There’s nothing worth reading on this page except the links to this amazing new recording:
AnthonyOKS – In The Garden (EP)
I lost count of how many times I listened to this. I can’t write anything to describe it with grace and accuracy, you just have to hear it for yourself. I am going to sip on a coffee and listen to it again while you do the same, hopefully.
AnthonyOKS – In The Garden (EP)
PRONUNCIATION: Anthony Oh-Kay-Ess ANTHONY OKS ONLINE: INSTAGRAM: @anthonyoks TWITTER: @AnthonyOKSmusic FACEBOOK: @AnthonyOKSMusic WEBSITE: anthonyoks.ca PUBLICITY CONTACT: Trevor Murphy | trevor@trevormurphy.ca
Post-punk outfit Creux Lies have announced that they will release their second full-length album, ‘Goodbye Divine,’ via Freakwave, a Berlin-based label part of the Schubert Music Europe group. Nearly a year in the making, fans can expect both arrivals and departures from what they may be expecting, as the band offers a complete range of emotions throughout this collection. The previously released the monster single Misunderstanding to glowing reviews.
Hailing from Sacramento, California, Creux Lies has many parts. Ean Clevenger is on vocal duty and programming. Barry Crider plays guitars as well and contributes his vocal talent. Pounding out the bass lines, we have Kyle Vorst. Last but not least, David Wright conjures magic on synth and drum programming.
Know far and wide for their reverb to the max guitar work, inventive synth constructs, and layers of high-octane vocals, Creux Lies have paid their respects to the dark power-pop/punk of the 80s and 90s and have emerged with a sound that pays its respects to the past while charging into the future.
“Misunderstanding emerged from part of this strange writing session/coping moment during the world shut down, awakened with this “whoa-oh, oh-oh” in my head from a dream and went to the computer just after dawn. As with many tracks on this latest album, my tentative register was landing a bit lower from trying to sing it out in the early morning hours. So, the profound moody thing resonated, and the song unfolded around my fingers on the synths,” says Ean Clevenger.
“The Creux added some great additions during production and elevated this song to what it is today. Ironically, the lyrics and message behind the track illuminate a moment of clarity when the misunderstanding of a perspective actually reveals itself as absolute authenticity.”
I have the privilege of having a forward copy of the new album from Jonny Woolnough, Mayurqa. I, fortunately, was asked if I would like the opportunity to write a post about the new single from the title track Mayurqa. I immediately dived into the whole album and subsequently got it way over my head.
The request was for the title track, only, not for the whole album. The album will be available on November 19th 2021. That gives me over a month to properly listen to this eloquent and enchanting musical missive.
So, back to Mayurqa and what I think about it as a single. It’s good. Have a listen below and come back on November 19th to check out the entire musical journey of the album Mayurqa by Jonny Woolnough. Here’s a teaser; it is racing to the top of the WeatheredMusic charts well ahead of its debut.
Ponderous and carrying the world’s weight lumbering keyboards are carried aloft by a whispering wind blowing words across the stage that the ballerina is dancing on. A swirling maelstrom soon pours forth with anguished vocals and music that still thunders under the world’s weight but with momentum on its side now. That, my friends, is a great show opener. Sea Howl is the name of the song. The name of the album that gorgeous track came from is Horses In TheAbattoir. The creative force behind this tour de force is the duo of Sean-Patrick Nolan and Shawn Tucker, a pair of Canucks from the center of the known universe, Toronto, Ontario, Canada.
The next song on the playlist is Mouth Poisons; “The core sketch of this song was written late at night at a very good friend’s place in Frankfurt, Germany. ‘Mouth Poisons’ is an extremely personal song, and lyrically I set myself up as the main target.” It carries an air of ‘come see what’s going inside of me that wants to burn down everything in sight. Definitely my favourite single we have ever released to date,” says Shawn Tucker.
‘Mouth Poisons‘ was initially supposed to be a fast, angular punk track, and it remained in this form for several months until Shawn wrote the bass guitar part and completely changed the way I heard the song. His melodic bass line brought out a sadness and vulnerability in the track that I didn’t know was there. All of a sudden this frantic punk song sounded more like The Smiths or New Order, so I completely rewrote my synth part to tease out those elements even more. The break before the outro is one of my favourite parts on the album,” Sean-Patrick Nolan tells us.
