Art can stimulate our senses, our emotions, and our feelings in numerous ways. Art can bring us comfort. My Dad was a fantastic guitar picker and singer who came out of the classic country and western era. He played Hank Williams and that ilk effortlessly. Well, not quite effortlessly. He lost the index finger on his left hand, and he learned to play guitar with only three fingers and three chords, D, G and A7. His memorial service was three hours long, as a steady stream of musicians paid tribute to him. Music provided inspiration and comfort that day.

Art can trigger a multitude of emotional responses. People cry at scenes in a movie, even when they know it is a work of fiction. People laugh at slapstick comedy routines and giggle at fart jokes. Music can lull a baby to sleep, as well as a few adults, myself included.

Art can be offensive as well as uplifting. That’s why we have death metal and contemporary Christian music. Both provide an emotional response and are usually polar opposites that can shift poles depending on the listener.

Art can also be jarring; for example, avant-garde paintings can be brutal in their beauty. Not everyone appreciates Jackson Pollock‘s paintings the same way. Some are willing to pay large amounts of money to enjoy his paintings in their homes. Others view his painting as nothing more than childish dribbling of random paint colours and scorn his work.

Music can provoke varied emotional responses as well, which brings us to where I am today. I have been listening to the new album K69996ROMA:EP from a chap named Nick HudsonNick Hudson is a prolific fellow in the art world who works in music, painting, film, and writing, recently completing a novel. I should also mention his involvement with the art-rock band The Academy Of Sun, who released their dystopian epic ‘The Quiet Earth’ in 2020.

I have played through K69996ROMA:EP a half dozen times, with an everchanging response. I found it fresh and exciting on the first listen; I would have given it a 10 out of 10. 

The second time through, I am catching some nuances that I missed the first time around, but that is normal for any recording, so no red flags; it is still a 10/10.

On the third to fifth listens, I am Googling and searching for lyric sheets. I should have asked Shauna; she is good at getting those to me. Instead, I am becoming more frantic, searching for clues in Wikipedia and elsewhere.

What is there between the walls of this album’s slipcover that jars me? Why has my response to this recording changed so significantly? What altered my perspective between the first listen and whatever the hell number I am listening to now?

The answer: I don’t know! I have no idea why I perceive this album with so many nuances. 

I am not a prude who the topic of homosexuality or murder would easily jar. Yet, jarred I am. The video contains no gratuitous violence and is no more jarring than the songs and the lyrics themselves. It did not increase my general feeling of malaise.

K69996ROMA:EP is a good listen just for the music quality. It has some excellent sampling and synth work that moves from gentle strings to more abrasive effects as the songs call upon them. I found the music to be engaging and worthy of the added time I spent perusing it.

The lyrics are what I first considered as a culprit, colouring my perception of this recording. I quickly crossed that off the list because the more I read about the characters in this musical tale, the more I wanted to know. I went down some nice rabbit holes on Wikipedia that informed and entertained me for hours on end.

So what jarred me? I have no better answer than when I started this blog. I have listened to this repeatedly while typing, some songs taking two or three spins on the dance floor as I danced my fingers over the keys. I have high esteem for recordings like this because it is not full of mass consumerism throw-away elevator music. Although I recently heard The Talking Heads in an elevator ride, I hold them in very high esteem.

I suggest that we keep listening to this album, K69996ROMA:EP, and if we get any profound insights, we let each other know. Deal? Let’s fist bump to show our solidarity and start listening all over again to a recording that jarred and inspired me, which is what good art should be doing.

K69996ROMA:EP’ https://youtu.be/JVbSebCuQco 
EP order https://nickhudsonindustries.bandcamp.com
‘Font of Human Fractures’ LP https://nickhudsonindustries.bandcamp.com/album/font-of-human-fractures
Spotify https://open.spotify.com/artist/5t6l342JKBDVl2NFddWOJ

Keep up with Nick Hudson / The Academy of Sun
Facebook | Bandcamp | Twitter | Instagram | YouTube | Spotify | Apple Music | Booking | Press contact

Keep up with Shameless Promotion PR
Website Facebook | Twitter | Soundcloud | Instagram | LinkedIn | Email

The Academy of Sun

I love it when some new music comes along, and it gobsmacks me right square in my face. Well, that happened to me this week. The artist in question goes by the moniker The Academy of Sun; quiet a mouthful ain’t it! They are a psychedelic post-punk quartet anchored around Nick Hudson on piano, synths, Hammond organ, harmonium, vocals, percussion, synths. Along with the rock-solid accompaniment of Kianna Blue on bass and synths. Guy Brice treats us to his guitar playing, and Ash Babb keeps it rock steady on percussion. This 7″ release from Heaven’s Lathe follows the sonic holiday of their 2020 album The Quiet Earth, which I highly recommend you to give a listen.

The A-side of this recording, ‘It Is Finished When It’s Destroyed,’ comes at us as a two for the price of one recording. It makes a grand entrance with smooth as silk synths and builds on that into soaring vocals that segues into staccato percussion and harmonious vocals. The second section sees Hudson’s keening vocal riding over the percussion of floor toms and more synths. Mixed by acclaimed US producer Randall Dunn (Sunn O))), Danny Elfman, Earth, Mandy OST), the attention to detail and the tasteful placement of sounds make it all work together for one heck of a good song. The flipside ‘Ghost Foxes‘ opens with the rat-a-tat of drums and rapid-fire singing from Nick Hudson that left me tired just listening to. These two tracks present The Academy of Sun as a band going places.

