Tag: Sinosa

Introducing SUI ZHEN

With her performance art ethos, Melbourne-based SUI ZHEN offers surreal observations on the intersections between human life and technology.

With echoes of Los Angeles songstress SINOSA, ‘Perfect Place’ is a delightfully odd but accessible trailer to SUI ZHEN’s brand new long playing offering ‘Losing, Linda’.

The genesis of the album began during an artistic residency in Japan and completed in Australia under the trauma of her mother’s ill health and eventual passing.

This life changing experience has undoubtedly influenced the self-directed visual presentation for ‘Perfect Place’.

It introduces Linda, a digital doppelgänger and avatar. Not an easy watch, with the ghostly apparition representing the fragments of self and avatars left behind after one dies in the physical realm, the question being asked is “do our digital selves ever fully disappear?”

Playfully wispy, ‘Perfect Place’ itself is a wonderful slice of pentatonic avant pop, with eerie spoken passages and bursts of delightful melodica offset by hypnotic arpeggios and danceable rhythms.

‘Losing, Linda’ follows up 2015‘s ‘Secretly Susan’, a breakthrough recording which featured the quirky single ‘Take It All Back’, a minimal bass synth driven number laced with very high voices like GRIMES meeting LET’S EAT GRANDMA and the innocence of ‘Dear Teri’ which revealed much jazzier overtones.

Zhen promises a mix of Japanese City Pop, Sade, Tracey Thorn, Laurie Anderson and Suzanne Ciani for her new album.

‘Perfect Place’ is from the album ‘Losing, Linda’ which will be released by Cascine in North America and Dot Dash in Australia / New Zealand on 27th September 2019





Text by Chi Ming Lai
14th July 2019


As well as hosting the reunion of Alice Hubley and Adam Cresswell as ARTHUR & MARTHA,  Happy Robots Records will also be celebrating their 10th anniversary.

A boutique independent record label based in London, Happy Robots Records specialises in dreamy electronic robotpop, it was originally set-up to release ARTHUR & MARTHA’s only album to date ‘Navigation’.

It has since developed an international roster of acts including TINY MAGNETIC PETS, HOLOGRAM TEEN, RODNEY CROMWELL, PATTERN LANGUAGE and SINOSA. Happy Robots artists have been notable for being featured in a variety of mainstream publications and newspapers as well as receiving BBC Radio airplay.

With ARTHUR & MARTHA reuniting at The Islington in London on SATURDAY 2ND MARCH 2019, Happy Robots CEO and self-confessed “Moog snob” Adam Cresswell took time out from ARTHUR & MARTHA rehearsals to chat about the label’s first decade and what might be in store for the future.

Is it true Happy Robots was partly created out of necessity?

Partly. I had always wanted to start my own label, just the plan had been to start it after I’d given up making music. Alice and I had ARTHUR AND MARTHA’s ‘Navigation’ in the can for ages, but we kept getting mucked about by labels. But then when the LITTLE BOOTS / LA ROUX synthpop explosion happened, we thought let’s start a label now so we won’t completely miss the boat. We got the distributor Cargo on board and it all came together.

At the time ARTHUR & MARTHA ‘Autovia’ was released as a single as BOT1, the record industry was going through a state of flux, dilemmas about downloading, whether to release vinyl, self-releasing versus labels and the onset of social media. What was that like to have to deal with?

Running a label is always a massive gamble but now you don’t just gamble on the bands, you gamble on formats as well. When we started, it was really good for labels and artists as the download and streaming services were paying really well. But they realised they couldn’t make enough profits so they massively slashed the return to labels. Revenue nose-dived leading to the situation we are in now. I have been looking back on old invoices and we made more from the download of the Autovia EP than anything until BOT10.

How had your dealings with labels in the past been?

Like anything, mostly very good with the very occasional bad egg. With labels, I find you always remember the promises that they make but don’t keep – which is why I always try and be very measured and honest with the acts on Happy Robots. No false expectations, just cold hard reality.

Happy Robots issued a compilation ‘Botpop Volume One’ as BOT2, what was the aim of that, how was it to put together and will there ever be a ‘Volume Two’?

