31/03/2021
28/03/2021
Hula - Release The Grip -Stephen Mallinder (Cabaret Voltaire) and Paul Widger (They must be Russians, Clock DVA, the Box)
The Sheffield based band Hula was founded in 1981. Three members (Mark Albrow, Alan Fish and Ron Wright) lived with Stephen Mallinder (Cabaret Voltaire) and Paul Widger (They must be Russians, Clock DVA, the Box) in a villa called Hula Kula. After trying the bass players Alan Watt, the notorious Chris Brain (Tense, NOS) and Mark Brydon (Chakk, Moloko), and after the replacement of Alan Fish by Nort (both drummed for the Cabs), Hula recorded the impressive album Murmur. Ingredients like cut ups, steady rhythms, and paranoia vocals were blended together into a unique white funky sound.
Sandoz - Armed Response - Sandoz is one of the most prominent solo monikers of Richard H. Kirk since 1992
Sandoz is one of the most prominent solo monikers of Richard H. Kirk since 1992, who produces - after twenty years of listening to Jamaican music - contemporary Electronic Dance music with Jamaican Reggae and Dub influences and other ethnic styles.
27/03/2021
23 Skidoo - F.U.G.I.
"If you accept Skidoo as a post-punk band then it's easy to see why. Urban Gamelan certainly starts percussively enough, but field recordings and samples are still there, along with loose flurries of low-strung bass. These eventually metamorphosised into the bassline for the Chemical Brothers' 'Block Rocking Beats'. 'Fuck You G.I.' is stark and scary, a howl of vocal protest slamming imperialism. This was a reworked version of 'Coup', a single that had wholly re-ignited the world's excitement in the band. The album version seemingly angered everybody, turning everybody off as quickly as 'Coup' had excited them only months earlier.
25/03/2021
Jaki Liebezeit, Dirk Herweg, Hayo Stahl, Boris Polonski- Bachelors Club
Jaki Liebezeit - Drums, Dirk Herweg - Tar, Boris Polonski - Synth, Hayo Stahl - Alto-Flute, EFX.
Im Andenken an Michael Karoli, der leider viel zu früh gegangen ist und uns allen schmerzlich fehlt
23/03/2021
black midi - John L
Black Midi anunció su nuevo álbum con un vídeo dirigido por Nina McNeely, la coreógrafa de Climax de Gaspar Noé. Aquí les dejamos "John L
21/03/2021
In Excelsis - One day
In Excelsis - One day, IN Excelsis formed spring 1983 out of the remnants of Ritual
(Mark bond bass, and Errol Blythe voice) Steve Spon guitar ex-
UK Decay and Colin 'Roxy' Rox on drums.
UK DECAY - For Madmen Only
UK Decay are one of the original bands to cross over from punk to what was then becoming called "Gothic", in the early '78 London scene, before the gothic and even post punk bands like Bauhaus, Theatre of Hate, the Southern Death Cult, and more.
Their earlier singles are very punk, and the band has appeared on compilations of both punk and gothic music, including Punk And Disorderly and The Whip with Slavedrive immediately after UK Decay broke up, and inspired the name for the english punk rock video compilation "UK/DK".
Aside from Theatre of Hate and Southern Death Cult, UK Decay fit the same category as bands like The Dark, Crisis and Warsaw (who would become Joy Division).
Following a brief stint as The Resistors, the Luton based UK Decay was formed in the winter of 1978. From there they became well known and played with many of the original UK punk bands, and even made it to the US.
Tomahawk "Business Casual" (pre-order now)
Tomahawk premieres song and announces new album: “Tonic Immobility.
After much anticipation, Tomahawk makes his return to the music scene, as the group in charge of Mike Patton , Duane Denison , John Stanier and Trevor Dunn , is back with a new song. This is " Business Casual ", a track that becomes the first preview of his album " Tonic Immobility ", which we will know next March 26 through Ipecac Recordings .
This new single is the band's first album since their last LP , “ Oddfellows ” (2013), being the prelude to their next album number 5 of the super group. While on Patton's side, it is not known if he will resume other of his projects, since we remember that with Mr. Bungle they re-recorded their first work called " The Raging Wrath Of The Easter Bunny Demo ", which they released from way renewed last year.
SHHH!
