More Information HERE
The Malpractice is Johannes Gammelby known from such supa-dupa dope bands like the grungy I Am Bones and the hate-rock-y Beta Satan. Now, as awesome mastermind-with-friends-outfit, demanding your attention as The Malpractice and with the album Tectonics out, hell is being raised! Forza Mallern!
The Malpractice – Making dirty, evil popmusic since 2010
Get your hands on the free download via Chicagoist HERE
Biography from HERE
Martin also makes Indie/Folk/Acoustic music. Despite only forming in April 2010, The Lake Poets has seen Martin already share the stage with some of the cream of the U.K and U.S. Indie/Folk/Acoustic scene including Willy Mason, Get Cape, Wear Cape, Fly, Ben Howard, Withered Hand, & Cattle & Cane as well as Indie acts such as The Futureheads and Hyde & Beast.
By combining heartfelt & haunting lyrics with an astonishing voice The Lake Poets have quickly amassed a legion of fans in a short space of time around the North East region, as well as further a field.
Having played a number of prestigious venues across the North East and the UK to stunned silences followed by rapturous applause, a triumphant set to a filled out tent at Sunderland’s flagship music festival ‘Split Festival’ in September 2011 solidified The Lake Poets’ position as an act to watch closely in the Indie/Folk genre.
The music of the Lake Poets has been described as “stunningly affecting & haunting, regularly bringing members of silent audiences to tears with its combination of delicate finger-picked guitar & beautiful melodies tinged with moving & thought-provoking lyricism” as well as “honest & beautiful, with the power to have you dancing & weeping to the same note”.
With a UK wide tour which included dates at the London, Liverpool & Glasgow O2 Academies as well as performances at Glastonbury, Kendal Calling and Evolution Festival already under his belt Martin seeks to continue the stratospheric rise of The Lake Poets in 2012 with a debut single set for release Spring 2012.
Music video for The Lake Poets’ debut single ‘City By The Sea’ – Released by Tiny Lights Records April 2nd 2012 & available to pre-order now at http://www.thelakepoets.bandcamp.com
Directed & Photographed by Ian West http://www.ianwestphoto.com
New single from Retriever “The Curse” to be released on 16th April.
alt-J have now announced a series of headline shows.
24 Dublin Academy 2
25 Belfast Stiff Kitten
26 Sheffield The Harley
28 Glasgow Art College
29 Newcastle The Cluny 2
30 Birmingham Hare & Hounds
1 Bristol The Cooler
Tickets go on sale at 9am tomorrow (March 30th).
Setlist as follows:
1:23 Chemical Brothers – Hey Boy, Hey Girl (2ManyDJs Edit)
2:57 Human Resource Vs 808 State – Dominator (Soulwax Edit)
3:47 2MANYDJS IN THE HOUSE!
5:02 Mumbai Science – Ancova
6:32 ZZT – Party’s Over Earth
7:46 Alex Gopher – Virages
9:13 ID (Vinyl Factory Intro.. New Soulwax Track?)
11:41 Mumbai Science – Lotus
14:10 Bad Boy Tonight – We Don’t Belong In Pacha
16:05 Crookers & Savage Skulls (Dr Gonzo) – Bust ‘Em Up
17:04 Metronomy – The Bay (Erol Alkan Rework)
18:39 Afrojack – Pacha On Acid
20:51 Goose – Synrise
23:21 MGMT – Kids (Soulwax Remix)
27:26 D.I.M. & TAI – Lyposuct
28:55 Ace The Space – 9 Is A Classic (Lenny Dee Remix) (Soulwax Slowdown Edit)
30:57 Van Halen – Eruption
31:29 Motörhead – Ace Of Spades
32:49 The Loops Of Fury – I Need
35:41 Light Year – 5 Girls
37:44 Blur – Girls & Boys
39:33 Metallica – Master Of Puppets (split in recording)
40:57 Queens Of The Stone Age – Feel Good Hit Of The Summer
41:40 Gossip – Standing In The Way Of Control (Soulwax Remix)
44:23 Chaka Khan – Fate
44:46 Stardust – Music Sounds Better With You
45:16 Clash – The Magnificent Seven
46:06 Specials – Gangsters
48:00 Zombie Nation – Squeek
49:55 Talking Heads – Once In A Lifetime
51:36 Jack Beats – All Night
53:10 Boys Noize & Erol Alkan – Lemonade
54:57 Erik & Fiedel – Nous Sommes MMM
55:26 Sovnger – Breathless (Alex Gopher Night Remix
57:54 Shinichi Osawa & Paul Chambers — Singapore Madness
1:00:51 Eurythmics – Sweet Dreams (Dave Rose & 2ManyDJs Edit)
1:01:42 Daft Punk – Robot Rock Vs Aerodynamite
1:03:32 Ego Troopers – Polar
1:05:09 Robin S – Show Me Love
1:06:20 Charles B – Lack Of Love
1:07:32 John Paul Young – Love Is In The Air
1:09:12 Lil Wayne – A Milli
1:09:50 Justice – Phantom (Part II) (Soulwax Remix)
1:13:17 New Order – Blue Monday
1:14:14 Max Romeo & The Upsetters – I Chase The Devil
1:15:00 The Prodigy – Out Of Space
1:16:02 Nirvana – Breed
The new Dum Dum Girls video.
