The Asteroid No.4 – Northern Songs (Little Cloud Records / Cardinal Fuzz 18 September 2020)

California-based psych-rock legends The Asteroid No.4 to release ‘Northern Songs’ LP

Psychedelic rock / power pop legends The Asteroid No.4 will release their new album ‘Northern Songs’ LP on September 18. This much-anticipated collection of tracks will be released through a partnership with UK-based Cardinal Fuzz Records and Portland’s Little Cloud Records.

Stalwarts of the modern ‘psych’ genre, they are known for their prolific discography of reverb-drenched recordings and liquid-projected live performances. With a sound all their own and neo-psychedelic / shoegaze learnings, they are often compared to acts like Spacemen 3 and Paisley Underground kingpins The Rain Parade.

This new track comes on the trail of singles ‘Swiss Mountain Myth’‘The After Glow’ and ‘Northern Song’.

Now based in the San Francisco Bay Area, The Asteroid No.4 originated in Philadelphia in the latter half of the 1990s and gradually began to relocate westwards in 2011. After several lineup changes, for the last decade, the band has been foundationally comprised of Scott Vitt (vocals, guitar), Eric Harms (guitar), Adam Weaver (drums, vocals) and Matty Rhodes (bass, vocals).

‘Northern Songs’ is the band’s tenth full length record, following up the ‘Collide’ LP in 2018. Here, the 12-string folk-rock jangle of the mid-60’s Byrds is overlaid with the washed-out vocal harmonies of Ride and topped off with psychedelic drones familiar to Spacemen 3. This is a hypnotic hybrid of several different genres filtered through the kaleidoscope of all things psychedelic.

On this new album, they did all writing, playing, recording, mixing and mastering in their own studio. This is the first time they’ve gone fully DIY since their fourth album ‘An Amazing Dream’ (2006), where the band finally found their own trademark sound.

“This is a first for us as we’ve always had at least guest musicians or someone else mix or master. It was an experiment on what we could do ourselves and testing our new studio in San Rafael, CA for the first time. Our sound is primarily rooted in the British indie music from the 80s and 90s. This is the music we grew up on, we still listen to today, and what happens as a natural result of our songwriting,” says Scott Vitt.

“Lyrically there’s reference to what is happening both socially and politically in the world around us. We wanted to make an album that brought an air of calm or even nostalgia, to remind people that there was a time, not all that long ago, when things seemed way more normal compared to what we’re experiencing today.”

A dynamic live act, The Asteroid No.4 integrate multi-textured guitars and reverb-drenched vocal harmonies over an unwavering rhythm section. Their prolific output has earned them a dedicated fan base within the flourishing underground psychedelic scene, with over a dozen compilation appearances, digital-only rarity releases, and multiple singles and EPs.

Named after Vesta, the brightest asteroid in our solar system, their moniker is an obvious nod to Spacemen 3, one of the band’s main influences. In fact, one of the group’s earliest recordings was a faithful cover of their ‘Losing Touch with My Mind‘. Released via UK label Rocket Girls tribute compilation to the 80’s legends, Pete ‘Sonic Boom’ Kember himself named the song as a stand-out track in an interview with Magnet Magazine.

As of September 18, the ‘Northern Songs’ LP will be available digitally online, including via Apple Music, Spotify and directly from the band via Bandcamp and their own website. 

Keep up with The Asteroid No.4
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Keep up with Little Cloud Records
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Keep up with Cardinal Fuzz Records
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Posted by on September 18, 2020 in Psychedelic, Rock


The Pull of Autumn ‘Shipwrecked on Aspirin’ from ‘Small Colors’ LP RBM Records 18 September 2020

The Pull of Autumn previews ‘Shipwrecked on Aspirin’ ahead of ‘Small Colors’ LP release

Art rock collective The Pull of Autumn will be releasing their new ‘Small Colors’ album on September 18. Ahead of that, they preview the track ‘Shipwrecked on Aspirin’, the second taste of this album.

Featuring Luke ‘Skyscraper’ James of IRS artist Fashion. ‘Shipwrecked on Aspirin’ harkens back to post-punk of the past with one different element – the introduction of electronic music added in. Much in the spirit of Eno’ work with Roxy Music.  Elements of theremin and a horror soundtrack vibe bubble underneath.