Valentine Shine
Predators and Scavengers
Doomsday Fatigue
Business Casual
Tattoo Zero
Fatback
Howlie
Eureka
Sidewinder
Recoil
Dog Eat Dog
20/03/2021
19/03/2021
Bloodslide - Pica (Official Video)
Protomartyr guitarist Greg Ahee. They've now formed a new project, Bloodside, that also includes Preoccupations drummer Mike Wallace. Collaborating with producer Sonny DiPerri (Protomartyr, Diiv, Animal Collective) and Ommatidium Studios, Bloodside is conceptualized as a multimedia project, both music and visual art.
An EP is due out in July and they've just shared the first single, "Pica."
14/03/2021
THE TALES OF RAVENS MORELAND - Documentary Film
Moreland also played bass for early LA punk band The Weirdos and helped form the iconic Post Punk group Wall Of Voodoo. Along with brother Marc Moreland, ...
Sentimentale Jugend - Ghetto / Der 10.5. / Hiroshima [Live]- Christiane F. +Alexander Hacke
Christiane Vera Felscherinow, mundialmente conhecida como Christiane F. por seu impactante envolvimento com drogas e prostituição retratados no livro (1978) e no filme (1981) autobiográficos, Christiane F. - Wir Kinder vom Bahnhof Zoo, também se aventurou na carreira musical.
Enquanto o filme do diretor alemão Ulrich Edel provocava comoção nas salas de cinema, Christiane fundava com o namorado e músico Alexander Hacke, o Sentimentale Jugend, uma banda de Post-punk e Industrial Rock. Hacke integrava a seminal banda de Post-industrial e Experimental Rock, Einstürzende Neubauten, todavia, não se furtou de registrar a Demo-Tape, Borsig Werke e Wollt Ihr Die Totale Befriedigung, uma versão Batcave Rock para Satisfaction dos Rolling Stones, disponível na coletânea em LP, Monogam Sampler.
Na verdade, o Sentimentale Jugend era um duo formado por Alexander Hacke, baixo, teclado e vocal; e Christiane Felscherinow, guitarra e programação que chegou a se apresentar no palco The Grosse Undergangs Show do Festival der Geniale Dilletanten em Berlim no dia 04 de setembro de 1981.
Daniel Brasil
Humpty Dumpty (Alessandro Calzavara singer songwriter) - Beautiful
An obscure and somewhat reclusive figure in Italy's underground scene, Alessandro Calzavara (the singer-songwriter behind the moniker Humpty Dumpty) has been freely recording and distributing music on the web for about seventeen years now. He manages to pay homage to a wealth of musical and literary sources, while retaining a true sense of originality and a subtle distrust of conventional songwriting. Robyn Hitchcock, Julian Cope and Andy Partridge are obvious references here, immersed in an intricate blend of post-punk, electronics and psychedelia
13/03/2021
Andy Prieboy - Big Rock Finish
Songwriter, multi-instrumentalist, artist, and playwright Andy Prieboy was raised in East Chicago, IN, where he wrote his first song at the age of 12. In his late teens, he moved to New Jersey, played in a local band, and worked as a furniture mover in New York City. After the group's breakup he relocated to San Francisco and joined a combo called Eye Protection. Six years later, following a lead on a production deal offered to him by the son of a wealthy real estate developer who was secretly using the money to front his drug habit, Prieboy moved to Los Angeles. The company used Prieboy as a scapegoat, eventually suing the artist to cover the son's drug expenditures, which led to a long bout of litigation that forced Prieboy to lose ownership of his songs -- he was eventually acquitted.
Seven Days in SammystownPrieboy's string of bad luck took a turn at a party in Los Angeles where a met an extremely drunk Bruce Moreland -- bass player for Wall of Voodoo -- who asked him to join the band as the replacement for recently departed lead singer Stan Ridgway. In 1985 the group -- with Prieboy -- released the critically acclaimed Seven Days in Sammystown, followed by 1987's Happy Planet and a live recording called Ugly Americans in Australia in 1988. That same year, after the band's demise, Prieboy wrote a song called "Tomorrow Wendy" for Concrete Blonde's breakthrough record, Bloodletting, and began work on what would become his debut, Upon My Wicked Son. Released in 1990 on the Doctor Dream label, the record combined Prieboy's fascination with vaudeville, art, opera, and satire, and was generally well received but did little damage commercially -- although "Loving the Highway Man" was covered by Linda Ronstadt and Emmylou Harris in 1999.
