lockdown and quarantines. In 2021, she released the ‘What Happened’ EP via French label 50 Degrees North Recordingson the trail of 2020 singles 1312′ and ‘Не вивожу (Ne Vyvozhu)’.

“Over a week ago, Russia invaded Ukraine, shelling cities and killing hundreds of civilians. The Russian president calls it a “special operation” for “saving Russian-speaking people.” A more accurate term for it is “war”. And even more accurately is the intention behind this war: Russification, and Russification is cultural genocide. It’s clear that the ancient Greeks don’t exist, but we know of them because their cultural artifacts have been preserved. In the absence of their books, literature and artwork, we wouldn’t otherwise know anything about them as a people. Their history would simply cease to exist. That’s the goal of Russification – to remove all of the distinct and unique ethnic histories and merge them into one,” says Dari Maksymova.

“When Communists gathered different nations under the umbrella of the USSR, they desperately needed to rewrite history. They needed everyone to share the same bland fake ethnicity, they needed people to forget their roots. So people would never get second thoughts about belonging to ‘the great empire”, never question orders and the party line.  While, in newly-built cities, their Russification program was going pretty well, people in villages continued to be a real pain in the ass.  They lived and worked far from centralized sources of information and relied on the government very little… and didn’t rush to become Soviet people. Yes, they lived in the Soviet Union and yes, they worked in Soviet fields, but one thing they did that drove the Russians crazy: the villagers spoke Ukrainian and sang their own songs.”

She adds: “Before people had Spotify, they sang to themselves –  while working in fields, while fighting, getting married… they sang all the time. Those songs passed from one to another, along with very important information about people. What language they spoke, what they believed, what they hoped, who their heroes were. Songs from people are also songs about people.”

You can support 6TH CROWD by downloading this single, available via Bandcamp and Apple Music, who will donate proceeds to Vostok SOS, whose humanitarian campaign includes helping people evacuate and providing humanitarian aid and psychosocial support, with hotlines for affected people and a team on the ground in the region, coordinating aid.

You can also add this song to your Spotify playlists. But the most important thing right now is to support Ukraine. You can donate to humanitarian missions, directly to the army, spread awareness about this ugly war, and join demonstrations in your city. There are also many other ways you can help Ukraine now and numerous options for supporting humanitarian aid efforts in the region.

Bandcamp https://6thcrowd.bandcamp.com/album/sokolonko
YouTube https://youtu.be/-XXLDxVkKE8
Spotify https://open.spotify.com/album/0S0znk9tCYKyLdcRFpcJw9
Apple Music https://music.apple.com/us/album/соколонько-single/1611393289
How to help Ukraine https://bit.ly/36V7Ff6
More on how to help Ukraine https://bit.ly/35weaog

Svoboda, Nadezdah, Pravda

British avant-pop artist  Nick Hudson presents his new single ‘Lights Svoboda’ (translates as ‘Lights Freedom’), recorded together with Kianna Blue, his bandmate in The Academy of Sun. Out in time for Bandcamp Friday, all proceeds will go towards charities directly involved in humanitarian aid efforts in Ukraine.

While the framework of this song originated six years ago during epic recording sessions for The Academy Of Sun’s 2020 opus album ‘The Quiet Earth’, it didn’t end up being included on that album. Now, global reality has tragically and uncannily come to resonate with the song’s poetically fractured scenes of dictatorship, nuclear threat and razed landscapes.

Returning from a month in the formerly Soviet republic of Georgia and watching in horror as Russia launched its attack on Ukraine, Nick felt desperate to apply his skill set to a tangible purpose within the crisis and here we have it – a desolate hymn woven with the plaintive vocals of Kianna Blue and the haunting schisms of the Faemi M1 analogue synth.

“The opening features a recording I made in Georgia, into my Soviet cassette recorder, of my 20-year-old Russian exile friend who fled to Georgia to avoid facing criminal charges for protesting Navalny’s imprisonment. I had him say “freedom, hope and truth” in Russian. He’s headed to join the Ukrainian army this week,” says Nick Hudson.

“It features myself on piano, voice, Soviet analogue synth, melodica and field recordings, and Kianna Blue on backing vocals and bass. Originally written for The Quiet Earth but now uncannily and undesirably relevant.’