Luke originally wrote this song when he was 22 as a fingerstyle guitar traditional folk song. Later he did a punk version, which Daniel Darrow has now turned into post-rock!

“About these lyrics, a guy kills an albatross (bad luck), the ship is becalmed, they make the guy walk the plank to bring back the wind, but as he steps off the end of the plank, he’s reborn as an albatross! Not the same story as ‘Rhyme of The Ancient Mariner’ but kind of inspired by it,” says Luke James.

Based between Boston and Rhode Island, The Pull of Autumn is a ‘super group’ of sorts, with songs orbiting around Daniel Darrow from Johanna’s House of Glamour and Luke ‘Skyscraper’ James (Fashion), but also involves numerous emerging and notable musicians from the local music scene and from far abroad.

Earlier, The Pull of Autumn released the lead single ‘Holiday’ feat. Orange Cake Mix (a.k.a. James Rao). They recorded this Bee Gees‘ track as a tribute to the 60s with an added electronic element, melding 60s pop into today’s post-rock movement.

‘Small Colors’ will be released via Boston-based label RBM Records. The collective’s third album, this it is a tribute to many moods, ranging from British folk music and post-rock to jazz, ambient and electronic music. The album’s title represents Darrow’s return to a minimalist approach towards creating music.

This long-play involves members of 4AD artists Dif Juz, Rough Trade artists Johanna’s House of Glamour and Butterfly Child, , Epic 45, Boyracer, Perfect Disaster, InsidesGermany’s Seasurfer, Japan’s Broken Little SisterOrange Cake Mix, vocalists Mina Hunt and Jeanne BattingColin Darrow and Matthew Darrow.

“Many artists reached out to contribute to make this album a full range of interpretations of sound .It’s thrilling to have all these amazing artists join together to create 16 songs that a channel the same voice – A love of creating beauty, even in these difficult times,” says Daniel Darrow.

This release follows up the 2019 ‘Afterglow’ LP, which included contributions by members of Throwing Muses, Boyracer, Seasurfer, Orange Cake Mix, Johanna’s House of Glamour, Hood, and Nick Cave and the Bad Seeds for something quite beautiful.

Their debut album ‘The Pull of Autumn’ was released in 2018 following the single ‘Not Coming Down’ featuring Luke ‘Skyscraper’ James, frontman of British new wave pioneers (and I.R.S. recording artist) Fashion.

The cover painting was created by artist Joyce Raskin, who is also bassist in Scarce and author or several books. Her painting fully represents the sound  of the music.

As of September 18, ‘Small Colors’ will be available across online stores and streaming platforms like Spotify. It will also be available on CD, packaged in a gatefold 7-inch sleeve. The album can already be pre-ordered via Bandcamp.

‘Holiday’ written by Barry Gibb
Guitar and vocals by James Rao ‘Orange Cake Mix’
Keyboards by Daniel Darrow
Bass by Bruce MacLeod
Album cover painting by Joyce Raskin White

1. Bakhchalarda
2. Easy
3. No Romance
4. Fester
5. That’s How it’s Always Been
6. The Stars or the Jungle
7. Holiday
8. Lampin
9. The Beautiful Golden Y
10. The Sun Is Going to Shine
11. Bored and Lonely
12. If You Could Read My Mind
13. Shipwrecked on Aspirin
14. Delirious Intuition
15. Color
16. No Day at the Beach

Keep Up With The Pull of Autumn / RBM Records
Bandcamp | Soundcloud | RBM Records | Facebook | Twitter | YouTube | Spotify | Apple Music | Press contact

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Posted by on September 16, 2020 in Alternative, Folk, Post Punk


Vanilla Fudge – Immigrant Song (cover) Golden Robot Records 22 September 2020

Vanilla Fudge  release remastered cover of Led Zeppelin’s ‘Immigrant Song’ on 22nd September on Golden Robot Records.

Immigrant Song by Led Zeppelin is one of the monster tracks of all time. How do you top that? Well, you can’t but we decided to just have fun with it. I came up with this On Green Dolphin Street kinda chord progression as the intro on the synth with a heavy-duty brass sound that worked pretty well. The guys fell into it right quick and it rocks the house. Carmine did a great job with the drum track and Tim and Vince killed it. I did the vocals in Florida and sent it back to Carmine in Los Angeles and he mixed it. Hope you dig it.”
– Mark Stein 

Τhey will also be releasing a new album in 2021, The Supreme Vanilla Fudge, which will see them re-work 10 songs from the legendary The Supremes done in the classic Fudge way. The Supreme Vanilla Fudge will feature all 4 original members: Mark Stein, Carmine Appice, Vinnie Martel and Tim Bogert (who no longer tours but will appear on a few tracks on the record) along with touring bassist Pete Bremy.