The Monks of Doom Soundtrack to Film: "Breakfast on the Beach of Deception" - B-Music
A side project featuring three members of Camper Van Beethoven -- guitarist Greg Lisher, bassist Victor Krummenacher, and drummer Chris Pederson -- along with Ophelias guitarist David Immergluck, the Monks of Doom's debut Soundtrack to the Film "Breakfast on the Beach of Deception" is a largely-instrumental foray into spacy guitar rock with an occasional detour into jazz and ethnic music
Fish & Roses -- The Letter
Avant pop trio Fish & Roses formed in New York City in the fall of 1985. Singer/drummer Rick Brown first surfaced from N.Y.C.'s famed no wave scene as a member of both Blinding Headache and Information, followed by a stint in V-Effect, while his wife, Atlanta-born singer/bassist Sue Garner, played in the little-known Vietnam before earning attention as a member of the Last Roundup. Keyboardist Dave Sutter completed the lineup, honing a sound as notable for its complex melodies and loose-limbed rhythms as for its conspicuous absence of guitar. Fish & Roses premiered with a self-titled EP issued on their own Lost label in 1987, followed two years later by the Homestead release We Are Happy to Serve You. Shortly following the Feel Good All Over label's release of 1992's Dear John, Fish & Roses dissolved; Brown and Garner later collaborated in a series of other projects, most notably Run On.
Section 25 - Reflection
In 1984, Blackpool's young punks turned into synth-rock contenders with a radically different approach and resultant album-release in "From The Hip". Generally derided in the press and frequently declared as 'dreary' or 'Joy Division clones' by most music-writers in the mainstream press, Section 25 were neither, just misunderstood. Sure, you weren't likely to hear this taught minimalist new-wave outfit sound-tracking the latest Michael J. Fox movie or covering anything from the annals of pop (except an occasional live and notoriously down-beat rendition of Kraftwerk's "The Model"), but at the same time, the Cassidy brothers and Messrs Wiggins and Shallcross weren't bothered about living up to anyone's expectations, nor following fashion.
After a line-up change that resulted in the installation of Larry Cassidy's wife Jenny, sister Angela Flowers and Shallcross on a full-time basis (and the departure of Wiggins), Section 25 threw off the shackles of negative reviews and the 'same moody blokes in raincoats turning up to our gigs' and concentrated on injecting a dose of hard-edged electronics into their sound. Early seeds had already been sown in 1982/3 with the singles "The Beast" (with powerful club track "Sakura") and "Back To Wonder"/"Beating Heart", the latter track a portent of things to come and a template for much of this welcome vinyl re-release.
Housed in a stunning Snowdonian snapshot with crags and colour-coded Peter Saville-designed 'marker-poles' that 'spelt' out the album's title (similar to the idea employed on New Order's own preceding switch to electronics, "Power Corruption & Lies"), "From The Hip" looked the bollocks when racked out in the local Virgin Megastore, although the band weren't really behind Saville's arty approach to their brief. But it remains an iconic image that is as deserving of being included in Royal Mail's recent album-sleeve stamps-series as New Order's. Frankly, with such a strong sleeve, the music had something to live up to - and it did. Does.
Pressed on better-quality vinyl than the 1984 version, this 2012 edition, in collaboration between LTM and Darla, respectfully and accurately reproduces the outer (and inner) packaging to a tee and improves the sound-mastering considerably. Thankfully, the curators haven't duplicated Factory's old habit of mis-pressing and mis-labelling the original - every detail is spot-on here. Secretly billed by admirers as a 'concept-album of a journey from confusion to enlightenment', "From The Hip" was actually a very thorough exploration of new equipment and pin-sharp production courtesy of New Order and in particular, Bernard Sumner who himself was still a fledgling producer and remixer, replacing Martin Hannett as Factory's in-house go-to knob-twiddler. Some say he surpassed himself with this effort.
Opening track "The Process" sets the tone with its ambient tones gradually fading in, building majestically and becoming a plateau on which Jenny's softly-spoken musings bathe gently in a sunbeam of swirling washes of synths and a drum-roll climax that spills over to the harsh electro-chatter of club-hit "Looking From a Hilltop". 28 years old and still a landmark piece of music, "...Hilltop" remains an essential listen and a must for any budding, serious DJ into playing out '80s dance-music without resorting to Depeche Mode's "Just Can't Get Enough" or Soft Cell's "Tainted Love" (fine though they are). "Reflection" continues the band's revolutionary new sound with more Jenny vocals, before Larry Cassidy retains some of Section 25's old trademarks on "Prepare to Live".