Mouth Poisons has some very pointed lyrics, and I found them poking me several times. I felt there is a fear in what lies ahead of us and a sense of loss in the lines,
“I tried to hide these awful thoughts
Of all the time we haven’t got”
And then the song turns to anger and a feeling of dejectedness and futility.
“Life’s a lie, and now it’s said.
Making dimes until we’re dead
I will be forever young.”
In the song Oh Ballerina, the protagonist has a bleak view and keeps trying to run away. I have tried this method of problem-solving. “The only problem with running away is that no matter where I run, I am still there.” I attribute that quote to a friend of mine, so no matter where I run, a little bit of Andrew is always with me. Thanks, bro
And now, thanks to TRAITRS, a bit of them will always be with me through their music. Thanks, Sean-Patrick Nolan and Shawn Tucker. This album started strong and kept that momentum going for the full forty-four minutes of playing these 11 songs.
On November 19, the full-length ‘Horses In The Abattoir’ will be released via Freakwave, a Berlin-based label part of the Schubert Music Europe group, with distribution by The Orchard.
The Persian Leaps present their new album Drone Etiquette, released via Land Ski Records. Firmly established on a magnetic alternative rock foundation, the latest musical output continues The Persian Leaps‘ tradition of producing power-pop earworms with midwestern charm and an inherent element of 90s’ college rock’.
Hailing from St.Paul, Minneapolis, The Persian Leaps have gone through various lineups but have always revolved around the principal songwriter, vocalist and guitarist, Drew Forsberg. “The title Drone Etiquette came from an article about the dos and don’ts of flying remote-controlled drones. However, “drone etiquette” could also describe the rules that we mindless worker drones follow in our daily lives. The cover art, which was inspired by Soviet propaganda posters, evokes our enthusiastic lockstep march towards a meaningless existence.”
“This EP was an especially difficult one to record and finish. Because of the pandemic, I was forced to abandon a lot of the comfortable processes I’ve used for years. The friends I collaborate with for recording and performances weren’t available in person because of health issues, so I tried a new approach. This time around, I recorded at a different studio and performed all the parts on the EP myself. I also got directly involved in editing the tracks for the first time, which took longer. Ultimately, though, I’m very happy with how the songs turned out. The EP doesn’t address the pandemic at all, but it’s very much a by-product of lockdown and what we all endured,” says Drew Forsberg.
The band name The Persian Leaps came to Forsberg in college while daydreaming during Greek Archaeology class. Writing solo music under that name for years, he finally assembled a band in 2012, releasing an EP every autumn until 2017. NME Magazinedescribed their debut Praise Elephants EP (2013) as “celestial guitar jangle.” Their music has been widely praised, from their sophomore Drive Drive Delay EP in 2014 to their fifth Bicycle Face EP. Delivering one perfect power pop cocktail after another, they eventually released their 18-track Pop That Goes Crunch anthology in 2018.
The year 2018 saw The Persian Leaps return to their roots as a studio project, releasing Electrical Living in 2019 and the Smiling Lessons EP in 2020 in collaboration with Jon Hunt, a musician and graphic designer. He did the cover artwork for most of the band’s releases to date. During the 2020-2021 pandemic, Forsberg recorded the Drone Etiquette EP as a solo effort, primarily due to lockdown limitations.
On October 1, Land Ski Music (BMI) is pleased to announce the release of Drone Etiquette on CD and online platforms, including Apple Music, Spotify and Bandcamp.
Pink Turns Blue released their album Tainted this Friday, October 1, 2021, and I fell head over heels for it. This band is so good that I wanted to listen to Pink Turns Blue’s back catalogue. I had heard one of their albums some time ago, and I wanted to refresh my memory of them. I blocked off time this morning to listen to the new album and sample some of their back catalogues, but I was easily distracted and ended up wanting to hear every song from every album. That was too much of a good thing, so I am only talking about one album today, Tainted.
The band Pink Turns Blue got their start in the post-punk/new wave/darkwave/gothic rock scene in Berlin in 1985. That sentence is an excellent example of why I don’t like pushing artists into genre boxs’. If Two Worlds Kiss, the first record for Pink Turns Blue, came out in 1987 and thanks to the bands’ days of playing small clubs all over Germany, people recognized some of their songs. Having a record out made them suddenly feel like they were a real band. Walking On Both Sides became their first hit and got them up to number 5 on the Swiss single charts. That’s a good start.
