Thursday, April 30, 2015

Romania: Florin Raducanu New Videoclip – Jazz Master class at “P.I. Ceaikovski” Conservatory in Kiev, Ukraine

In fact , the musical improvisation is a compositional procedure that every musician, consciously or intuitively, adopts. Almost all the musicians, during their childhood and adolescence, had improvisation attempts in various styles and musical genres. Moreover, any talented composer can affirm that, within the complex creative process of musical creation, there is a moment of improvisation – usually at the piano – in which the ideas begin to materialize through sounds, and afterwards taking “shape” in the writing process. Although in Baroque, the act of improvisation was part of the natural training of any professional musician, towards the end of the 17th century, the musical improvisation appears increasingly less in the interpretative act. Barely in the Romanticism, have Chopin and Liszt restarted the practice of improvisation.  Of great notoriety  was the meeting between Liszt and Romanian folk musician Barbu Lautaru in Iasi,  when the great Hungarian piano player and composer performed  a genuine demonstration of improvisational mastery.

The Third Stream phenomenon which I describe in particular  here   – being a proper research, not having a specialized literature containing a chronology of the specific events of  this style – is also the practical subject of his creations enclosed in the Jazz Ecumenica,  jazz symphonic poem-, are a “practical demonstration” of the theoretical elements of the art improvisation I detail in the book  Guide of Art of Improvisation.  This structure and the order of stages from this method is the outcome of personal practice and didactic experience accumulated within the work with pupils and students, this system guaranteeing the capacities of improvisation, after covering the content in an accurate manner. All technical components described in the book are applied in practice in discography projects.

SPAIN, Barcelona: Conciertos Arco y Flecha mayo 2015


MAGNUS BROO, trompeta. FREDRIK LJUNGKVIST, saxo barítono y tenor, clarinete. HAVARD WIIK, piano. INGEBRIGT HAKER FLATEN, bajo. HANS HULBAEKMO, batería.
30/04/2015 Rock Palace, Madrid

PETER EVANS, trompeta. JOHN HEBERT, bajo. KASSA OVERALL, batería.

DINO SALUZZI, bandoneón. JOSÉ MARÍA SALUZZI, guitarra, requinto.  FÉLIX “Cuchara” SALUZZI, saxo tenor, clarinete. MATÍAS SALUZZI, bajo eléctrico, contrabajo. QUINTINO CINALLI, batería, percusión.
8/05/2015 Womad Festival, Cáceres
9/05/2015 Auditorio Conde Duque, Madrid

KEN VANDERMARK, saxos tenor y barítono, clarinete bajo. HAVARD WIIK, piano. CHAD TAYLOR, batería.

OSKAR GUDJONSSON, saxo. ELIAS STEMESEDER, piano. CHRIS TORDINI, bajo. JIM BLACK, batería y electrónica.
12/05/2015 Ciclo 1906, Sala BBK, Bilbao
13/05/2015 Ciclo 1906, Xancarajazz, Vigo
14/05/2015 Ciclo 1906, Clavicémbalo, Lugo

TONY MALABY, saxo. BRANDON SEABROOK, guitarra eléctrica. JACOB SACKS, piano y órgano. EIVIND OPSVIK, contrabajo. KENNY WOLLESEN, batería.

MARC RIBOT guitarras, voz, bajo ocasional. SHAHZAD ISMAILY bajo, Moog, electrónica. CHES SMITH batería, electrónica.
29/05/2015 Primavera Sound, Barcelona

Más información:

USA/Canada: The Bill McBirnie Trio has been named by the Music Resource Group (MRG) as a nominee in the Jazz Instrumental Category

The Nominees For The 14th Independent Music Awards In The USA Have Been Announced

FIND YOUR PLACE - The Bill McBirnie Trio (featuring Bernie Senensky & Anthony Michelli) - Jazz Instrumental Category

March 26, 2015 – The Bill McBirnie Trio (Bill McBirnie on flute, Bernie Senensky on Hammond B3 organ and Anthony Michelli on drums) has been named by the Music Resource Group (MRG) as a nominee in the Jazz Instrumental Category of the 14th Independent Music Awards (IMAs), an influential awards program based in the USA for independent artists and releases the world over.  Winners will be determined by a panel of prominent artist and industry judges (who will include this year, amongst others, Jane Monheit, Arturo Sandoval and Terry McBride).
In addition to winners selected by the judges, fans from around the world can vote at the Vox Pop Jukebox (up until Friday, July 31, 2015) and thereby participate in the fan-based part of the IMAs.  To do so, just click here.
Details about the IMAs (including a complete list of nominees and judges) are available here.