Lead track from new album “Little Battles” available here – http://www.shemakeswar.bandcamp.com
She Makes War is the gloom-pop solo project of Laura Kidd – multi-instrumentalist, visual artist and digital polymath. Having graced stages across the world playing bass and singing for Tricky, A-Ha, The Penelopes, I Blame Coco, The Young Punx and Alex Parks, Kidd released debut album Disarm in September 2010 accompanied by five quirky handmade videos and aims to build on its DIY success with Little Battles, a new collection of carefully crafted, powerful alt-pop songs released on April 9th 2012.
Kidd has appeared on panels discussing digital DIY, the live music industry, punk and politics and artist development for organisations including Unconvention, Norwich Sound & Vision and Music 4.5 and has given lectures and seminars on portfolio working and social media for musicians at music colleges around the UK. Her new digital DIY collective My Big Sister will launch in the summer with a series of podcasts.
She Makes War’s second album Little Battles was co-produced by She Makes War and Myles Clarke (Sparkadia, Kid Harpoon, Belakiss) in the summer of 2011. Recorded just around the corner from the Hackney riots, London’s crackling tension is echoed within the 15 songs but if love is a battlefield this album is a peaceful protest – honest and vulnerable yet steely and sure of itself, all melancholy romance and wide-eyed hope for the future.
Driven by Kidd’s bewitching, pastoral vocals and layered guitars and supported by a plethora of additional instruments from ukulele to autoharp, melodica, piano, violin, harp, saxophone and three part recorder ensemble, the songs are punctuated by a patchwork of field recordings from her global travels as hired gun. The album opens to the sound of a Japanese mountaintop tannoy and closes on a summer rain shower in South London, bells chime in Mexico and Buenos Aires, breakdancers throw themselves around a New York subway carriage and news helicopters circle Mare Street – and within the world of She Makes War this all makes perfect sense. It’s about collisions – analogue with digital, war with peace and technology with nature.
Take lead single In This Boat, released digitally and as a homemade Valentine’s card on February 14th 2012 with early radio support from BBC 6 Music. Brooding, lovesick and philosophical, the body prepares for voyage with special guests Chris T-T, Milly McGregor (Dott Reed) and Bass (Djevara) providing tempestuous piano, violin and vocal accompaniment respectively, the rain beating down on Kidd’s swirling high sea of guitar lines and swooning vocals.
Elsewhere the Carpenters-esque “Butterflies” warns of the dangers of pretty boys in bands, a rich blend of harp, ukulele and violin sweetening the blow, “Exit Strategy” explores emotional paranoia and a capella extravaganza “Delete” describes the anguish of indecision. “May Our Daughters Return Home” features guest vocalists Tasmin Archer, Annie Gardiner (Hysterical Injury), Dana Jade and Anna Madeleine as a solemn choir, singing the haunting tale of Mexico’s lost daughters, and “Magpie Heart” and “Never Was” hint at narrowly averted disaster.
She Makes War has been making waves with her atmospheric solo gigs on Telecaster, ukulele, megaphone and loop pedal, performing in theatres, village halls and living rooms alike supporting Midge Ure, Viv Albertine and Tom Williams and the Boat. The new album itself sets to work the supportive, collaborative community building up around She Makes War via her ardent international fanbase, who fully funded this album via a wildly successful Pledge Music campaign.
Read interview with the band here
Loving this track.
