Category: Live Reports (Page 12 of 36)

TEARS FOR FEARS + ALISON MOYET Live in London

7 February 2019 /

Whoever came up with the idea of putting TEARS FOR FEARS and Alison Moyet together on a concert bill was a total genius!

They each have scored six Top 10 UK singles and two No1 UK albums while also winning various BRIT Awards, all this without including Moyet’s stint in YAZOO with Vince Clarke which netted a further three Top 5 UK singles and a further No1 album! Unsurprisingly at London’s O2 Arena, people started taking their seats early for Alison Moyet and her 11 song opening set.

Over the last six years, she has seen something of an artistic renaissance with her two most recent albums ‘the minutes’ and ‘Other’ showcasing a return to electronica, thanks to a new fruitful partnership with Guy Sigsworth.

Beginning with ‘I Germinate’ from ’Other’, there was a format change from that tour in 2017 with the inclusion of Paul Jones on electronic percussion alongside regular Moyet multi-instrumentalist Sean McGhee. As some of the audience pondered whether she would play any YAZOO material, Ms Moyet introduced a song that she wrote when she was just 16. With its iconic burst of synth, the crowd roared their approval for a the wonderfully melancholic ‘Nobody’s Diary’.

‘Beautiful Gun’, Moyet’s gusty attack on the NRA showed her old classmates in Basildon a thing or two about authentic blues while on ‘All Cried Out’, McGhee was particularly superb in his falsetto harmonisation with his boss’ deeper gutsy growl. Following on, ‘The Rarest Birds’ celebrated Moyet’s recent rejuvenation thanks to a relocation to Brighton while there was a surprise with a rendition of ‘The Sharpest Corner (Hollow)’ from 2007’s ‘The Turn’.

As the crowd held their breath for more YAZOO, Moyet delivered with ‘Situation’ as the first pockets of the audience cautiously stood up before a practically Vince Clarke faithful ‘Only You’ initiated the first massed singalong of the evening. The spectre of her former YAZOO bandmate continued to loom during a superb synthed-up arrangement of the saucy ‘Love Resurrection’, while the distinctive meaty tones of ‘Don’t Go’ put a now nearly full O2 on their feet with our heroine even pulling a few dance moves herself.

Of course, the crowd were there for TEARS FOR FEARS, but there was a time 10 months ago when all that was thrown into doubt due to “unforeseen health concerns” which postponed the original May 2018 tour. More recently, Roland Orzabal undertook rehearsals with the band alone while Curt Smith made cryptic comments on social media about possibly not being on board and all not being well! Certainly their split back in 1990 was fractious.

However, the pair got back together in 2004 for the ‘Everybody Loves A Happy Ending’ album which attracted mixed responses from fans and critics alike, but re-established TEARS FOR FEARS in their classic duo guise. The pair certainly didn’t mess about with the start of their biggest ever UK show, launching straight into ‘Everybody Wants To Rule The World’ following a taped intro of Lorde’s cover version. One of the most perfect driving songs, Smith and Orzabal seemed to be in good spirits although any onstage chemistry between them was notably absent.

From ‘Everybody Loves A Happy Ending’, ‘Secret World’ featuring a section of Paul McCartney’s ‘Let ‘Em In’ went down well, the song getting better over the years like a fine wine. Continuing THE BEATLES themed vibe, the rousing ‘Sowing the Seeds Of Love’ also did the job.

Meanwhile the classic ‘Pale Shelter’ recalled the emotional angst that was part of TEARS FOR FEARS’ original appeal with drummer Jamie Wollam remaining largely faithful to the original, but providing the necessary dynamic bite for the occasion by substituting the programmed synthetic claps towards the end with snare rolls. This approach didn’t work all night however, with Wollam having a bit of a Christian Eigner moment during ‘Memories Fade’ which did not suit the solemn electronic goth at all, but at least it was mercifully short!