Finally, FIND YOUR PLACE is available at iTunes if you just click here.
Following is some critical reaction to date to FIND YOUR PLACE:
“There’s an effervescent, joyous quality to the dozen takes on Bill McBirnie’s Find Your Place (Extreme Flute)...Those new to McBirnie will be amazed at his inventiveness and the winning charm of this exceptional date.” MARK HOLSTON ( JAZZIZ, Spring 2014)
“...McBirnie approaches this album as if he were a tenor player. The material is soulful and extroverted, the grooves are catchy and accessible...So put away any preconceptions about jazz flute and enjoy this exciting set. Everything works on this enjoyable outing...” SCOTT YANOW (Los Angeles Jazz Scene, Feb. 2015)
“...McBirnie is at the top of his game, never faltering, not even for a nano-second. His playing recalls all that is most attractive and memorable in a great flute performance. So it is little wonder that he has been so highly praised by the great Sir James Galway...This may be one of the finest recordings of this year…” RAUL DA GAMA (Latin Jazz Network, Feb. 13, 2014)
Bill McBirnie – Extreme Flute

USA: Seattle-Area Jazz Singer Eugenie Jones Prepares to Release "Come Out Swingin'" May 12

Seattle-Area Jazz Singer Eugenie Jones
Prepares to Release
"Come Out Swingin'"
May 12
Follow-Up to Her 2013 Debut
"Black Lace Blue Tears,"
Features Original Material by Jones
& Instrumental Support from Top Seattle Players
Bill Anschell, Clipper Anderson,
Michael Powers, Jay Thomas,
D'Vonne Lewis, Ernesto Pediangco

CD Release Show at
The Royal Room, Seattle, June 19

April 23, 2015 

Eugenie Jones Come Out Swingin'
Eugenie Jones
's widely praised 2013 debut, Black Lace Blue Tears, introduced a late-blooming but fiercely original jazz vocalist and songwriter to the jazz world. Among other honors, the disc was named Earshot Jazz's Northwestern Recording of the Year. The Seattle-area singer's response to her warm critical reception was to start writing again and prove that her success was no fluke. On her impressive follow-up, Come Out Swingin', Jones displays the rhythmic authority, emotional insight, and melodic invention of an artist who can hold her own in any company. Her Open Mic Records will release the new album on May 12.

"This CD was a deliberate attempt to continue to grow and progress," states Jones. "I set that desire for improvement as a bull's-eye to shoot for and kept that focus through each step of this project."

Jones did keep her core Black Lace band together for this high-energy date: consummately supportive pianist/arranger Bill Anschell, veteran bassist Clipper Anderson, and versatile guitarist Michael Powers. They are joined by Seattle hornman Jay Thomas; drummer D'Vonne Lewis, a rising force on the local scene; and distinguished percussionist Ernesto Pediangco. As on her previous disc, Eugenie penned most of the selections and had a hand in nearly all the arrangements.

Eugenie Jones
Jones announces her rhythmic agenda with the first track, "Swing Me," a self-possessed celebration of unbridled desire. Her brief, exciting version of the standard "All of Me" almost serves as a thematic preamble to her slinky "A Way About You," a song that could easily be mistaken for a sophisticated piece of Bacharach/David. With a tinge of sweet sass, Jones's "24/7" brings contemporary sexuality into the discussion while her "I Could Get Lost in Your Eyes" is a beautifully crafted ballad. She closes the album with a searing version of James Brown's 1966 chart-topping R&B hit "It's a Man's Man's Man's World," leaving listeners to wonder just what else she's got up her sleeve.

"Black Lace was a look into my personality, and begins a story," she says. "Come Out Swingin' continues that story. And of course the more you tell a story, the deeper you go. That's what's happening here in terms of lyrics and songs."

Surprisingly, Jones had never planned for a career in singing. Growing up in Morgantown, West Virginia, Eugenie (pronounced "u-gee-nee") sang with the Baptist church choir directed by her father, but at home she left the singing to her mother, the late Tommie Parker (to whose memory Come Out Swingin' is dedicated).