Vanilla Fudge was one of the first American groups to infuse psychedelia into heavy rock sound to create “psychedelic symphonic rock” an eclectic genre which would, among its many offshoots, eventually morph into heavy metal.

Although, at first, the band did not record original material, they were best known for their dramatic heavy, slowed-down arrangements of contemporary pop songs which they developed into works of epic proportion.

Originally, Vanilla Fudge was a blue-eyed soul cover band called The Pigeons, formed in New Jersey in 1965 with organist, Mark Stein, bassist, Tim Bogert, drummer, Joey Brennan, and guitarist, vocalist and US Navy veteran, Vince Martell. They built a following by gigging extensively up and down the East Coast and earned extra money by providing freelance in-concert backing for hit-record girl groups. In early 1966, the group recorded a set of eight demos that were released several years later as “While the World Was Eating Vanilla Fudge”.

The East Coast, in particular, New York, and New Jersey, created a sound all its own. Inspired by groups such as The Rascals and The Vagrants (fronted by guitarist, Leslie West of “Mountain” fame), The Pigeons reworked many of their own existing arrangements of covers to reflect their unique interpretation of this “East Coast Sound”.

In late 1966, drummer, Joey Brennan, moved out to the West Coast; The Pigeons immediately drafted drummer and vocalist, Carmine Appice, a disciple of the renowned Joe Morello (Dave Brubeck Band) and a seasoned veteran of the club scene. In early 1967, The Pigeons manager, Phil Basile, convinced producer, George “Shadow” Morton (producer for The Shangri-Las and Janis Ian), to catch their live act. Impressed by their heavy-rocking, trippy and psychedelic version of The Supremes’ You Keep Me Hangin’ On, Morton offered to record the song as a single. This resulted in a deal with the Atlantic subsidiary Atco, which requested a name change. The band settled on Vanilla Fudge.

Vanilla Fudge celebrated their 50-Year Anniversary in 2017 and is still rocking the world as hard as ever.

Pre-order/pre-save Immigrant Song HERE 

Here is the band playing live another Zep song in Bayonne NJ in 2018

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Posted by on September 16, 2020 in Rock


Girls In Synthesis – Now Here’s an Echo from your Future (28/08/2020 Harbinger Sound)

Following a steady stream of ultra-limited 7” singles, that were collated together in 2019 for the ‘Pre/Post: A Collection 2016-2018’ on Louder Than War, the bands highly-anticipated debut album, by those that know, arrives with the first bitter taste of new single ‘Pressure’; one-minute-and-fifty-four seconds of screeching feedback, tribal drums and unbridled rage that is exactly the shot in the arm and the boot up the arse this nation, if not the world, needs right now. “In both music and lyrical content this song sets out to capture the unrelenting pressures of living in the modern world,” explains vocalist and guitarist Jim.

“The pressures and expectations of which ‘they’ force upon you – with the apparent realisation that you will never be what they want you to be. “Pressure, the twist of the gut, as one door opens another fucking shuts” Since forming in late 2016, Girls In Synthesis have quickly forged a fearsome reputation as one of the most exciting and volatile live acts in London.

In equal parts frantic, considered, ear-splitting and melodic, the group take their cues from the early DIY punk and post-punk pioneers to keep everything in-house; artwork, videos, performances and recordings are created entirely by the group and their handful of trusted collaborators, under a bedrock of heavy, bludgeoning, dark, post-punk.

Now Here’s An Echo From Your Future’ is their first release for fabled experimental punk label Harbinger Sound and finds the band advancing their sound, making subtle but experimental shifts in texture and tone, helping to break free from the shackled straight-jacket of punk rock that, to be fair, never really held them down in the first place.

Across the album’s ten songs, Girls In Synthesis explore a wide range of sensations and sounds as the album detonates into life with opening track ‘Arterial Movements’ in a screeching flurry of over-driven guitar and hammering drums. The contrast between the slow, mesmerising look into aging and dying in ‘Human Frailty’ (‘The realisation that you cannot halt their impending death’), to the aggressive attack on the rise of the right-wing in ‘They’re Not Listening’ (‘The time-old tradition of the right wing accosting desperate working class people has returned’) shows a wide range of subjects and reactions aggressively tackled.