Side two however, steps things up a little further by throwing the new ideals and rules out of the window and totally rewriting them. Punishing instrumental "Program For Light" might sound overly-programmed, but its jackhammer beats and post-industrial backdrop isn't unlike the sort of beast to be later unleashed by the likes of Orbital, Meat Beat Manifesto and Tyree ("Acid Over", anyone?). Then in a genius move, the whole track than explodes into the desolate chill-folk of "Desert", replete with strummed acoustic-guitar, doleful glacial piano and breathy vocals. Just when you've settled back to ingest this new-found catharsis, along comes "Beneath The Blade". Forming an intro of sorts for the final epic track, "Inspiration", this instrumental is perhaps S25's most Joy Division-y moment across their entire catalogue and perhaps their only one that justifies the lazy critical-comparable thrown at them during their earlier years. Pummeling funereal drums, ankle-deep bass-line and insistent motorik synth-hooks gradually build up to a conclusion, before the whole thing swings off-kilter with more pretty synths and that last track.
"Inspiration" is perhaps "From The Hip"'s counterpoint, its most conclusive contribution and its own lasting legacy. Embellishing all the elements from the previous seven tracks on here, the final song is a stone-cold electro-pop classic that utilizes a weird off-beat rhythm and Larry at his most calm. Upon first hearing this track 28 years ago, it made the most perfect sense being the album's last track because it inspired me to turn the record over again and play the whole bloody thing again - I'm still doing it to this day, a nod to its timelessness. Even the bit where the drum-program shifts out of time is as radical as it is retro.
The bonus 12" couples the original 1984 8-minute megamix version of "Looking From a Hilltop" and the 2010 remix by New Order's Steven Morris. This newer redux is a justified inclusion, not only for the related person sitting in the engineer's chair but for the fact it actually simplifies the original without spoiling it - the menace remains. Add in the Factory-branded download slip (it looks like a Savillized business card) and you have the ultimate package for even the most nerdiest of train-spotting vinyl-head. An absolute must.
Majeure - Teleforce
It is likely not for nothing that Majeure shares its name with one of the most notable albums by Tangerine Dream, as the steady sequencer arrangement which slowly opens the album's first track, "The Dresden Codex," certainly doesn't sound far removed from that act's work. Or, unsurprisingly, from Zombi, whose drummer A. E. Paterra maintains Majeure as his solo side project. The nervous, quick-paced percussion that appears in the song soon after it begins ends up matching the frenetic bite of some of the synth parts just so. Overall, the three-track album is as classic a take on '70s-into-'80s non-dance electronic music as any, perhaps the only logical equivalent to the beardo-disco trend of the early 21st century exemplified by acts like Lindstrom and Prins Thomas. At just under ten minutes, "Teleforce" is the shortest song here, and furthers the Tangerine Dream comparison a touch by sounding like a soundtrack effort -- though perhaps Vangelis would be the better reference point, given how this feels like a slicker but no less ominous riff on some of that musician's groundbreaking work for Blade Runner. The concluding title track, the album's longest, has the exact feel of a classic side-long vinyl effort of the time, sweeping, futuristic even if now in an inevitably retrospective sense, riding a proto-superhighway of information defined less by Wired and more by Omni.
Blue Water White Death- Gall
Xiu Xiu’s Jamie Stewart and Shearwater’s Jonathan Meiburg have spent plenty of time peering and probing into the disturbing sides of nature and humanity in their main projects, so it makes sense that they’d be like-minded collaborators. They named themselves Blue Water White Death after a 1971 documentary about shark hunters in Australia’s Dangerous Reef, and while their self-titled debut isn’t as perilous as its namesake, it packs a formidable amount of dread into 33 minutes. The echoing drones and fleeting minor-key melodies that surround the pair’s vocals telegraph an uneasy openness that suggests waiting for the other shoe to drop (or shark to appear, as the case may be). It seeps into every track, even -- perhaps especially -- the ones with cutesy names like “This Is the Scrunchyface of My Dreams” and “Nerd Future,” which borrows from gamelan and chamber music to equally harrowing and lovely effect. Meiburg and Stewart wrote and recorded these songs with John Congleton, a collaborator from another like-minded group, the Paper Chase, within the span of a week. While Blue Water White Death doesn’t exactly feel rushed, its abstraction can sometimes seem unfinished on the first few listens; “The End of Sex” interrupts its mellow folk with jarringly asymmetrical noises.
