Tag: Fotonovela (Page 4 of 4)

MARSHEAUX Inhale

6 April 2013 /

Athens based synth maidens MARSHEAUX’s 2004 debut album ‘E-Bay Queen’ showed flashes of promise but it wasn’t until 2009 that the potential was fully realised; that year’s ‘Lumineux Noir’ was a wondrous body of work where Marianthi Melitsi and Sophie Sarigiannidou’s wispy synthpop went up several notches.

Haloed by their many admirers from the music scene including Tom Robinson, Stuart Maconie, Andy McCluskey, Rusty Egan, David Beevers and even LA rocker Jared Leto from 30 Seconds To Mars, magnificent songs like ‘Exit’, ‘So Far’and ‘Sorrow’ led some observers to cite MARSHEAUX as the female DEPECHE MODE.

This was hardly surprising as Marianthi and Sophie met at a DM fan event. Indeed, released at the same time as the Basildon Boys’ lame ‘Sounds Of The Universe’, ‘Lumineux Noir’ was far superior too. Meanwhile the album’s other key moments ‘Breakthrough’ and ‘Radial Emotion’ put them up there with LADYTRON and LITTLE BOOTS respectively.

With only the inevitable rarities collection amusingly titled ‘E-Bay Queen Is Dead’ in 2012 to fill in the void, new album ‘Inhale’ has been a long time coming. And it would appear that the Greek financial crisis has loomed heavy over its making with moodier, midtempo numbers taking centre stage.

If 2007’s ‘Peek-A-Boo’ saw the ‘E-Bay Queen’ reach adulthood and ‘Lumineux Noir’ was the carefree but intense period studying for a BA, then ‘Inhale’ is the reality of having to pay off the university loan! ‘Over & Over’ starts ‘Inhale’ in a bubbly champagne manner, if slightly apprehensive at facing the future after graduation. But ‘Alone’ exposes the gloomier shades, punctuated by heavily oscillating bass with the lead theme Numan-esque in its Polymoog flourishes.

Also on the deeply melancholy side is the steadfast ‘To The End’; “I lost my way” sings Marianthi, seemingly unsure which way to turn as a vocodered presence takes hold. ‘August Day’ though is a dreamy grower, developing on the maturer outlook now apparent as the album’s heart while the closer ‘Can You Stop Me?’ takes on FEVER RAY’s dour, atonal ideas but puts them to a tune; its ambient extension is a delight and provides some relaxing optimism to the journey’s conclusion. And that’s the thing… despite the air of pessimism within ‘Inhale’, there are inviting electropop numbers. This can only be expected when living on the sunny South Balkan Peninsula surrounded by beaches with Ouzo on tap, no matter how difficult the times are.

So ‘Self Control’ is enjoyably snarling and ‘A Secret Place’ strangely exuberant while ‘Come On Now’ is a fully realised cousin of BLONDIE’s ‘Call Me’… Giorgio Moroder would be proud! And to shed more light into the valley, ‘End Is A New Start’ is filled with the synthetic zuckerzeit that makes listeners either love or hate MARSHEAUX.

The ‘Inhale’ title track does slightly retread over some rocky ground and is reminiscent of ‘Breakthrough’ but ‘Never Stop’ points to an exciting new direction, rhythmically feisty with the girls showing a turn of chanted aggression. Credit must be give to MARSHEAUX’s production team FOTONOVELA who cannot be faulted with their sonic contribution to ‘Inhale’. Fresh from working with OMD on ‘Helen of Troy’ on ‘English Electric’ and soon to unveil the stupendous ‘Sorrow’ (not a cover of the MARSHEAUX song) recorded with MIRRORS’ singer James New, they are well on the ascendancy.

All in all, ‘Inhale’ is a good album but perhaps isn’t the great bleep forward that ‘Lumineux Noir’ was and lacks its epic quality. Less immediate due to the inherent downbeat spectre forced on it by concerns closer to home, ‘Inhale’ is still a worthwhile listen that captures a challenging moment in time. But it requires investment… a bit like the Greek economy itself!