Mental health in a fast-moving, unforgiving world, media control, the divide widening between the have and the have nots, the class divide, the blaming of the poor, NHAEFYF bristles with an unforgiving frustration and temper. The recording of NHAEFYF started at Rockit Studio, Hull in April 2019 during days off on the UK tour to promote the ‘Pre/Post’ compilation album. The Hull sessions were engineered by studio owner and local musician Sean Tomlinson.

The remainder of the album was recorded and engineered by the band throughout summer 2019 in a large rehearsal room at Gun Factory studios, Homerton. Production and finishing touches were completed at GIS bassist John’s S.I.C.K Studio in Hither Green.

The album was mixed by long-time band collaborator and engineer, Max Walker (currently studying at Abbey Road). The album was mastered by Brett Shaw at 123 Studios, Peckham. In their few years of existence, fans and critics alike have been stunned by the bands pure visceral and punishing wall of sound, as well as applauding the groups way of making a GIS show an all-inclusive experience; playing from within the crowd to create a unique and awe-inspiring spectacle.

Being hand-picked to support acts as diverse as Damo Suzuki, Slaves, Bad Breeding, Warmduscher and Wolf Alice has seen a widening of the groups fan base. Sold out headline shows across the UK have led to frantic and chaotic performances, and packed, sweaty venues, the word is getting out and spreading rapidly.

Catch GIS while you can and witness the rise of one of the UK’s most original and unique underground bands.

1. Arterial Movements
2. Pressure
3. The Images Agree
4. Scrapped
5. Human Frailty
6. They’re Not Listening
7. Cause For Concern
8. Coming Up For Air
9. Set Up To Fail
10. Tirades Of Hate and Fear

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Posted by on September 8, 2020 in Post Punk, punk rock


SKAM – Green Eyes (X Ray Records 21 September 2020)

UK rock trio SKAM release their new single ‘Green Eyes’ on 21st September via X-Ray Records.

‘Green Eyes‘ is the first release from their forthcoming EP, which combines the familiar SKAM power with melodic choruses to showcase a significant step forward by the band. The song’s focus is on jealousy and how the grass can look greener on the other side of the fence, but to overcome it, you need to suck it up, swallow it down, and concentrate on your own life.

Combining an early Def Leppard crunch with the melodic touch of the Foo Fighters and the grit of Rival Sons – SKAM are set to rise to prominence.

Formed in 2011, SKAM are a hard rock power trio band from the middle of England.  They have a reputation for delivering no nonsense, gutsy, classic sounding British rock music.Over the last 9 years, the band have worked tirelessly to build a solid following in the UK, and now they are widely considered to be at the forefront of the ‘New Wave of Classic Rock’ movement that is currently sweeping the nation.

To date, the band have independently released 3 albums. ‘It’s Come to This’ (2011) and ‘Peacemaker’ (2014) were released to critical acclaim and the band established themselves as a live force to be reckoned with. The band have hit road with The Answer, Airbourne, Skindred, The Quireboys, and GUN to name a few and are considered a formidable live act.

A drive to innovate inspired SKAM to release ‘The Amazing Memoirs of Geoffrey Goddard’ (2017), a concept record based on the diary entries of a time travelling RAF pilot.
The songs were described as ‘gritty anthemic rockers’ by Classic Rock Magazine and the album received a number of 5-star reviews from the UK Music press. SKAM don’t write songs to a formula, they write songs as rock fans, trying to capture what they would want to hear.

Lead single ‘Take it Or Leave it’ was voted as ‘track of the week’ by Classic Rock Magazine and has since been included on Earache Records ‘New Wave of Rock N Roll’ compilation vinyl.

Steve Hill – Guitars – Lead Vox
Matt Gilmore– Bass – Backing Vox
Neal Hill – Drums – Backing Vox

Its Come To This – Album 2011
Peacemaker – Album 2013
SKAM: LIVE – Album 2017
The Amazing Memoirs of Geoffrey Goddard – Album 2017

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Posted by on September 2, 2020 in Rock


Assemblage 23 – Mourn (Metropolis Records 11 September 2020)

Assemblage 23 – the one man project created by Tom Shear, combines genre-expanding electronics with intensely personal subject matter.