He’s Still Here
Pushing Hands on Facebook HERE
Breton’s “Other People’s Problems” Album streaming via Prefix HERE
From Seetickets HERE
From Stone Roses website HERE
FRIDAY 29TH JUNE
SATURDAY 30TH JUNE
SUNDAY 1ST JULY
The Justice Tonight Band (feat. Mick Jones, Pete Wylie & The Farm)
Brand new video from Tenacious D.
Via RCRD LBL From HERE
“The Only Place” is the first taste of Bethany Cosentino’s second album and it goes straight to the beach, throws down a towel and chills the hell out. It’s not some sonic curveball – just more of what her fans crave with an even brighter sound. Hear more May 15 on Mexican Summer.
Details & ticket info www.thefutureheads.com
Listen to this stream of the soundtrack to the Chemical Brothers’ film Don’t Think HERE via Guardian Website.
Yukon Blonde’s new album ‘Tiger Talk’ will be released on 2nd April via Dine Alone Records.
Listen to exclusive album streaming & track by track guide on DIY HERE
“Want the first single from our upcoming album, This Machine, for no money? Well, look above this paragraph, click on the website and enter your email address in the widget thing there. Did you read this part first??
“Well They’re Gone”, written by Courtney Taylor-Taylor, is the debut single from The Dandy Warhols’ upcoming Long Playing Maxigroove, This Machine, due out April 24th on CD, LP, and digital on The End Records.”
The Dandy Warhols will release their tenth Long Playing Maxigroove®, entitled This Machine, on April 24, 2012 through The End Records. The release, produced by The Dandy Warhols and Jeremy Sherrer, is made up of eleven songs written by Courtney Taylor-Taylor, Brent DeBoer, Zia McCabe, and guests David J (Love and Rockets, Bauhaus) and Miles Zuniga (Fastball). The album’s cover was painted by artist Hickory Mertsching. This Machine will be available on compact disc, long playing vinyl record album (like they had in the past), and probably digital download, you know, for walkin’ around.
UPDATE: Oh you want track listings? Fine.
I. SAD VACATION (DeBoer/Taylor-Taylor)
II. THE AUTUMN CARNIVAL (Taylor-Taylor/Haskins)
III. ENJOY YOURSELF (Taylor-Taylor)
IV. ALTERNATIVE POWER TO THE PEOPLE (Taylor-Taylor/DeBoer)
V. WELL THEY’RE GONE (Taylor-Taylor)
VI.REST YOUR HEAD (Taylor-Taylor/Zuniga)
VII. 16 TONS (Travis)
XIII. I AM FREE (Taylor-Taylor)
IX. SETI VS. THE WOW! SIGNAL (Taylor-Taylor/Zuniga)
X. DON’T SHOOT SHE CRIED (McCabe/DeBoer)
XI. SLIDE (DeBoer)
Check out Dandy Warhols home page for free downland HERE
Article & Album streaming from Observer HERE
Graham Coxon: ‘It’s not 1975. It’s a confusing world’
‘My default setting is nine years old,” says Graham Coxon, 43, as he wolfs down a cheese and ham toastie in a Camden brasserie. And there is something of the Bash Street Kid about him: in jeans and striped T-shirt, with shaggy bowl haircut and serious specs, you wouldn’t be surprised to find he had a catapult in his back pocket. He’s like a living cartoon. I say this. Coxon scrunches up his fringe, sets his eyebrows to “anxious”.
“For a while I wasn’t wearing glasses and stripy T-shirts,” he says earnestly, “even though I like them, because I thought that’s what I had become to so many people. A pair of glasses and a stripy T-shirt. But then, they help cover me up. I’m pretty shy and English. Maybe I need stripier T-shirts. Bigger glasses. Longer hair. Um.”
Ah, Graham. How does he do it? How can a middle-aged man be so boyish and not be annoying? Somehow, when it comes to Graham Coxon, what should make you want to kill him – his child-like voice, his bewildered air, his habit of biting his lower lip – instead makes you think he’s ace. Partly because it’s wrapped up in silliness and a very definite charisma; mostly because underneath it lurks something far more interesting – an expressive, opinionated, all-grown-up artist. His untucked, who-me? demeanour seems designed to deter the kind of people who think that genius should be high status.