12/03/2021
Twenty Sixty Six And Then - Autumn
An expanded 2xCD of the legendary, sole album by a heavy psychedelic krautrock group Twenty Sixty Six And Then, originally released by United Artists in 1972. The first platter is an exact repress of the original album, while CD #2 contains all other (previously unissued) material that the group recorded in the early '70s.
Don Bradshaw-Leather - Distance Between Us part 1
Double CD reissue of this legendary dark psych minimal masterpiece! "The music on this bizarre double album from 1972 is somewhere between gothic horror and psychedelic. Don Bradshaw Leather was apparently some kind of British occult group who self-released this album with no credits. (Also, on the record cover the name is spelled “Bradsham-Leather,” not Bradshaw Leather, as it is referred to in everything from the Nurse With Wound list to the book and web guide on early U.K. psychedelic rock -Tapestry of Delights.)
The title track, which takes up the first CD, begins with some spooky piano rambling and then more mysterious sounds are added in. Soon tribal rhythms pound away while an organ seeps in with more creepy tones. The track gets a bit more intense as the organ and piano jam with the rhythms. Though most of it is instrumental, some wordless female vocals appear toward the end of side one, as the music settles down slightly. The rest of Distance Between Us is quite similar — spooky organ and keyboard chords, obsessive piano plinking, primitive drum circle-style percussions, and other mysterious noises and drones in the background, with an overall pervasive gothic ambience, a horror film/cinematic feel.
At times quiet and restrained, other times full of freaked-out energy, parts of this would not be out of place on one of Shinjuku Thief's Witch albums. The obsessively scary mood is sustained over all four sides." - Rolf Semprebon
Damo Suzuki, Mugstar Start from Zero - Subway Sound (Live)
On a long hot summer night in 2012, a meeting of minds happened in Liverpool, England. Damo Suzuki visited the city to play a show with Mugstar. After a flurry of emails, Damo asked Mugstar not to practice or figure out any music prior to the performance, as he believed it should "start from zero," leaving the whole performance to be entirely improvised on the spot. It proved to be quite a night: the shamanic presence of the legendary Damo Suzuki immersed in the full-on, intense sound of Mugstar -- one of the leading bands currently exploring fresh and uncharted areas -- as they forge forward through the deep space of Kraut/psych. The music that emerged that evening moved through driving, head-spinning double wah-wah attacks, eerie, ethereal passages and onto an extended motorik coda, all powered along by thunderous bass and drums. Damo settled in immediately, a master of his own unique art. Surging along with Mugstar as "sound carriers," absorbed in the energy and atmosphere through to the show's exhausting end, it's a great pairing.
07/03/2021
The Boys With The Perpetual Nervousness - Play (On My Mind) (Lyric Video)
The Boys with the Perpetual Nervousness: Songs from Another Life
The Feelies-inspired Scottish/Spanish duo The Boys with the Perpetual Nervousness released their sophomore effort in early February, a 10-song, 26-minute collection of seamless pop-rock that does their namesakes proud. Andrew Taylor (Dropkick) and Gonzalo Marcos (El Palacio de Linares) recorded their parts in Edinburgh and San Sebastián, respectively, working from beyond-social distance to create an album that shows us the past through “Rose Tinted Glass,” allowing us to savor “a life that might never return,” per their album bio
06/03/2021
05/03/2021
Camberwell Now "Cutty Sark"
I dream of empire, I dream of sailing ships
A fortune beneath their decks
Heavy with cargo, copper and ivory
I cross the ocean from one land to the next
I trade the space between, I cross the ocean
I trade the space between
Up in the crow's nest or down in the hold
I hear the ocean sing to me
It sings to me of another way of life
I ignore it, I choose to ignore it
I work with chart, compass, latitude, longitude
A world of reference points
To cross the ocean, measure the space between
Still this singing insists and insists
Won't go away, won't leave me be
