Author: electricityclub (Page 94 of 441)

“I don’t like country & western, I don’t like rock music… I don’t like rockabilly! I don’t like much really do I? But what I do like, I love passionately!!”: CHRIS LOWE

“Good taste is exclusive”: NICK RHODES

A Short Conversation with EUGENE

10 May 2022 /

The Milan-based Roman producer EUGENE first came to wider attention in the UK with his single ‘Radiowave’ released by Wall Of Sound in 2019.

An ambassador for the electronic instruments distributor Midiware, he has also been a singing actor for the Italian versions of animated series and movies such as ‘Lego Batman’, ‘Peter Rabbit’, ‘Happy Feet’, ‘Ask The StoryBots 2’, ‘Fireman Sam’ and ‘Thomas & Friends’.

His soundtrack for the surreal short film ‘Lavender Braid’ by American director Magdalena Hill combined synthesizers and voice with prepared piano, violins and the hurdy gurdy, an ancient hand-cranked drone string instrument.

Over the past few years, EUGENE has been keeping himself busy with remixes, live work (pandemic allowing) and releasing a series of singles in the build-up to his debut album ‘Seven Years In Space’. Asking “Can an object float in space for seven years?” in an oblique reference to recent times, the record is a one-way ride through 1890 and 2084.

While there is the throbbing electronic pop of ‘Of Signals & Voices’ and the punchy energy of ‘Gone’, the debut long player sees the Italian musician exploring and expressing from the galactic rock of ‘Dive’ and the arty Italo of ‘Crash’ to the ELO-esque ‘How Would You Define It’ and the electro-funk workout ‘Diagram’.

But there are more cerebral moments too; ‘Undisclos*d’ distorts piano over a slow dark waltz while mixing in Texas Instruments and the vocoder tinged ambience of ‘Ionosphere’. And while David Bowie said we had only ‘Five Years’ and THE CURE felt there were ‘One Hundred Years’, EUGENE synths up ‘A Forest’ by the latter to confirm there are actually only seven!

‘Seven Years In Space’ maintains EUGENE’s assertion that “Pop is not a crime”. He kindly spoke to ELECTRICITYCLUB.CO.UK about his first length album and getting back on the live circuit.

You have been releasing a series of singles to start 2022, is this all leading to a full-length EUGENE album?

Absolutely yes. You know I always preferred to release just single tracks or EPs rather than entire albums, but this time I felt like saying something more. It was basically a communication need. By the way, the album will be out on May 13 and it’s titled ‘Seven Years in Space’.

‘Of Signals & Voices’ has some familiar tones about it, what influenced its sound?

That song came up almost instantly, lyrics included: this is not the first time that it happens to me. Also arrangement was easily completed. It’s all built around a sequenced bass line, with lots of real-time tweaks, but at the end of it I realized I was just simply writing a blues, a sort of ‘Radiowave – part II’, if you pay attention to the lyrics.

I also knew that there was something coming subconsciously from synth heroes Gary Numan, Howard Jones, Thomas Dolby – to mention a few some – and maybe STEELY DAN too, but I tried my best to filter their influence through my own sensitivity.

‘Gone’ evokes a more fully electronic DURAN DURAN?

I think ‘Gone’ is one of the most energetic and elegant tracks I’ve made so far, at least I tried. So many DURAN DURAN tunes got that combination at a very high level. I feel honoured by this comparison, I don’t know if I am up to it, thank you!

What did you think of the most recent DURAN DURAN album ‘Anniversary’ with its two Giorgio Moroder produced songs?

I immediately asked myself: “why didn’t they do this back in the early 80s?”. They did a flawless job. On the other hand, I have to admit that it sounds very celebratory to me, but it’s okay. I guess they’re not here to prove anything else, they’re just having a good time doing what they’ve always done.

There’s some anger coming out on ‘Crash’?

There is anger and a bit of cynicism too. It’s about the end of a human relationship, compared to a furious chase ending in a so-called “perfect crash”, where everything is saved or everything is destroyed: no other options at all! I love the Clint Eastwood voice sample you can hear after the first chorus: “Go ahead, make my day”. I think it adds irony and drama at the same time, it contains the spirit of the whole song.

What is ‘Dive’ about?

It’s about an aesthetic impulse, a relentless search for style that wins over time and fashion, while the world around seems doomed to fall into ruin. The narrator is a kind of futuristic Dorian Gray, crossing a stargate between 1890 and 2084.