A Bandcamp exclusive, 100% of the proceeds will be donated in support of two charities carrying out humanitarian work on the ground in Ukraine – Red Cross Ukraine and Razom For Ukraine – each of them covering slightly different areas of aid. Further, Revolut Bank will match contributions to Red Cross Ukraine over the next week. Download the single via Bandcamp and learn how you can support Ukraine and its people at this critical moment in world history.

‘Surkov’s Dream’ https://youtu.be/2vwSuA3Lmj8

Svoboda, Nadezdah, Pravda (Freedom, Hope and Truth

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Thirsty Eyes with A Certain Regard

A touch of Reverend Horton Heat? Reminiscent of Reverend GlasseyeJerry Jerry and the Sons of Rhythm Orchestra also came to mind. I have no idea what in the heck is going on. A band that toes the line between genius and insane, matching the frantic antics of Thee Oh Sees with off-kilter eccentricities of Black Lips and Fat White Family. Titillating in every sense of the word, the new full-length is a freight train of explosive riffs and unbridled synergy. Just for fun, let’s throw in Manraygun with their smooth guitar work.

1https://www.youtube.com/watch?v=SG8p7_2kMGA

Thirsty Eyes present a collection of songs, A Certain Regard, written by Samuel Ebner and produced by fellow band member Philipp Moosbrugger. The band enjoyed independence while they craft-brewed their debut record. Each track sits comfortably within its niche and encompasses a wide array of musical influences along the way, with Chickenbeat, a reference to garage rock vets, The Monks. Pop Sent was initially composed for a 17-piece jazz orchestra. The spine-tinglingly ominous focus track Alaska is a tribute to jazz gods Stan Getz and Benny Golson

Amidst the rich and wily capital of swaggering riffs, steel guitars and low-strung vocals, Thirsty Eyes‘ debut is inoculated with hard-hitting themes such as homelessness (Honolulu Homicide), chauvinistic fathers (In Viagra), questioning your childhood values (838) and loving someone with Asperger’s (Sweet Marian). Despite these small keyhole insights of the thoughtful lyricism of Thirsty Eyes, they want the album to be as much the audiences as their own: 

“We see this title as a sort of canvas, it speaks for itself, and the viewer is invited to use his/her own imagination. We do not wish to interfere with this process by stressing it with further explanations.”

Deliberately aberrant, rough, and unpolished, Thirsty Eyes are recognized as one of the significant pillars in the falling masonry of Vienna‘s modern raunch, damning contemporary prepossessions for the self-important, humourless, and dull. After five years of fine-tuning, the Austrian rawk-n-rollers bestow their debut album A Certain Regard

The Thirsty Eyes message addresses the growing materialistic culture of modern society, where people are increasingly driven by the external, the flashy and the superficial. With a particular focus on the indoctrinating power of social media, the group coined their name from the act of staring longingly at other people’s lifestyles and belongings or being thirsty-eyed. 

This motif of questioning the world is carried into the debut album, characterizing “Storm and stress, decency and humility.” With its title derived from the Cannes Film Festival category Un Certain Regard. A prize given to filmmakers whose work is unusual and not easily categorized, Thirsty Eyes set the tone of their debut album in three simple words, A Certain Regard.

I love this album from start to finish, and the lyrical content is an array of themes from the mundane to the tragic. Play A Certain Regard, and play it often. A Certain Regard will quench the thirst for music. Thirsty Eyes for thirsty ears. Bartender set up another round.

Created with RNI Films app. Preset ‘Kodak Elite Chrome’

I love the vocals on Pop Sent; it sends shivers up and down my spine.

Pop Sent drops on 4th March 2022, and following is A Certain Regard on 25th March 2022, both released on Haldern Pop Recordings.

//www.youtube.com/watch?v=SG8p7_2kMGA

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Sugar är en fantastisk inspelning.

We would have an excellent band if Michael Been had been from Bollnäs instead of Oklahoma, and Marianne Faithful had contributed vocals alongside Arcade Fire.

That is speculative fiction. Here are the facts, nothing but the facts. https://www.snopes.com/fact-check/just-the-facts/

MFMB is a band founded in 2005 in Bollnäs, Sweden. 