‘Break It Down Again’ from the solo Orzabal incarnation of TEARS FOR FEARS got an airing but suffered from the quality of material around it. ‘Change’ got the squeaky audience vocal treatment but as mighty as ever, ‘Mad World’ had everyone mesmerised, although Orzabal eschewed his iconic jerky dance from the video which was often ridiculed but captured the song’s percussive intensity.

A huge surprise came with a stripped down piano version of ‘Suffer The Children’ sweetly sung by backing singer Carina Round; covered in more recent times by MARSHEAUX, the song certainly suits a female voice although Orzabal joined in for the closing title refrain. Carina Round also did a wonderful job replicating Oleta Adam’s part in ‘Woman In Chains’ while Smith took the lead again on ‘Advice For the Young at Heart’.

Defeat was almost snatched from victory with the inclusion of the dreadfully self-indulgent ‘Badman’s Song’ which prompted much of the audience to sit down, but everything got back on track with the anthemic ‘Head Over Heels’ before the band left the stage to the frantic rock of ‘Broken’.

As the lights went down to tease an encore, the audience began to chant the chorus of ‘Shout’, a moment which Smith decided to capture on his phone as he returned. And with blood red visuals and shots of confetti, a brilliant performance of the lead track from ‘Songs From The Big Chair’ complete with Drumulator and live rhythmic interplay concluded a professionally slick presentation where the songs were the stars.

But it must be said that things appeared tense between Orzabal and Smith. There was certainly none of those hand on shoulder moments that are commonly associated with band mates but then, TEARS FOR FEARS have never been that kind of band. That aside, it was fabulous that the pair were able to remind the wider public of their enduring catalogue and whatever the state of their personal relationship, the evening mostly delivered and entertained.

TEARS FOR FEARS rescheduled 2019 UK tour with special guest Alison Moyet continues:

Leeds First Direct Arena (9th February), Glasgow SSE Hydro (11th February), Birmingham Genting Arena (12th February), Nottingham Motorpoint Arena (13th February)

Other UK dates in 2019 include:

London Hampton Court Palace (18th – 19th June), Northwich Delamere Forest (21st June), Woodstock Blenheim Palace (22nd June)

http://tearsforfears.com

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ALISON MOYET reunites with TEARS FOR FEARS at Munich Sommer Tollwood (12th July)

http://alisonmoyet.com/

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Text and Photos by Chi Ming Lai
7th February 2019

EMIKA Live in London

16 December 2018 /


‘Falling In Love With Sadness’ by EMIKA is a wonderful bittersweet musical rhapsody laced with Bohemian melancholy.

Deep and thoughtful, it captures an array of enticing melodic textures with an inherent gloominess that paradoxically is EMIKA’s most synthpop statement, yet is a glorious sonic exploration into sadness and the human psyche.

With plans to take the record out of the road, Ema Jolly, the Berlin based Anglo-Czech musician and producer behind EMIKA gave a taster of what may be to come with a special concert at the Apple Store in London’s Regent Street.

With a Kawai K-6 upright piano, Arturia Keylab 49 hybrid synth, MacBook, Eventide effects hardware and an Earthworks microphone for company, it was her first public performance as EMIKA using live instrumentation having previously stuck to a DJ format in previous personal appearances over the years.

With an icy extended ambient intro, proceedings began formally with a largely piano-led ‘Wash It All Away’, a fitting atmospheric opener expressing EMIKA’s own catharsis.

But with the push of a button, things went uptempo as ‘Could This Be’ hypnotically pulsed with its chilling spy drama inflections, offset by a tense percussive rattle.

Some beautiful piano provided a crucial organic element over the rigid machine driven backing, presenting EMIKA’s art in a context which differed from the recorded version. There was enough vital familiarity but there was also variation from the actual playing and the tonal presence of the piano to provide a mesmerising contrast.

Laced with chromatic melancholy and a deeply European electronic backdrop, ‘Run’ closed the first section of the performance with EMIKA showcasing more of her classical ability, something she had already proven having released a symphony ‘Melanfonie’ with the Prague Philharmonic Orchestra in 2017; it is also now her unique selling point within a live setting.