Eugenie Jones
Eugenie went on to earn degrees in business and marketing, working as a business owner, consultant, and marketing specialist. When her mother took ill, she invited her to move west to spend her final years living with Jones and her two sons in Bremerton, Washington. It wasn't until her mother's death seven years ago that Eugenie decided to take up singing herself. "I missed hearing her voice around the house," says Jones. "I think that was what drove me to pursue it."

Jones attended open mics and workshops and gradually honed her skills, gained confidence, and landed several regular gigs. "As a fledgling performer the most important thing to do is perform," she says. At her Amici Bistro gig in Mulkiteo, an affluent community on the shore of Puget Sound, "the owner was very kind and encouraging. I got to interact with an audience and really develop my repertoire."

Since making her professional debut as a jazz singer a mere four years ago, Jones has drawn a devoted following to her unique musical artistry at venues throughout the Seattle area and as far south as Portland. She's made two appearances at Twins Jazz in Washington, DC and has been invited back for a third. Come Out Swingin' is but the latest expression of Eugenie Jones's remarkable drive, poise, and above all unstoppable talent -- a combination that is serving her, and the jazz audience, very well indeed.

Eugenie Jones CD Release Shows:

5/17 Capitol Cider, Seattle
(Peter Adams, p; Derick Polk, b)

5/30 B Sharp Coffee, Tacoma
(Peter Adams, p; Derick Polk, b; Jamael Nance, d)

6/11 North West Cellars, Kirkland
(Bill Anschell, p)

6/19 The Royal Room, Seattle
Jay Thomas, ts, tpt; Bill Anschell, p; Clipper Anderson, b;
D'Vonne Lewis, d; Ernesto Pediangco, perc)

6/20 Collective Visions Gallery, Bremerton
(Eric Verlinde, p; Derick Polk, b; D'Vonne Lewis, d)

7/4 Heathman Hotel, Portland
(Marcus Reynolds, p; Ken Anoe, b)

7/24-25 Jazz in the Valley Festival, Ellensburg
(Peter Adams, p; Derick Polk, b; Jamael Nance, d)

8/13 Twins Jazz Lounge, Washington, DC
(Russel Carter, ts; Pete Frassrund, p; Thomas View, b; Art Cobb, d)

Photography: Tuffer Stills & Motion, Seattle 

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Terri Hinte
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USA: Detroit Jazz Festival Announces Lineup for 36th Annual Event

Detroit Jazz Festival Announces
Lineup for 36th Annual Event 

Danilo Perez                                                  Maria Schneider                                                   Anat Cohen
Photo Credit: Raj Naik                     Photo Credit: Jimmy and Dena Katz            Photo Courtesy of the Artist

Festival to Run September 4 - 7, 2015

The Detroit Jazz Festival announces a diverse lineup of headlining acts for the 36th annual Labor Day Weekend Festival, set to take place September 4-7. The lineup is the culmination of the Festival's commitment to bringing an eclectic and unique group of jazz musicians to downtown Detroit, while delivering a collection of performances that includes a Homecoming Series with Detroit natives, exciting new artists, legends, and student groups all connected around musical experiences that cannot be seen anywhere else in the world.

"Detroit is a place filled with soul, culture and creativity, and we have a great legacy of jazz here. Our Festival-the world's largest free jazz festival-truly showcases what makes our city special," said Gretchen Valade, chair of the Detroit Jazz Festival Foundation's Board of Directors. "Being part of the Festival since its inception, it has been rewarding to watch it grow and become an event that is woven into the fabric of the Detroit and Jazz communities. We're looking to add to its legacy with another collection of unforgettable performances this year."

In his fourth year as artistic director, Chris Collins has once again curated a world-class lineup that is truly representative of the genre in all its facets. Launching this vision is 2015 Artist in Residence Pat Metheny, presented by Absopure, who will grace all four stages throughout the weekend with sets including:
  • Pat Metheny Trio with Antonio Sánchez, Scott Colley & special guest Kenny Garrett
  • Pat Metheny acoustic duo with Ron Carter
  • Pat Metheny Reunion with Gary Burton Quartet
  • Pat Metheny, Scott Colley, Antonio Sánchez, and Danny Gottlieb with the Detroit Jazz Festival Big Band and String Orchestra, Conducted by Alan Broadbent, performing new works including the North American premiere of Metheny's multi-movement/multi-media tribute to Eberhard Weber.