The phenomenal new album ‘Mourn‘ is a standout in Assemblage 23’s extensive catalog.

Beyond the trappings of modern EBM and Industrial, ‘Mourn’ seamlessly blends danceable electronics with intimate soul searching lyrics.

A breathtaking album from one of the genre’s best.

‘Mourn’ will be released by Metropolis Records on September 11th via all digital and streaming formats as well as CD, a deluxe 2 CD version and a limited edition vinyl edition.


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Posted by on September 1, 2020 in Electronic


“Cassette Culture, Homemade Music And The Creative Spirit in the pre-internet Age” by Jerry Kranitz – 320 page book – 2 CD compilation

Ok I’m biased but I think it’s not exaggerated to say this is some kind of masterpiece.

If you research the expression *cassette culture* on today’s internet you’ll get an almost bizarre mixture of results. From books about a huge *cassette culture scene* in India, I never heard about before, to descriptions of update youngsters who rediscover the unique flair of releasing own music on the cassette medium.

The real *core* of cassette culture was the worldwide scene that came alive in the late 1970s / early 1980s and existed until ca. 2000. The final release on Europe’s biggest Cassette Distribution, Mick Magic‘s Music & Elsewhere was in 2003. Then everybody started releasing CD-Rs or CDs because via digitalisation the whole culture of planet earth had changed.

As an oposition to the “lawgiving” and sterile commercial music world this cassette culture scene allowed complete freedom in creation and distribution.

This book tells you why, how and who.

If you were there – you need this book. If you want to know how it was to be there – you need this book.

If you want to know how a real *Social Network* is defined, how it works and why I think today’s *Social Networks* are a perversion of the expression and are nothing but a money making machine for the owner, with no *in depth* spirit whatsoever – you need this book.

The book was several years in the making, was checked by Hal McGee, underground activist since the early times, in regards of spelling and nasty grammar errors, which is not that usual these days, one of the reasons you get so many faulty products today. And the book is based upon in depth interviews with many artists from these years, plus it’s presenting a variety that defined these years.

This last point is very important because this was one of the main aspects of those years and was leading to the effect this movement had. Whatever one wanted to do/produce was ok and would find interested underground artists and fans, who then kept spreading the word. So one could enter with a mellow folk release and suddendly would get in touch with a harsh electronic sound that was offering a new fascinating world of culture Being open minded and the will to disscover, was part of this spirit of variety.

Too often those years were defined or described as a *In Crowd* group of experimental noise makers. That is a absolutely missleading one tracked presentation of the Cassette Culture Scene. In fact the one who had a huge influence in the early years was releasing very melodic guitar pop – Martin Newell (Cleaners of Venus).

But wait – what did I just say? There are two CDs included with truly great, challenging underground music from those years. Unfortunately these CDs completely fail to present the before mentioned variety. Too many of the here included tracks sound like being tortured by your dentist. *Torturing* was an important aspect of the sound of this scene, which definitely was an oposition that wanted to *hurt* – but – I was there in these years and I know this was absolutely not the real profile of the scene.

I did a Cassette Culture Scene radioshow here in Berlin. Regularly on air from 1987 to 1991 in Berlin and later via other stations, some in the USA on internet. I had from the pop to the rock to the soundscape to the punk to the folk to the noise to the spoken word – from complicated constructed songs to total chaos .. I had them all on my show.

If you want to come close to the real variety produced in those years, I recommend to listen to Don Campau‘s original No Pigeonholes Shows:

That will give you 4 hours of incredible true variety of the cassette culture scene. In those days Don Campau was the one to *teach* me what Cassette Culture Spirit really means. The name of the show “No Pigeonholes“, was chosen for a reason!

However – the book “Cassette Culture, Homemade Music And The Creative Spirit in the pre-internet Age” is the best you can get if you want to know about these early days of undergound spirit of the modern age, it’s fun to read, you get 2 CDs of great attacking underground music – and – it’s a 100% labour of love project!

VERY much recommended!