They are currently bouncing between Malmö and Stockholm.

The band consists of six members:

Joakim Lindberg (he/him) – guitars

Vic Narin (they/them) – vocals

Christine Björk (she/her) – vocals

Kristoffer Bäckström (he/him) – drums

Erik Nilsson (he/him) – drums

Sebastian Hedberg (he/him) – bass

Their new album Sugar is seven years in the making, marking nine years since their last full-length release, Colossus (2013).

It has been a bumpy ride.

The tours following Colossus took their toll, leaving MFMB in a state of relational friction.

Work on a new album began.

A consensus decided that composing songs should be democratic.

With each member contributing something creative to the mix.

Further tension followed this resolution.

They were not always the best of friends.

Priorities changed.

Members quit, then joined again.

It was never easy.

You can hear it on the new album, Sugar.

Every song results from differing opinions fighting it out until they reach a compromise.

Every fine detail meticulously tended to.

It is the new yet familiar sound of MFMB, ringing purer than ever before.

The resulting album, Sugar, was written, recorded and produced in Studio Sickan in Malmö, which the band’s guitarist Joakim Lindberg runs.

Now, here are a few words from the band.

“This one, just kind of, fell into place, all by itself. It was very early in the process of making the new album, and we thought that maybe the whole thing would be this easy. Just let the songs finish themselves; it’s a cakewalk! We were very wrong. Sugar did, however, set the standard (as well as the title) for the rest of the album. 

“It’s about the weight of existence and the deceptive allure of taking the easy way out.”

The recent focus single ‘Harvest.’ has a new cut as a dark and more ambient offering, focusing more on the darker and atmospheric energy they have been cultivating in their absence.

Speaking about ‘Harvest,’ the band describes it as “A song about the fear of losing it all. Harvest established the specific kind of gloomy ambience that we wanted for the record as a whole. We’re very fond of the guitar solo in this one. Right at the end. It’s a nugget.”

Ending this decade-long hiatus, the members of MFMB have remained highly prolific throughout the last few years. With many pursuing their projects and guitarist Joakim Lindberg becoming one of Sweden’s most in-demand producers, working with Hey ElbowSpunsugarThis Is Head and many more. Now is the time to see the group return to the head of the pack as they plan for new material to come over the next few months.

MFMB are also notorious for their blistering live performances. The mixture of dual drummers and two lead singers has given the band a distinctly raw and visceral sound, which we have long missed in their absence.

MFMB‘s new album ‘Sugar‘ is available to stream and download from the 25th of March via Adrian Recordings.

The closer on this album, Six-figure Income, is nothing short of epic. I would love to see MFMB live and close the show with this number. Which will happen first, them touring western Canada or me touring Sweden? I think the money would land on me travelling to Sweden and spending some time with family living there.

It’s incredible music anyway that you hear it, live, streamed, or physical copies.

Sugar är en fantastisk inspelning. 

https://www.facebook.com/mfmbband

https://mfmb.bandcamp.com

https://soundcloud.com/mfmb

https://twitter.com/thisismfmb

https://www.youtube.com/user/MFMBfolded

https://open.spotify.com/artist/3KGC1KE7hhOa5O3VLago08?si=jI-oaOeAQ5Oz4NxmGu9ELw

For all press enquiries, please contact james@mysticsons.com

You, Me and Everything Else

I seldom do single songs or stand-alone videos, but I am making an exception for this one.

The creative energy comes from Friendmaker. Hailing from Carrickmacross in Monaghan County, near the border with Northern Ireland, David Marron (vocals and guitar), is joined by Maolíosa McMahon (vocals and keys), Paul Finn (guitar and vocals), Paul Markey (bass) and Fintan Marron (drums). Friendmaker combines Marron’s endearing storytelling approach and insightful lyrics with a rich soundtrack of carefully crafted folk-tinged indie rock.

“We like creating songs where every note and every lyric is carefully considered, but we also like embracing the accidental stuff. We like to make songs that have a familiar warmth before bringing the listener with us to darker places. Then we use melody and humour to keep the listener there forever! Ha! but yeah, we’re just a rock band making the kind of music we would want to listen to. We live for those floaty moments when a song begins to magic into life,” says David Marron.