Fast forward to today, and I am listening to You Still Mean Too Much To Me, a single from the new album Tainted from Pink Turns Blue. And as of today, it sits at #4 in the INDIE DISKO TOP 40. That’s respectable. Two albums from the same band thirty-four years apart, and they are still in the top ten charts.
Today Pink Turns Blue is a trio consisting of Mic Jogwer (vocals, guitar), Reubi Walter (bass, keyboards) and Paul Richter (drums). In the first generation of gothic rock, Pink Turns Blue was a duo consisting of Mic Jogwer and Thomas Elbern, plus A. Drumachine. They named themselves after a Hüsker Dü song. Hüsker Dü was a band that influenced them, along with The Chameleons, Clan of Xymox, and The Cure.
Their debut album ‘If Two Worlds Kiss’ brought dark undertones into their new wave sound, essentially advancing the darkwave sub-genre while becoming a seminal album in the post-punk genre. Emerging from the fear and uncertainty of a divided Cold War Germany, the band went on to release 11 full-length LPs, the latest being ‘The AERDT – Untold Stories’ in 2016.
On October 1, the ‘Tainted’ LP will be released digitally across digital platforms, including Apple Music and Spotify. Black vinyl, strictly limited to 500 copies with an 8-page booklet, will be released on October 29. CDs, which come with a 16-page booklet, are available now. All of these formats can be purchased exclusively viathe band’s website, https://pinkturnsblue.com
So, what did I think about the album? HIT THE BRAKES! I went off on a rabbit trail there and had to do some severe delete and start again.
What did I like? Well, the music is top-notch for starters. It’s not a mystery why this band has been around for 34 years. They are good at making music. I like it when a band can take less and make more. For example, there are only three people in the band Pink Turns Blue, but they make it sound so expansive. That is a natural talent, folks. It often floats by under the radar, and not too many pay attention to it. But I did, Mic Jogwer on vocals and guitar, Reubi Walter driving the bass and keyboards, and Paul Richter providing the percussion make this recording sound rich and full. Well done, guys.
Pink Turns Blue beim New Waves Day am 18.05.2019 in der Turbinenhalle Oberhausen
On ‘Tainted,’ the band added an electronic element that harkens back to their early days when Pink Turns Blue was a duo consisting of Mic Jogwer and Thomas Elbern, plus A. Drumachine. The album title itself relates to the state of our world: climate change, its effects, the reaction to it, the split within society, isolation, health risks and financial uncertainty.
“When I travel the world, I encounter two types of people. Many are sad and void of hope that mankind is able to change. Others just don’t care or are sarcastic about just everything. I guess this makes me angry. I see all those toddlers with their lives before them, playing and laughing and inheriting a world in disarray just because of the greediness and irresponsibility of their parents. A call to try so much harder! Instead of using excuses for missing or inadequate action, mankind really has to get its shit together – now,” says Mic Jogwer.
“Obviously, young people seem to realize the cost of our shortcomings much better: all the carelessness about using resources, polluting the environment, the threatening effects of global warming, a poisoned environment and extinct species. They are at the beginning of their lives and the world is in crisis already. But most of us are using excuses or alibi “actions” to cover up our indifference or complacency. We pursue our own advantage at the expense of others even if the calculation does not add up in the end: if we don’t incorporate sustainability in our actions all will lose.”
Closing remarks:
Not even trying is one of the best shouts against the current conditions on this planet. Check out the video as well as the song.
On the weekend my family knows where to find me. I will be in my office watching the Premier League. I do not have a favourite team, so I will watch whichever game happens when I arrive in my big comfy chair. The weekend is also a time for new music. Friday is album drop day, which means Saturday and Sunday have to share football with new music.
On this particular Saturday, Manchester United were playing, which meant two of the brightest stars in football would be playing. Christiano Ronaldo and Bruno Fernandes. Neither player contributed to the scoreboard, and their opposition for the day, Aston Ville, won the game with a late goal from Kortney Hause which turned out to be the match-winner. Bruno Fernandes of ManU via Portugal missed a stoppage-time penalty as Aston Villa recorded a rare Premier League victory over Manchester United, winning 1-0 at Old Trafford. The other Portuguese player on the pitch that day and arguably one of the best players in the history of football, Christiano Ronaldo, failed to put his name on the score sheet for that day.
