Republic of Music

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Venturing off course from his Post-Punk / Dark Wave project, The Soft Moon (Captured Tracks, Sacred Bones Records), Los Angeles born composer and multi-instrumentalist Luis Vasquez, embarks into new territory with A Body Of Errors, a bold reimagining of the soundtrack genre. With this album, Vasquez felt the urgency to break away from The Soft Moon realm and deliver an even more intimate, self-reflecting body of work, while further unveiling inner demons & vulnerability. He continues to explore his notorious angst and visceral pain, but places them in the context of his own physical being, creating the deeply personal, yet relatable and compelling oddity that is A Body Of Errors, which Vasquez describes as a collection of themes to living in the human body. Opening track Interno with its crushing synthesizers, is a blast off into the abyss of self. Sinister gasps introduce Poison Mouth stomping you with relentless torment before spiraling into oblivion. Halfway, we reach the mechanized rhythms and throbbing cardiac pulse of Surgery expressing Vasquez's phobia with the body itself. No Longer Human with its hallucinogenic flutter and distant cries, imagines a fantastic universe beyond, with a nod to David Lynch's Twin Peaks. The only lyrical appearance on A Body Of Errors is Used To Be a gut-wrenching wall-of-sound ballad romanticizing the struggle between one's good side & bad side. Pulling you into armageddon, A Body Of Errors closes with World On Fire an epic post-apocalyptic battle-storm painted vividly through symphonic devastation.

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Venturing off course from his Post-Punk / Dark Wave project, The Soft Moon (Captured Tracks, Sacred Bones Records), Los Angeles born composer and multi-instrumentalist Luis Vasquez, embarks into new territory with A Body Of Errors, a bold reimagining of the soundtrack genre. With this album, Vasquez felt the urgency to break away from The Soft Moon realm and deliver an even more intimate, self-reflecting body of work, while further unveiling inner demons & vulnerability. He continues to explore his notorious angst and visceral pain, but places them in the context of his own physical being, creating the deeply personal, yet relatable and compelling oddity that is A Body Of Errors, which Vasquez describes as a collection of themes to living in the human body. Opening track Interno with its crushing synthesizers, is a blast off into the abyss of self. Sinister gasps introduce Poison Mouth stomping you with relentless torment before spiraling into oblivion. Halfway, we reach the mechanized rhythms and throbbing cardiac pulse of Surgery expressing Vasquez's phobia with the body itself. No Longer Human with its hallucinogenic flutter and distant cries, imagines a fantastic universe beyond, with a nod to David Lynch's Twin Peaks. The only lyrical appearance on A Body Of Errors is Used To Be a gut-wrenching wall-of-sound ballad romanticizing the struggle between one's good side & bad side. Pulling you into armageddon, A Body Of Errors closes with World On Fire an epic post-apocalyptic battle-storm painted vividly through symphonic devastation.

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Raleigh Ritchie

Andy

CD: $15.99 PREORDER

MP3 Album: $9.99 Download

Raleigh Ritchie releases his highly anticipated second album, ANDY. A twelve track project, Andy sees Bristol born and London-hailing Raleigh holding a colossal magnifying glass to himself. Over the production, for the most part, from long-term collaborator Chris Loco but also, the incredibly talented GRADES on Time In A Tree and 27 Club, Raleigh leaves no stone unturned. The album is a creation of heartbreakingly honest songs that seamlessly fuses sweeping soul and mellow R&B with forward-thinking electronica and gutsy orchestral moments. (Raleigh has become well known for working with the sensational Rosie Danvers and Wired Strings.) This is a truly powerful record, a long-awaited return that packs a poignant punch. It has been four years since Raleigh aka Jacob Anderson, released his inaugural debut album You're A Man Now Boy but fans have not been left wanting. When he wasn't releasing music, performing at his sold out show at Shepherds Bush Empire, or alongside Stormzy in his iconic Glastonbury headline, featuring on Gang Signs & Prayer, Stormzy's critically acclaimed debut, or acting as Grey Worm in the hit HBO series Game Of Thrones, he was and is Andy.

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Raleigh Ritchie releases his highly anticipated second album, ANDY. A twelve track project, Andy sees Bristol born and London-hailing Raleigh holding a colossal magnifying glass to himself. Over the production, for the most part, from long-term collaborator Chris Loco but also, the incredibly talented GRADES on Time In A Tree and 27 Club, Raleigh leaves no stone unturned. The album is a creation of heartbreakingly honest songs that seamlessly fuses sweeping soul and mellow R&B with forward-thinking electronica and gutsy orchestral moments. (Raleigh has become well known for working with the sensational Rosie Danvers and Wired Strings.) This is a truly powerful record, a long-awaited return that packs a poignant punch. It has been four years since Raleigh aka Jacob Anderson, released his inaugural debut album You're A Man Now Boy but fans have not been left wanting. When he wasn't releasing music, performing at his sold out show at Shepherds Bush Empire, or alongside Stormzy in his iconic Glastonbury headline, featuring on Gang Signs & Prayer, Stormzy's critically acclaimed debut, or acting as Grey Worm in the hit HBO series Game Of Thrones, he was and is Andy. PRESSED ON ROSE-COLORED VINYL.