Best known as the guitarist from Blur – the awkward one who was pushed out a decade ago, during the making of Think Tank – Coxon has actually spent a good part of his adult life working on his own artistic activities. It’s worth remembering that he’s almost as prolific as Blur’s confidently multi-tasking lead singer, Damon Albarn: he released three solo albums while he was still in Blur, and there have been four since then, with a new one, A+E, coming out on 2 April. He never stops creating, really: he takes photographs, draws and paints (he had a show of his paintings at the ICA in 2004); he plays saxophone, bass, guitar, drums and pretty much any other instrument he turns his hand to. So if he is a nine-year-old, he’s a hyperactive one. One that has obsessions that he can’t put away.
At the moment, he’s into the sax. He recently bought himself another alto – “There’s nothing like a new instrument to inspire you” – and spends much of his spare time practising, as well as researching saxophones and listening to old jazz players such as Oliver Nelson, Ornette Coleman, Eric Dolphy. His other current craze is manipulating photographs, and he chats happily about the joy of “rubbish” snaps in an era of super-sharp digital pictures. “I like that technology is so amazing now, and yet things can be pixellated and look a bit crap.” The photo on the front of A+E, of a woman’s legs, with a thin trickle of blood running from her left knee, was taken by Coxon. “On this phone!” he barks, waving an old-school Nokia across the table.
“I see drawing and guitar-playing and all the other stuff as almost the same,” he says. “I’m not technically great, it’s all just an expressive tool. My sketchbook is full of puerile drawings of willies, it’s disgraceful, but it entertains me and that’s the reason I do things: to entertain myself. Sometimes those things manage to get out into the open, and sometimes they don’t.”
This time, it’s A+E‘s 10 noisy, messy-edged tracks that have pushed themselves into the sunlight, and his fans will be thoroughly delighted. A few days after we meet, I go to see Coxon play at 6Music’s 10th birthday party, where he airs several of his new songs. Though the gig is at Queen Elizabeth Hall, a respectably seated venue, the audience are thrilled, cheering and stomping with abandon, doing squirmy solo dances while sitting down. Coxon, in – yep – glasses and stripy T-shirt, is flanked by guitarist Owen Thomas and Toby Macfarlaine on bass. Behind them is big-haired drummer Stephen Gilchrist, as well as Jen Clayton and Lucy Parnall, who play synths and guitars while rocking some terrific librarian chic.
The sound they make together is marvellous. Scratchy, loud, confrontational, complicated, full of hooks and riffs. A bit Sonic Youth, a bit Joy Division… a bit Blur, obviously. At one point, on new track “City Hall”, there are five guitars being played at once. It’s fantastically hectic.
“Well,” Coxon says today, “I don’t like being bored and I can’t see the point of people writing three minutes of music that doesn’t make you think, or jump, or laugh, or doesn’t entertain your ear at all. And I like the idea of condensing 15-minute prog-rock things into three minutes.”
A+E started off as a reaction by Coxon against his last album, The Spinning Top. That was a beautiful, acoustic affair; outdoorsy, with a wistful, English summer feel, it was rapturously received by critics. But it was technically challenging – “fingers going hell for leather,” as he puts it – and the accompanying gigs were a graft.
“I got overwhelmed by my own flavour,” he says. “Finger-picking guitar, having to sit down to play. Being in venues that weren’t set up for that sort of thing and audiences getting disgruntled. In the end, I did it in a huge room in the Barbican, which worked better because it was more, um, mature, but then there’s more pressure. You can hear mistakes. So after that, I regressed.”
By this, he means he set aside his acoustic guitar and started messing around on the bass, playing with riffs. After a while, he added guitar – “using lots of effect, rather than twiddling” – plus weird sounds and set the resulting noise to a drum machine. He got in touch with producer Ben Hillier, who worked on Coxon’s second solo album, the thrashy The Golden D, and with Blur on Think Tank. Together, in Hillier’s Bermondsey studio, they bashed the songs around.
How can a middle-aged man be so boyish and not be annoying? Photograph: Phil Fisk for the ObserverHillier, who I talk to on the phone a few days after meeting Coxon, describes a quick, fun recording process, with him capturing Coxon’s first performances whenever possible, “otherwise he gets bored”. Coxon played all the instruments apart from a few synths and remembers the sessions like “a big playground”, with everything in the same room together and all the mics left open, so that extraneous noise, such as headphones left clicking in a corner, or Coxon shouting cues for Hillier, were all left in the mix. “If the noise made us laugh or swear, then it would stay in.”
