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J. Robbins on Basilisk:
2020 gave us the pandemic, which despite all its awfulness also gave me a lot of opportunities to write and demo music - but everyone was terrified to get into the same room together to play. Finally, around February of 2021, I called up Brooks Harlan and Darren Zentek and asked if they would be down to meet me at the studio and do a 2-day session and see how it turns out. Brooks and Darren were into the idea - we were all in full cabin fever mode at that point and dying to do anything - so I sent them the demos and we did it. The musical connection had always already been there, but the energy that came from all being in the same room doing this together - something we had just spent a year wondering if we’d ever get to do again - was wonderful. It felt like having been lost in the desert, and then finding an oasis. I’ve never been so happy with a session - both the results and the experience, and the outcome was exactly what I had wanted: something more stripped down and very immediate.

We were all fired up and we did a second session in March 2022. In the interim I enlisted some collaborators:Gordon Withers to add cello and second guitar to a few songs, Janet Morgan and her two sisters to sing some harmonies, Dave Hadley to play pedal steel on “Not The End,” and Chicago punk legend John Haggerty to add an actual blazing guitar solo to the song "Exquisite Corpse." And I went on working on vocals and overdubs at home. The lyrics were (as always) somewhat therapeutical: “Automaticity” came out of thoughts on aging and remaining present in a world increasingly going on auto-pilot; “Last War” and “Dead Eyed God” work out fears prompted by January 6th and the rise of neo-fascism. More personal matters were trying to work themselves out as well. Recurring childhood dreams ("Deception Island"), surrealist games ("Exquisite Corpse"), and trephination guru Amanda Feilding ("Open Mind") were also in the mix.

Another result of pandemic isolation was that I had also been working on more abstract, electronic based music(inspired by my love of film soundtracks, Peter Gabriel’s music, and by studio work I had done not long ago with the band Locrian), using granular synthesis, sampling, and software synths. So as Basilisk came together, I wanted to see if I could pull those sounds into the flow of the record, open up its vocabulary a little and still make something cohesive. Connection has always been the whole point of music making for me. There are so many ways to come at it, and i don't want to close any of those doors. Going forward, I only want to open more of them.

Upside Down is the third studio album by American band Set It Off. The album was released on October 7, 2016 through record labels Equal Vision Records and Rude Records. Since the release of sophomore album ‘Duality’ in 2014 (produced by John Feldmann - 5SOS, Blink-182, Good Charlotte, All Time Low), lots of things have changed for Tampa, FL natives Set It Off. Considered among many like the freshest pop rock band in the scene, they’ve been working for the past few years on ‘Upside Down’, third full-length album to date, in which they continue to expand their signature sound of high energy, orchestra-infused pop and exquisite musical composition and harmonization. ‘Upside Down’ will be available worldwide-wise in physical & digital formats on July, 22nd in perfect time to become one of this Summer’s soundtracks.

Musica Per Immagini is about to go beyond vinyl reissues of soundtracks and music libraries, with a brand new series of products.
From 2024 onwards, it will release a series of albums of contemporary and electronic music often "inspired by" different sources, both sonic, if not literary and cinematographic. A way to embrace the future without forgetting the past.

Heinrich Dressel's “Polarlys” is the first album of unreleased tracks published by Musica Per Immagini, or a soundtrack for a imaginary noir film set in the icy waters of northern Europe, inspired by the book “The Mystery of the Polarlys” by Georges Simenon. Drones and ethereal atmospheres are paired with a cinematic background in order to describe the frost of the northern seas and the restlessness of the journey: beyond the classic analog sounds, a specific use of additive and vector synthesis particularly in vogue during the Nineties and typical of vintage synthesizers.

COTONETE is back!

After releasing numerous and now collectable standalone singles, plus some now famous collaborations with Dimitri from Paris, 2019 saw Parisian based 8 piece, Cotonete release their first long player in 15 years! Under the guidance of Melik Bencheikh from Paris’ rare record emporium, Heart Beat Vinyl. The dark moody mover "Super-Vilains" came out to great success on Heavenly Sweetness.

After playing some packed live shows around France and the UK, including the acclaimed Sunday at Dingwalls in Camden, hosted by Gilles Peterson and Patrick Forge. Somewhere along this part of the journey, they came across the Brazilian music legend and vocal powerhouse, Di Melo. He softened their souls, and from this love affair came the album "Atemporal". Released on Favourite Recordings, this 8 track album would end up being sampled by Canadian superstar Drake, for his 2023 album ‘For All the Dogs Scary Hours
Edition’.

