Finding that luck, love and letting things roll works out for him just fine, Michael Head leads his Red Elastic Band into a fresh chapter with optimism and some of the best music of his career, announcing his new, Bill Ryder-Jones-produced album, Dear Scott will be
released on Fri 27 May 2022 via Modern Sky UK. Operating as renewed friends, family and fearless communicators in sound, Head also leads close-knit band of brothers out on their first full UK Tour.
LDI Records serves up a celebration of The Hague's famous electro sound with native Cliff Dalton aka Sander Evers behind four originals and fellow West Coast legends Legowelt and Rude66 both remixing. Cliff Dalton is a relatively new project from a long-time Dutch music great. Sander Evers is the drummer in psychedelic stoner rock band Monomyth and has played with other notable groups including 35007 and Gomer Pyle. Next to those projects, he has always had his ear tuned into the region's enduring techno and electro scene and now offers up his own fresh take on it. The EP's title refers to the fact that all these artists are bound by geography, but is also a nod to the fact that The Hague is the largest Dutch city by the sea. The opener 'We Are The Little Ones' is about an evil robot factory in a futuristic dystopian city. It is a coruscated electro-funk workout with crisp analogue drums and nimble bass overlaid with withering sci-fi melodies. 'We Don't Need A Real World' is a superbly cinematic eight-minute excursion with widescreen synth work taking you to the stars as you ride an elastic bassline. The majestic 'City Under The Sea' then layers up neck-snapping snares with cosmic arps and plunging bass and 'Cleopatra's Matrix' soundtracks an ancient Egyptian city with its mystic leads and eerie pads luring you into a late-night electro trance. West Coast pin-up and hugely prolific electronic innovator Legowelt remixes 'We Are the Little Ones'. His version has plenty of his textbook intrigue, lo-fi texture and magical synth charm, and finally key Bunker Records associate Rude 66 flips 'City Under The Sea' into a snaking dub rhythm with hypnotic acid lines and seductive vocal whispers woven in deep. The Blue City EP is a timeless package of West Coast electro direct from the source.
Heavenly Recordings announce the release of ‘Heavenly remixes 3&4 - Andrew Weatherall volume 1&2’, a brace of compilation albums collecting together some of the finest remixes from the label’s long-time friend, collaborator and go-to remixer. These compilations follow ‘Heavenly remixes 1 & 2’, which showcases some of the label’s other great remixes.
By the time Heavenly was born in the spring of 1990, Andrew Weatherall was already an inspirational sounding board, as well as a fellow traveller on the bright new road that stretched out ahead, thanks to the massive cultural liberation of acid house. Back then every energised meeting could be turned into a fortuitous opportunity in this burgeoning new underground economy. Bored of your job? Start playing records out! Start a club night! Get in the studio!
Start a label! Just don’t stand still. Commandments Andrew would follow for the rest of his life.
At the start of things, Andrew was a regular visitor to Capersville - the pre-Heavenly press office run by label founder Jeff Barrett (soon to become Andrew’s manager). It was there that he famously picked up a copy of Primal Scream’s unloved second album and singled out a
track that would later become ‘Loaded’, after being given an instruction to “fucking destroy” it by the band’s Andrew Innes; it was there too that the idea to remix the first Heavenly release
came about.
Andrew’s mix of that first Heavenly record is very much a product of its time. ‘The World According To Sly and Lovechild’ is a swirling bass punch topped with a hypnotic marimba line and the kind of ecstatic diva vocal that you’d hear coming out of the speakers all night at postShoom clubs like Yellow Book.
His take on the label’s next release - Saint Etienne’s ‘Only Love Can Break Your Heart (A Mix of Two Halves’) - would set the template for his next three decades of audio exploration. A drawn-out imperial dub, the track builds and builds with a moody intensity (partly down to the
melodica played by Weather Prophets legend Pete Astor) that’s far more Kingston JA at dusk than Kingston-upon-Thames at kicking out time. It’s both a dancefloor record to get lost in and
headphone psychedelia of the highest order - a perfect example of what he did better than anyone else.