‘Inhale’ is released by Undo Records on 22nd April 2013 as a CD. It can also be downloaded via Amazon and iTunes

http://www.marsheaux.com

http://www.facebook.com/marsheaux

https://twitter.com/marsheaux

http://marsheaux.wordpress.com/

http://www.undorecords.com/

Text by Chi Ming Lai
6th April 2013

OMD English Electric

4 April 2013 /

OMD are a most curious beast. To the casual listener, they are the popmeisters who conquered Hollywood with ‘If You Leave’ from the John Hughes blockbuster ‘Pretty In Pink’ and had hits such as ‘Locomotion’, ‘(Forever) Live & Die’ and ‘Sailing On The Seven Seas’.

But because of these ubiquitous crowd pleasers, what is often forgotten about OMD is their period as electronic innovators. Here, they married Teutonic experimentation and motorik rhythms with a distinctly English interpretation of Elektronische Volksmusik. There were also the intelligent, heartfelt lyrics about inanimate technology such as planes, oil refineries and phone boxes as well as deceased female historical figures.

Pioneering early singles ‘Messages’, ‘Enola Gay’, ‘Souvenir’ and ‘Maid Of Orleans’ actually became international hits while the 1979 KRAFTWERK homage and one-off Factory single ‘Electricity’ is now rightly regarded as a synthpop classic. So with this particular formative legacy, it’s not surprising that OMD have produced a brand new opus entitled ‘English Electric’.

Having split in 1989, the original creative nucleus of Andy McCluskey and Paul Humphreys reunited in 2007 for a tour of their biggest selling album ‘Architecture & Morality’ before their comeback ‘History Of Modern’ in 2010. It may have been well received generally, but admirers of OMD’s past knew of their capabilities and were for the most part, unsatisfied.

After the disparate collection of songs on ‘History Of Modern’, ‘English Electric’ is a cohesive listening experience. Having mostly worked on recordings separately for its predecessor, ‘English Electric’ is a true creative partnership between Humphreys and McCluskey, each playing to their strengths and confronting their creative tensions for the better by actually sitting in a room together. Adopting the theme of broken ideals and Utopian dreams ending in dystopic failure or regret, they came up with a mantra: “what does the future sound like?”

Paul Humphreys’ 2011 audio visual collaboration with ‘Generation X’ author Douglas Coupland for Alcatel-Lucent entitled ‘Electric Ikebana’ indicated there were aspirations to procure a more abstract work. Certainly for the launch of the album, OMD made a bold statement of intent with the voice collage teaser ‘Decimal’ while the first single was the lengthy ‘Metroland’; anyone who loves ‘Europe Endless’ should not have any trouble digesting the new material.

With ‘Our System’, the end result is stratospherically breathtaking! But this is what many love about OMD’s idiosyncratic nature. Out of their experimental confines come various accessible pop structures. ‘Night Café’ is a prime example; Paul Humphreys has described it as “She’s Leaving’ meets ‘Souvenir”. There’s also return of a Paul Humphreys lead vocal on the lovely ‘Stay With Me’ and the NEU! produced by Joe Meek tornado of ‘Dresden’ as the latest in the lineage of OMD songs about the mechanics of war and its consequences on the human condition.

The thinking behind ‘English Electric’ appears to have a conceptual affinity with ‘Dazzle Ships’, the fractured nautical journey that was panned on release in 1983 but has since been vindicated as a brave sonic exploration of Cold War tensions and economic corruption. ‘English Electric’ can be considered as having a spiritual connection. ‘Dazzle Ships’ was partly inspired by the short wave radio broadcasts of yesteryear and today’s equivalent could be online social networking. And indeed, the internet has played a big part in the construction of ‘English Electric’.

‘English Electric’ also sees OMD collaborate with both established and rising figures from the European electronic scene. FOTONOVELA are a production team best known for working with Athens based female synth duo MARSHEAUX. George Geranios and Nick Bitzenis were OMD’s label bosses in Greece via their Undo Records and McCluskey told them he wanted to write a song called ‘Helen Of Troy’.

And then there’s ‘Kissing The Machine’ with ex-KRAFTWERK member and electronic godfather Karl Bartos. From ELEKTRIC MUSIC’s 1993 ‘Esperanto’ album, it featured McCluskey on guest lead vocals and has now been rescued in a similar fashion to when ‘Dazzle Ships’ resurrected two 1981 B-sides. The vocal melody, words and lead synth melody have been retained from the original and Paul Humphreys has completely reworked the track from scratch, out-Kraftwerking KRAFTWERK. Featuring Claudia Brücken speaking in a German robot voice, with what could be perceived as KRAFTWERK, OMD and PROPAGANDA on the same song, the Anglo-German amalgamation is synthesized heaven and will give the Euro-sceptics even more to worry about!