So now into 2024, and we have Cotonete full length number two. They’ve enlisted the producer Guts to guide them towards sunshine, groove, warmth and all the colours in his rainbow. With their tongues firmly in their cheeks, the album is titled ‘Victoire de la Musique’ - a dig at the annual French music award ceremony. Taking the band deep, producer Guts showed them new and exciting rhythms from all corners of the world. The record’s first example of this is ‘Venezuela’, a track directly inspired by the jazz funk from the great Caribbean nation.

Other key musical exploration on the record can be attributed to the late composer Francis Lai. On ‘Cinq Pour L'aventure’ - an almost 15 minute epic monster showcasing the band’s love for 70's French movies soundtracks. “L’aventure c’est l’aventure”, was a movie by one of the most famous French directors Claude Lelouch The single from the soundtrack was sung by French music superstar Johnny Halliday.

Guests are scattered very tastefully across the album, on the only cover version of the record, the Brazilian master Jorge Ben’s ‘Bebete Vãobora’, Sabrina Malheiros was invited to lend her lungs. The daughter of Azymuth’s Alex Malheiros helps join perfectly the dots from a band that are without a doubt Cotonete’s biggest influence. Brazilian jazz funk, now with an added French touch.

On ‘Day in Day Out’ a powerful performance is given from Leron Thomas on vocals and trumpet. Perhaps also known for his role as the musical director for Iggy Pop and touring member of his band. This track is an already tried and tested dance floor filler, emphasizing just how tight the band really can play - the track even found its way into BBC Music’s Craig Charles’ ‘Track Of The Year’ selection.

No record so soulful would be complete without a trip to the UK. Omar, London’s Godfather of New Soul pops in. Having recorded with artists like; Courtney Pine, Level 42 & Erykah Badu, in his distinctive smooth style, he blesses the track ‘What Did Run You For?’ The final vocal visitor is Gystere Peskine, a Parisian based musical hero, who shows off his retro future funk feels on ‘O Ceu es Preto’ - which literally translates as ‘the sky is black’ - although given the hugely uplifting and almost Gospel Soul of this Russian/Brazilian singer, he
has us seeing things far brighter.

Cotonete have endeavored to build a worldwide rainbow warrior team of merry boys and girls. Fighting the brave fight to shine light towards the fact that music will always win…. "Victoire de la Musique" - a symphony of spring, songs of the new world, a "Victory Of Music”

First time on 45 for these 2 classic Lalo Schifrin title tracks from a couple classic Clint Eastwood soundtracks, Dirty Harry and Magnum force – very limited pressing.

After two EPs with his punk-jazz duo La Récré, a recent solo album on Born Bad Records and two soundtracks for Monia Chokri films "Babysitter" and "Simple Comme Sylvain", Forever Pavot is everywhere yet never where you expect him to be. He now returns to BMM with a new rap album titled "Forever XP".

On the other side of the globe, LA-based rapper and street activist XP The Marxman received a beat with a nice sample from one of his producers. XP traced the sample back to Forever Pavot, and decided to reach out to him to collaborate.

That's how the atypical Forever XP album was born. Pavot's first time working with a rapper was also XP's first time working with a composer, yet they managed to blend both their universes in such a flawless way that it's like they were meant to create music together.

ITALIAN LIBRARY GEM RE-IMAGINED BY BEATMAKER KORALLE AND RAPPER ILLA J

Four Flies is proud to present a new installment in the RELOVED series, 'New Levels / Chartreuse', with an original track from late-70s Italian ensemble Modern Sound Quartet and a rework from producer and beatmaker Koralle featuring iconic rapper Illa J.

In keeping with the aim of the series, which is to put a modern and urban spin on tunes from Italian golden age soundtracks and library music, Koralle has used the unique jazz-funk sound of the original sample to create a smooth and stylish hip-hop beat to which Illa J adds irresistible swag and coolness. More than a remix, 'New Levels' is a new composition that takes 'Chartreuse' into the world of contemporary hip-hop and rap.

Lorenzo Nada, aka Koralle, is a musician, beatmaker and producer from Bologna, Italy. Nada is best known for his project Godblesscomputers, which kicked off a couple of years ago while he was living in Berlin. After releasing four albums/EPs and touring Europe with a four-piece band, Nada is heading into a new direction as Koralle. Firmly rooted in hip-hop, Koralle is taking his jazz crates and field recordings to the studio. Equipped with an array of synths, Rhodes and bass, he creates deeply textured tracks that touch mind, body and soul. "Each beat is like an object found at the bottom of the sea," says Koralle to describe his music. And adds: "The samples emerge from the depths of my record collection and find a new meaning, transformed, like corals from the bottom of the ocean."