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Mark Lanegan and dark wave band IYEARA have combined their talents to release a remix of his entire 2019 album Somebody's Knocking, reimagined as Another Knock At The Door. Released on Mark's label Flooded Soil Recordings, the album is the first full record he has given to another artist to rework. Characterised by opening single Playing Nero, IYEARA have added a brooding, industrial edge to a beautiful, wistful original score. This was followed by She Loved You where they combined the throbbing synths of John Carpenter with the ethereal, ambient sonics of Tangerine Dream, to create their own cerebral take on the works of a unique, enduring artist. The Screaming Trees and Queens of the Stone Age front man's 11th solo album was a synth-laden and pulsating soundscape. IYEARA have reimagined the primal, guttural songs in their own image, each release offering something different to the listener. Comprised of The Duke Spirit guitarist Toby Butler, producer Malcolm Carson and vocalist Paul O'Keeffe, IYEARA announced themselves in 2019 through the release of CONSEQUENCES EP; a record including a cover of Shout by Tears for Fears featuring The Duke Spirit's Liela Moss. The group are also remixing the current Humanist ft Dave Gahan project.
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My vision was big, says Brighton-based singer Macve of the road to her second album. I knew I wanted to do something more expansive than my first record. With reach, feeling, storytelling power and a stop-you-dead voice, Macve sizes up to that mission boldly on Not The Girl. Following on from the rootsy saloon-noir conviction of her 2017 debut, Golden Eagle, Holly sets out for deeper, often darker territory with a firm, unhurried sense of direction on her second record: on all fronts, it's an album that looks its upscaled ambitions in the eye fearlessly. For Macve, the combination of influences such as Nancy & Lee with time spent touring helped widen her horizons. I wasn't afraid of trying new things, and I wanted to explore sounds and develop my skills in production, composing and engineering. When I wrote the songs on Golden Eagle I had never toured, it was just me in my bedroom playing acoustic guitar. I then got the chance to tour the world with a band and sing with a symphony orchestra [with Mercury Rev in 2017]. My little world grew and I realised there was so much for me to learn about how I can use my skills as a singer and writer. I didn't want to limit myself - I wanted to push my boundaries. Other contributors included Fiona Brice (Placebo, John Grant), whose string arrangements helped Macve fulfil an ambition to blend '70s Laurel Canyon sounds and the rougher edges of '90s grunge with the melodic sweep of Scott Walker. Collin Dupuis (Lana del Rey, Angel Olsen) mixed the album in Nashville; CJ Hillman (Billy Bragg) plays pedal-steel, Emily Druce plays viola, and David Dyson/Phil Murphy play drums. The Arts Council helped with funding, and recording took place between Holly's home studio, Retreat Studios in Ovingdean, Ryder-Jones' YAWN studio in Liverpool, and Kore Studios in London. Brave, brooding, and beautiful, Not The Girl is the sound of that confidence in full, spectacular bloom.
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"My vision was big," says Brighton-based singer Macve of the road to her second album. "I knew I wanted to do something more expansive than my first record." With reach, feeling, storytelling power and a stop-you-dead voice, Macve sizes up to that mission boldly on Not The Girl. Following on from the rootsy saloon-noir conviction of her 2017 debut, Golden Eagle, Holly sets out for deeper, often darker territory with a firm, unhurried sense of direction on her second record: on all fronts, it's an album that looks its upscaled ambitions in the eye fearlessly.

For Macve, the combination of influences such as Nancy & Lee with time spent touring helped widen her horizons. "I wasn't afraid of trying new things, and I wanted to explore sounds and develop my skills in production, composing and engineering. When I wrote the songs on Golden Eagle I had never toured, it was just me in my bedroom playing acoustic guitar. I then got the chance to tour the world with a band and sing with a symphony orchestra [with Mercury Rev in 2017]. My little world grew and I realised there was so much for me to learn about how I can use my skills as a singer and writer. I didn't want to limit myself - I wanted to push my boundaries."

Other contributors included Fiona Brice (Placebo, John Grant), whose string arrangements helped Macve fulfil an ambition to blend '70s Laurel Canyon sounds and the rougher edges of '90s grunge with the melodic sweep of Scott Walker. Collin Dupuis (Lana del Rey, Angel Olsen) mixed the album in Nashville; CJ Hillman (Billy Bragg) plays pedal-steel, Emily Druce plays viola, and David Dyson/Phil Murphy play drums. The Arts Council helped with funding, and recording took place between Holly's home studio, Retreat Studios in Ovingdean, Ryder-Jones' YAWN studio in Liverpool, and Kore Studios in London.

Brave, brooding, and beautiful, Not The Girl is the sound of that confidence in full, spectacular bloom.