A short interview interlude saw Ema Jolly answer a number of questions from the Apple Store’s host and audience about the importance of location as an inspiration for art regardless of whether it was direct and how the concept of ‘Falling In Love With Sadness’ was about learning to embrace sadness as a natural human emotion for her own well-being as a reaction to her own family’s generations of sadness.

Continuing with the music, there came the metronomic body stomp of ‘Eternity’. Although the backing maintained a frantic rigidity that was as good as clockwork, the forlorn manner of Miss Jolly’s delivery and her accompanying piano chords captured a beautiful hue which was unusual but highly satisfying aurally.

‘Killers’ provided a more simmering avant set piece as EMIKA enigmatically whispered while understandably neutering the recorded version’s profanities for the shopping families present.

To close, the wonderful ‘Promises’ featured a deliciously extended ivory improvisation in a solemn spine tingling combination of cascading harmonics and rumbling dubby tension.

Short and subtle yet expressing power and vulnerability with hushed but haunting vocals, EMIKA’s set left everyone wanting more. Almost stoic in her demeanour and retaining a vital air of mystery, Ema Jolly captivated all those present with her juxtaposition of precise electronics and classically inspired keyboard runs.

At no point were EMIKA’s machine-driven beats too overbearing as can often be the case in techno or dance music, yet the ecstatic bass programming stunned the consciousness, drawing in both the converted and the curious, the latter evidenced by the numbers gathering on the grand staircase of the Apple Store to watch.

Since releasing her third album ‘Drei’ on her own label in 2015, EMIKA has been a fine example to those who aspire to be a truly modern independent artist.

With her best record yet in ‘Falling In Love With Sadness’ and her growing confidence as a live performer, she is on a well-deserved upward trajectory.

‘Falling In Love With Sadness’ is released by Emika Records in CD, vinyl LP and digital formats, available direct from https://emika-official.bandcamp.com/ along with a selection of her back catalogue

http://emikarecords.com/

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Text and Photos by Chi Ming Lai with thanks to Lucy Palmer at TRIX PR
16th December 2018

PETER ASHWORTH Mavericks

20 November 2018 /

A graduate of the London College Of Printing, photographer Peter Ashworth created some of the most iconic images from New Romantic and beyond.

His photographs adorned albums covers such as the debut long player by VISAGE, SOFT CELL ‘Non-Stop Erotic Cabaret’, ASSOCIATES ‘Sulk’, EURYTHMICS ‘In The Garden’, DEAD OR ALIVE ‘Sophisticated Boom-Boom’, ADAM & THE ANTS ‘Kings Of The Wild Frontier’ and many more.

Meanwhile, his memorable portraits have included artists as varied as FRANKIE GOES TO HOLLYWOOD, ERASURE, ULTRAVOX, THE THE, THE CLASH, THE CULT, THE ART OF NOISE, SWING OUT SISTER, PUBLIC IMAGE LIMITED, THE LIGHTNING SEEDS and SPACE while his photos of BLANCMANGE, EVERYTHING BUT THE GIRL and THE CULT appeared in ‘Smash Hits’.

But it was his image of Annie Lennox in a mask and an ironic strong arm pose for ‘The Face’ that was to become his best remembered shot; the visually powerful statement was then used on the cover of ‘Touch’, the third album by EURYTHMICS.

At a time when image was critical to how an act and their music were perceived, record covers were the first port of call for any potential fan. Thus Ashworth’s eye was ideal as he worked mostly with large square format Hassalblad cameras, so there was never that dilemma of what might be cropped out in a landscape format shot. Having already debuted the ‘Mavericks’ exhibition in Liverpool, the London variant was specifically adapted for the Lever Gallery in Islington. In Ashworth’s own words: “the prints have deep colours, strong graphics, and are beautifully printed”.

Ashworth loved to create extravagant sets for his backgrounds like The Jungle Of Desire for various formats of FRANKIE GOES TO HOLLYWOOD’s ‘Welcome To The Pleasure Dome’ or the kaleidoscopic horticultural menagerie for ASSOCIATES to inhabit on the cover image of ‘Sulk’. What Ashworth helped to reinforce was the element of artifice in music of this period, which ultimately allowed the listener to embark on a truly escapist adventure.