Rapping on Koralle's beat is Detroit artist Illa J. Raised in a musical family (his father played piano, his mother sang, and his older brother is the late hip-hop producer J Dilla), he grew up surrounded by jazz, gospel and soul, before building a name for himself as a rapper with a distinctive flow and timbre, but also as a singer and songwriter. Illa J has said of his approach to lyric writing that "the melody comes first, then I bring the words in, even when I'm rapping, you know rhythmically. I'm a singer, so melody comes first, but in terms of the subject matter, the music tells you."

The Modern Sound Quartet was an ensemble led by Milanese pianist and composer Oscar Rocchi. It included Rocchi on keys, Andrea Surdi on drums, Ernesto Verardi on guitars, and Luigi Cappellotto on bass. 'Chartreuse' (written by Cappellotto) comes from their 1976 library LP Cocktail Bar – a collection of jazz-funk/jazz-rock/fusion tunes, each named after a famous spirit. While little known to the general public, Cocktail Bar is highly sought after by diggers, DJs and beatmakers.

'New Levels / Chartreuse' is the fifth release in the RELOVED series, following Jolly Mare's retouch of Piero Umiliani's 'Discomania' (12"), Free The Robots' rework Gianni Safred's 'Autumn 2001' (7"), Dengue Dengue Dengue's remix of Giuliano Sorgini's 'Oasi Nella Giungla' (7"), and Fratelli Malibu's reversioning of Alessandro Alessandroni's 'Tema di Susie' (12"). The 7" releases are co-curated by fellow independent label Little Beat More.

Sonor Music Editions proudly presents "A TEMPO DI JAZZ" by Maestro Piero Umiliani. This lost gem captures the formative years of Modern Jazz in late 1950s Italy - alongside the legendary Basso-Valdambrini recordings in the early 1960s, as well as the early years of Piero Umiliani's long and prolific career as a composer with over 190 soundtracks, 40 library albums, and 35 TV title themes recorded.

A TEMPO DI JAZZ includes seven original compositions by Piero Umiliani recorded in 1959. Here, at the age of 33, he lays a perfect ground with himself as a pianist, accompanied by some of the best Italian soloists at the time: Marcello Boschi on alto saxophone and flute, Ivan Vandor on tenor saxophone, Peppe Carta on bass, and the American trombonist Bill Gilmore. With plenty of room for improvisation, the sextet fuses Big Band moods with West Coast experimentation of Latin American rhythms and Modern Jazz ballads that sit perfectly between his soundtracks for the films "I Soliti Ignoti" (Big Deal on Madonna Street) from the same year that attained him international recognition, and his masterpiece "Smog" (featuring Chet Baker and Helen Merrill) from 1962.

Five compositions are outtakes from Piero Umiliani's mega-rarity "Tempo Jazz", released on RCA Custom in 1960, while 'Tema In Blues' has been published on the two - impossible to obtain - 45 releases "Moderato Swing" (RCA Camden 45CP 112) and "Tema In Blues" (RCA Custom 45 R3) from 1960 as well as the previously unreleased track 'Mezza Cottura.'

The music has been transferred and remastered from the original master tapes and lacquer cut in MONO, preserving the original sound of the recordings.

Sie sind ein großer Fan von Videospielen? Entdecken Sie eine Zusammenstellung der besten Videospiel-Soundtracks, aufgeführt von Londons besten Filmmusikern, London Music Works. Von 'Call Of Duty' über 'The Legend Of Zelda' bis zu 'World Of Warcraft' – lassen Sie sich von diesen Videospiel-Musikuniversen überraschen! Gepresst auf klarem Doppelvinyl.

Aurélien Hamm aka Saint DX introduces his debut album, "Way Back Home," due for release on January 26th . Although introspective & meditative , this album is more collaborative than ever: it features Ponko and Prinzly, with whom he co-produced Belgian rapper Damso's QALF album. As well as his friend and pianist Paul Prier & Jules Fradet. Renowned producer for Damso and Disiz, Saint Dx first came to prominence by accompanying Charlotte Gainsbourg on keyboards on her tour for the album 'Rest' . His pop and electronic- original soundtracks inspirations can be called Ultra-Classy Pop" and romantism. His new single 'Late' begins with an emotive, liberating cry and captivates with its potent synths.