The full 2015 lineup includes (in alphabetical order):
  • Monty Alexander: Harlem-Kingston Express
  • Brian Blade & The Fellowship Band
  • Richard Bona: Mandekan Cubano
  • Joanne Brackeen Quartet
    Ron Carter
    Photo Credit: Fortuna Sung
  • Will Calhoun Quartet with Greg Osby
  • Ron Carter Trio
  • ANAT COHEN Celebrando Brasil: From Rio to Minas
  • Eddie Daniels jazz version of Vivaldi's Four Seasons for Detroit with the Detroit Jazz Festival String Orchestra and original narration from Douglas Preston
  • Dave Douglas Quintet
  • Paquito D'Rivera Quintet
  • Kenny Garrett Quintet
  • Charlie Haden's Liberation Music Orchestra: Conductor Carla Bley, Bassist Steve Swallow
  • Jon Irabagon Quartet
  • Jungle Funk Trio
  • Oliver Lake Organ Quartet
  • Carmen Lundy
  • Mack Avenue SuperBand
  • Rudresh Mahanthappa "Bird Calls"
  • René Marie Experiment in Truth
  • Ken Peplowski Quartet
  • Danilo Pérez - World premiere of his commissioned Detroit World Suite
  • Ester Rada
  • Arturo Sandoval
  • Maria Schneider Orchestra
  • The John Scofield & Joe Lovano Quartet
  • Tuba Skinny
  • Christian Scott Sextet
  • "Benny's Threads" - Inspired by the artistry of Benny Goodman, featuring new compositions by Gordon Goodwin's Big Phat Band, spoken word from author Douglas Preston, and superstar clarinetists featuring Anat Cohen, Eddie Daniels, Paquito D'Rivera and Ken Peplowski
  • Steve Turre and James Carter: Rahsaan Roland Kirk Birthday Celebration
  • James "Blood" Ulmer & Black Music Experience featuring Queen Esther
  • Manuel Valera & Groove Square
To see the full lineup, visit

"Jazz is a genre that evokes such powerful and varied emotion, and it strongly emphasizes the experimentation of sound and musicianship. When putting together an artist lineup like this, our job is to capture all that diversity, all that makes this art form so beautiful, in one weekend of performances. I think we accomplished that with this lineup," said Collins. "We wanted a mix of up-and-coming acts and big-name performers that would grab people's attention, and we are excited to get them all in one place, in the heart of Detroit."

Pat Metheny
Photo Credit: Jimmy Katz
To help add to the Festival lineup and showcase talent that may otherwise go unnoticed, the Detroit Jazz Festival hosts annual jazz competitions. Musicians from metro Detroit and across the globe are encouraged to participate. This year, jazz guitarists who embody Detroit's jazz scene and offer an original sound can submit recordings for a chance to perform at the Festival as well as earn monetary prizes. Guitarists will be evaluated on overall artistry and musicality, creativity, craftsmanship and depth of vocabulary. Applications must be submitted by July 17, 2015.

Outside of Labor Day Weekend performances, the Festival also engages in year-round education initiatives dedicated to educating students and the metro Detroit community about jazz through workshops, student performances and concert showcases.

The 36th annual Festival weekend will take place in Hart Plaza and Campus Martius in downtown Detroit. With world-renowned artists taking to four stages - JPMorgan Chase Main Stage, Carhartt Amphitheater Stage, Mack Avenue Waterfront Stage and Absopure Pyramid Stage - the Detroit Jazz Festival attracts jazz enthusiasts from far and wide. In addition to fostering the exchange of art and culture in Detroit, the Festival also drives economic activity through performances and initiatives that take place throughout the year.

This year's major corporate sponsors, who continue to keep the festival free, include Absopure, Carhartt, DTE Energy Foundation, Greektown Casino, JPMorgan Chase & Co., Mack Avenue Records and Opportunity Detroit. Individuals also can support the Festival through Rhythm Section memberships.

About the Detroit Jazz Festival
The Detroit Jazz Festival is an independent, non-profit organization that presents jazz and educational workshops throughout the year. Recently voted number two in North America in a JazzTimes Reader's Poll, the Detroit Jazz Festival is the largest free jazz festival in the world and a major tourist attraction for the City of Detroit, with 23% of its audience coming from out of state.

The Festival receives support from the National Endowment for the Arts, the Erb Family Foundation, the John S. and James L. Knight Foundation and the Kresge Foundation. Major corporate partners include JPMorgan Chase & Co., Opportunity Detroit, Carhartt and Mack Avenue Records. Additional partners include Absopure Water Company, Comcast, Detroit Marriott, Fathead, Great Lakes Beverage, McDonalds, MGM Grand Detroit, MotorCity Casino Hotel, Panasonic and Quicken Loans. Media partners include DownBeat, Hour Detroit, JazzTimes, MetroTimes and Fox 2. The festival's Greening Program, now entering Phase IV, is supported by a generous grant from the DTE Energy Foundation. 