That gives you, the reader, a snapshot of what I was watching yesterday, two football players from Portugal. What I was listening to and the reason for the preamble of this blog is the Portuguese music featured in a new album that I have been listening to, ‘Exotic Quixotic.’ The EP is by a group of very talented musicians Neil Leyton, Mikael Lundin (a.k.a. Micke Ghost), João Sousa, Omiri, O Gajo, Abel Beja, Janne Olson and other artists that come and go within the collective known as Lusitanian Ghosts. The band’s genesis happened when Neil Leyton brought Micke Ghost a Viola Amarantina from Lisbon to Stockholm. I would suggest that at this point you should watch the feature documentary film ‘Lusitanian Ghosts: Making Of the Lusitanian Ghosts debut album – Chordophone Rock n Roll.’ Watching the video will help you in understanding how these historical instruments are the real Lusitanian Ghosts.
This experimental folk-rock singer-songwriter record has only chordophones: Amarantina, Braguesa, Terceira and Campaniça, with guest appearances by an electric bass guitar and various percussion instruments. Lusitanian Ghosts replaced the snare drum in many songs with the Adufe, a Portuguese square drum.
I have waffled back and forth as to my opinion regarding this recording. It is undoubtedly a pleasure to hear these beautiful instruments that must have been a joy to tune to mesh with each other. These players have crafted an album that is unlike any other album. There are so many cultures around this globe and countless instruments unique to each ethnic group. I am glad to have been able to hear some good Portuguese-influenced music on their traditional instruments. Portugal has given us many unique gifts, from football players to musical instruments.
I am still uncertain about my feelings towards this recording. The musicians’ playing is marvellous, but something is missing—something to make this extraordinary music rise higher and more vital.
The chordophones took center stage but didn’t hog the spotlight, so they aren’t the problem. The bass and percussion held their fair share of the show and shone in their own spotlights; no problem there. About all I can say about the instrument playing on Exotic Quixotic is that it is top-notch. These guys know how to get a groove going, and it was a joy to listen to these masterful players.
Neil Leyton
The vocals are interesting. Neil Leyton is the lead singer and a co-writer of this album, and he has a decent voice. It isn’t bad, but it isn’t much above average either. It is well-grounded in the middle of capable. There are moments when his voice rose and shone, such as in the song For the Wicked. He was squeezing emotion out, and it was a beautiful thing. Neil needs to capture and bottle that magic. He shows us that he can do better, and I believe he has that power in his grasp. It just slipped away on a good portion of this recording.
There is one other thing that Neil Leyton could do to make future records rise above the crowd. He needs to throw his rhyming dictionary away. At 8:36 in the video, he is asking what rhymes with Johnson. Does it need to rhyme? I think he over rhymes, in my opinion. It sounds contrived and forced. Let your muse wander away from the rhyming dictionary and give it some freedom. Maybe read some freeform poetry. You write some good material. It just needs more space to grow, not so constrained by rhyming.
On another side note, London Calling is one of my all-time favourite albums and songs. I have played it live with bands as well as torturing my guitar practicing in the basement. So, when I heard Lisbon Calling, I immediately got nervous that I was about to listen to a clone with different words. That didn’t happen, Lisbon Calling pays homage to The Clash, but it doesn’t rip it off. Well done, Lusitanian Ghosts; you flirted with the original but didn’t jump into bed with it.
By the time I had listened to this album about a dozen times, I had tried ever so hard to find the good in it. I did. There are lots of quality moments in Exotic Quixotic. I just had to listen harder and find them. I found excellent music coming from instruments that I had never listened to before; that is a good thing. I heard a band playing tight together that made the hair on my arms tingle. That is good.I listened to a lead writer and lead singer with potential, and I think he will rise to that high bar. That is good. I heard good production and mixing; well-done, lads. I found lots of good in Lusitanian Ghosts; let your journey of discovery begin now and listen to Exotic Quixoti.
Following the successful release of his bittersweet debut single’ Too Late,’ Filip Sjögren returns with his band Hands Down and demonstrates his knack for making a pretty song. Sjörgren took a year away from working as a sound technician and producer to write a set of personal songs, so it’s no surprise that he knows the small tricks and attention to detail that makes a song work. Though the genre swings from jazz-inflected pop to indie rock, what unites these songs and brings them to life is the richness of the sound, the flow provided by the spark in Sjögren’s vision and the harmony of the individual parts working in perfect sync.
Filip Sjögren’s day job sees him working as a sound technician and producer, so it’s no surprise that he knows the small tricks and attention to detail that makes a song work. That’s clear when he hops over to the other side of the recording studio with his band Hands Down. Though the genre swings from jazz-inflected pop to indie rock, what unites these songs and brings them to life is the richness of the sound, the flow provided by the spark in Sjögen’s vision and the harmony of the individual parts working in perfect sync.