Have you bought any new equipment recently that has changed your way of working?

I bought a new Moog synthesizer and a very cool reverb / modulation effect unit called Hypnosis, but actually my method just got even more pragmatic. I’ve discovered the effectiveness through the subtraction of the elements. I also love the unpredictable, I’m learning to exploit mistakes or unexpected situations during the recordings.

You have also been busy with remixes for other artists, like MILANO ‘84’s ‘Lola’, what is your approach to this compared with when you produce your own music?

As for my own music I put no boundaries to creativity and I’m interested first and foremost in being sincere and expressive: remixes work like this too but I see them more connected to urgency, you know, it’s a matter of instinct. That is why I always try to make construction sessions last no longer than a couple of days. I had already been guesting as lead vocalist on MILANO 84’s version of ‘Lola’, originally written and released by Italian cult duo KRISMA in the late 70s.

I found this new version really fascinating, dark and experimental, a bit far away from the usual MILANO 84 new-Italo touch. So when time came to do my remix version, I decided without hesitation to put some Italo disco flavours into it and eventually bring ‘Lola’ back to MILANO 84’s home: during these sessions I spent more time dancing than recording, believe me!

Your take on ‘My Crying Bride’ for KLONAVENUS with its dark and moody synthwave vibes was quite different from your usual sound and very different from the original?

In this case I went way more experimental, heavily pitching voices on downtempo beats and using a low-fi attitude in sound treatment – vaporwave fans might dig this one! The glacial mood of the original track is still there anyway, I just felt like adding some tension and disquiet. I had the idea while listening to the intense Valerie Hely’s isolated vocal track.

You have been backing veteran Italian new wave artist GARBO on his recent tour. For those in the UK who probably won’t know who he is, what is his enduring appeal and what songs would you suggest people should checkout?

GARBO is the first artist in Italy to achieve mainstream success in the early 1980s with a clever combination of rock, pop and subtle electronic textures, which would later be referred to as the Italian New Wave.

As well as being appealing for his minimal and almost androgynous look, his songs seemed to give a voice to a troubled generation in the midst of an identity crisis: it’s amazing how many of his lyrics are still tremendously relevant today.

To introduce you to GARBO’s music I would suggest these four tracks: ‘Vorrei Regnare’, ‘Generazione’, ‘Radioclima’ and ‘Up The Line’.

How was it for you to be out playing live again?

Oh, it was sort of that coming-back-to-life feeling. You know I’m not a bedroom musician, so performing live is the ideal completion of my studio production activity. I missed the excitement of those five minutes before taking the stage, the adrenaline, the exchange of energy with people.

But one show was flooded out, what happened there?

This is an unbelievable story: last August I was in a small town near Rome for a stadium concert as a live session man with a very well-known Italian popstar. It was a splendid summer day… well, until 3 in the afternoon. We were taken by surprise by an extremely violent storm: within an hour and a half the stadium became a huge swimming pool. My bandmates and I took to the covered stage, which was the safest place available, waiting for that bad dream to end. Fortunately, the rescue vehicles managed to “empty” the stadium in a short time and the concert was re-scheduled for the next day.

At that point another problem came up: the bass player was not available for the re-scheduled gig, so the manager asked me if I could play the bass parts on the synthesizers in addition to my usual parts. I’ll tell you, I had a hard time but in the end everything went pretty well.

The ‘Italo Disco Legacy’ documentary celebrated a frequently maligned sub-genre, what did you think of the film?

I enjoyed it a lot, it’s a well-made documentary on this rather underestimated musical genre. It very much reflects the naivety of those times: I suppose there was a great desire to experiment while having fun, albeit with limited means in terms of technology.

What is next for you?

Right these days I’m organizing the promotion calendar with the precious help of my partner-in-crime Claire (Stargazers Inc) – once the physical copies of the album are available, there will be showcases and club gigs, I hope to be back in UK too.

Meanwhile I continue my work as music producer and consultant for other artists, record labels and TV productions, but at the same time Claire and I are always looking for the next exhibition to visit or the next city to travel to.

Boredom doesn’t live here.

