I don’t usually promote singles, lonely songs, not lonely people.

However, I will make an exception to that self-proclaimed rule today. I present That Chitty Bang Majik and Escalator for your listening pleasure, two singles that kick-started my morning.

That Chitty Bang Majik is a new single by a band that left an indelible impression on me back in May of this year when I posted my thoughts about their single and video Bluebird, Hollywood… Domino. That band is The Gorstey Lea Street Choir.

I still enjoy listening to them, and this new release only adds to my desire to own slabs of vinyl by them.

I am at a loss for words that describe what my ears are hearing when I listen to this song, so I will let The Gorstey Lea Street Choir, which is Michael Clapham and Russ Phillips, speak for themselves.

“The song came about last January after a Christmas repeat that we had both watched of Chitty Chitty Bang Bang’ Michael Clapham tells us.

‘We love the film and the soundtrack, and we started discussing ‘the flying car” and before you know it ‘…That Chitty Bang Magic‘ was born,” says Russ Phillips.

“This song represents the poppier side of our indie credentials whilst still retaining our core vibe, 12 string guitars chime alongside brass punctuations and Moog synths, with the two vocal Gorstey chant upfront, telling the story of the track. We are really looking forward to folks hearing the rest of the LP in early July when it arrives, the four new tracks and the four re-imaginations of ‘Extended Play One’ tracks by Choque from Black Star Liner,” says Michael Clapham.

I concur with really looking forward to hearing the rest of the LP in July when it is released.

As of June 22, ‘That Chitty Bang Majik‘ will be available everywhere digitally, including Apple Music and Spotify. Additionally, the ‘…from Prince’s Park to Farsley – Volume I’ LP will see its release on July 9.

This music should garner The Gorstey Lea Street Choir extended air time no matter the format or delivery platform. Just listen to it is all I am saying. It is that good. I will put it on repeat, sip my beverage of choice and sit back to enjoy every nuance of The Gorstey Lea Street Choir.

Did I mention the video? No? Well, there is one on YouTube:

We have lots of links for you to click through and enjoy the music of The Gorstey Lea Street Choir.

‘That Chitty Bang Majik’ 

‘Bluebird. Hollywood… Domino’



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Wow, I got carried away with that review. I need to get some words in this blog for the second single of the day. Phoenix-based dream-electronic artist FLDPLN presents his new single Escalator previewing his full-length album by the same name. Scheduled for release on July 30, it will be digitally available and on colour vinyl via the label Sillas Famosas.

FLDPLN (“field-plan”) is the new solo project of Andrew Saks, former frontman of Southern California shoegaze band Sway. As FLDPLN, he creates a primarily electronic project with songs that feature synthesizers, vocals and layered saxophones reminiscent of 80s pop.

“Escalator is really the result of my years of dabbling in electronic music production combined with my desire to reconnect with my roots, having been a saxophone player for most of my life,” says Andrew Saks.

“For this album, I wanted to write songs that are true to the way I hear things in my head, dreamy, blurry, beautiful without compromise and incorporate the horn as a textural instrument as well as another melodic voice.”

At times, Andrew Saks horn playing features soaring leads that lift the dreamlike and serene to near-anthemic heights while, in other instances, they convey an emotional, whisper-like voice. While certainly nowhere near new to experimental music, the tone and texture of the saxophone in this context effectively lends itself to ethereal lullabies and reflective daydreams.

While textures and sound are an integral component of the music, Andrew Saks does not shy away from hook-laden songwriting. This music is highly influenced by Andrew Saks childhood memories of going to bed with Walkman headphones on and later waking up in the darkness, in a partial dream-state with the pop songs of the 1980’s – Pet Shop Boys, New Order, Bruce Springsteen, Lisa Lisa and Cult Jam, Debbie Gibson, Human League still whispering in his ears.

The ‘Escalator’ single is now available everywhere across online stores like Apple Music and streaming platforms like Spotify. The entire ‘Escalator’ LP will release on July 30 and can already be pre-ordered digitally and on colour vinyl via Bandcamp.




Album teaser



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

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‘Come Back When There’s Nothing Left’

‘Surkov’s Dream’

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

‘Surkov’s Dream’ single teaser 

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