There has been talk of ‘English Electric’ being OMD’s last album. The robotic resignation of penultimate track ‘Atomic Ranch’ certainly sets the tone before what could be considered OMD’s epitaph, the soulful ‘Final Song’. ‘English Electric’ is a definitive artistic statement. But is there anywhere for OMD to go after this?

‘English Electric’ uses the following instrumentation:

Paul Humphreys: Synth-Werk, ARP 2600, M Tron Pro, Trillion, Omnisphere, Oberheim SEM V, Morphoder, Jupiter 8V2, Minimoog V, Prophet Pro 53, Massive, Vacuum, Boom

Andy McCluskey: Vacuum, Indigo Virus, M Tron Pro, Jupiter 8, Vox Machina

‘English Electric’ is released by BMG on 8th April 2013 in CD, deluxe CD+DVD, download, vinyl and tin boxset formats. The tin boxset includes a bonus 7 inch vinyl single of ‘Our System’ featuring an exclusive track ‘Frontline’ on the B-side.

OMD’s 2013 UK tour with special guests JOHN FOXX & THE MATHS includes:
Margate Winter Gardens (28th April), Birmingham Symphony Hall (29th April), Nottingham Royal Centre (1st May), Ipswich Regent Theatre (2nd May), London Roundhouse (3rd May), Bristol Colston Hall (5th May), Oxford New Theatre (6th May), Sheffield City Hall (8th May), Leeds Academy (9th May), Manchester Academy (10th May), Glasgow Royal Concert Hall (12th May), Gateshead Sage (13th May), Liverpool Empire (14th May)

The Benelux shows featuring special guests METROLAND include:
Utrecht Tivoli (17th May) and Brussels Ancienne Belgique (20th May)

The German tour with special guests VILE ELECTRODES includes:
Hamburg Docks (21st May), Bielefeld Ringlokschuppen (22nd May), Berlin Tempodrom (24th May), Leipzig Haus Auensee (25th May), Köln E-Werk (27th May)

http://www.omd.uk.com/

https://www.facebook.com/omdofficial/

Text by Chi Ming Lai
4th April 2013

NIKONN Interview

31 May 2011 /

Nick Bitzenis is the musical genius behind Greek power popsters MIKRO and the co-founder of Undo Records with George Geranios.

With Geranios, he is also a member of FOTONOVELA who not only released their own album ‘Mistakes Are Good’ in 2008 but also produced MARSHEAUX’s three albums ‘E-Bay Queen’, ‘Peek a Boo’ and ‘Lumineux Noir’.

Another notable production was the 2004 Eurodisco hit ‘Ready For Love’ featuring the model Maria Korinthiou as guest vocalist for ESTE, who on closer scrutiny were found to actually be FOTONOVELA in disguise! Never one to sit still, he also has a brilliant solo project under the moniker NIKONN.

In addition to instrumentals, it has featured a variety of guest vocalists such Maria Papadopoulou (whose own album Nick also produced) and Maroola Koutsouri as well as his own voice. Released in 2005, the superb debut ‘Poladroid’ quietly became one of Undo Records biggest sellers. It was the perfect electronic chill-out album with beautiful widescreen textures, warm melodies and subtle beats. The 2008 follow-up ‘Utopia’, described by Nick as “a soundtrack of our dreams”, maintained the high standards set by ‘Poladroid’.

NIKONN’s brand new album ‘Instamatic’ began its genesis with a strong Nordic influence. Indeed, the working titles of the tracks referred to countries or regions in the area.

But the final titles themselves reflect the continual tranquillity that was part of the original concept. This has now been combined with a sun-kissed drama that can only come from living close to the Aegean Sea. ‘Instamatic’ itself is a wonderfully dreamy listen, rich in wispy vox femina and nominally more uptempo than its two predecessors.

Although entitled ‘Silence’, this opening number is paradoxically percussive and features Nick’s own vocals alongside the gated, indie-like backing. ‘The Sea’ is suitably Mediterranean with sexily breathy vocals from KID MOXIE’s Elena Charbila while ‘Afterimage’ is what DEPECHE MODE would have sounded like, if Martin Gore had moved to Barcelona instead of Berlin in 1984 and replaced Dave Gahan with Patsy Kensit.