Between 1990 and his untimely death in 2020, Andrew fed more Heavenly bands through the mixing desk than those of any other label. Consistently, he returned visionary music to the
office, often in person for (at least) one ceremonial playback - a ritual that would involve the volume cranked up high and Andrew rocking back on his heels, eyes closed, lost in the alchemy of it all.
Each time, he would warp and twist originals into beautiful new shapes - elasticated club records that might evoke Detroit techno one second and Throbbing Gristle the next, before wheel-spinning into something akin to The Fall produced by King Tubby.
Andrew’s studio adventures would always be guided by that early advice to destroy the source material. It’s why he was the first name that came up when remixes were discussed; the first number on the speed dial. Listening back to these remixes now - to thirty years of glorious outsider sounds - it bangs home again just how fucking good Andrew was.
Remix album for Oké's Deserto featuring nine interpretations of tracks from the original with a focus on the dancefloor alongside some abstract beats and rap.
Oasi (Deserto Remixed) features two groups of transatlantic contributors: Shigeto, DJ Dez, and Sterling Toles from Detroit; Populous, Godblesscomputers, DJ Rocca, and Silvano Del Gado from Italy, all close friends of the band. The remixes are rounded off by two versions from the man behind Oké, Andrea Visani, under his Katzuma and King Dumitru aliases.
The library music, cosmic jazz, and afro-house vibes of the original are retooled into a variety of dancefloor friendly productions: Shigeto and Silvano Del Gado invoke the tribal spirits of 'Ochosi Ayilodà'; Dez turns 'Il Venditore di Elastici' into a warm and comfortable chugging groove; Populous zeroes in on peak time ecstasy with his take on 'Queens of the Supercolony'; Rocca injects electro funk into 'Tarantula'; and Katzuma keeps it slow and funky with his refixes of 'Tamahaq' and 'Sons of Cabila.'
Balancing all these are two mellower contributions, with Godblesscomputers flipping 'The Secret Baile of the Maharajas' into a laidback roller and Sterling Toles transforming 'Serir' into a haunting song of remembrance.
Released on single 12" vinyl with seven of the nine remixes (two edited for length) and artwork from Andrea Casciu.
On November 12, Merge will reissue two crucial releases from The Clean's distinguished discography. The "Tally Ho!" b/w "Platypus" 7-inch and the Boodle Boodle Boodle 12-inch EP, the Dunedin trio's first official recordings as a band, both celebrate their 40th anniversary this year. These reissues have been remastered by Tex Houston with assistance from the Alexander Turnbull Library New Zealand, and The Clean's David Kilgour and Robert Scott oversaw the careful re-creation of the original packaging. Merge is thrilled to make these records globally available for the first time since their original release in 1981. Pitchfork described "Tally Ho!" as "a classic of immense proportions, from its Velcro melody, absurdly mixed garage organ and motorik beat, to the crusty, hiss-laden home eight-track recording that embodies it." Recorded in the middle of a New Zealand tour for a humble NZ$60, the song broke into the country's Top 20 singles chart at #19, surprising everyone including the band. Its B-side "Platypus" was recorded live at a show just days prior, capturing the band's buoyant and elastic sound on stage. The 7” reissue will be available on limited-edition silver Peak Vinyl and standard black vinyl, as well as limited clear vinyl exclusively in New Zealand.
Nocturnal Manoeuvres – the new album from JOHN - finds the duo expanding upon their celebrated idiosyncrasies once more. It sees them returning to their trusted producer Wayne Adams (who was behind the boards for both of their previous albums) knowing his success in capturing their presence as a live band. Realising the expansive quality of the resulting recordings, they then enlisted mastering engineer Sarah Register (Protomartyr, Future Islands, Chastity Belt) in order to deliver the sense of space that the
varied track-list deserved. The result is a towering, titanic body of work – one that moves easily between cinematic post-rock, elastic post-hardcore and pummelling noise rock.