‘Botpop Volume One’ was our calling-card to the world. We didn’t want the label to be just about ARTHUR & MARTHA. It was mostly acts we knew – in truth – mostly acts Alice knew. I found KATSEN on MySpace, but Alice found most of the rest. It had some great reviews, not least in The Guardian which I still use on the website. I did talk about doing Volume Two a couple of years back, but I would need Alice or someone else involved in selecting the acts, otherwise it would probably end up being 50 minutes of post-Soviet darkwave.

Doing singles is one thing but albums is another, so how did you find releasing your first artist long player ‘Navigation’ by ARTHUR & MARTHA as BOT4 in 2009?

Sadly by the time it came out, I was already sick of it. For one thing we’d both gone through some pretty dark times making it, and I’d become a real pain in the arse to work with.

It was just Alice’s enthusiasm that kept us going. I still like ‘Navigation’ but see it as a wasted opportunity on my part.

I was just mentally and emotionally burned out – I hadn’t taken any time away from music after the difficult spilt of SALOON, and I needed space. I’m very grateful that there are people who really love ‘Navigation’ though – even if it took us almost ten years to realise it.

‘Navigation’ can’t have been easy to promote then as printed press via Q, NME and The Word was still the expected route back then?

Ha. No, it seemed infinitely easier than now because there was an established promotional route. We had a brilliant and lovely press agent and we got loads of features for all the ARTHUR & MARTHA records – NME, Word, Zoot, The Guardian, Artrocker. We had lots of Radio 1 play too which seems unthinkable now.

You took a break but you and Happy Robots returned in 2015 with BOT5 which was ‘Age Of Anxiety’ by RODNEY CROMWELL. Now this appeared to gain promo momentum in a way that ‘Navigation’ didn’t… discuss!

Well ‘Navigation’ got good press and then disappeared almost overnight along with the band. With ‘Age of Anxiety’ I put it out and, apart from Gideon Coe, everyone ignored it until ELECTRICITYCLUB.CO.UK picked up on it. Then I just kept plugging away at it, I took on an agent and kept sending to more bloggers and DJs until by the end of 2015, RODNEY CROMWELL featured in a load of ‘Best Of’ lists. It was a lot of work but ‘Age of Anxiety’ was the foundation for v2 of Happy Robots.

HOLOGRAM TEEN ‘Marsangst’ as BOT7 in 2016 was your first foray into releasing artists outside of the Happy Robots circle?

I worked with Morgane on the ‘Let’s Get Static’ album by THE PROJECTS in 2003 and we struck up a friendship. She moved to LA but we kept in touch and when she asked me to put out a record, it seemed a perfect idea. Obviously having been in STEREOLAB, she could have gone with loads of labels, but she chose Happy Robots. We’ve both know though, the ability to trust and get on with the people you’re going to work with is way more important than anything else.

How did you come across PATTERN LANGUAGE for BOT9?

Chris aka PATTERN LANGUAGE was fan of HOLOGRAM TEEN, he liked the look of the label and pitched me some tracks. Some of his earlier tunes were a bit ‘out there’ but I thought I’d take a punt anyway. I’m glad I did because then he sent me ‘Total Squaresville’ which is one of my very favourite Happy Robots records.

It must have been quite interesting when Happy Robots released TINY MAGNETIC PETS ‘Deluxe / Debris’ as BOT10 in 2017 and they went on a UK tour opening for OMD; that was originally going to be a vinyl and digital only release but eventually due to demand, there was a CD…

Interesting isn’t the word! I was already a fan of the first TINY MAGNETIC PETS album. But when I offered to put out their second one, I had no idea that Wolfgang Flür would be on two of the tracks or that they would go out on tour with OMD.

The original plan was to just do vinyl and digital but when I heard the OMD news, I thought I’d better press up some CDs and merch too. My only regret is not doing more XXL T-shirts.

Happy Robots released the debut single of performance artist SINOSA as BOT11, so is the label expanding and planning to sign more acts?

There are no plans for major expansion; Happy Robots just exists to help out acts I like and to get them heard more. I’ve got a full time job, a wife and two kids, there are only so many hours in the day and I’m not mad enough to think I could do this for a living.

ELECTRICITYCLUB.CO.UK thinks that demand for vinyl is not as high as the music industry would like the public to believe, while there appears to be a conspiracy to deliberately sabotage CD… discuss!