For David and Friendmaker, it would take a global pandemic and an unsold car to get back on track, diving deeper into music with the isolation of the lockdowns spurring him to be more social in his creativity. David was also faced with a life-changing choice: “In early 2020, I had saved a few quid to upgrade my car. If lockdown hadn’t happened, I definitely would’ve changed my car, and I don’t think any of this new material would exist. Thankfully the money I had saved for a car was instead invested in proper recording equipment, and so, over six months, I built a studio and began writing and recording. New ideas flowed seamlessly. The new environment was inspiring, and the songs kept coming. I was writing the best music I had ever written, and you’ll be glad to know my car is still hanging on too, but just.”

On the video, Marron notes, “I used the lyrical themes as a jumping-off point for a tangential narrative. We’re introduced to a confused character, confronted by two temptress figures inspired by the Selkies & Sirens of Celtic Folklore. In this context, they represent opposing poles of thought, the left brain, the right brain, certainty and doubt, the proverbial two paths. Our character is drawn to the sea as his mind dances in thought between harmony and chaos. He seeks control of the inner turmoil and, through that journey, realizes as he nears his point of breaking that it is the very obsession of control that errs his equilibrium and that it is in the actual relinquishment of authority that he finds an inner peace….. for now anyway. At the end, we leave our protagonist where we first met him. He knows similar difficulties may lie ahead, but the experience will leave him better prepared for battle.”

On March 3rd, ‘You, Me & Everything Else’ will be released via the band’s Imprint House of Strange Vinyl and available everywhere digitally, including Bandcamp.

Keep up with Friendmaker

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YouTube https://youtu.be/LIsYwDiGVy4

Pre-save the single https://bit.ly/34VFBaw

Bandcamp https://friendmaker.bandcamp.com/track/you-me-and-everything-else

Soundcloud https://soundcloud.com/friendmaker/you-me-and-everything-else/s-giesCKcMBc1

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Telefís

I have a good problem. So, here’s the deal. Occasionally I get an album in the mail asking if I would be interested in doing a review. I’m not too fond of negative reviews, so I delete and move on to the next one if there is a stinker. I don’t get many of those, so that is not a problem or the problem. Most of the albums that I get are good, and I enjoy listening to them and then writing my thoughts about what I heard. No problemo, I can do that easy peasy. The sound problem is the artists and bands that soar above and beyond the hoi polloi.

I have one of those albums staring me down and challenging me to write even one iota about it. The album is from a band that I wrote about back in January of this year, Telefís. I did a short review of their EP “Falun Gong Dancer,” which I gave a glowing review. That was close to being a problem, it was knocking at the door of that rarified atmosphere. Then Telefís cranked their music up to 11 with their new full-length album, ‘a hAon‘, Wimple Discs will release it on March 4, 2022. I am typing this on March 2. I got the album in the mail on February 24. I have had a hAon languishing in my inbox for a week, while I wrestled with the problem of what to say about an album that leaves me speechless.

Tactic number one, when I am stunned beyond words, deflect. Here are some interesting facts about the musicians involved, cut and pasted from the press release.

Telefís (the Irish Gaelic word for Television, pronounced Tele-feesh) is a collaboration between two acclaimed ex-pat Irish iconoclasts, in-demand composer/mixer/producer Garret “Jacknife” Lee (U2, R.E.M., Modest Mouse, The Killers, Snow Patrol, Crystal Castles, Editors) and singer-lyricist-composer Cathal Coughlan (Microdisney, Fatima Mansions and many acclaimed solo works). Having known each other vaguely in Ireland’s early 80s post-punk scene, Jacknife, currently based in L.A. and Cathal, a native of Cork, lives in London. A timely re-introduction by a mutual friend led to the two spending 2020 trading ideas and musical files during the lockdown, hatching plans for a satirical, mischievous examination of Irish history and the pop culture of their lifetimes, which the two have labelled ..” a corrosive nostalgia.”

Tactic number two is to add a quote from the artist/s.