Hillier also says, almost by the by, that Coxon is by far the most talented rock musician he has ever worked with. He compares him with classical virtuosos, says his musicianship is so advanced that it’s as though his instrument is an extension of his body, so whatever is in his head comes straight out in his playing. It makes me think of a previous interview I did with Coxon, in the 90s, around the time of Blur’s 13, when he told me that when he couldn’t talk to Albarn, he said what he wanted to say through his guitar.
Anyhow, Coxon and Hillier recorded 21 songs in two months, and divided them into two albums: A+E, and one that may well be released later in the year, which is, according to Hillier, less riff-based, more “song-y”, soul-influenced, with backing singers and strings.
Before that, of course, Coxon will be playing with Blur, at their Hyde Park gig on 12 August to celebrate the end of the Olympics. Also performing are New Order and the Specials, so it should be amazing, though Coxon tells me there’s been a lot of complaints about the line-up being too old. The idea, he says, was a band from each decade (though that doesn’t really work if you think too hard about it) and there will be other, more contemporary artists playing.
“Anyway,” he says, grappling with his fringe again, “I’m not sure if I’m allowed to talk about Blur. Every time I open my mouth about it, I get into trouble. And then I go on Twitter and there’s hundreds of messages, ‘Graham, Graham, what did you mean?’ And I wish I’d never said anything!”
Blur in 1991, from left, Dave Rowntree, Graham Coxon, Damon Albarn and Alex James. Photograph: Brian Rasic/Rex FeaturesRecently, he said that Blur would definitely make another album, but he’s obviously been told off since. Today, he just mumbles something about them hanging out, getting together and playing, with nothing formal planned. No pressure, because “that would make what might happen not happen”.
We do talk a bit about the band’s performance at the Brits, where they were given a special award. TV viewers were miffed that Adele’s speech was cut off for Blur to come on and that, when they did, they didn’t sound as polished as, say, Olly Murs. Coxon explains that when Albarn ran along the walkway, it meant his vocals were half a second out of sync, and that when you’re playing live, you can’t play as though you’re fully warmed-up when you’re not… “It’s all a bit hooliganist, that stuff,” he says. “It’s not what it’s about, really.”
So, instead, we go back to the joyous puzzle that is A+E. The first single, the upbeat, synthy “What’ll It Take”, has two easy vocal hooks – “What’ll it take to make you people dance?” and “I don’t know what’s really wrong with me” – but, to be honest, I’m not quite sure what some of the other songs are about.
“Advice”, for instance, which I thought concerned being bored with well-meaning people talking at you, turns out to be Coxon’s take on a big night out gone wrong. In the 80s, he went to a house party in Brentwood, where he and his two friends took off the tape that was playing and put on a Smiths album. “And then we danced about in quite a… ‘faggy’ way, for want of a better word.” With the result that they got really beaten up. Afterwards, they wandered about Brentwood wondering how they were going to get home. “We’d all of us thought we would probably get off with one of our friend’s cousins at the party and, well, no.”
Coxon wrote many of A+E‘s songs in an auto-suggestive manner, by making “vowel-like noises” over the top of the guitar. “If you do that and tuck it down into the recorded music, it suggests words and sentences, sparks off a whole load of thoughts,” he says. Those thoughts, though, didn’t stray too far from his current worries. There’s another song called “Running for Your Life” that is similar in theme to “Advice”, and he says: “This album is absolutely covered with my own paranoia and neuroses.”
What are they?
“Oh, I’m pretty pessimistic culturally, I suppose. I’m scared of the world, of anarchy, control being lost. Bedlam. Pandemonium. Like John Martin paintings, he did the great big pictures in Victorian times of the end of the world. Because I’m old, and I have a daughter, I get worried about the fact that there are adverts for Saw V on the side of a bus, or naked women, stuff like that. I just think there’s a lot of unnecessary violence… sex and violence… just there in the street. I don’t need to go out to see it, I just watch the news!”