A paint roller crops up a lot in interior decorating but, as you might imagine, not so much in music. A quick search reveals only one song on Spotify that bears the title. But now that number is set to double. With his band Hands Down, Filip Sjögren has shown he has a knack for making a pretty song. But with the swaying, dreamy song “Paintroller,” he may just have hit a new level.
The tone is an essential factor in the songs of Hands Down, and “Paintroller” is blessed with a rich, carefully- detailed instrumental backdrop, with swirling synths, stings and even saxophone all mixing harmonically a flowing cloak of many colours that Filip Sjögren shapes into a song. There’s darkness in the anxieties of his lyrics, but the music keeps things warm, and when the bright chorus bursts into life, it feels like light breaking through the clouds and illuminating this sparkling pop song.
Filip Sjögren says: “The song (Paintroller) isabout being coloured by everyone else and having your ideas crushed by outside forces. Not feeling very welcome to the party, both in terms of music and society, feeling peer pressure. That’s what inspired the song. I had the whole song done at one point, and then I scrapped the vocal and wrote and recorded a whole new melody and vocal. We called that demo’ paintroller,’ and so that inspired me to write the new lyrics. I have no idea why that demo was called paintroller. But it is a very visual word”.
Filip Sjögren says:” ‘Too Late‘ is about seeing relationships fade away, not specifically romantic relationships, but with friends too. The song started back in high school. I had a melody that I couldn’t play myself, so I got my friend Hannes to play it and recorded it on my phone. I used that sample to write this song five years later, though it’s not on the final version. I love the dancy, jazzy vibe of it. The acoustic piano flows so well, and the drums have that beat. It’s not disco, but it’s slow disco”.
That’s certainly evident in the song “Too Late.” A dancing piano line kicks things into motion, and from there, it grows into an elegant, dreamy pop song. It’s made up of subtle touches that mean it blooms over several listens, from the strings to the shivering bass line, and Filip Sjögren extends that subtlety to the melodies, which stay light and airy but still suck you in. In the end, “Too Late” is a little sad, but that doesn’t stop it from having effortless charm, and being sweet, breezy pop infused with the warmest of glows.
‘Meet Me At The Bar‘ kicks off as a stripped-back and raw rock and roll song but soon shakes that off. Filip Sjögren’s vocals ride alongside the rough-cut guitars until the scene shifts and transforms into a delicate, graceful pop song, the guitars swapped out for strings, and the bravado in the verses swapped out for a vulnerable falsetto. Hallmarked with Filip Sjögren’s signature songwriting, ‘Meet Me At The Bar’ is full of surprises and strange turns but has been stitched together into a song that is both sweet and cynical.
For Filip Sjögren’s, “the song is basically about me getting tired of Tinder dates. Meet me at the bar, and we will talk, and then we will go home and never see each other again. That spiralled into me, thinking I would never be able to love anyone. The music has a little kick, and I think that’s important. I always try to contrast the lyrics and the music because otherwise, it can become too sad and whiny. And I don’t wanna be a whiny guy!”
Filip Sjögren’s unique sound, production tricks, songwriting strength – not to mention the critical acclaim of Hands Down’s first few singles make the Paintroller LP an eagerly anticipated release. ‘Paintroller‘ will be available to stream the 8th of October via Youth Recordings.
I quite imagine you, the reader, wondering what in hell a zeerust is or looking it up on the internet of things. There are plenty of hits that lead to a town in South Africa. That is not where I want to start. I want to start with one of my favourite authors, Douglas Adams, a British humorist and Science Fiction writer, and his collaboration with the BBC comedy producer John Lloyd.
From their book The Meaning of Liff, I lifted their definition of the word zeerust: “The particular kind of datedness which afflicts things that were originally designed to look futuristic.”
Let’s unravel this further with an introduction to who The Speed Of Sound is. They are a four-piece band hailing from Manchester, UK. A city described as having a proud history combined with a progressive vision. Manchester is a 40-minute train ride east of another town famous for its four-piece bands, Liverpool.
The Speed Of Sound’s line-up has changed over the years; on this incarnation, it consists of the father and son duo John Armstrong on guitars and vocals and Henry Armstrong on keyboards. Bolstering that combo is Ann-Marie Crowley on vocals and guitar, Kevin Roache on bass guitar and John Broadhurst on percussions.