“Collaborating in this way, with a dynamic and consummate artist, who has access to a wide range of skills which I don’t have, but with whom I share many common interests and cultural/historical reference points, has been one of the highlights of my creative life. It’s made me so glad that I’ve been able to remain active for long enough to see something like this happen. Easily as spontaneous and full of surprises as any in-person collaboration, it’s shaken loose many weird and hopefully wonderful things in my verbal workshop. And nobody has heard me use my voice in some of these ways before now, either,” says Cathal Coughlan.

Jacknife Lee adds: “I’d just finished mangling a Luke Haines and Peter Buck record. Luke knows Cathal and re-introduced us. On the first or second correspondence, we thought we should make some music together. Music is probably the only way I can properly communicate with someone. I sent Cathal the backing track that would become “We Need,” and he sent me back the vocal, and we went back and forth from there. Lockdowns and travel restrictions forced us to work remotely, and I think helped us get to where we got so quickly. Cathal is, without doubt, one of the finest lyricists of our time and writes like no one else. Some of the vocals he sent over made me burst out laughing with giddiness and delight at the novelty of them. Mischievous, dark, arcane, crispy fresh, and always unexpected. Every song with a backstory that could be a novel. This is easily the most enjoyable and rewarding music that I’ve been involved with.”

Cathal Coughlan comments on ‘Ballytransnational’: “A gaunt wooden rollercoaster overlooks the flatlands leading to a land border which, for many years until now, used to count for nothing. It used to be the topic of rueful recollections from decades past, but the received wisdom was that the bad old days were over, and seamless moving of fluid identities and capital now ruled the day. Public health concerns and political ferment have now given way to protectionism of many kinds. As the generation who understood the damage caused by that border passes away, the border’s time has come again. And it says: you’re never going back.’

Tactic number three, fade out.

Part celebration, part satire, Telefís is an exploration of nostalgia as experienced in the present day by natives of what was formerly a culturally sealed-off small country on the very fringes of Europe. It also points a critical finger at today’s global hierarchies, inspiring the strange characters and caricatures that spring from Coughlan’s fertile imagination. Stark forms of imagery, bizarre to the modern eye and ear but treated as routine in the pre-globalization world, are pushed at the listener and viewer. On the musical side, Jacknife Lee uses his extensive sonic palette to create an irresistible mix of cinematic instrumentals and electro-funk backdrops full of melodic, squelchy synths and booming bass lines, often with a cheeky nod to electro-pop history.

Tactic number four. On March 4, the ‘a hAon’ album will be available on CD and Vinyl, both with a two-sided lyric sheet insert and across digital platforms. Physical orders are available at https://ffm.to/telefisahaonand the digital album can be pre-ordered at https://orcd.co/telefisahaon. Purchases from the U.S. will be available at http://ffm.to/telefisusa.

‘Ballytransnational’ https://telefis.bandcamp.com/track/ballytransnational

‘a hAon’ LP order (CD and Vinyl) https://ffm.to/telefisahaon 

‘a hAon’ LP order (download) https://orcd.co/telefisahaon 

U.S. album order http://ffm.to/telefisusa 

Bandcamp https://telefis.bandcamp.com/album/a-haon

TELEFÍS SINGLES

‘We Need’ https://youtu.be/0WY3tuOZsGc

‘Mister Imperator’ https://youtu.be/DvJlGwXV6IE

‘Falun Gong Dancer’ https://youtu.be/lC9DfC2kHas

‘Falun Gong Dancer’ with Jah Wobble https://youtu.be/0vM0EKu9yYQ

Telefís – YouTube video playlist https://bit.ly/3qYBpOA

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Tactic number five is not a tactic, just my take on this remarkable album, a hAon. I like it. I like it a lot. I am particularly fond of the video for the song “We Need.” a hAon is a solid 9.5/10. Time will tell if it evolves into the rare 10/10 category. It is certainly on a trajectory to there.

Home by 22 Oceans

British indie pop artist 22 Oceans presents their new single ‘Home’, a beautiful slice of Americana-tinged minimalist electronica previewing their new 5-track ‘Home’ EP, released via 72rpm Records and mastered by renowned producer Marc Joy (Primal Scream, Mike Peters, Oasis, Bernard Butler, Golden Fable, Louise Trehy) at Ferndale Studios in Wales.