It sings to me of another way of life
I ignore it, I choose to ignore it
I ignore its melody
MARC BOLAN SOLID GOLD EASY ACTION T.REX
(Heh heh heh)
(Heh heh heh)
Life is the same
And it always will be
Easy as picking foxes from a tree
(Heh heh heh)
But I can't get no satisfaction
All I want is easy action
(Heh heh heh)
(Heh heh heh)
A stud is a lamb
With the thoughts of a tiger
(Heh heh heh)
Who moves like a cat
And knows how to ride her
(Heh heh heh)
But I can't get no satisfaction
All I want is easy action, baby
(Heh heh heh)
Stroll on
I can't get no satisfaction
All I want is easy action
(Heh heh heh)
(Heh heh heh)
A woman from the east with her headlights shining
(Heh heh heh)
Eased my pain and stopped my crying
(Heh heh heh)
But I can't get no satisfaction
All I want is easy action, baby
(Heh heh heh)
(Heh heh heh)
And all my hair will keep her smiling
With my wondrous walk and my telephone dialing
But I can't get no satisfaction
All I want is easy action, baby
(Heh heh heh)
(Heh heh heh)
I know you're shrewd and she's a dude
But all I want is easy action
I know you're shrewd and she's a dude
But all I want is easy action
I know you're shrewd and she's a dude
But all I want is easy action, baby
(Heh heh heh)
Stroll on
(Heh heh heh)
(Heh heh heh)
(Heh heh heh)
(Heh heh heh)
(Heh heh heh)
Love - A House Is Not a Motel (2015 Remaster)
At my house I've got no shackles
You can come and look if you want to
In the halls you'll see the mantles
Where the light shines dim all around you
And the streets are paved with gold and if
Someone asks you, you can call my name
You are just a thought that someone
Somewhere somehow feels you should be here
And it's so for real to touch
To smell, to feel, to know where you are here
And the streets are paved with gold and if
Someone asks you, you can call my name
You can call my name
I hear you calling my name yeah all right now
By the time that I'm through singing
The bells from the schools of walls will be ringing
More confusions, blood transfusions
The news today will be the movies for tomorrow
And the water's turned to blood, and if
You don't think so
Go turn on your tub
And it it's mixed with mud
You'll see it turn to gray
And you can call my name
Peter Blegvad & Andy Partridge - Steel Bed
When I sleep me
Body dissolves.
The bed looks empty.
But the steel frame
Is an accumulator.
My soul-currents
Coil in the springs.
Whoosh -
Through the floor
Veins of ore
Conduct me down
Through chthonic strata,
To Hell.
Stumbling all night
Over bones of the dead.
I'm a fume
Without a mouth
To call her name.
Rabbit Rabbit Radio - Nothing To Say IS CARLA KIHLSTEDT + MATTHIAS BOSSI
Der Name CARLA KIHLSTEDT lässt Musikfreunde aller Sparten aufhorchen. Denn nur wenige Musikerinnen haben derart prägnante Spuren hinterlassen, wie das der Geigerin und Sängerin aus San Francisco gelungen ist. Und auch der Schlagzeuger MATTHIAS BOSSI ist ein bekannter Musiker der Bay-Area. Mit folgender, beeindruckender Liste von Menschen und Bands sind sie in Erscheinung getreten: Sleepytime Gorilla Museum, Tin Hat, 2 Foot Yard, Causing a Tiger, The Book of Knots, Fred Frith’s Cosa Brava, Tom Waits, Mike Patton, Skeleton Key, Madeleine Peyroux, Tracy Chapman, John Vanderslice, St. Vincent, Carla Bozulich und The Tiger Lillies.
Ihr gemeinsames wunderbares, song-orientiertes Projekt RABBIT RABBIT betreiben die Beiden seit 2012, weil sie mit ihrem Publikum in direkter Verbindung bleiben wollten. Und so veröffentlichten Sie auf ihrer Plattform Rabbit Rabbit Radio für ihre Fans über drei Jahre hinweg an jedem ersten Tag des Monats einen Song, Vidoes, Photos und andere „Innenansichten“ ihrer Arbeit. Und daraus sind mittlerweile mehrere Alben enstanden.
Wenn Kihlstedt und Bossi zusammen Musik machen, dann sprühen vor Energie, Kraft und Präzision schier die Funken und es überrascht kaum, dass die Beiden nicht nur auf der Bühne ein Paar sind. Mit dem Gitarristen JEREMY FLOWER wurde Rabbit Rabbit zuletzt zum Trio erweitert, die Intensität nochmals gesteigert. Harmonisch und aufreibend zugleich ist ihre Musik, feingesponnen und rasant. Was sich dem Zuschauer hier an Interaktion und musikalischer Kommunikation offenbart ist absolut atemberaubend, leidenschaftlich und voll zauberhafter Intuition.
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