‘Moby Is Around’ also featuring KID MOXIE does exactly what it says on the tin and is a charming tribute to the former Richard Hall.

The title track’s gorgeous string pads continue the MOBY theme while on the neo-rave of ‘Lifeless’, the ghost of ‘Go’ isn’t far away. However, the angelic chorals provide a great counterpoint to the thumping dance beats.

‘All We Can Do Is Love’ recalls the laid back lounge of AIR’s ‘You Make It Easy’ although at the opposite end of the spectrum, Someday is surprisingly motorik. Piano textures and strings shape the effervescent ‘La Bottega’ while the charming mystique of the French Yeh-Yeh girls and some Riviera vibes concoct the lovely cocktail that is ‘Sunrise’.

‘Nikonn Vals’ provides a waltz interlude before finishing the album with ‘Lust’, a comparatively discordant collage with steady drum loops jarring against the vibrato synth lines. A satisfying fifteen tracks form Instamatic and as an ideal travel companion for a holiday soundtrack, it is perfect.

In a break from his busy schedule, Nick Bitzenis joined ELECTRICITYCLUB.CO.UK for a spot of Souvlaki and a chat about his varied catalogue of work.

Who were the artists that inspired you to become an electronic musician?

The first artist that inspired me was KRAFTWERK. Then after KRAFTWERK, there was DEPECHE MODE, VANGELIS, OMD, THE HUMAN LEAGUE and YAZOO.


Are you a classically trained musician?

No, I’m self-taught. As a kid, I liked playing with buttons to make noises. When I was five years old, I cried for one week to my father to buy me a small keyboard!

I understand you once played in a DEPECHE MODE tribute band?

Yes, that’s correct. I was in a band called NAKIN EYES that played covers.

But the tribute band that only played DEPECHE MODE songs was CARPE DIEM IV, the name is Latin.

What was your favourite DEPECHE MODE song to play?

I think ‘Stripped’. We played the festival that Hysterika, the Greek DM Fan Club held which is where I met George Geranios.

You have been recently touring with MIKRO in Greece with the Download album, how is your popularity in your home country?

It is very big; I think we are the most famous home-grown electronic band in Greece.

You also played in London in November 2009 supporting MARSHEAUX to promote the English version of the album called ‘Upload’. How do you think it was received?

We were very nervous about it, but because we usually play to an audience who like already like our music. So it was a big surprise that we had people dancing to our music and like it. I know it is very difficult in England, in London to present this kind of music… it’s a tough audience but the feedback we received was very nice for us, it gives us more power to continue our work.

How do you feel about this age of free downloading?

It helps spread the music. Downloading is only a type of media, what’s important is the music. In ten years from now, it will be another type of media. We had CDs, then minidiscƒ do you remember minidisc? *laughs*

What do you think about the loss of sound quality in MP3s?

People have moved from listening to music on Hi-Fi to headphones. 90% of people do this so they can’t understand the difference in sound.

What influenced you to undertake an ambient solo project such as NIKONN. Was it the success of artists such as MOBY, ROYKSOPP and even Greece’s own VANGELIS?

With MIKRO, it’s loud musicƒmore power pop. I needed a solo project to express some of my sound ideas. It’s like an atmospheric soundtrack with electronic moods. I like soundtrack music very much.

 


Your music as NIKONN has a wonderful filmic quality. Has it been featured on any soundtracks yet?

One track was featured on ‘CSI: Miami’. NIKONN is more successful abroad; I have four tracks from the ‘Poladroid’ and ‘Utopia’ albums on various ‘bar’ compilations.

Do you prefer female vocals on your work?

I like girly vocals very much but it depends on the song. If itÍs my vocals or a girl’s vocals, itÍs not a problem for me.

You are part of MARSHEAUX’s production team. What is it like working with the girls in the studio?

It’s very hard work! *laughs*

You are very busy with FOTONOVELA too. The first album ‘Mistakes Are Good’ appeared to be more grooves rather than songs. So what concept will the new album take?

FOTONOVELA was George’s idea to make pure electro music with 80s influences like Italo Discoƒ the band’s name is taken from the song. The new album goes further with songs.

We would like to have a more serious but modern sound and make the music that we like, whatever! And the vocals, we will experiment. We hope to have a lot of guests; we are talking to Claudia Brucken from PROPANGANDA and ONETWO, Sarah Blackwood from DUBSTAR and CLIENT, and Daryl Smith from THEY GO BOOM.