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"My vision was big," says Brighton-based singer Macve of the road to her second album. "I knew I wanted to do something more expansive than my first record." With reach, feeling, storytelling power and a stop-you-dead voice, Macve sizes up to that mission boldly on Not The Girl. Following on from the rootsy saloon-noir conviction of her 2017 debut, Golden Eagle, Holly sets out for deeper, often darker territory with a firm, unhurried sense of direction on her second record: on all fronts, it's an album that looks its upscaled ambitions in the eye fearlessly.

For Macve, the combination of influences such as Nancy & Lee with time spent touring helped widen her horizons. "I wasn't afraid of trying new things, and I wanted to explore sounds and develop my skills in production, composing and engineering. When I wrote the songs on Golden Eagle I had never toured, it was just me in my bedroom playing acoustic guitar. I then got the chance to tour the world with a band and sing with a symphony orchestra [with Mercury Rev in 2017]. My little world grew and I realised there was so much for me to learn about how I can use my skills as a singer and writer. I didn't want to limit myself - I wanted to push my boundaries."

Other contributors included Fiona Brice (Placebo, John Grant), whose string arrangements helped Macve fulfil an ambition to blend '70s Laurel Canyon sounds and the rougher edges of '90s grunge with the melodic sweep of Scott Walker. Collin Dupuis (Lana del Rey, Angel Olsen) mixed the album in Nashville; CJ Hillman (Billy Bragg) plays pedal-steel, Emily Druce plays viola, and David Dyson/Phil Murphy play drums. The Arts Council helped with funding, and recording took place between Holly's home studio, Retreat Studios in Ovingdean, Ryder-Jones' YAWN studio in Liverpool, and Kore Studios in London.

Brave, brooding, and beautiful, Not The Girl is the sound of that confidence in full, spectacular bloom.

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Rolling through life, an open mind like an ocean, an infinite ride that comes furiously crashing to a halt. This is Whitney K's 'Two Years', a deep dive into the Canadian songwriter's journey through vulnerability, change and ultimately letting his guard down. Whitney K is the wandering stalwart Konner Whitney, a White- horse Yukon resident who has spent time in Vancouver, Montreal, Burnaby and Los Angeles. We met the character in 2016 through his intoxicating 4-track recorded manifesto 'Goodnight', a head on collision into 24 hours of illusioned romance and modern day escapism. Fast forward to 2021, lift those curtains, aptly titled 'Good Morning' is the opening track on 'Two Years', a different cracker, a deliberate record about transformation, where to put it simply, Whitney K has arrived. Enlisting the aid of main collaborator and bandmate Josh Boguski, the focus has been shifted, folklore and realism becoming reckoning and truthfulness, what was outsider folk is now political poetry, life in motion delivered through a freeway ridden baritone voice that transforms the mundane into extraordi- nary. Written with a completely different mindset and a conscious effort to break with the traditions of a corrupt, hypocritical, and hateful society/lineage, Konner's pen is precise and daring, uniting the earnestness of Willie Nelson and the comedy relief of Harry Nilsson on the beautiful 'Me Or The Party #165', or when painting Canada's colonial past and heartland image on the primitive rock'n'roll anthem 'Trans-Canada Oil Boom Blues'. There is no avoidance, no excuses, whether your self portrait in the mirror resembles a five dollar caricature sold on a boardwalk, the John Cale-esque opener 'Good Morning', or whether you learn you are worthy of love like on the poignant vignette 'Maryland', the beautifully arranged album closer that echoes Tin Pan Alley with Lou Reed's grit.

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Rolling through life, an open mind like an ocean, an infinite ride that comes furiously crashing to a halt. This is Whitney K's 'Two Years', a deep dive into the Canadian songwriter's journey through vulnerability, change and ultimately letting his guard down. Whitney K is the wandering stalwart Konner Whitney, a White- horse Yukon resident who has spent time in Vancouver, Montreal, Burnaby and Los Angeles. We met the character in 2016 through his intoxicating 4-track recorded manifesto 'Goodnight', a head on collision into 24 hours of illusioned romance and modern day escapism. Fast forward to 2021, lift those curtains, aptly titled 'Good Morning' is the opening track on 'Two Years', a different cracker, a deliberate record about transformation, where to put it simply, Whitney K has arrived. Enlisting the aid of main collaborator and bandmate Josh Boguski, the focus has been shifted, folklore and realism becoming reckoning and truthfulness, what was outsider folk is now political poetry, life in motion delivered through a freeway ridden baritone voice that transforms the mundane into extraordi- nary. Written with a completely different mindset and a conscious effort to break with the traditions of a corrupt, hypocritical, and hateful society/lineage, Konner's pen is precise and daring, uniting the earnestness of Willie Nelson and the comedy relief of Harry Nilsson on the beautiful 'Me Or The Party #165', or when painting Canada's colonial past and heartland image on the primitive rock'n'roll anthem 'Trans-Canada Oil Boom Blues'. There is no avoidance, no excuses, whether your self portrait in the mirror resembles a five dollar caricature sold on a boardwalk, the John Cale-esque opener 'Good Morning', or whether you learn you are worthy of love like on the poignant vignette 'Maryland', the beautifully arranged album closer that echoes Tin Pan Alley with Lou Reed's grit.