Lord Litter, august 2020

order your copy HERE

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Posted by on August 29, 2020 in Uncategorized


KRAFTWERK’s Wolfgang Flür Collaborates with U96

There are few genres in which German artists play such a central pioneering role as they do in electronic music, be it techno, electropop, trance or rave. At the frontline for many years were Kraftwerk and U96, two absolute trailblazers of this musical direction. While Kraftwerk wrote international music history mainly in the 1970s with cult albums such as Autobahn (1974), Radio-Aktivität (1975), Trans Europa Express (1977) and Die MenschMaschine (1978), U96 had a profound influence on the global pop music, rave and techno scene of the 1990s with hits such as Das Boot, “Love Sees No Colour, “Night In Motion and “HeavenTranshuman, scheduled for release on Radikal Records/UNLTD Recordings on September 4, 2020, will feature a spectacular collaboration between U96 (Ingo Hauss and Hayo Lewerentz) and Wolfgang Flür, Kraftwerk’s drummer in the years between 1972 and 1987 and therefore involved in the most seminal albums by the group from Düsseldorf.

This remarkable cooperation was first announced and implemented by two joint numbers on U96’s 2018 offering RebootTranshuman sees U96 and Wolfgang Flür develop their creative exchange across a full album, creating fascinating sonic worlds. The title song “Transhuman” and an updated version of “Zukunftsmusik (Radiophonique)” will be released as lead singles, including, as we’ve come to expect from U96, experimental video clips. That New York record label Radikal Records immediately secured the rights to the album for the US and Canada points to major interest in this project, not only on these shores but also across the Atlantic.

Transhuman is a stylistic mélange of our different histories,” describe Wolfgang Flür and U96 masterminds Hauss and Lewerentz an offering that is spectacular in many respects, featuring, along with typical U96 tracks such as “Clone” and “Specimen“, numbers such as “Transhuman”, “Planet In Fever” and “Sexersizer” that are inspired by Flür’s past. Notably, the content has been reduced to the sheer basics, in other words: sparingly used associative statements with deep, but at times also playful and mysterious messages that the listener feels rather than consciously registers. The lyrics are about the transformation of people through technology and our massive interference in life on our planet.

“Pieces like ‘Zukunftsmusik’ and ‘Transhuman’ don’t tell a story in the classic sense,” says Hauss. “They articulate emotions and associations in very few words, bringing to mind recordings such as RadioAktivitätAutobahn and Die Mensch-Maschine. In addition Transhuman, features a number of melodies created on the basis of computer algorithms, in other words fractal music which takes us even further back in history, to Klaus Schulze, Stockhausen, the electronics laboratories of the fifties and sixties and the musique concrete compositional technique.”

U96 and Flür met in person for the first time in the early 2000s, but they had felt mutual respect for each other for a long time before that.  Explains Hayo Lewerentz, “Of course there was no way past Kraftwerk for any German artist who worked with electronic music, synthesizers and creative studio options in the eighties. We were occupied day and night with how that band created their incredible sounds.”

Later Flür offered Lewerentz, who ran the electro label Major Records, new songs for release, and the latter went on to remix Flür’s track ‘Beat Perfecto’, among others. Subsequent to the creative collaboration between Hauss, Lewerentz and Flür on Reboot, the trio exchanged more than forty fragments of ideas online over the past two years, which eventually spawned the 14 songs on Transhuman. Says Lewerentz, “In addition there are two more tracks, which will feature on Wolfgang’s upcoming album Magazine at the end of the year.”

Joint concerts by U96/ Wolfgang Flür are also in the making.  “We’re hoping to do a few shows together next year,” add Lewerentz. “There’s definitely been a lot of interest from the promoters.” No doubt about it: There’s a lot of interest not only from the promoters!


DAS BOOT (1992)
HEAVEN (1996)
REBOOT (2018)
new: TRANSHUMAN (Release date: September 4, 2020)

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Posted by on August 26, 2020 in Uncategorized


Julian Shah-Tayler – Evolution (21 August 2020)

California’s Julian Shah-Tayler (The Singularity) presents ‘Evolution’ single feat. MGT

Julian Shah-Tayler aka ‘The Singularity’ presents his new single ‘Evolution’, which also involves a collaboration with MGT (Tricky, The Mission UK, Peter Murphy, Ashton Nyte, The Wonder Stuff). This one is for those who have been through hard times in love and the need for new experiences.

Hailing from Leeds, England and now based in Los Angeles, singer, writer and producer Julian Shah-Tayler makes electro rock new wave ‘intellipop’ for the 30th century. This song was written, produced and performed by Julian and recorded in his TARDIS home studio in Los Angeles, with additional guitars by Mark Gemini Thwaite and Gene Micofsky.