What have been your favourite albums or artists over the last 12-18 months?

GROOVE ARMADA ‘Black Light’ is my favourite album at the moment; I listen to it all the time. THE CHEMICAL BROTHERS’ album ‘Further’ is good. I also like MIRRORS ‘Lights And Offerings’ and THE SOUND OF ARROWS. THE GOLDEN FILTER ‘Volupsa’ is very nice, although I didn’t like ‘Head First’ by GOLDFRAPP; but I’m in love with Alison and the first albums ‘Felt Mountain’ and ‘Black Cherry’.

ELECTRICITYCLUB.CO.UK gives its thanks to Nick Bitzenis

‘Instamatic’ is released by Undo Records

https://www.facebook.com/undonikonn/

http://www.undorecords.com/

Text and Interview by Chi Ming Lai
31st May 2011

Interview with George Geranios of UNDO RECORDS

21 September 2010 /

George Geranios is the co-founder of Undo Records.

Based in the offices of EMI in Athens, Undo not only have MARSHEAUX, MIKRO, NIKONN, ROCKETS IN A COMA and KID MOXIE on their roster but have also issued albums by CLIENT and MESH for their domestic market. They also recently announced they will be releasing the new OMD album ‘History Of Modern’ in Greece.

George’s love of music has resulted in one of the largest music collections that ELECTRICITYCLUB.CO.UK has ever seen. We thought we had a large music collection until we clasped eyes on this wonderful archive!

Occupying two rooms from top to bottom on three and a half walls each, you will find all manner of vinyl, cassettes, videos, CDs, magazines, books, promos, boxed sets and DVDs. ELECTRICITYCLUB.CO.UK talked to George about this lifeblood which fuels Undo Records and his many other musical interests.

Can you remember the first records you bought with your own money?

The first record was the Greek 12 inch of ‘Parlez-Vous Francais’ by BACCARA in 1978. The same weekend I bought ‘Radio-Activity’ by KRAFTWERK and then the week after, I bought SPARKS’ ‘Kimono My House’.

That’s funny because MARSHEAUX look a bit like BACCARA in the 21st Century!

Yes indeed! I wish they would have the success that BACCARA had in Europe!

How many records and CDs do you think you have in your collection now?

15000 vinyls and about 10000 CDs. The problem now is that I am running out of space!

Your music collection is very international and a lot of your favourite acts are British. How did you acquire your imported items in those pre-internet days?

I had a few pen-friends and I sent them what was new in Greece and people sent me things from Japan, England, France and Germany so I became informed about what was happening. I also used to buy music from Adrian’s Records and Esprit.

Is it true you used to come to England with an empty suitcase and go to Adrian’s to fill it up?

Yes it’s true. Me and a friend of mine used to visit London a lot, sleeping on the Heathrow couches instead of a hotel, so that we could save up money for records. We’d spend hundreds of hours in Adrian’s and Kensington High Street Market in Camden. Wonderful times!

Your collection is like a history of electronic and New Wave music. Which bands are your absolute favourites, the bands where you HAVE to buy everything?

I’m a completist of DEPECHE MODE, OMD, ERASURE and PALE FOUNTAINS. From the new artists, I collect GOLDFRAPP and HOT CHIP among others.

I understand you have one of the largest DEPECHE MODE collections in the world. Can you tell me a little as to how important this band has been to your life?

DEPECHE MODE were my biggest heroes of all. I grew up with them. They are connected with my life as for example I was listening to Depeche with my first girlfriend. We used to spend hours listening to ‘Speak and Spell’ and ‘A Broken Frame’. They played with synths, but they never sounded cheap. They always had a unique quality that touched my heart in a magic way!

And what is the most valuable DEPECHE MODE item in your collection?

The most valuable DM item I own is the 10 inch acetate of ‘Behind The Wheel’ with the DJ mix.

Is there anything you would like to have, but haven’t so far due to either cost or rarity?

I would love to have the four vinyl acetates for the DEPECHE MODE B-Sides box set, and the ‘Music For The Masses’ LP with the withdrawn cover. These are the only DM items I really want and I believe that I am complete until another buried treasure comes out.

What’s the craziest thing you’ve ever done in pursuit of your love of music?

