Jonna Lee aka IONNALEE aka IAMAMIWHOAMI has made a curious comeback with a follow up to her first solo outing of ‘Everyone Afraid To Be Forgotten’.
Unlike her works with IAMAMIWHOAMI, which were mysteriously messy and unsettling, the music of IONNALEE simplified matters, adding a romantic feel to her otherwise unusual disposition and ‘Remember The Future’ maintains that minimal approach. Continue Reading ›
IOANNA GIKA is a Greek American artist who is part of IO ECHO, a band who have opened for NINE INCH NAILS, JON HOPKINS and HAIM amongst others.
She also writes film scores, having been notably shortlisted by the academy for her original song ‘Gone’ from ‘Snow White & The Huntsman’. Citing her Hellenic heritage, Gika releases her debut solo album ‘Thalassa’, named after the Greek primeval spirit of the sea. Continue Reading ›
2018 saw JEAN-MICHEL JARRE celebrate 50 years in the business and whether the world really needed another of his compilations, ‘Planet Jarre’ was probably one of the better collected representations of his work for casual admirers.
SOFT CELL made a totally unexpected return for a huge one-off farewell gig at London’s O2 Arena; and with it came a boxed set, the ‘Northern Lights’ single and other new recordings which have raised hopes for a new album. Continue Reading ›
One of Sweden’s biggest exports and otherwise a much underrated Synth Princess, KARIN PARK returns with ‘Blue Roses’.
Her last long player ‘Apocalypse Pop’ showed a further growth in what can only be described as a neoclassical amalgamation of synth and then Park took to the stage, performing in the Norwegian version of ‘Les Miserables’, playing the role of Fantine. 'Blue Roses' continues the trends set on ‘Apocalypse Pop’, with the eponymous single creeping from a melancholic affair. Continue Reading ›
As innocent and idyllic as the new album title from GAZELLE TWIN sounds, those who are well familiar with Elizabeth Bernholz’s previous output, won’t be fooled. The queen of all things weird and wonderful is back after the highly acclaimed ‘Unflesh’.
‘Pastoral’ should be glorifying her new found life in the depths of Old England, a move amidst other life changing events; instead, it “exhumes England’s rotten past, and shines a torch over its ever-darkening present”. Continue Reading ›