So it was a total honour and privilege for ELECTRICITYCLUB.CO.UK to have Peter Ashworth personally guide around his wonderful ‘Mavericks’ exhibition and to hear the stories behind his iconic photographs.

Many are now time capsules of fashion and popular culture like his dressing room photo of TRANSVISION VAMP which adorned their ‘Velveteen’ long player, capturing a time before mobile photos when bands would pass the hours away before showtime reading books about THE VELVET UNDERGROUND and sex movies!

Interestingly, Ashworth confessed to rarely listening to the artists he was photographing so that he could focus on the best visual presentation possible.

Meanwhile, he also admitted he wasn’t really a fan of anybody except perhaps the late German producer Conny Plank and that his favourite type of music was deep house.

Though his cool portrait of Bryan Ferry dragging on a Marlboro has been popular with many casual observers, Ashworth’s own favourites are actually of two lesser known New Romantic personalities Ronny and Peter Godwin.

The former was a French protégée of Rusty Egan who cut a striking figure androgynously suited in Anthony Price, while the latter released two singles ‘Torch Song For The Heroine’ and ‘Images of Heaven’ which featured members of ULTRAVOX. Although never having a hit in his own right, Godwin hit paydirt when David Bowie covered ‘Criminal World’ by his previous band METRO on the ten million selling ‘Let’s Dance’ album.

A regular visitor to The Blitz Club, Ashworth was a natural choice for the eponymous debut VISAGE album cover image in 1980. Shot in the actual club itself, he had titled the photo ‘The Swing’ thanks to the dancing pose captured of Steve Strange and model Vivienne Tribbeck in front of three silhouetted jazz musicians, one of whom was the soon-to-be famous milliner Stephen Jones. The eventual artwork was actually hand tinted by Iain Gilles, so it was fabulous to see the original photo which to be honest looks better!

One of the acts most closely associated with Peter Ashworth has been SOFT CELL and he took many photographs of Marc Almond and Dave Ball during their career, as well as being an occasional drummer in Almond’s MARC & THE MAMBAS venture. The ‘Bedsitter’ image highlighted Ashworth’s use of props which in this case were a number of kitchen utensils. But the duo’s tense facial expressions can be explained by the fact that the props kept falling off the wall behind them!

‘Mavericks’ is a must see exhibition for anyone remotely interested in pop music and its visual presentation. There is also the opportunity to purchase a quality greeting card set of six iconic Peter Ashworth images which because they measure 6″ x 6″, four can fit perfectly into one of those album artwork frames available in HMV or Fopp… so guess what ELECTRICITYCLUB.CO.UK did???

ELECTRICITYCLUB.CO.UK gives its sincerest thank to Peter Ashworth

‘Mavericks’, a photographic show by Peter Ashworth runs at the Lever Gallery, 153 -157 Goswell Road, London EC1V 7HD until 20th December 2018 – entry is free and open Tuesday to Sunday or by appointment

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Text and Photos by Chi Ming Lai
20th November 2018, updated 11th December 2018

NEW ORDER Live at Alexandra Palace

10 November 2018 /

It’s interesting to think that when Bernard Sumner and Stephen Morris were in their 20s, NEW ORDER gigs would be around three quarters of an hour! But with both now in their 60s, the band are onstage for close to 2 hours and 20 minutes! 

The pair with younger founder member Gillian Gilbert and new recruits Phil Cunningham and Tom Chapman played their only UK gig of 2018 at London’s Alexandra Palace and delivered a superb show that acknowledged their history, one which a number of their contemporaries could learn from.

Alexandra Palace is an iconic building, full of prestige as a live venue, but its practicalities are hindered by limited public transport access and with a standing capacity of 10000, a stage so low that anyone under 5 foot 11 inches automatically has a restricted view! Luckily, NEW ORDER’s live presentation with its vibrant widescreen visuals more than compensated.