“Evolution is about the difficult process of evolving towards loving kindness through the layers of love and loss in a society that cares nought about the human heart, and more about ‘norms’. It is about holding on to the pure ideal of the heart despite the cynicism of the intellect,” says Julian Shah-Tayler.

Having spent much time as a touring musician, Julian has experienced the pain of meeting and “breaking up with” people every night.

“Each human contains great beauty within, and it is impossible to disregard a connection however brief once made,” notes Shah-Tayler.

After completing a philosophy degree at York University, Julian moved to London as a singer-songwriter with classical training on piano and self taught on guitar. After several abortive record deals with music industry legend Alan McGee, he joined the hip electro clash outfit Whitey as co-writer/ guitarist, recording many of those songs in his nascent home studio.

After parting ways with his bandmates, Julian moved to L.A. to launch his own project The Singularity. There, he has had considerable success with TV and film licenses, known for his work on ‘Plush’, ‘Riot on Redchurch Street’ and Disney’s ‘Maleficent’.  He won a Golden Trailer award, along with Daisy O’Dell, for his work with Lana Del Ray on the trailer for the latter film.

In addition to scoring music with O’Dell for the two-time Emmy winning ‘Actors on Actors’ TV show, his music has been performed for Robert De Niro, Bill Clinton and Martin Scorsese via the Unite for Humanity charity at the Oscars.

Julian also recorded an unreleased album with Joaquin Phoenix and Antony Langdon (Spacehog), as well as directing Island Def Jam artist Kerli 4 for songs he co-wrote with Siobhan Fahey (Bananarama, Shakespear’s Sister). His remix of Nico’s ‘These Days’ with Daisy O’Dell was featured as KCRW’s “one to watch”. He also cofounded the ‘Art Angeles’ charity, teaching underprivileged kids music in Watts.

When he is not writing and recording original material or producing other arists, Julian Shah-Tayler is selling out venues with his David Bowie tribute band ‘The Band That Fell To Earth’, his Depeche Mode tribute band ‘Strangelove’ and moonlighting as singer-keyboardist in The Cure tribute band ‘The Cured’

Shah-Tayler is currently working with the legendary Robert Margouleff (Stevie Wonder, Devo) on his next album. We’ll need to sit tight and wait that one out. In the meantime, ‘Evolution’ came out on August 21 across digital outlets such as Apple Music and streaming platforms like Spotify.

Written, Produced, performed, mixed and mastered by Julian Shah-Tayler
Additional guitars by Mark Gemini Thwaite and Gene Micofsky
Recorded at TARDIS Studio, Altadena
Artwork by Julian Shah-Tayler
Cover photos by Eva Wolfe-Warden

Keep up with Julian Shah-Tayler (The Singularity)
Website | Bandcamp | Facebook | Instagram | Soundcloud | YouTube | Twitter | Spotify | Apple Music | Press contact

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Posted by on August 24, 2020 in Electronic


Jim McHugh – Should Have Lied (August 14)

Should Have Lied is the newly minted single from Co.Monaghan singer songwriter Jim McHugh. The indie rocker is back with his first taste of his forthcoming 3rd album.

In an original twist on the age-old song of apologetic remorse, ‘Should Have Lied‘ unveils the singer’s regret following a misguided act of truth telling. With a catchy melody and driving rock & roll licks, the song will have listeners grooving and shaking along to this unabashed story of a romantic blunder.

Being his first offering of new music since the release of his highly praised album My Nuclear Radio in 2019, McHugh picks up where he left off with his own unique blend of rock, indie and traditional styles.

From the Farney drumlins of Co. Monaghan, Ireland, multi-instrumentalist Jim McHugh drew upon his past and recent musical experiences to record his debut album entitled ‘Noise Machine’ in 2016, nicely summed up by Pete Whalley as ‘Indie folk-driven rock that has a vibrant beating heart’.

Jim’s second album ‘My Nuclear Radio’ followed in 2019 and gained Jim more recognition with singles added to RTE 1 Recommends and getting Album Of The Week at KCLR.

Should Have Lied features Paul McCabe on Bass, Butch McNeill on Drums and Alex Borwick on Trombone.

Jim will perform a special Facebook live online gig to celebrate the release on August 21st.

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Posted by on August 21, 2020 in Rock