I don’t subscribe to conspiracy theories. Different formats appeal to different markets. There is no point doing a CD for a band with an under 40s fanbase. Equally, unless you are releasing indiepop, there is very little demand for 7” singles. The one thing about vinyl is it has at least remained consistent and if you’re pressing 250 vinyl LPs, you’d be pretty unlucky not to sell them all out in a few years.

There’s no BOT13… so you didn’t fancy being the Pastor Maldonado of independent electronic music?

BOT13 is reserved for the ARTHUR & MARTHA remix album – it seemed appropriate. 10 years in the making and still late! It’s a terrific collection with top remixes by GABE KNOX, SOFT RIOT, KATSEN, BRUTALIST ARCHITECTURE IN THE SUN, HONG KONG IN THE 60s and loads more.

ARTHUR & MARTHA will be reuniting to celebrate the 10th anniversary of the release of ‘Navigation’ at TEC005 in March 2019, what’s planned for that?

All the hits, lo-fi visuals, barely in-tune old synths, silly clothes. Ours was never the most well performed or technically proficient show, but it was never dull!

What’s next for Happy Robots Records?

I’ve just confirmed some more Happy Robots gigs for TINY MAGNETIC PETS. Then we have albums from ALICE HUBBLE, PATTERN LANGUAGE and ARTHUR & MARTHA up soon. I’m also putting out one record which is all 9 minute long Krautrock jams and another which is 30 second long KPM-library music. Something for everyone. 2019 is going to be a busy year.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Adam Cresswell

ARTHUR & MARTHA reunite on SATURDAY 2ND MARCH 2019 at The Islington, 1 Tolpuddle Street, London N1 0XT







Text and Interview by Chi Ming Lai
31st January 2019


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.

But not standing still and releasing his fourth new album in three years, ‘Equinoxe Infinity’ continued the story as the French Maestro tuned 70.

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.

From the same era, FIAT LUX announced plans for their debut album ‘Save Symmetry’ with an excellent lead track ‘It’s You’, while B-MOVIE came up with their most synth-propelled single yet in ‘Stalingrad’.

But one act who actually did comeback with a brand new album in 2018 were DUBSTAR; now a duo of Sarah Blackwood and Chris Wilkie, as ‘One’ they reminded audiences as to why they were the acceptable face of Britpop with their bridge to Synth Britannia.

IONNALEE finally released her debut opus ‘Everyone Afraid To Be Forgotten’ and her tour which included choice cuts from IAMAMIWHOAMI, proved to be one of the best value-for-money live experiences in 2018, one that was even endorsed by Welsh songstress Charlotte Church.

CHVRCHES offered up their third album ‘Love Is Dead’ and continued their role as international flagwavers for quality synthpop, while EMIKA presented her best album yet in ‘Falling In Love With Sadness’, an exquisite electronic record with a Bohemian aura.

JOHN GRANT was on an artistic roll both solo and in partnership with WRANGLER as CREEP SHOW with two new albums. However, he was beaten by Neil Arthur who managed three albums over a 12 month period as NEAR FUTURE and BLANCMANGE including ‘Wanderlust’, possibly the latter’s best body of work in its 21st Century incarnation.

It was a busy year for Steve Jansen with a new solo ambient work ‘Corridor’, the well-received vinyl reissue of JAPAN’s two Virgin-era studio albums and his epic, more organically flavoured band project EXIT NORTH with their debut long player ‘Book Of Romance & Dust’.

Sarah Nixey went on some ‘Night Walks’ for her best solo album yet, a wonderful collection of everything she had ever been musically all wonderfully rolled into one.

Meanwhile Tracey Thorn went back to the ‘Dancefloor’ with her ‘Record’ which content wise was right up there with some of Alison Moyet’s electronica output from the last five years.

Those who liked their electronic music darker were well served with NINE INCH NAILS, IAMX, KIRLIAN CAMERA and HELIX, but after experimenting with the single only format for a few years, Daniel Graves announced he was taking the plunge again with a new AESTHETIC PERFECTION album.

The Sacred Bones stable provided some quality releases from Hilary Woods, Zola Jesus and John Carpenter. Meanwhile, providing some fierce socio-political commentary on the state of the UK was GAZELLE TWIN.