Opening with ‘Singularity’, footage compiled from Mark Reeder’s documentary ‘B-Movie: Lust & Sound in West-Berlin 1979-1989’ complimented the track’s rock electro tension before the quintet launched straight into ‘Regret’; welcomed back like a lost friend, the 1993 hit single had not been in the NEW ORDER live set during their last UK tour in 2015 or the ‘So It Goes..’ synth orchestra shows.

Appropriately for Remembrance 100 weekend, a superb ‘Love Vigilantes’ was dusted off while there were even bigger surprises with ‘Ultraviolence’ from ‘Power, Corruption & Lies’ set to stark images of bullets and a blistering version of ‘Disorder’, the JOY DIVISION song which opened the now classic 1979 debut long player ‘Unknown Pleasures’.

2001’s ‘Crystal’ naturally came accompanied by the promo video from which THE KILLERS got their name. Meanwhile a rendition of ‘Academic’ from the ‘Music Complete’ comeback highlighted how impressive the ‘Akademixx’ reworking by Mark Reeder for his ‘Mauerstadt’ collection was, as NEW ORDER’s own take now came over as slightly underwhelming.

The glorious ‘Your Silent Face’ with its serene neo-classicism was a highlight, illustrated by a ‘Dallas’ style montage which drew cheers as each starring band member’s name was flashed onto the screen.

On the whole, the very bright visuals based around geometric shapes and specially filmed life sequences were magnificent, although at times, the unnecessary use of lyrics on some of the projections bordered on karaoke unless they were prompts for Bernard Sumner.

There was the old jibe that Ringo Starr was not even the best drummer in THE BEATLES and Bernard Sumner is known not to be the best singer in NEW ORDER, but he has learnt to use his limitations well over the years. Tonight, his vocals were as wayward and vulnerable as ever; part of the omnipresent charm of NEW ORDER, while there were a few missed cues too, one thing that was obvious was his enthusiasm and that he was throughly enjoying himself.

Introducing the Italo House flavoured ‘Tutti Frutti’ as “quirky”, NEW ORDER launched into a sensational electronic disco extravaganza akin to an over 50s rave, although there were plenty of youngsters in the audience who knew ALL the words!

The baroque sex anthem ‘Sub-Culture’ combining the best elements of the original ‘Low-life’ version and the John Robie remix triggered massed dancing, as did a Richard X assisted update of ‘Bizarre Love Triangle’ segueing into the dreamily emotive ‘Vanishing Point’, one of the stand-outs from 1989’s ‘Technique’.

The only misstep of a wondrous setlist was an electronic take on ‘Waiting For The Sirens’ Call’, the transformation of a classic NEW ORDER guitar driven number not working at all. But victory was snatched back by ‘Plastic’, with the hypnotic sequenced influence of Giorgio Moroder reflected by a spectacular road trip of flashing nocturnal illustrations.

The mighty triad of ‘The Perfect Kiss’, ‘True Faith’ and ‘Blue Monday’ rewarded the audience while with a steady introduction comprising of the string quartet motif from Lou Reed’s ‘Street Hassle’, ‘Temptation’ saw the song’s memorable chant reprised by all present like some communal hymn.

It was a long energetic evening that ensured the crowd were exhausted so despite somewhat muted calls for an encore, NEW ORDER returned for a JOY DIVISION triathlon beginning with ‘Atmosphere’.

Using David Bowie and Giorgio Moroder’s ‘Cat People (Putting Out Fire)’ as a re-arranged first section, there were roars of approval as the forever looming figure of singer Ian Curtis appeared on the screen. An emotional ‘Decades’ from ‘Closer’ and its sonic grandeur set to archive footage of Manchester was the evening’s pièce de résistance while ‘Love Will Tear Us Apart’ sent people home with strength through joy, despite the song’s sad backstory.