Since emerging on the indie music scene in 2020, 22 Oceans has been presenting a steady string of new music. While influenced by 80’s influenced synthpop, their new single brings this artist into new territory while retaining their trademark ethereal vocals.

Based in Merseyside, this project is the brainchild of Mike Guy.While originally a solo project, 22 Oceans has blossomed into a fruitful trio, graced by the vocal and songwriting talents of twin sisters Carys and Keeley Hughes, whose stellar tandem of vocal harmonies complement a backdrop of lush, layered sounds.

‘Home’ follows up the singles ‘Drifting’ and ‘Broken’ feat. Jo Madden, both of which were released in 2021. The early 2020  ‘Butterfly Candy’ EP saw Mike Guy collaborate with Wales-based dreampop artist Lights That Change, while the subsequent‘Paradise’ EP featured Liverpool vocalist Rachael Dunn and also involved Orchestral Manoeuvres In the Dark (OMD) co-founder and drummer Malcolm Holmes.

“The song ‘Home’ was inspired by ideas about returning to the comfort of your home, which doesn’t necessarily have to be a place, but rather the people who have made a large impact on your life,” says Mike Guy.

“The song is rooted in the feeling of happiness you feel when thinking about the memories you’ve made with people you enjoy spending time with. It is a reflection of how we are always connected to those we love, no matter how much time may have passed.”

As of February 22, ‘Home’ will be available across online stores and streaming platforms, including Apple MusicandSpotify. ‘Home’ will be offered as part of a full 5-track EP 

‘Home’ https://youtu.be/hZhSNCUDKj0
Bandcamp  https://22oceans.bandcamp.com/track/home
Spotify https://open.spotify.com/album/2WGHAy5OpNTFrj0kmQ5BJf
Soundcloud https://soundcloud.com/22oceans/home
‘Drifting’ https://youtu.be/ZCCqsABNOxsexclusively via Bandcamp.

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Beauty is timeless.

VONAMOR

‘Never Betray Us’ https://youtu.be/Ll7nO0cXI_A
‘Fast-Forward Girl’ https://youtu.be/kJX7Uujc9E4

This is VONAMOR, and they make music. Allow me to introduce you.

On vocals, bass and metal flute we have Giulia Bottaro

Her sister Francesca Bottaro makes music on the drum station, sequencer, saxophone, clarinet, and synth.

Luca Guidobaldi does vocals, and he does them very well.

Francesco Bassoli is heard on the LP playing guitars and loops.

For live performances, Martino Cappelli can be heard on guitars, mandolin, bouzouki, oud, and more loops.

VONAMOR is an escape plan, our treasure island, a thick and savage jungle that gives you the chance to let your prayers and whispers reverberate like a church. We used the music in this album to walk paths that we hadn’t known before, to connect Rome to Paris to Berlin to Beijing, to mix techno music with folk, to let our voices and bodies mingle and dance to an incredibly weird yet familiar beat, and finally to search for a boom of love and light into the dark of our everyday’s life: yes, VONAMOR is a boom!” says Luca Guidobaldi.

“Through our darkwave music and words, we search for the question, the ambiguity, the multiform influence of a variety of demons. We feel the urgency of questioning ourselves, our fellow human beings and the reality around us,” says Giulia Bottaro.

VONAMOR incorporates electronic beats with elements of punk, hits of classical music and clever lyrics written in several different languages, including English, Italian, French, German and even Chinese.

VONAMOR also has more than passing interest in Russian history, especially the last hundred years, give or take a decade. The first hint of this is their band name. I googled vonamor and found next to nothing. I thought it might be associated with amor, the Spanish word for love and von is used to establish places of origin. And it might be the start of something lovely, or it could be a ruse to distract me.

Because it then occurred to me that it VONAMOR is ROMANOV spelled backwards. So after listening to this album half a dozen times and coming up empty-handed, I went back, and I listened to the lyrics and the music in a new light. That new light shone upon the end of the Russian Empire through the Bolshevik revolution that led to the creation of Soviet Russia, which birthed the Soviet Union and eventually became the nation of Russia that we have today.

Through clever lyrics and the use of music as a medium to tell stories, VONAMOR takes us on a journey starting in “Empire 2049.” They begin at the end of the story in many ways, such as placing us in an abandoned Soviet building. But they tie Russia of today to the revolution of over a hundred years ago, “a place where all your enemies would bring you and tie you up.” Not much has changed over all those years, and still, “your empire grieves for you.”