Nocturnal Manoeuvres – the new album from JOHN - finds the duo expanding upon their celebrated idiosyncrasies once more. It sees them returning to their trusted producer Wayne Adams (who was behind the boards for both of their previous albums) knowing his success in capturing their presence as a live band. Realising the expansive quality of the resulting recordings, they then enlisted mastering engineer Sarah Register (Protomartyr, Future Islands, Chastity Belt) in order to deliver the sense of space that the
varied track-list deserved. The result is a towering, titanic body of work – one that moves easily between cinematic post-rock, elastic post-hardcore and pummelling noise rock.
Nocturnal Manoeuvres – the new album from JOHN - finds the duo expanding upon their celebrated idiosyncrasies once more. It sees them returning to their trusted producer Wayne Adams (who was behind the boards for both of their previous albums) knowing his success in capturing their presence as a live band. Realising the expansive quality of the resulting recordings, they then enlisted mastering engineer Sarah Register (Protomartyr, Future Islands, Chastity Belt) in order to deliver the sense of space that the
varied track-list deserved. The result is a towering, titanic body of work – one that moves easily between cinematic post-rock, elastic post-hardcore and pummelling noise rock.
Bella Union announce the release of Piroshka’s stunning second album,
‘Love Drips And Gathers’. The album builds on the acclaim of the band’s
2018 debut LP ‘Brickbat’ and the reputations of former members of Lush,
Moose, Elastica and Modern English.
Piroshka emerged in 2018, four individuals with distinct musical identities but
also overlapping histories - a combination that might have unsettled, or even
overwhelmed, some bands. But in their case, the bond only got stronger.
After ‘Brickbat’ explored social and political divisions by way of what MOJO
described as “Forceful, driving garage songs and dream-pop epics,” ‘Love
Drips And Gathers’ follows a more introspective line - the ties that bind us, as
lovers, parents, children, friends - to a suitably subtler, more ethereal sound,
whilst still revelling in energy and drama.
“If ‘Brickbat’ was our Britpop album, then ‘Love Drips And Gathers’ is
shoegaze!” reckons vocalist/guitarist Miki Berenyi, formerly of Lush, a band
that effortlessly bridged the two genres like no other. “It wasn’t intentional; we
just wanted a different focus. I’ve always seen debut albums as capturing a
band’s first moments, when you really have momentum, and then the second
album is the chance for a more thoughtful approach.”
Bassist Mick Conroy (Modern English) agrees. “‘Brickbat’ was a classic first
album; noisy and raucous. On ‘Love Drips And Gathers’, we’ve calmed down
and explored sounds, and space.”
The way ‘Love Drips And Gathers’ changes shape and dynamic is less a
reprise of Nineties Brit indie than a transformation into a more shivery, Euromantic version with glistening electronic filigrees. The opening ‘Hastings’ sets
the tone. Luminous drops of guitar underpin Miki’s becalmed vocal before
drums, bass and a Mellotron add pace while the decorative coda features
their old pal Terry Edwards on flugelhorn.
‘Love Drips And Gathers’ - named after a line in a Dylan Thomas poem - was
inspired by love, family, belonging, memory. Miki and Moose split the eight
lyrics, with some poignant overlaps here too. Miki’s ‘Loveable’ looks to
Moose; Moose’s ‘The Knife-Thrower’s Daughter’ looks to Miki but also their
daughter Stella and his sister Anna; an empathic, touching embrace of the
women in his life.
Staying within the family, Moose eulogises his late mother (the idyllic
childhood seaside trip of ‘Hastings 1973’) and father (the more conflicted
‘Scratching At The Lid’). On ‘V.O.’, Miki pays fond tribute to Vaughan Oliver,
4AD’s legendary in-house art director who died suddenly in December 2019
and who had a particularly close relationship with Lush during their time on
the label (like ‘Brickbat’, ‘Love Drips And Gathers’’ beautiful and enigmatic
artwork is by Vaughan’s former design partner Chris Bigg).
LP pressed on clear vinyl.
“My vision was big,” says Brighton-based singer Macve of the road to her second album. “I knew I wanted to do something more expansive than my first record.” With reach, feeling, storytelling power and a stop-you-dead voice, Macve sizes up to that mission boldly on Not The Girl. Following on from the rootsy saloon-noir conviction of her 2017 debut, Golden Eagle, Holly sets out for
deeper, often darker territory with a firm, unhurried sense of direction on her second record: on all fronts, it’s an album that looks its upscaled ambitions in the eye fearlessly.