Anna Calvis fesselnde und atmosphärische Kompositionen für der 5. und 6. Staffel von Peaky Blinders, der rekordverdächtigen BBC-Fernsehserie, werden über Domino Soundtracks veröffentlicht. Der Original Score umfasst 37 Tracks, die verschiedene Mitglieder der Shelby Company Limited sowie neuere Charaktere wie Oswald Mosley einbeziehen. Das Album enthält auch die zuvor veröffentlichten Originalsongs "You're Not God" und das schwungvolle "Ain't No Grave" sowie Calvis Cover von "Red Right Hand", dem Peaky Blinders-Titelsong von Nick Cave & The Bad Seeds.

The new album The Commune Of Nightmares by noise artist David Wallraf is a tapeloop-based musical game of cadavre exquis, a technique developed by surrealist artists.

David Wallraf is a noise artist and theorist living in Hamburg. His artistic work deals with the repressed and uncanny sonic residues of quotidian life, crafting soundtracks for the creeping disaster we inhabit. His works have been released on numerous international tape labels. A recent interest of his is the live scoring of silent films, including works by Luis Buñuel, Maya Deren and Jean Genet. His PhD thesis Grenzen des Hörens. Noise und die Akustik des Politischen (Limits of Hearing.Noise and the Acoustics of the Political) has been published in German, an English translation is in progress.

The Commune of Nightmares stems from the idea that nightmares are the logical reverse of 'capitalist realism': an uncanny undercurrent of daily experiences and an algorithmic haunting of dreams that at the same time is a shared – communal – experience of everybody. All songs are based on tapeloops that were cut arbitrarily from a stash of cassettes, some of which found on the street, others from a stockpile of 4 track tapes recorded in the late 90s and early 2000s – a musical game of cadavre exquis played with random strangers and former versions of DW.

Credits:

All music composed and recorded by David Wallraf in Hamburg-Wilhelmsburg, first half of 2023

Sdban Records, the renowned independent groove & jazz label behind Funky Chicken, Hip Holland Hip, and Discophilia Belgica, is thrilled to announce the upcoming release of its latest compilation album, "The Belgian Soundtrack: A Musical Connection of Belgium with Cinema." Packed with the finest soundtracks boasting an unmistakable Belgian connection, this compilation takes listeners on a captivating journey through a collection of cinematic hidden gems from the early sixties to the late seventies.

Curated by the passionate duo Robin Broos and Tom 'Pélé' Peeters, known for their profound appreciation of obscure soundtracks, "The Belgian Soundtrack" showcases the exceptional talents of both local and internationally acclaimed composers and musicians. From obscure finds composed by lesser-known artists to Hollywood scores performed by world-renowned musicians, this compilation offers a vibrant blend of tracks, including the occasional contribution from renowned international artists who have lent their musical prowess to Belgian films.

"The Belgian Soundtrack" came into being as a serendipitous adventure. Former film journalist Jan Temmerman reached out to us one day, offering a treasure trove of vintage soundtrack albums discovered in his attic," recounts Robin Broos. "With 650 long players, mostly unheard of titles, we embarked on an extraordinary quest-to listen to every single one of them, totaling a staggering 29,250 minutes. It was like watching the original Star Wars trilogy 78 times!"

What started as a quest soon evolved into an intriguing investigation fueled by curiosity. Along the way, Broos and Peeters unearthed dozens of treasures, delved into the backgrounds of obscure composers and musicians, and witnessed an array of enigmatic films. "We encountered an abundance of (un)necessary nudity that we never could have imagined existed," Tom Peeters laughs. The outcome of their explorations is "The Belgian Soundtrack," a meticulously curated collection of funky, melodic, and uplifting tracks, each crafted exclusively for the silver screen and boasting an unexpected Belgian connection.

The concept of naught (Ø) has challenged Salvatore Mercatante throughout his musical career, specifically, trying to understand how the idea of ‘nothing’ fits into the realm of sound, and at the same time, exist in a world of influence at every turn. In the absence of everything, are we able to create something truly free?
As a lifelong New York-based musician, Mercatante’s influences and productions run a wide spectrum. Just as happy producing 80s-inspired horror soundtracks as he is refining acute drum patterns over and over again, Salvatore is the first to ask himself, where next? When a musician’s output can be influenced today by so much, and there is no self-defined or perceived artistic goal in mind, how do you start from a place of nothingness, again and again?
This approach has born many minimal and experimental albums of note in the past, but with Ø, Salvatore ended up with an almost controlled maximalist approach. Beginning with open spaces and allowing sonic textures to live and evolve past where you may expect, Ø allows the space between notes to become equally as important as the notes themselves. Walls of noise, soaring soundtracks, dense techno, glittering IDM, and minimal glitch, sit side-by-side to present an all-encompassing palette of sonic possibility.
Often, even without any intent, what can be born from nothing will somehow transpire back into something more recognizable. It’s human nature after all. A subtle fingerprint, as a sequence, melody, pattern, or drum kick. Whether Salvatore intended for this record to represent his defining sound or not, only time will tell.
Mastered by Giuseppe Tillieci @Enisslab, Rome, Italy.
Artwork by Brandon Locher
Written and produced by Salvatore Mercatante