ELECTRICITYCLUB.CO.UK gives its grateful thanks to EUGENE

‘Seven Years In Space’ is released on 13th May 2022 in CD, cassette and digital formats, pre-order at https://eugeneofficial.bandcamp.com/ or pre-save at https://bfan.link/seven-years-in-space

http://www.eugeneofficial.com/

https://www.facebook.com/eugenemusic

https://twitter.com/eugene_music

https://www.instagram.com/eugenemusic.official/

Text and Interview by Chi Ming Lai
Photos by Claire Lyndon at Stargazers Inc
10th May 2022

DUBSTAR Two

6 May 2022 /

‘Two’ is the second album from DUBSTAR since Sarah Blackwood and Chris Wilkie reunited as a duo.

After several false starts, 2018’s six string slanted long player ‘One’ co-produced by Youth was a welcome return for DUBSTAR, but the impression was that Blackwood and Wilkie were just warming up.

Working with Stephen Hague acting as producer and an unofficial third member, DUBSTAR have returned to the electronic driven sound of their debut long player ‘Disgraceful’ and as a result, have recorded some of the best work of their career on ‘Two’.

Hague had co-produced ‘Disgraceful’ which spawned the hits ‘Not So Manic Now’, ‘Stars’, ‘Anywhere’ and ‘Elevator Song’, providing a musical bridge between Britpop and Synth Britannia. Largely recorded in the face of adversity during lockdown in a “pass the parcel” manner, Wilkie confirmed “Dilemmas and experiments which would normally consume an afternoon can take a week, when you’re recording remotely”.  The necessary social distancing dictated the instrumentation as he added “We found ourselves naturally gravitating to our electronic side over the pandemic, because it lends itself more practically to remote production. We couldn’t sit around jamming with guitars or experimenting together in real time”.

Opener ‘Token’ immediately points to Hague’s productions for PET SHOP BOYS and ERASURE, a song about leaving behind abusive relationships and minor gestures, a topic that many can relate to. Full of resilience, it is possibly Sarah Blackwood and Chris Wilkie’s most overt synthpop statement yet. The anxious electronic disco of ‘I Can See You Outside’ evokes an unlikely liaison between Christine McVie and Giorgio Moroder in an exhilarating ride “beyond the fault lines”; it all hits the zeitgeist in a brave new world of unease, confusion, conspiracy and sadness.

Continuing with the seismologic analogies, ‘Tectonic Plates’ focusses on friction over a neo-baggy beat, with Wilkie bursting with rhythm guitar reminiscent of DUBSTAR’s former Food labelmates BLUR on their first hit ‘There’s No Other Way’, although the array of catchy synth riffs alongside are irresistible.

Going more downtempo, the moody ‘Lighthouse’ harks back to the days of Britpop with guitar inflections and a rousing chorus while the charming piano focussed ballad ‘Tears’ is supplemented by a virtual string section before a simultaneously sparkling and rugged combination of COCTEAU TWINS and SIMPLE MINDS comes in the middle eight.

Inspired by socially-distanced queuing at the height of the lockdown, ‘Hygiene Strip’ is wonderfully classic DUBSTAR characterised by Blackwood’s forlorn vocal presence but there is also the subtle lifting air of PET SHOP BOYS looming to offer hope a haze of melancholy.

Pacing up to an offbeat, ‘Blood’ again echoes BLUR and a snatch of XTC but is shaped by a more student indie aesthetic, while ‘Social Proof’ strums along as a stern Blackwood announces “I’ll tell you something…”

With Sarah Blackwood hitting some lovely high notes, the bittersweet ‘Kissing To Be Unkind’ reflects on former friends who turn unnecessary nasty while presenting a misleading friendly persona, and all because “Losing the hand has made you hard to please”. Ending with a haunting cover of REM’s ‘Perfect Circle’ and its absorbing piano from Stephen Hague, it goes full circle with the Portland-born producer’s past as he had worked with Michael Stipe & Co on the demo version of ‘Catapult’ in 1982, a song which sat later next to ‘Perfect Circle’ on the Athens GA quartet’s debut album ‘Murmur’.

Satisfying both their Synth Britannia and Britpop rooted fanbase, thanks to the return of Stephen Hague in the producer’s chair and displaying a common musical affinity, DUBSTAR have provided their spiritual follow-up to ‘Disgraceful’ in ‘Two’. The kitchen sink dramas continue with the usual cups of tea, so know these songs and sing them.