“The first The Academy Of Sun track I’ve written since finishing writing ‘The Quiet Earth’ in 2018, this is an aquaplaning freight train of psychedelia and snarl – with the second part endlessly modulating over a skittery, syncopated drum pattern and Mariana Trench-plumbing synths. Whether it is lyrically directed at the heinous cabal of xenophobic disaster capitalists currently holed up in UK parliament remains to be seen (it is),” says Nick Hudson.

“‘Ghost Foxes’ was written for ‘The Quiet Earth,’ but never felt “right” until we were asked to create this release. A satire on esotericism, boasting yet another Herzog quote and some mesmerizing guitar tones from our plank-wielder, Guy Brice, ‘Ghost Foxes’ was always riotous to play live, and will be again.”

On Friday, July 2 at 6 PM BST, Heaven’s Lathe will be releasing this on a 7″ lathe-cut vinyl through Heaven’s Lathe on Bandcamp.

This black hand-numbered 7″ high-quality stereo lathe-cut vinyl features an engraved Heavens Lathe logo, a 230gsm sleeve, black inner sleeve and PVC protective sleeve. Ships within a white poly-lined inner paper sleeve and a ‘lathe cut’ care card include digital download. Otherwise, these tracks will be available digitally in mid-August.


Written by Nick Hudson, arranged by The Academy Of Sun:

Nick Hudson, Guy Brice, Kianna Blue, Ash Babb

Vocals & synths recorded by Nick Hudson at The Lament Configuration.

Bass recorded by Kianna Blue at Alfie Towers.

A side guitars/drums recorded by Joseph Thorpe at Brighton Electric.

B side drums recorded by Paul Pascoe at Church Road Studios, Hove.

A side mixed by Randall Dunn at Circular Ruin Studios NYC.

B side mixed by Paul Pascoe at Church Road Studios Hove.

Mastered by Randall Dunn at Circular Ruin Studios NYC.

Artwork & layout by Ash Babb, Cover painting by Nick Hudson.

All lathe cutting and engineering are by Michael Lawrence.

Design by Lauren Winton (Bladud Flies!)

Keep up with The Academy of Sun

Facebook | Bandcamp | Twitter | Instagram | YouTube | Apple Music | Spotify | Booking contact | Press contact

Keep up with Shameless Promotion PR

Website Facebook | Twitter | Soundcloud | Instagram | Spotify | LinkedIn | Email

Nick Hudson/Font Of Human Fractures

“Voyeurs Who Offer Nothing” is the opening track from the new album Font Of Human Fractures by Nick Hudson. I don’t know a lot about Nick Hudson, but I know that he has something to offer. What he is offering is the first solo album from him in five years. It’s not like he has been sitting on his hands for the last five years. Nick Hudson is a busy person, recording with The Academy of Sun, painting, doing film work, and if that isn’t enough, he just finished writing a novel. Hudson has also collaborated with Wayne Hussey of The Mission, and Matthew Seligman (Bowie, Tori Amos, Morrissey) and members of NYC’s Kayo Dot, David Tibet (Current 93), Asva and Canadian queercore icon GB Jones. As part of the band, The Academy Of Sun, he collaborated with Massive Attack’s Shara Nelson. Whew, I get tired just writing his bio.

Font Of Human Fractures is an interesting name for an album or anything when I stop thinking about it. Font, a source of a desirable quality or commodity. That part makes sense to me; Nick Hudson’s music is undoubtedly a desirable commodity. It was recorded and mastered at Church Road Studios by Paul Pascoe (Barry Adamson, Beat Hotel); this 10-track offering is Hudson’s first solo studio LP since ‘Ganymede In A State Of War’ (2016).

Font Of Human Fractures is a mesmerizing album. From the opening moments of the first song, Voyeurs Who Offer Nothing, the music that Nick Hudson has created kept me glued to my speakers. Forty minutes later, I was listening to those opening moments again, and forty minutes later…you get the drift. This album’s primary weapon of choice is the piano with tasteful accompaniment by violin(s), the voice of Nick Hudson, some fascinating samples and background vocals, as well as a church organ, round out the arsenal. I can’t describe the sounds, the music is fresh and at times startling; you have to hear it for yourself. It has elements that would not be out of place in True Detective (Matthew McConaughey and Woody Harrelson). 

I’ll let Nick Hudson tell you more:


Bottom line, I developed a fascination for this album that made me curiouser and curiouser every time I listened to it.

Bottom of the bottom line, I will keep listening to this album, and you should do yourself a favour and buy it on Bandcamp.

As of April 30, the ‘Font of Human Fractures’ album will be available on vinyl and digitally
via Spotify and Apple Music. Both are also available directly from the artist via Bandcamp.

Keep up with Nick Hudson / The Academy of Sun

Facebook | Bandcamp | Twitter | Instagram | YouTube | Spotify | Apple Music | Booking | Press contact

Keep up with Shameless Promotion PR

Website Facebook | Twitter | Soundcloud | Instagram | LinkedIn | Email


‘Come Back When There’s Nothing Left’ https://youtu.be/UlXla5YJYLQ

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

‘There is No Such Thing as You’ (live in Sophia)


‘Surkov’s Dream’ single teaser https://youtu.be/U4VZkqsEWJU 

Shameless Promotion PR 

REPLY TO contact@shamelesspromotionpr.com