Matti Bye, a renewed film music composer responsible for many of recent years most intriguing Swedish movie soundtracks presents his latest outing. Previously only featuring on NE trough the many collaborations with Varg2(TM), Between Darkness and White Snow is Bye's first solo LP on the Stockholm label. Melancholic tones for a dark winter landscape.

Part of The Optic Sevens 5.0 Reissue Series.
Limited to 500 copies worldwide . Pressed on Blue Vinyl . Includes poster.
By 1986 Nikki Sudden had found a home at Creation Records releasing Texas.
Widely considered Sudden’s solo magnum opus,. Co-produced by Sudden and his brother Epic Soundtracks, Texas is a masterpiece. Like Young’s After the Gold Rush or the Rolling Stones’ Sticky Fingers, Texas holds together as a damaged, atmospheric take on Americana. At this time in rock history, Sudden was nearly alone in referencing Brian Wilson’s Smile album.
Jangle Town was the opening track and only single that was taken from the album. This reissue uses the 12” artwork

Dutch lute player and composer Jozef Van Wissem's new album The Night Dwells in the Day out 19th January 2024. “It's like a part of my body,” says Jozef Van Wissem of the relationship he has to his chosen instrument, the lute. “The complexity of it is what keeps me going because you can always find something new.” The ability to constantly extract something different and explore fresh terrain is evident throughout Van Wissem’s sprawling back catalogue and up to his latest album, ‘The Night Dwells in the Day’. Over the years he’s released countless solo albums stretching into double figures, there’s been collaborations with Jim Jarmusch and Tilda Swinton, award-winning computer game soundtracks, along with award-winning film soundtracks, from Jarmusch’s Only Lovers Left Alive to Pierre Creton’s 2023 film A Prince. Since studying the lute in New York with Patrick O'Brien in the 1990s, Van Wissem has gone on to create works equally as rooted in classical Renaissance and Baroque forms of lute music, as contemporary sounds spanning drones, electronics and field recordings. Throw in some of his formative influences from the no wave and industrial scenes, alongside a dedicated approach to minimalism and this has resulted in Van Wissem producing distinct and singular work whose sound is often a marriage of opposites; meditative and intense, forward thinking but with a sense of the arcane. The Quietus has called him “probably the most famous lutenist in the world”. The genesis for his latest album began during lockdown in Warsaw, where Van Wissem splits his time between Rotterdam. “The Call of the Deathbird” was the first song he wrote from the album and is the first to be shared, along with an accompanying video today. Over a hypnotic yet beautifully fluid and plucked melody - captures scenes of deserted streets, death and the intense isolation that gripped us all. One of the relatively rare tracks that Van Wissem sings on - along with some stirring and enveloping guest vocals from Hilary Woods (who will tour with Van Wissem later this year – details below) - his towering voice circles above the music much like the swooping deathbird he sings of. Normally Van Wissem writes all the music for one album within a confined period but this one song from a few years ago stuck around and took on a new lease of life and so joined a bunch of freshly written songs for the album. While one song written during, and about, the pandemic came to be the album’s centerpiece, the rest of the album grapples with the world as it moved on and all the dualism and dichotomies that followed. “It has to do with darkness and light,” Van Wissem says of the album. “The title can mean different things to people but sometimes people say that if I play a happy piece of music that it still sounds sad. So this is why I came up with that title.”

Repress!

Immerse yourself into the universe of orcs, hobbits and elves through the soundtracks of The Hobbit & The Lord of the Rings with this limited edition 2LP.

Delasi, the Koforidua-based producer, singer and rapper has released his new single ‘Amplifier’ featuring Nii Noi Nortey.

Prophetic, spiritual and frenetic, ‘Amplifier’ is Delasi’s testimony in musical form. A manifestation of Delasi emerging triumphant after many years in limbo as he searched for a long-awaited breakthrough in the music industry.