Lucky You, “the world as you think you know it is ending.” In fact, “all empires are ending” through the Great War, the Bolshevik Revolution and Ukraine today. “We’ve got just the walls left and the wars left, and they’re not so cold anymore.” History is relegating the Cold War to the history books and ushering in a new era. A new age where “There’s no more truth, it’s all fake news and fake truths and things that have been misunderstood. Misunderstood. Be afraid.”

We should be afraid because what we see happening from the comfort of our homes may not be this way for long. Be afraid. Be very afraid. Lucky you.

Never Betray Us might have some deeper meaning than what we hear but what grabs me on this one is the haunting vocals and that exhilarating bass driving the song forward.

I’ll skip along a couple of songs here. They are good ones, too, but I like Mother Night. It builds on a riff that carries us through what I think is French, but it doesn’t even matter at this stage because I am being carried away by the music. It is fast, it is furious, it is love, it is fear, it is a plea—a plea for you to stay by my side. Please stay by my side because I am afraid.

Fast Forward Girl is a thrashing track that brought visions of Grace Slick to mind, which takes us to the closing track of this album, Wilderness. Between the start of this album with the Empire of the Romanov family, where does all this lead us? It led the Romanov family to the wilderness. In the wilderness of Russia, the remains of Nicholas, Alexandra and three of their children were found. We have travelled from an empire to a wilderness in 36 minutes. What a trip! Thank you VONAMOR

‘Vonamor’ LP teaser https://youtu.be/zsHYz9EN968

Album order https://bfan.link/vonamor

CD order https://timetokillrecords.bigcartel.com/product/vonamor

‘You The People’ https://youtu.be/ZV84m-m2xus

‘Take Your Heart’ https://youtu.be/jmlNr0qzEZQ

Spotify https://open.spotify.com/track/1Z1PVhoEKKebDJ6ZpOdwLm

Order the single https://linktr.ee/vonamor_band

‘Never Betray Us’ https://youtu.be/Ll7nO0cXI_A

‘Fast-Forward Girl’ https://youtu.be/kJX7Uujc9E4

Keep up with VONAMOR

Website | Facebook | Instagram | Twitter YouTube | Soundcloud | Apple Music | Tidal | Deezer | Spotify | Press contact

Keep up with Shameless Promotion PR

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The Sun, The Moon, and The Panjoma

That is a terrible title to this blog, my apologies to the band Panjoma. I hope the remainder of this blog is in better taste. Panjoma started as a musical entity in 2006, around the nucleus of Mary Panjoma (vocals, keyboard, production) and Patrik Nilsson (bass, drum machines, samplers, production). Finding common ground upon meeting, they got married and gave birth to a band called Panjoma. Pat and Mary remain committed to their shared musical quest despite their subsequent divorce.

Panjoma‘s studio and live performance members (past and present) include Ricardo Acevedo (Lost Cat Magnet, O’Clock), Ritchard Napierkowski (The Nimbus, Ritchual, Adoration Destroyed), John Ousely (Construction Paper Records, Cosmic Pets), Richard Evans (Rivers Want) and Chris Alvarez (Saul Williams, John Spencer Blues Explosion). An impressive lineup that helps Panjoma make great music.

The EP’ Sun and Moon’, Panjoma’s first release in eight years, followed 2014’s ‘Personacide’ and 2012’s ‘Panjoma’ albums. What genre box is their music in? I call it music. The press release called it an avant-garde darkwave electro femme-pop DMT-jazz band with a funky edge. Panjoma’s sound is as eclectic as its influences. Influences range from Bjork, Aphex Twin, Orbital and Squarepusher to Thundercat, Nine Inch Nails, Primus, Daft Punk, Le Chic, Mr. Fingers, Jazzanova and Depeche Mode.

“Our influences behind the ‘Sun and Moon’ EP are love, philosophy, and psychedelics. The ‘Sun and Moon’ single, which drives the dreamy vibe behind the whole EP, is all about how the Sun and Moon are forever following each other, forever longing to be next to each other but forever being unable to be together. The theme transitions into dreams, where anything is possible,” says Mary Panjoma.