‘Two’ is released by Northern Writes in CD, 2CD, clear or black vinyl LP and digital formats, available from https://dubstar.tmstor.es

https://www.dubstarofficial.co/

http://www.facebook.com/dubstaruk/

https://twitter.com/dubstarUK

https://www.instagram.com/dubstaruk/

Text by Chi Ming Lai
Photo by Dom Foster
6th May 2022

SOFT CELL *Happiness Not Included

4 May 2022 /

Coinciding with their live farewell at London’s O2 Arena in 2018, SOFT CELL surprised their fans with two new songs ‘Northern Lights’ and ‘Guilty (Cos I Say You Are)’ on an updated compilation ‘Keychains & Snowstorms – The Singles’.

What was planned to be the end became a brand new start as Marc Almond and Dave Ball embarked on a UK tour in 2021 to celebrate 40 years of their brilliant debut album ‘Non Stop Erotic Cabaret’. The show also included a preview of material from a new album for 2022 entitled ‘*Happiness Not Included’, their first since the 2002 reunion long player ‘Cruelty Without Beauty’.

Co-produced by Phillip Larsen whose credits include Andy Bell, Moby, Mylène Farmer, Claudia Brücken, Katy Perry, Lady Gaga, Britney Spears and Kylie Minogue, ‘*Happiness Not Included’ is an introspective collection of 12 new songs that mourn the passage of time, missed opportunities and life not going as planned.

Recorded remotely under the spectre of the global pandemic, ‘*Happiness Not Included’ features “Science fiction stories for the 21st century” according to Dave Ball. The cinematic drama of the not-so ‘Happy Happy Happy’ opens and sees Almond as the humble narrator expressing his strained frustrations about “state assisted dying” while Ball realises his John Barry ambitions with a series of synth string sweeps in a stylistic ident that recurs throughout this album.

“Lost in the junkie jungle”, the machine disco of ‘Polaroid’ recounts SOFT CELL’s love of The Factory pop art scene and a bittersweet meeting with Andy Warhol in 1982. Featuring speech samples from the man himself and his enclave, it is also a metaphor for life that accepts that once the end comes, one of few things that remain are photographs.

A relative of ‘Guilty (Cos I Say You Are)’, ‘Bruises On My Illusions’ covers the familiar SOFT CELL topics of pain, self-loathing and misanthropy with a sharp energy complemented by Almond’s vocal theatrics that are more convincing than on ‘Heart Like Chernobyl’, although that song’s stark Cold War lyrical analogies on the morally toxic world of today have added poignancy given recent world events. Not included on the album, the excellent B-side ‘Vapourise’ with its references to “a nuclear explosion” and “a full-on attack” proves to be even more chilling…

The catchy ‘Purple Zone’ is a slice of soaring melancholic Europop with immediate reminiscences of PET SHOP BOYS in particular.

So it is not entirely surprising that Neil Tennant and Chris Lowe make a guest appearance and plant their aesthetic, although it must be pointed out that this is a SOFT CELL composition, characterised by Almond’s darkly doomed expressionism about midlife.

A union of The Blackpool Electro Mafia as well as featuring the voices of both Almond and Tennant, ‘Purple Zone’ goes full circle as after SOFT CELL first imploded in 1984, it was PET SHOP BOYS who ran with their baton after smoothing off some of the rough edges.

Taking proceedings down a notch, the wonderful ‘Light Sleepers’ presents a glorious orchestrated ballad arranged by Ball with soprano sax from Gary Barnacle that provides a backdrop for Almond’s nocturnal demeanour that acts as sedative relief. With a sense of foreboding on the album’s title song because “the future is in a lunatic’s hands”, Dave Ball plays on more of his John Barry spy drama fantasies with virtual harpsicord over a metronomic drum machine, aided by soulful male voices and flourishes of flute.

Meanwhile, the tense Italo Noir of the ironically titled ‘Nostalgia Machine’ gets some choppy rhythm guitar and pentatonic phrasing thrown in for an album highlight that revs up proceedings with a touch of exuberant swagger.

Originally a Dave Ball instrumental issued as part of a single and CD that came with the boxed set of his autobiography ‘Electronic Boy’ and now featuring a deranged expletive laden rap from American drag performance artist Christeene, the tense industrialised pulse of ‘Nighthawks’ recalls the sweaty alternative club overtures of one-time Some Bizzare stable mates CABARET VOLTAIRE. Cellmates are even treated to the deep growly voice of Mr Ball himself repeating the title and ‘Staying Alive’ refrains from backing vocalists Bryan Chambers, Louise Marshall and Simon King.