Produced by Delasi himself alongside Morgan Greenstreet, ‘Amplifier’ is underpinned by the texture of coastal rhythms indigenous to Accra and tightly ornamented with bustling drum breaks, electronic synth lines and jazz sensibilities.

Veteran Ghanaian multi-instrumentalist and sound designer Nii Noi Nortey appears on the track to deliver an explosive and rhythmically intense saxophone performance throughout as it tastefully builds to an emphatic crescendo.

Self-described as a prayer, the track’s maximalist and percussive instrumentation is cleverly juxtaposed with minimal lyrics where Delasi’s faint vocal repeats a series of repeated phrases like evoking the mood and semblance of a meditative chant and religious experience. Harkening to the work of afrofuturistic jazz musicians like Sun Ra and Pharaoh Sanders.

Speaking on the track’s meaning, Delasi said: “‘Amplifier’ is my prayer and like with other songs of mine it can scare me because I write things and then it’ll manifest in exact detail. The song is basically outlining how hard I’ve worked and how I need an amplifier to have my desires fulfilled. It's like a mantra and that’s why it's not so lyrical”.

‘Amplifier’ marks Delasi’s first release as a lead artist since his 2015 self-released project ‘#thoughtjourney’ which garnered support and praise from Rolling Stone, BBC6 Music, Worldwide FM, KCRW, Afropop Worldwide, Deutschlandfunk Kultur, NRK and legendary French DJ/Producer Laurent Garnier. Additionally parlaying into touring and festival gigs across Nairobi, Berlin, Morocco, Denmark and Sweden.

Delasi is an artist that has been quietly prolific for over a decade. Honing his musicianship exploring sonic possibilities with Ableton and Teenage Engineering. Eventually entrenching himself in the Ghanaian rap scene via collaborations with Hammer of The Last Two, Reggie Rockstone and Yaw P with whom he would release a joint project ‘Imperfections: The Break Up Vol 1’ in 2013.

He was musically raised on a diet heavily influenced by his father who exposed him to the sounds of Marvin Gaye, Bob Marley & The Wailers, Bobby McFerrin, Jim Reeves and Billy Ocean alongside the soundtracks for movies like Doctor Zhivago, The Sound of Music and La Bamba. Delasi’s own tastes would be heavily informed by linchpins of US Hip-Hop like Wu-Tang Clan, Nas, Onyx and M.O.P in addition to alternative R&B artists Frank Ocean and James Blake.

After many years of operating as a proudly independent and self-contained artist, Delasi has now partnered with Gilles Peterson’s Brownswood Recordings. One of the world’s leading indie labels, famed for their instrumental role in breaking the likes of KOKOROKO, Yussef Dayes, Swindle, Joe-Armon Jones, Shabaka And The Ancestors, Zara McFarlane and Ghostpoet.

With Delasi now being granted resources to give his music the grand and worthy footing, he is now on the cusp of the artistic breakthrough that was long out of reach. Speaking further on how the deal with Brownswood inspired the new single, Delasi said:

“The music I’ve created this go round is so strong that I can’t handle it all by myself. Though I had a lot of fun doing it all by myself with ‘#thoughtjourney’, this time around I needed it to be with a home who could properly amplify it.”

PETE MOLINARI is a singer-songwriter from the Medway Delta. He was born into a large Maltese/ Italian/ Egyptian family in Chatham, Kent, where he was discovered by Billy Childish.
He’s got five critically-acclaimed albums’ worth of timeless folk, blues, rock and alt- country songs to his credit, plus a bunch more EPs.
He’s often described as a songwriter’s songwriter. Bruce Springsteen once publicly proffered: “Pete Molinari – if you don’t know anything about him, he’s great!”
Rome has a secret heartbeat, an underground and urgent pulsation whose memory is preserved within the walls of old recording studios, in the tales of veterans, and most of all in the grooves of the soundtracks of Cinecittà. Music that has always flirted with poetry.
Pete Molinari is a poet, and that's why his words perfectly blend with this pulsation.
That's why producer Luca Sapio chose to record "Wondrous Afternoon" among his Blind Faith Recordings and Maestro Piero Umiliani's Sound Workshop. The result is an album with a strong cinematic impact. The lesson of Motown applied to the sound of Rome.
Backed by Luca’s crack band better known as the Italian Royal Family, Pete Molinari sings with great expressiveness and soul, embedding his words like precious stones, exposing them in all their fragility and strength to the listener.