I took the definition of zeerust from the book, The Meaning of Liff, combined it with Manchesters’ proud heritage, their progressive vision, and I added the band known as The Speed Of Sound. Then I shook it vigorously. What came out was an album called The Museum of Tomorrow. A record that held my attention like a magnet to a fridge door.
The Speed Of Sound channels the spirit of the CBGB club scene in its heyday. There are some textures of the New Wave movement in both the UK and North America. Pieces of punk are stuck on with safety pins. There are some tips of the hat to straight-up pop music anywhere from the ’60s to the ’80s. Lyrically The Speed Of Sound captures the idealization of zeerust, as illustrated in the opening credits.
By the time we arrive at track 8, The Speed Of Sound has morphed that zeerust into an Impossible Past. We wore mended clothes instead of buying new ones at the slightest whim or a loose thread. We kept calm and carried on with faded memories of things that never happened things. We yearn for a world of cabbages and kings. The golden time was never as sunny as our memories of it. And then the song ends on a dark note with bombs and demons, dark but also realistic. We can not return to a past that we remember as a summer that never ended. It did end, the same as the winter that never ended. It ended. I quite imagine we all have some form of longing to return to a past that our memories cling to as being better than they were.
There is an adage that says, “we can never go home.”
I tried to go home several years back. It was a high school reunion. Please don’t ask what anniversary it was. It would date me. I didn’t know the people who had gathered there. They were all older than I remembered, except for me somehow. I had aged more gracefully. Right, I wish. Some had never left the town they had gone to school in. They had a very narrow view of the world that can come from living in an echo chamber. Some had gone considerably downhill over the years. Not that I was a shining example to all, I had my own “half forgotten lurking things.”
Holy cow, I have written 788 words on only a tiny portion of the album. The Museum Of Tomorrow deserves better than this, but I’m not writing a thesis, so this blog will have to do.
Let me conclude this wordy tome by saying this. Go and listen to this on your medium of choice. The Museum Of Tomorrow is available in downloads, streaming, vinyl, CD and Deluxe LP via California’s Big Stir Records. Here’s to hoping that we can add live shows to that list.
I had never listened to Pas Musique until the press kit for their album Amateur Radio landed in my inbox. I listened to it while I worked on a diorama that I was creating. The album sounded good. It actually caused me to pause at numerous points in the album to shift my focus to the music. The diorama teaches me the beauty of patience.
I often check out a band’s back catalogue, so I get a feel of where they are coming from and how they have grown and matured, although that seems to be an option for too many artists. Apple Music only had four Pas Musique albums, including Amateur Radio. Bandcamp had 29, I don’t have the drive to listen to all of their catalogue, so I focused on just this one, Amateur Radio.
Where to begin is a tough call on this recording. This band of musical talent hail from Brooklyn, and I think I’ll start with a video. A trippy audio-visual treat that featured the fourth track from the recording, ‘Ancient Scottish Legend.’ The video has a jerky camera effect frequently used in harrowing movie scenes. Add a grainy, dark quality, and we have the video that sets the stage for the album.
The track before this, number three by my reckoning, is It’s a Rainy Day, Sunshine Girl. This track is a cover of a song by Faust featured on their album So Far, the track was initially conceived in 2019 for the ‘KRAUT! Covered’ compilation curated by WFMU’s DJ Scott Williams. It is worth mentioning that Jeanne-Marie Varain, artist and daughter of Jean-Herve Peron of FAUST, also collaborated on the song, It’s a Rainy Day, Sunshine Girl.
So we have a framework that should give us an idea of where Pas Musique is coming from and a glimmer of where they are going. Both of the tracks mentioned above are over six minutes of listening time, typical for Pas Musique. These guys know how to grab a riff and work it over with their synthesized enhanced musique concrète.
Charlies Lament is the opening track, where they build a groove keep its momentum working through the rarefied air of six unique songs that clock out at 41 minutes total for the album. There are layers and layers of sound, and I am thrilled to find new gems with each listen, so excuse me please, I have to go and listen to Amateur Radio again.
As of September 15, ‘Don Cheadle Superhero’ will be available via Bandcamp. On October 1, the ‘Amateur Radio’ LP will be released everywhere, including Spotifyand Apple Music. It can be pre-ordered on limited-edition white vinyl or a digital download at https://alrealonmusique.bandcamp.com.
Weathered Music 