The eerie vibraphone-laden swing of ‘I’m Not A Friend Of God’ is a 21st Century ‘Blasphemous Rumours’; in the face of a future with a scary face, Almond decides that “the young can deal with it instead”. Reflecting Almond’s past solo work, ‘Tranquiliser’ could be Gene Pitney with a widescreen orchestral palette counterpointed by a solemn narrative on dependency.

Ending with the grand six minute plus ballad ‘New Eden’ where “being young is not an option”, Ball’s gentle piano structure echoes Eno and his ‘On Some Faraway Beach’, before building towards its close with subtle electronics, complimentary strings and a choir. “All those plans we made in the ‘60s seem naïve now we’ve grown older” laments an impassioned Almond; now closer to the end than the beginning, this is a declaration of hope, that things can still be fine.

“In this album I wanted to look at us as a society: a place where we have chosen to put profits before people, money before morality and decency, food before the rights of animals, fanaticism before fairness and our own trivial comforts before the unspeakable agonies of others” said Almond of ‘*Happiness Not Included’, “But in the album there is also a belief that there is a utopia if we can peel back the layers and understand what really matters”.

While the album has flaws with a few of the tracks sounding underdeveloped, there are a significant number of cracking songs that make this second reunion of SOFT CELL worthwhile.

You’ve been to the shows, got the T-shirt, bought the books and heard the singles but now it is time to listen to the album; in this modern compilation era of playlists, ELECTRICITYCLUB.CO.UK has compiled its own highly enjoyable classic 10 track version of ‘*Happiness Not Included’ from the 13 songs in the pool, you might consider doing the same.

‘*Happiness Not Included’ is released on 6th May 2022 via BMG in various formats including yellow coloured vinyl LP, picture disc LP, CD, cassette and download, pre-order now avaiable from https://softcell.tmstor.es/

http://www.softcell.co.uk

https://www.facebook.com/softcellband/

https://twitter.com/softcellhq

https://www.instagram.com/softcellhq/

Text by Chi Ming Lai
4th May 2022

I AM SNOW ANGEL Lost World

3 May 2022 /


Singer, producer and sound designer Julie Kathryn reflects on a new life in a ‘Lost World’ for her latest body of work as I AM SNOW ANGEL.

Having relocated to the Hudson Valley with her infant son, her mind wandered as she dealt with the world’s pandemic sorrow by immersing herself in creativity at night.

Collaborating remotely with studio veteran Charles Newman whose credits have included THE MAGNETIC FIELDS and musician / composer JJ Appleton, the end result is a collection of dreamy pop with a narrative of reflection in isolation.

Beginning with ‘You’ve Been Telling Lies’, it is the sort of song that I AM SNOW ANGEL does best, quietly subversive with strange swooping sounds and faint pitched up voice samples applied to traditional song elements for something unusual.

The uptempo ‘Twisted Romance’ combines synths and ringing six string which are immediately appealing while coming over like a feminine U2, the deeper percussive resonances of the ‘Lost World’ title concoct a mood as suggested by the title and this is taken further with the spacey dub-inflected remix by David Sisko which comes as a bonus.

In a song about her son written while in quarantine, the trip-hop influenced ‘Sweet As You’ uses a minimal distorted Telecaster line as the constant while a range of textures and atmospheres work around it in an optimistic glimmer, but at the opposite end of the spectrum, the breathy ‘Tom’ is a bittersweet lament reflecting on a former beau in an impressionistic manner like a hazy awakening from a dream-afflicted sleep.

The understated pulsations of ‘Quiet & Bright’ make it sound like Karen Carpenter piloting an interplanetary craft on a trip that is both soothing and assuring. Developing the template further, ‘Bright Pink Skies’ possesses a cerebral quality with gentle vocally derived pads circulating for a lush cinematic cacophony.

The album ends with ‘Kaleidoscope’ brings a helping of hope on an acoustic six string love ballad where “everything seems so easy with you”.

Despite the melancholy and thoughts of hopelessness, ‘Lost World’ actually has gently sanguine quality about it.

Dreamy, comforting and exuding colour, this record demonstrates that in difficult times, inspiration and resourcefulness can triumph over pain and uncertainty.