For Macve, the combination of influences such as Nancy & Lee with time spent touring helped widen her horizons. “I wasn’t afraid of trying new things, and I wanted to explore sounds and develop my skills in production, composing and engineering. When I wrote the songs on Golden Eagle I had never toured, it was just me in my bedroom playing acoustic guitar. I then got the chance to tour the world with a band and sing with a symphony orchestra with Mercury Rev in 2017. My little world grew and I realised there was so much for me to learn about how I can use my skills as a singer and writer. I didn’t want to limit myself – I wanted to push my boundaries.”
At every turn, Macve’s powers of evocation are matched by the depth and strength in her voice. Witness the meeting of a plangent pedal-steel with her elastic vocal on the atmospheric “Be My Friend”, or the sultry verses and soaring chorus of “You Can Do Better”, which bring to mind a prairie-sized Mazzy Star. Guest guitarist Bill Ryder-Jones’ spacious contributions help enhance its sense of space. “Bill was an important part of the story of this record,” says Holly. “I love his playing – it helped create that kind of heavy, lazy, dreamy sound I’m such a fan of.”
Elsewhere, rich seams of contrast and counterpoint emerge. The Velvet Underground-ish “Sweet Marie” is epic drone-country, “Little, Lonely Heart” a symphonic waltz around the rootsy stuff of bad love, jealousy, and guilt. “Who Am I” merges a Phil Spector-ish wall of sound with a grunge-y melodic insouciance, while “Daddy’s Gone” finds Macve reflecting on the death of her father over Memphis soul-style backing, rendering complex emotions with controlled reserves of detail and drama before a roistering climax.
“My vision was big,” says Brighton-based singer Macve of the road to her second album. “I knew I wanted to do something more expansive than my first record.” With reach, feeling, storytelling power and a stop-you-dead voice, Macve sizes up to that mission boldly on Not The Girl. Following on from the rootsy saloon-noir conviction of her 2017 debut, Golden Eagle, Holly sets out for
deeper, often darker territory with a firm, unhurried sense of direction on her second record: on all fronts, it’s an album that looks its upscaled ambitions in the eye fearlessly.
For Macve, the combination of influences such as Nancy & Lee with time spent touring helped widen her horizons. “I wasn’t afraid of trying new things, and I wanted to explore sounds and develop my skills in production, composing and engineering. When I wrote the songs on Golden Eagle I had never toured, it was just me in my bedroom playing acoustic guitar. I then got the chance to tour the world with a band and sing with a symphony orchestra with Mercury Rev in 2017. My little world grew and I realised there was so much for me to learn about how I can use my skills as a singer and writer. I didn’t want to limit myself – I wanted to push my boundaries.”
At every turn, Macve’s powers of evocation are matched by the depth and strength in her voice. Witness the meeting of a plangent pedal-steel with her elastic vocal on the atmospheric “Be My Friend”, or the sultry verses and soaring chorus of “You Can Do Better”, which bring to mind a prairie-sized Mazzy Star. Guest guitarist Bill Ryder-Jones’ spacious contributions help enhance its sense of space. “Bill was an important part of the story of this record,” says Holly. “I love his playing – it helped create that kind of heavy, lazy, dreamy sound I’m such a fan of.”
Elsewhere, rich seams of contrast and counterpoint emerge. The Velvet Underground-ish “Sweet Marie” is epic drone-country, “Little, Lonely Heart” a symphonic waltz around the rootsy stuff of bad love, jealousy, and guilt. “Who Am I” merges a Phil Spector-ish wall of sound with a grunge-y melodic insouciance, while “Daddy’s Gone” finds Macve reflecting on the death of her father over Memphis soul-style backing, rendering complex emotions with controlled reserves of detail and drama before a roistering climax.