For more information, please visit

For media information, please contact:
DL Media  ·  610-667-0501
Maureen McFadden  ·
Matthew Jurasek ·
Don Lucoff ·

Serving the Finest in Jazz Since 1988
Information and press materials (including album covers, promotional photos
and bios) on all DL Media artists can be found at our website:

Thursday, April 16, 2015


hubtone PR logo



For Immediate Release Please

Lorenzo Feliciati  

To Release  


RareNoise concept album, blending ambient music and prog-rock, features
Japan drummer STEVE JANSEN &
King Crimson drummer PAT MASTELOTTO



Lorenzo Feliciati
Fretless and fretted electric basses, electric guitar,

keyboards & sound design
Alessandro Gwis
Acoustic piano with Reaktor running on laptop
Steve Jansen
Drums, percussion, rhythm design & programming

Pat Mastelotto
Drums on "Noir Alley Verdigris"
Angelo Olivieri
Nicola Alesini
Soprano Sax on "Noir Alley Verdigris"


Stan Adams
Pierluigi Bastioli
Bass Trombone
Duilio Ingrosso
Baritone Sax

Horn section arranged and conducted by Stan Adams

ABOUT THE LABEL - RareNoiseRecords was founded in late 2008 by two Italians, guitarist/arranger/ producer Eraldo Bernocchi and all-round music nut Giacomo Bruzzo. Located in London, the label was created to present a platform to musicians and listeners alike who think beyond musical boundaries of genre. For further information and to listen please go to

New York, April 16, 2015 - For his sixth recording for RareNoiseRecords, following his 2011 solo album Frequent Flyer and subsequent collaborations with vocalist-multi-instrumentalist Lorenzo Esposito Fornasari (Berserk!) and Porcupine Tree bassist Colin Edwin (Twinscapes) as well as two albums with the adventurous jazz-rock outfit Naked Truth (Shizaru, Ouroboros), the restlessly creative bassist-composer-producer Lorenzo Feliciati has realized his most ambitious and personal project to date in Koi.

A concept album based on the life of the renowned river carp fish, Koi features former Japan drummer Steve Jansen and current King Crimson drummer Pat Mastelotto along with pianist Alessandro Gwis, trumpeter Angelo Olivieri, saxophonist Nicola Alesini and a horn section consisting of trombonist Stan Adams, bass trombonist Pierluigi Bastioli and baritone saxophonist Duilio Ingrosso. A suite-like offering that intersperses mesmerizing ambient interludes with full-blown prog-rock type anthems, Koi brilliantly showcases Feliciati's composerly vision while highlighting his considerable chops on fretted and fretless electric basses.

Traditional Chinese folktales tell the story of Koi fish that swam up the Yellow River, and though taunted by demons, would not relent in their quest to jump over waterfalls; the gods noticed and celebrated their perseverance and endurance by transforming them into golden dragons, a symbol of strength and power. The Japanese recognized these fish not just for their beauty but for their ability to induce otherworldly states of perception in the observer. These altered states of perception ultimately lead to the attraction of high energy, which manifests itself in the form of prosperity of all kinds in our lives.

The musical journey of Koi begins with the spacious, echo-laden piano soundscape "Kohaku" and is followed by the hard-hitting "New House," a Feliciati composition with Steve Jansen on drums and Alessandro Gwis on keyboards, that is brimming with kinetic momentum and based on a repetitive riff augmented by punchy horns. Lorenzo's fretless bass melody is doubled here by muted trumpet while baritone sax deepens the groove. The icy and hypnotic interlude "Kumonryu" is followed by the moody, slow-grooving requiem "Oxbow."

Following another ambient interlude, "Black Kumonryu" Feliciati is reunited with his Naked Truth band mate Mastelotto, who provides the rhythmic pulse on "Noir Alley Verdigris", a potent number which falls somewhere between King Crimson and Weather Report."Ogon" provides a breath before Feliciati and crew launch into the dynamic, odd-metered "Narada", featuring a strong 7/8 groove by Jansen, nearly a dance beat, where distorted bass and horn section mesh to unison.