‘Lost World’ is released on 6th May 2022, pre-save via https://onerpm.link/932079050122

http://iamsnowangel.com/

https://www.facebook.com/iamsnowangel

https://twitter.com/I_Am_SnowAngel

https://www.instagram.com/i_am_snowangel/

https://iamsnowangel.bandcamp.com/

Text by Chi Ming Lai
Photo by Carl Timpone
3rd May 2022

DESIRE Escape

30 April 2022 /

‘Escape’ is the long awaited follow-up to the acclaimed debut album by DESIRE which was released in 2009. One of its tracks ‘Under Your Spell’ notably featured in the synthwave-tinged soundtrack of 2011’s ‘Drive’ starring Ryan Gosling.

Originally from Montreal, vivacious latex-clad front woman Megan Louise hasn’t been idle, continually releasing singles, collaborating and becoming president of Italians Do It Better. Produced by IDIB head honcho and beau Johnny Jewel, ‘Escape’ was mixed by Vaughn Oliver. Inspired by Italian Giallo horror films, the record was constructed in Los Angeles and Palm Springs.

‘Escape’ is multilingual singing in English, French, and Korean while Megan Louise plays the role of vixen and villain, opening proceedings with ‘Black Latex’, a spoken word art piece in French and English inspired by Andy Warhol. With pizzicato interventions and glorious synth salvos, ‘Telling Me Lies’ does that alluring moonlit driving thing over a tom-laden drum machine backbone where “you can run but you can’t hide”.

“All out of trying, all out of tears” while swathed in layers of electronic sounds and a wash of emotions, ‘Liquid Dreams’ echoes one-time label mates CHROMATICS and is boosted by a great frequency tuning solo. But featuring current label mates MIRAGE, ‘Love Is A Crime’ begins with an enigmatic and semi-spoken verse which is countered by a vocodered chorus. There are dense filtered tapestries where the processed voice declares “there’s no-one left to hold you” before the nostalgic tones of dial-up internet ring.

The wonderful ‘Zeros’ which was first released in early 2021 remains gorgeously dreamy and seductive with its sunset noir cinematics burying the past and “adding up to zero every single day”. Short, sweet and sans batterie, more spoken word is presented on the sparsely vibe laden ‘Dark Age’.

With elegant airy movements in Korean from ETHER’s Soo Joo Park, the forlorn ‘Haenim’ is an electronically styled cover of the 1968 Kim Jung Mi folk song with its narrative about woman who carries a traumas from the past confirming that “some scars never heal”; the haunting synth noir reinterpretation could be considered akin to when MIRRORS covered ‘Something On Your Mind’ which was recorded by Karen Dalton.

“Fading slow” with a delightful burst of synthesized pop bliss, ‘Ghosts’ is not for when the room is quiet, especially during the blistering keyboard solos. Given a remix, the brilliantly naive escapist electronic disco of ‘Escape’ which imagined BANANARAMA fronting NEW ORDER doesn’t quite hit the spot in this new version which is a shame in its position as the title track; the original slice of pop perfection should have been the preferred inclusion

Based around Fender Rhodes, ‘The Young & The Restless’ sounds like a song from a lost French arthouse movie while 11. the absorbing nocturnal electro-disco ‘Days & Nights’ is a gorgeously enticing highlight that glistens as “stars are shining”. Preceded by the interlude ‘L’Amulette De Vie’, the GOLDFRAPP-like ‘Friends & Enemies’ utilises Mellotron flute tones to provide another sparse resigned ballad, concluding with a haunting chorus of children and a foreboding toll.

Featuring seven previously released singles and six new tracks, that’s slightly more than TEARS FOR FEARS ‘The Hurting’ which only featured four new tracks when it came out back in 1983. ‘Escape’ does as its title suggests, a synth-laden soap opera with an idealistic narrative to overcome the challenges that life brings. It has been a long wait but the second DESIRE album is finally here with moments to savour.

‘Escape’ uses the following instruments: MiniKorg 700s, Roland Jupiter 8, Roland TR909, Mellotron, Simmons Rhythm Modules, ARP Solina String Machine, Roland D-50, Fender Rhodes

‘Escape’ is released on 3rd May 2022 via Italians Do It Better, pre-order or pre-save the album via https://idib.ffm.to/desire-escape

https://www.facebook.com/PRIMITIVEDESIRE/

https://twitter.com/primitivedesire

https://www.instagram.com/desire_musicofficial/

Text by Chi Ming Lai
30th April 2022

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