Serj Tankian is the vocalist of iconic much loved metal band System Of A Down
2020, The Year Of Our Pandemic: A year of social unrest, police violence and a monumental US election. The year of COVID-19 and its mounting death toll. A massive explosion and mass death in Lebanon. Political upheaval in Belarus. A spiraling world economy. Global protests. If ever a stage was set for new music from Serj Tankian, this is it.
With his trademark eclecticism and one-of-a-kind vocal style, Serj delivers, Elasticity, a five song EP that run the gamut from hard-driving, electronically enhanced anthems like the title track to rallying cries for his beloved Armenia (“Electric Yerevan”) to the tongue-in-cheek political mash-up of “Your Mom.” Elasticity is comprised of songs originally intended for System Of A Down. But it didn’t quite work out that way.
The EP will delight fans of System who have waited a long time for new music. Alongside the release of the EP, Serj will release the documentary ‘Truth To Power’ which he directed himself and is released in conjunction with Oscilloscope Laboratories and Live Nation. The documentary features music from the EP and there are comarketing initiatives in place with the film company.
A focal point for the unique punk-funk that was coming together in Bristol as the bridge from the 70s to the 80s arrived, Maximum Joy was formed by Glaxo Babies multi-instrumentalist Tony Wrafter and 18 year old vocalist Janine Rainforth. Soon they drafted in additional Glaxo Babies in the form of drummer Charlie Llewellin and bassist Dan Catsis, along with guitarist John Waddington, fresh from The Pop Group. The group set about making a one-of-a-kind mix of funk, punk, pop, jazz, dub, soul, afrobeat and reggae; creating a brilliant burst of danceable tunes wrapped around elastic basslines and complex percussion, punctuated by melodic horns and stabs of guitar, all of it highlighting Rainforth’s naturally enthusiastic vocal style. They immediately took their place on the rosters of influential labels like Y and 99 with iconic debut single Stretch, as the band had clearly captured something special.
Entering 1982, Kevin Evans had replaced Catsis as Maximum Joy set out to make what would be their only full length LP. Recording at Berry Street and The Lodge with producers Adrian Sherwood (On-U-Sound legend), Dave Hunt (Flying Lizards, Pigbag, This Heat) and Pete Wooliscroft (Kate Bush, Talk Talk, Peter Gabriel, OMD, This Heat) the band would mix practiced grooves with imaginative improvisation. The results were absolutely jaw-dropping.
Station M.X.J.Y. kicks things off with Dancing On My Boomerangand promptly sets forth the blueprint for bands like !!! and The Rapture to capitalize on nearly twenty years later. In fact, those bands can only dream of the mix of driving percussion and spectral shards of guitar that Maximum Joy has clearly already mastered. Do It Todayannounces itself immediately with Rainforth delivering a looping and infectious vocal melody that the others dance around playfully, as handclaps keep the stomping groove intact, leaving a dancehall hit for outer space circling your turntable.
If you ever wondered what it would sound like if ESG and The Slits combined forces, Let It Take You There has the answer for you. Llewellin periodically delivers a cascade of marching band percussion while Waddington’s classic R&B riffs are transformed into a slithering snake trying to keep pace with Evans locked in groove as Rainforth’s singsong vocals are reduced to whispered echoes. They close out side one with the delicious slab of pop that is Searching For A Feeling. Clearly pronouncing the band’s intention to find the positives in a dire time for England, they look to rally those around them to focus on making real change in the face of opposing voices via one of Rainforth’s most delightful deliveries.
Side two sees Wrafter stretching out on Where’s Deke?, showcasing what had already been obvious, as he is the band’s secret weapon, often coloring each tune with his horns, sometimes in several styles just seconds apart. He underlines that feeling with the raucous and bouncy Temple Bomb Twist, before they hit a straight groove in Mouse An’ Me, like a dub infected Train In Vain. Well, if The Clash had ever allowed themselves to properly lose their minds on the dancefloor.
A funky afrobeat flute and guitar battle breaks out (way cooler than it sounds) before Rainforth rallies the troops to not only fill up the disco, but also the surrounding streets in political resistance to Thatcherism via All Wrapped Up. It is entirely genuine and their activism has none of the menace of the others in their scene, but rather a feeling of sharp optimism amongst this danceable masterpiece. It is that optimism that always set Maximum Joy apart, and makes their grooves all the more irresistible today.