Hungary’s BLACK NAIL CABARET offered some noirish ‘Pseudopop’ and promising Norwich youngsters LET’S EAT GRANDMA got more deeply into electronica without losing any of their angsty teenage exuberance on their second album ‘I’m All Ears’.

Less intense and more dreamy were GLASSHOUSE, the new duo fronted by former TECHNIQUE singer Xan Tyler.

Aussies CONFIDENCE MAN provided some wacky dancey glitz to the pop world and after nearly four decades in the business, Canadian trailblazers RATIONAL YOUTH finally played their first ever concert in London at ‘Non Stop Electronic Cabaret’ alongside dark wave compatriots PSYCHE and Numan-influenced Swedish poptronica exponents PAGE.

Sweden was again highly productive with Karin Park, Johan Baeckstrom and Val Solo while Norway took their own approach with FARAOSOFT AS SNOW and ELECTRO SPECTRE setting their standard. Veteran Deutschlanders THE TWINS and PETER HEPPNER returned with new albums after notable recorded absences while next door in Belgium, METROLAND presented themselves as ‘Men In A Frame’.

While the new HEAVEN 17 album ‘Not For Public Broadcast’ is still to be finished, Glenn Gregory teamed by with live keyboardist Berenice Scott as AFTERHERE. Their long-time friend Claudia Brücken performed as xPROPAGANDA with Susanne Freytag and partnered up with one-time TANGERINE DREAM member Jerome Froese, releasing the ‘Beginn’ album in the process.

It was a year of interesting collaborations all-round with UNDERWORLD working with Iggy Pop, U96 linking up with Wolfgang Flür for an excellent single called ‘Zukunftsmusik’ and German techno pioneer Chris Liebing recruiting Polly Scattergood and Gary Numan for his Mute released album ‘Burn Slow’.

Based in Berlin, THE KVB offered up some brooding gothic moods with ‘Only Now Forever’ while Valerie Renay of NOBLESSE OBLIGE released her first solo album ‘Your Own Shadow’.

Highly appealing were a number of quirky Japanese influenced female artists from around the globe including COMPUTER MAGIC, MECHA MAIKO and PLASMIC. But there were also a number of acts with Far Eastern heritage like STOLEN, FIFI RONG, DISQO VOLANTE and SHOOK who continued to make a worthy impression with their recorded output in 2018.

Heavy synth rock duo NIGHT CLUB presented their ‘Scary World’ on the back of tours opening for COMBICHRIST and A PERFECT CIRCLE while also from across the pond, NYXX and SINOSA both showcased their alluring potential.

At the poppier end of the spectrum, Holger Wobker used Pledge Music to relaunch BOYTRONIC with their most recent vocal incumbent James Knights in an unexpected twist to once again prove the old adage to “never say never” as far as the music industry is concerned.

Meanwhile, Chris Payne co-wrote and co-produced the excellent ‘Walking In West Berlin’ EP with KATJA VON KASSEL while also revealing plans for an autobiography and opening for his old boss…

The surprise album of the year was Chris Catrer with his ‘Chemistry Lessons Volume One’ while using a not dissimilar concept with their second album ‘Hello Science’, REED & CAROLINE took their folk laden synthpop out on a US tour opening for ERASURE.

IMMERSION provided a new collection of their modern Motorik as SHRIEKBACK, FISCHERSPOONER, THE PRESETS, HEARTBREAK and QUEEN OF HEARTS all made comebacks of varying degrees with audiences still eager for their work.

Steven Jones & Logan Sky harked back to the days when Gary Numan and OMD would release two albums in one year by offering ‘Hans Und Lieselotte’ and ‘The Electric Eye’ in 2016. Those veteran acts themselves celebrated their 40th anniversaries by going orchestral, something which SIMPLE MINDS also did when they opted to re-record ‘Alive & Kicking’ for the ’80s Symphonic’ collection although Jim Kerr forgot how a third of the song went!

With SIMPLE MINDS also performing a horrible and barely recognisable ‘Promised You A Miracle’ during BBC’s ‘The Biggest Weekend’, making up for the live joke that his former band have become was one-time bassist Derek Forbes with the album ‘Broken Hearted City’ as ZANTi with Anni Hogan of MARC & THE MAMBAS fame.