Panjoma experiment with conventional instruments used in unconventional ways. E-bows on bass and filtered pianos are in their arsenal, as well as a vast array of drum machines, samplers, keyboards, software programs, and synthesizers.

Once again, I found myself listening to a musical entity that I knew nothing about and had to search out their back catalogue and get to know them. While not extensive, it is nonetheless captivating. “Personacide” got my attention, and I had to listen to it a couple of times and let it sink because a lot was going on. They used sampling to significant effect, and I found I had to sit still and let the music come to me. I couldn’t listen to it as background. It required my full attention. There are little gems tucked away here and there that would be easily missed otherwise. The same goes for their self-titled follow-up, with the cover of War Pigs being the listening gem that caught my full attention.

‘Sun and Moon’ and ‘Free’ are out now across digital platforms, including SpotifyBeatport and Apple Music. The ‘Sun and Moon’ EP will be released on February 26 and ordered directly from the artist via Bandcamp.

Order / Bandcamp https://panjoma.bandcamp.com/album/sun-moon

‘Sun and Moon’ https://youtu.be/Z7z2HyetkAo

Spotify https://open.spotify.com/track/6hfn6xNzP9jUs4HRTombBh

‘Free’ https://youtu.be/wPGdrqySQrs

Spotify https://open.spotify.com/track/4lJpZpBHiP1ayuoSdWCjVm

‘Sun and Moon’ (Radio Edit) https://soundcloud.com/panjoma/sun-moon-radio-edit/s-4QDInKAzbLz

EP pre-order / Linktree https://linktr.ee/panjoma 

Keep up with Panjoma

Website | Bandcamp | Facebook | Twitter | Soundcloud | Instagram | YouTube | Spotify | Beatport | Apple Music | Press contact

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The Speed Of Sound

Manchester underground outfit The Speed Of Sound present ‘Blood Sweat And Tears’, the darkest song on their acclaimed ‘Museum of Tomorrow’ album; where buzzing fuzz guitar lines emerge from a delicate acoustic introduction to intersect with the crashing chords and the ‘bulbous pulsing’ rhythm section” (Record Collector Magazine).

‘Blood Sweat And Tears’ raises a punk rock fist of anger for the downtrodden at the structural economic forces that simultaneously drive high rents and low wages in the dystopian reality that is the 21st Century, where a living wage is insufficient to live.

This song represents a cry for humanity at the inhumanity of corporate indifference. Protest is never useless. In the video, a dreamlike high street shopping scene forms the visual backdrop, where people are recast as mere consumers and resources to be exploited.

Hailing from Manchester, The Speed Of Sound’s music is optimistic, but with lyrical bite, a punk-inspired DIY ethos and lust for experimentation rooted in psychedelia. Formed in 1989 with a pre-history dating back to the day Andy Warhol died in 1987, The Speed of Sound lies deep below the ‘music industry radar’, allowing for the evolution of their own distinctive sound and live act.

The Speed of Sound is made up of father and son John Armstrong (guitars and vocals) and Henry Armstrong (keyboards), Ann-Marie Crowley (vocals and guitar), Kevin Roache (bass guitar) and John Broadhurst (drums).

‘Museum of Tomorrow’ is out now via Big Stir Records. Released 32 years to the day when the band’s debut EP saw the light of day in 1989, the new LP is available digitally, on CD and limited-edition 170g heavy weight vinyl (black and colour).  Find the album on Apple Music,SpotifyBandcamp and Big Stir’s website.

‘Blood Sweat and Tears’ https://youtu.be/Rxqlf6VX9f8
Album order https://orcd.co/thespeedofsound-bsr 
Bandcamp https://bigstirrecords.bandcamp.com/album/museum-of-tomorrow 
Spotify https://open.spotify.com/album/6s96Co6peJTqZUOHJgDiRn
‘Wired and Tired’ https://youtu.be/956CUQ3iFKc
‘Last Orders’ https://youtu.be/cJ0dulAy9-8 
‘Opium Eyes’ https://youtu.be/ss69hWrCY_s 
‘Tomorrow’s World’ https://youtu.be/3lEovb1GxrQ