He was at home in Camden when the riots happened: “There was a group of scarved-up youths at the end of my road.” Although his daughter, Pepper, who’s 12, was at her mum’s and his girlfriend was away too, Coxon – not the world’s most natural neighbourhood watch vigilante – was overcome with the idea that he must protect his home and family. So he went out into the back garden, gathered up a big container full of fuel. “I thought, I’ll bring that in, close the shutters and get a few weapons ready just in case I have to defend my house. It was like I was in the wild west…”
He’s half-laughing, half-serious. Like many people who have given up alcohol (he stopped around 10 years ago and rarely drinks now), Coxon is sensitive to other people’s anger, especially when it’s booze-fuelled. “I think the future of mental health in this country is shot,” he says, mildly. “There’s even tourists coming over to see the British do their thing on a Friday night. There are! I did some press in France, and they said that a lot of French students go over to Britain to see the bingeing and join in for one night.”
Graham Coxon plays the Manchester Ritz in 2006; he has recorded eight solo albums in the past 15 years. Photograph: Andy Stubbs/WireImageIt is immensely strange that Coxon ended up in a band held partly responsible for the mid-90s craze for Page 3 girls and football laddishness. He hates mainstream thuggery with a passion. And he is a man whose taste doesn’t change. His preferences are personal and particular, based around well-crafted Englishness (blazer, boots, the Beatles) and knackered Americana (Converse, Levi’s, Dinosaur Jr). He’s a constant, unaffected by fashion or politics or the delights of country-based cheese-making. In fact, if you consider the members of Blur, and how far they’ve moved from their early-90s incarnation, it’s only Coxon who appears to be the same: still living in the same house in Camden, still rocking the same lo-fi look. Even when it comes to A+E, he wants it to be listened to by very particular people.
“When I was touring in 2005-6, some of the places we played in had a club after the gig. And these clubs would be under the railway arches, loud and echoey, and the kids were dancing and they looked like half-robot, half-mod. Fantastic, really great haircuts, great clothes, dancing properly, puking up. And I thought, ‘Yeah! That’s where I want this stuff to be played, an environment like that.'”
His aesthetic consistency could seem boring if it wasn’t that Coxon has, out of all his Blur compadres, been the one who has personally changed the most. He’s still contrary, still what Hillier calls “a delicate flower” on occasion, but his home life is settled now: he lives with Pepper and his girlfriend of six years and their Jack Russell, Frankie. Compared to the Coxon of the 1990s and early 2000s, he’s much calmer, less thin-skinned. Giving up drink must have been hard, but he was, undeniably, a rubbish drunk – either resentful and accusatory, or miserable and self-destructive. “I was totally unaware of anything except my own life and my own feelings, what I had to do, feeling overwhelmed, how I got through that day, ‘God, when can I get to the pub’, things like that.”
Back then, you worried about him. Not now. Now his nice PA tells him what he has to do day by day, rather than revealing his schedule for the year. “Like in School for Scoundrels where Ian Carmichael’s chap comes in and he’s like, ‘What are we doing today?’ and he’s like, ‘Just a few signatures, sir.’ That’s fine, for me: ‘Just a few signatures and then the NME Awards later on.'”
So, Graham, can we say you’re happy?
“I suppose I am pretty happy. I suppose if I’m an artist or whatever, a musician, and the message I’m getting is that what I’m doing is relevant, then I’m happy. But, you know, it’s not 1975, it’s a confusing world. Albums used to have launch parties and playbacks and be an event. But nothing goes off with a bang any more. There’s a part of me wants to be held aloft by people marching down [Camden’s] Parkway with ticker tape and fanfares, you know? Because they’ve received my LP!”
Coxon is laughing as he stands up. Despite his outsider hair, his nerd specs, he’s tall; more physically imposing than you might think. You might even, at a push, call him robust.
A+E is released on 2 April. Graham Coxon’s UK tour starts on 13 April at O2 Oxford Academy
Official video for Fantasy Rainbows’ single “No Hope, Not Ever”.
The track is included on an EP released on March 19th via Tiny Lights Recordings, and you can get it by heading here. I’ve got mine & it is wonderful.
Biography (From Facebook)
Cherry Bloom is a rock band from Paris, France, formed in 2005. They finished their first 11 tracks LP, Secret Sounds (April 2008). The whole album was produced and realized by both members of the group. A lot of means will not have been needed, just precise ideas on the music and the techniques that has to be used. The peculiarity of the sound of Secret Sounds lies in the type of formation based on guitar and drums. It was a challenge to keep a rock dynamics without bass guitar, but in the end the bet is held with a sincere originality.
At present, the first preoccupation for Cherry Bloom stays playing, with for only objective, the energy.
Check out a sample of the new album “Open & Die” HERE