Other former members of high-profile bands were busy too with Ian Burden, formally of THE HUMAN LEAGUE returning with the Floydian ‘Hey Hey Ho Hum’ while A FLOCK OF SEAGULLS reformed briefly for an orchestral re-run of their catalogue.

With the release of their second album ‘Kinetik’, EKKOES handed over THE HUMAN LEAGUE support baton to SHELTER who came up with their best body of work yet in the more introspective shades of ‘Soar’

That darker approach manifested itself on singer Mark Bebb’s side project FORM with Keith Trigwell of SPEAK & SPELL whose debut long player ‘defiance + entropy’ also came out in 2018.

Having been championed by RÖYSKSOPP, Wales’ MAN WITHOUT COUNTRY returned with ‘Infinity Mirror’ while riding on the well-deserved momentum from opening for OMD, Ireland’s TINY MAGNETIC PETS embarked on their first headlining tour.

Representing North of the border were Ryan Vail and HANNAH PEEL, but hailing from Scotland were WITCH OF THE VALE who proved to be one of the most interesting new acts of 2018 having supported ASSEMBLAGE 23 on their most recent UK visit. There was a good showing from UK acts in 2018 with RODNEY CROMWELL, ANI GLASS, THE FRIXION and FAKE TEAK all issuing some excellent synth tinged songs for public consumption.

NINA’s long awaited debut album ‘Sleepwalking’ was a fine hybrid of synthpop and the currently fashionable Synthwave aesthetic; her live double billing with Canadian synthpopsters PARALLELS was one of the hottest tickets of the year.

The sub-genre was indeed making waves and there were some very enjoyable artists coming out of it like GUNSHIP, Dana Jean Phoenix and Michael Oakley.

However, the endless AOR excesses, moonlight sax breaks and highly unimaginative band monikers using numbers between 80 to 89 affixed to an archaic technology reference, illustrated by yet another neon sunset, VCR grid and Lamborghini, were becoming tiresome.

As Synthwave cynics, ELECTRICITYCLUB.CO.UK’s touch paper was being lit big time! The whole point of the synthesizer’s role during the Second British Invasion of the US was to fight against the insipid overtures of AOR like TOTO, CHICAGO and JOURNEY, NOT to make music coated with its horrid stench as THE MIDNIGHT did in 2018 with their long player ‘Kids’.

But there was naivety within some quarters too; electronic music did not begin in 2011 with ‘Drive’, an above average film with a good if slightly over rated soundtrack. However, its cultural influence has led to a plethora of meandering tracks made by gamer boys which sounded like someone had forgotten to sing on them; perhaps they should have gone back to 1978 and listened to GIORGIO MORODER’s ‘Midnight Express Theme’ to find out how this type of instrumental music should be done?

Many of the newer artists influenced by Synth Britannia that ELECTRICITYCLUB.CO.UK has featured have sometimes been accused of being stuck in the past, but a fair number of Synthwave acts were really taking the soggy biscuit with their retro-obsession.

Rock band MUSE’s use of glowing artwork by Kyle Lambert of ‘Stranger Things’ fame on their eighth album ‘Simulation Theory’ sent sections of the Synthwave community into meltdown. There were cries that they had “stolen the aesthetics and concept” and how “it’s not relevant to their sound”!

But WHAM! had Peter Saville designed sleeves and never sounded like NEW ORDER or OMD, while electropop diva LA ROUX used a visual stylisation for ‘In For The Kill’ that has since been claimed by Synthwavers as their own, despite it being from 2009 when Ryan Gosling was peddling graveyard indie rock in DEAD MAN’S BONES 😉

This was one of the bigger ironies of 2018, especially as MUSE have always used synths! One of Matt Bellamy and co’s biggest musical inspirations is ULTRAVOX, indicating the trio probably have a better understanding of the fusion between the synthesizer, rock and classical music, as proven by the ‘Simulation Theory’ bookends ‘Algorithm’ and ‘The Void’, than any static laptop exponent with a Jan Hammer fixation.

It is interesting to note today how electronic music has split into so many factions, but there’s still the assumed generalisation that it is all one thing and that synthpop fans must also like Synthwave, Deep House, EDM, Industrial and those tedious beach chill-out remixes.

Back in the day and even now, some fans of THE HUMAN LEAGUE didn’t like OMD, DEPECHE MODE fans only liked DEPECHE MODE and rock fans had a token favourite electronic band.