When I was 15, I lied to my mum that I was going on vacation with friends to a Greek island… I actually went to Paris to see CHINA CRISIS and SIMPLE MINDS!!! But I arrived one day too late so I missed the concert *laughs*

I still have the poster! I hitchhiked from the biggest port in Athens and asked truck drivers if any of them were going to Paris. And when I tried to come back, I ran out of money… I got back after six days! I told my mum the story one year later.

With such a large music collection, it was probably inevitable that you would work in the music industry. How did you come to set up Undo Records with Nick Bitzenis of MIKRO?

Undo was Nick’s idea because in 2002 or 2003, MIKRO gave a song to be used by a big telecommunications company in Greece and the deal was very lucrative. But MIKRO’s then record company Warners took 90% of the money, so Nick suggested setting up a label to have more freedom to do things.

The name was also Nick’s idea, we wrote things down and ‘Undo’ looked better. The other name we considered was ‘Gaga’… this was before LADY GAGA! So we used the Gaga name for our video operation to produce films for other artists. And ‘Undo’ stands for…’UNITED DONKEYS’! *laughs*

Were things like the artwork and presentation inspired by labels such as Factory or Mute?

It was Factory, Mute and ZTT. We always liked Tony Wilson’s and Daniel Miller’s philosophy about the music and the freedom the artists can have. This is important, we want our artists to be happy people… if someone wants to leave Undo, they are free to go. So far, nobody has left Undo.

How do you feel about download culture?

When we release an album, at the same time we put high quality 320kps MP3s on the internet, because our philosophy is that it’s better if you have 100000 people download your album for free than 2000 people buying it. This way, more people will know about you and come to see you play live, more people know about your music.

Today I saw at HMV, they have a big vinyl section again. Vinyl is a totally different culture, you own it, you’re more involved. You have the artwork on the outside and you can check the lyrics in 12 inch x 12 inch. It’s different from CDs. But at HMV, the record companies have put a lot of CDs at £3, £4, £6… and these are for releases less than six months old. This is what should have happened 10 years ago. Not now, now its too late! You can’t sell your product that costs you £2 at the most, for £12!

Do you think there is now less of an emotional attachment to music when it’s just an invisible file on your computer or iPod?

We are not against downloading, it is a fact and we must live with it! We all have to find out what is the next step as to how to sell your music to people. Me and Nick have thought about giving physical CDs at our live concerts for free. We had this idea with MIKRO three years ago, but we had no idea then where things were going.

Now we are more aware of what is going to follow. You must give to people some extras with their purchase, something collectable that they can’t find nowhere else. That’s why bands are releasing big boxes; DEPECHE MODE released one for ‘Sounds Of The Universe’ for £70, RECOIL released a box that was £100, OMD’s is £50. But I don’t know if this is good for the fans.

Fans like to buy different things or packages with extras, but if you do it continuously, like for example BJORK who had the worst philosophy… all these DVDs released on the same day. It is a disaster if you are a BJORK completist. You have to spend a fortune to buy BJORK things! *laughs*

Saying that, I did spend 1500 Euros to buy all the DEPECHE MODE live CDs from the previous tour!!

How do you feel about modern remastering techniques?

For example, the new remaster of SPANDAU BALLET’s ‘Journeys to Glory’ is crap! But if you listen to it on headphones, you will not be able to understand it is bad! It has been remastered for computer! If you play the CD on Hi-Fi, it sounds horrible!

Who are the artists you are listening at the moment, is there anyone who you rate highly?

VILLA NAH was a big surprise for me; ‘Origin’ is a really good electropop album with references to classic bands we like, the production is superb. I like MIRRORS a lot, TAREQ who we will release on Undo, YEASAYER, REX THE DOG, MARINA & THE DIAMONDS.

And finally, what are your upcoming plans for UNDO Records? I understand you are releasing the new OMD album.

We are amending the OMD artwork and packaging for Greece. It will be different to the UK standard and limited CD. Also there will be a CD with extras and unreleased material on the Undo version. We have a new album from TAREQ, we all at Undo believe that he will make it. He’s a star!! Then FOTONOVELA and HOMETAPING. I hope MARSHEAUX will have an album ready in 2011.

ELECTRICITYCLUB.CO.UK gives its thanks to George Geranios

www.undorecords.com

https://www.facebook.com/undorecords/

Text and Interview by Chi Ming Lai
21st September 2010

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