Feliciati turns in his most expressive fretless playing on "Margata", a homage to Jaco Pastorius; following another mesmerizing interlude in "Kuchibeni," Feliciati unleashes his fuzz bass chops on the powerhouse "Fish Bowl", which incorporates trombones and bass in a low-end unison motif before yielding to a throbbing vamp. This piece originally started as a Frank Zappa-influenced bass/horn section unison riff, but morphed during the final arrangement into something quite different altogether - Feliciati's bass line moving around Steve Jansen's drums and electronics giving the impression that it is Jansen moving around Feliciati.

The collection closes with the title track "Koi", which travels from minimalist intro to cinematic crescendo - the Koi has now become a Golden Dragon.

1. Kohaku  
2. New House
3. Kumonryu
4. Oxbow
5. Black Kumonryu
6. Noir Alley Verdigris
7. Ogon
8. Narada
9. Margata
11. Fish Bowl
12. Koi

Lorenzo Feliciati - KOI (teaser)
Lorenzo Feliciati - KOI

For Immediate Release Please

Doctoring The Dead

The band is lead by guitarist and soundscape designer
drummer TED PARSONS and
keyboard player ROY POWELL.


Eraldo Bernocchi
Guitars, Electronics
Colin Edwin
Bass Guitar, Ebow
Ted Parsons
Drums & Percussion
Roy Powell
Keys & Electronics on "Ipsissimus",

"Blind Voyeur" and "Day of Bones"

ABOUT THE LABEL - RareNoiseRecords was founded in late 2008 by two Italians, guitarist/arranger/ producer Eraldo Bernocchi and all-round music nut Giacomo Bruzzo. Located in London, the label was created to present a platform to musicians and listeners alike who think beyond musical boundaries of genre. For further information and to listen please go to


New York, April 16, 2015 - Metallic Taste Of Blood, the instrumental math-rock/outer rock unit lead by Italian guitarist and soundsculptor Eraldo Bernocchi and Australian bassist Colin Edwin is back with a vengeance, joined now by legendary drummer Ted Parsons, whose earlier ventures included Swans, Prong, Buckethead, Godflesh and Killing Joke, and British keyboard player extraordinaire Roy Powell, whose recent work includes InterStatic and Naked Truth.
The vigor and inventiveness which characterized Metallic Taste Of Blood's first release still sits center stage, a natural outflow of the band founder members' very wide palette of musical experiences/collaborations and individual talents, spanning an incredibly rich vocabulary which extends from ambient and electronica, to progressive rock and avant-jazz, to noise and industrial electronics, all firmly anchored by the deep and precise dub beats laid out by Ted Parsons, sparkled, on select tracks, by the surprising keyboard inventions of Powell.
This variety of influences and musical idioms manifests itself in a very specific kind of sound, one that is now characteristic of the band, one which is predicated and thrives on the very notion and practice of the contraposition of opposites. The music of Metallic Taste Of Blood is both incredibly brutal and delicate, distorted, but incredibly clear, boiling hot and yet suddenly very cool, sweet yet suddenly brackish, that very peculiar unity in contradiction to which the band's own name refers to.
Doctoring The Dead, recorded in Prague at Faust Studios, mixed in Italy and mastered in the US by Mike Fossenkemper, though moves ahead towards new territory by bringing in a new, focused single-mindedness; witness to this are the album's eight tracks, starting with "Ipsissimus," where an deep dub rhythm section supports the entangled duel of baritone electric guitar and synth, to "Pashupati," whose guitar lines dance between extreme cleanliness and growling distortion, to the cosmic Ambient Bass inflections of "Synthetic Tongue," to the calming riff and distorted electronica of the title track, to Blind Voyeur's beyond-post-rock grandeur, the dark ambient glitch of "Day of Bones," and further down to "Murder Burger" and beyond, towards the closing "Death Of Pan."
Out of contrast perfect balance is reached, when distorted guitars sound clean and soothing, while cascades of piano notes suddenly morph into threatening shards - listening to this will lift you into a state not unlike that of cognitive dissonance, one of deep, uncomfortable enjoyment.

1. Ipsissimus
2. Pashupati
3. Synthetic Tongue
4. Doctoring the Dead
5. Blind Voyeur
6. Day of Bones
7. Murder Burger
8. The Death of Pan

Antje Hübner
hubtone PR | New York
phone: 212-932-1667   

hubtone at jazzahead! | booth # 6A21
euro cell +49-174-584-6063