Out of all the acts from the Synth Britannia era, ELECTRICITYCLUB.CO.UK had very little time for THOMPSON TWINS despite their huge international success, but their leader Tom Bailey’s 2018 solo recorded return ‘Science Fiction’ was warmly received by many.

Just as COLDPLAY and SNOW PATROL fans don’t all embrace ELBOW, it is ok to have preferences and to say so. Not liking the music of an artist does not make you a bad person, but liking everything does not make you a better person either… in fact, it shows you probably have no discerning taste! In 2002, SOFT CELL warned of a ‘Monoculture’, and if there is no taste differentiation in art and music, it will spell the end of cultural enhancement.

Taste is always the key, but then not everyone who loves chocolate likes Hersheys… and with that analogy, ELECTRICITYCLUB.CO.UK bids farewell to 2018 and looks forward to a 2019 that includes the return of TEARS FOR FEARS and the first full live shows from Giorgio Moroder, plus new releases by VILE ELECTRODESKITE, VILLA NAH, I AM SNOW ANGEL and LADYTRON.

ELECTRICITYCLUB.CO.UK Contributor Listings of 2018


Best Album: MAN WITHOUT COUNTRY Infinity Mirror
Best Song: MAN WITHOUT COUNTRY Lafayette
Best Gig: TANGERINE DREAM at London Union Chapel
Best Video: THE SOFT MOON Give Something
Most Promising New Act: VOX LOW


Best Album: BLANCMANGE Wanderlust
Best Song: ELECTRO SPECTRE The Way You Love
Best Gig: OMD at Glasgow Kelvingrove Park
Best Video: NYXX Voodoo
Most Promising New Act: WITCH OF THE VALE


Best Album: DUBSTAR One
Best Song: PAGE Start (Poptronica Version)
Best Gig: DIE KRUPPS + FRONT LINE ASSEMBLY at O2 Academy Islington
Best Video: FIFI RONG Horizon
Most Promising New Act: ZANTi


Best Album: EMIKA Falling In Love With Sadness
Best Song: FIAT LUX It’s You
Best Gig: SOFT CELL at London O2 Arena
Best Video: FAKE TEAK Bears Always Party The Exact Right Amount
Most Promising New Act: WITCH OF THE VALE


Best Album: GUNSHIP Dark All Day
Best Song: SHELTER Karma
Best Gig: IAMX at London Electric Ballroom
Best Video: JUNO REACTOR Let’s Turn On
Most Promising New Act: MECHA MAIKO

Text by Chi Ming Lai
8th December 2018

Introducing SINOSA

With her quirky electronically driven avant disco, Los Angeles based SINOSA has charmed audiences with her debut single ‘If U Must Dance’.

Knowingly oddball with a delightful vocal nonchalance, the former member of FOL CHEN cites influences such as LAURIE ANDERSON and BROADCAST.

Indeed, with a glitchy ambience amongst the beats, ‘If U Must Dance’ is what LITTLE BOOTS could have been had she put her mind to it.

This is all visually reinforced by a strangely alluring video directed by Al Kamalizad and choreographed by Ania Catherine, which illustrates the song perfectly with its surreal modern dance and mime while SINOSA goes on something of a power trip.

SINOSA said of her visual concept: “We had to decide how literally we wanted to interpret the words in the video. Al is also an incredible animator so that let us go far with body isolation and impossible movement. It’s fun and a little unnerving.”

B-side ‘The State’ is less immediate but recalls some of LADYTRON’s more experimental but still melodic moments on their debut ‘604’ album, showcasing the possibilities of a home studio equipped with just a microphone, a sampler and a MIDI controller. In all, it’s rather delightfully promising.

Released on Happy Robots Records who also brought the world musical various works by RODNEY CROMWELL, HOLGRAM TEEN, PATTERN LANGUAGE and TINY MAGNETIC PETS, this is an impressive statement of intent from the graduate of the California Institute of the Arts, with an artful but accessible opening salvo.

‘If U Must Dance’ b/w ‘The State’ is released by Happy Robots Records as a 7 inch clear vinyl single, available from https://www.happyrobots.co.uk/product-page/sinosa-if-u-must-dance-7





Text by Chi Ming Lai
14th May 2018