Sadly, the upward trajectory of the band was cut short as Rainforth left the group, and soon afterwards seemed to stop making music altogether. The reasoning seemed destined to remain a mystery, until earlier this year when she gave a brave interview to The Guardian where she revealed that an assault by someone in the industry caused her to retreat entirely from music for nearly three decades. Luckily, Janine has embraced music once again, and she refuses to let the magic that was Station M.X.J.Y. be lost as well.
'Boomerang' was first recorded in 1979, when the Broomfield Corporate Jam leader was attempting to plot a solo career. It was the first cut Aaron Broomfield recorded under his own name - Initially, at the family band's home studio, Kilimanjaro, and later at professional studios in L.A and Miami - but it was never released.
'I always wanted to be able to share 'Boomerang' with my fans some day - I didn't release it back then because I thought the time wasn't right,' Broomfield explains. 'It was so different to what was considered commercial then and felt ahead of its time.'
Before deciding against releasing it, Broomfield had two test pressings made. It was the accidental discovery of the
one remaining record by digger Arun Brown (the other perished when Broomfield's Kilimanjaro studio was damaged by a fire in 1996) that set in motion the chain of events that finally led to its release.
The jacket boasts a written essay by Broomfield himself, telling the remarkable story behind the song. The wax
features the two versions of Boomerang, of which both were meticulously restored and re-mastered by celebrated
Australian sound engineer, Dan Elleson.
Head to side A for the 'test press' version, a cosmic, starry-eyed chunk of elastic Miami disco-funk where the
Broomfield family's killer instrumentation - all rubbery bass, deep space synths and crunchy Clavinet motifs - arcs
around the sound space like a boomerang in flight. The vocal arrangement, in which Aaron Broomfield's conscious
lyrics come through loud and clear, brings it home. On the flipside, you'll hear how dynamic the band was through the
'Demo Version' - a relaxed, loose and spacey groover that sounds as ahead of its time in 2018 as it would have when it was recorded in 1979.
Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.
The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.
The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.
From four individual parts, with distinct musical pasts but also
overlapping histories, a new unified chapter begins with Piroshka and
the quartet's thrilling debut album 'Brickbat'.
The album is named after the word for a missile, which nails the
record's heavyweight lyrics if not the music's gorgeous, bittersweet
and euphoric pop. Think of 'Brickbat' as a wolf in sheep's clothing -
which suits the name Piroshka, the Hungarian take on the wolf
terrorised fairytale hero Little Red Riding Hood - a subtle nod, too, to
a certain red hairdo that stood out in the 1990s Brit-guitar-pop
scene...
The four band members are former Lush vocalist / guitarist (and
former redhead) Miki Berenyi, former Moose guitarist KJ 'Moose'
McKillop, Modern English bassist Mick Conroy and former Elastica
drummer Justin Welch. The connections between them are a
veritably tangled family tree. Before they lived together and raised a
family, Miki and Moose were notable figures on the so-called
shoegaze scene, while Elastica were Britpop peers. After post-punk
pioneers Modern English split for a second time, Mick became a
latterday member of Moose, while Justin joined the reformed Lush in
2015. And when Lush required a bassist for what proved to be their
final show (in Manchester) in November 2016, Mick stepped in.
It was the rehearsals for that Manchester show that laid the
foundations for Piroshka. 'We sounded great!' says Justin. 'Like a
proper punk band. Mick brings a huge amount of enthusiasm and
livens up the room, and I thought, this is the kind of band I want to
be in again.' Mick agreed. 'I'd seen Lush so many times, it was like
playing with old friends. Miki agreed it was good fun too. And with
Moose available, we thought, let's all have a bash, see what
happens.'
Though 'Brickbat' kicks off with a squeal of feedback, the album is far
from a proper punk record, with as much sublime delicacy as physical
force, with guitars to the fore but also electronic flourishes in all
manner of spaces. Combined, they drive the nuggety melodic bombs
long associated with Miki's songwriting
LP format includes digital download code.