Yet another band who are better than the current live incarnation of DEPECHE MODE, NEW ORDER win on many points thanks to a drummer in Stephen Morris who actually knows how to play along to electronics, a guitarist in Bernard Sumner who can play a variety of styles without lowering to blues noodling plus the use of original sounds synonymous with the songs, like the Oberheim DMX on ‘Blue Monday’ and the synthetic clap on ‘Decades’.

And that’s without mentioning an inventive setlist of not just hits and tracks from the most recent album ‘Music Complete’, but songs from the early days of JOY DIVISION, not just one but four fan favourites from the classic albums, singles that weren’t hits and sensational visuals that impacted all of the audience and were not just seen by a privileged few.

Now just imagine for a moment DM actually giving some thought of making that effort and doing the equivalent…

‘Education Entertainment Recreation’, the live recording of this show is released by Rhino as a Bluray film + 2CD plus audio 2CD, 3LP and download on 7th May 2021

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Text by Chi Ming Lai
Photos by Simon Helm
10th November 2018, updated 26th March 2021

JOHN CARPENTER Live at Glasgow Barrowlands

23 October 2018 /

John Carpenter’s career as a film maker has run parallel to that as a musician allowing him to have control over not only the visual in his movies but also the audible too.

In fact, a look at his IMDB listing shows his credits under “Soundtrack” are almost double the number of credits for “Director”. But this really shouldn’t come as a big surprise at all. Carpenter’s father Ralph was head of the music department at Western Kentucky University.

John himself studied there before going on to film school in Los Angeles. From the earliest days as a director with the Oscar winning short film ‘The Resurrection of Broncho Billy’, he has provided the musical accompaniment to his films, writing some of the most memorable scores along the way.

In recent years, his influence can be heard across both film and television soundtrack and also in the new influx of bands releasing under the Synthwave genre. This in turn has not only lead to a reappraisal of Carpenter’s musical output but also the surprise release in 2015 of ‘Lost Theme’s, an album of soundtrack styled music produced with his son Cody and godson Daniel Davies, son of THE KINKS’ Dave.

That release in turn brought Carpenter’s soundtrack work together on ‘Anthology’, and an extensive tour to support. And so to legendary Glasgow Barrowlands and the show under scrutiny here…

It was always going to be a strange offering, given the sort of music being performed and the potential audience this would attract. And looking at the queue outside the famous Glasgow venue, the mix was indeed eclectic to say the least. Film geeks rubbed shoulders with Synthwave guys in trucker caps and rockers.

Inside, the near capacity crowd waited patiently whilst the merch stall did a roaring trade in shirts and tour edition vinyls. The stage was sparse apart from a large screen behind the band which added to the anticipation amongst many of the folk around where we stood.

The man himself wandered cooly onstage about 10 minutes later than scheduled with his younger 5 piece band and with a quick “Good evening Glasg-Gow”, launched into the set. Opening with ‘Escape From New York’, the video screen came to life and we were treated to a greatest hits from the movie. This approach accompanied the film pieces throughout and led to a few strange moments when the crowd cheered what was on screen louder than the music that was playing alongside.

The iconic ‘Assault on Precinct 13’ followed with its relentless synth bass and large string motifs. Probably the most influential of JC’s works, it has been referenced by many electronic and hip-hop acts. There was even a vocal version released in 1975 by Trinidadian singer Jimmy Chambers with lyrics by Kenny Lynch and titled ‘You Can’t Fight It’. It’s now, thankfully, a rarity! For a more listenable take look for ‘Assassin’ by Mark Shreeve which takes the piece and adds to it in a very acceptable way.

“We now visit a place none of you have ever been to…” says Carpenter of ‘The Village of the Dammed’ which led one wag in the crowd to reply “You’ve obviously no’ been to Cumbernauld big man!”

Following this, ‘The Fog’ slowed things down before we had the first of 3 tracks from the aforementioned ‘Lost Themes’. This brought an interesting observation from Glasgow promoter Barry Douglas who was with me at the gig: “All the Synthwave bands are influenced by Carpenter but the ‘Lost Themes’ stuff sounds like any other Synthwave act”; this has some credence but why that should be is harder to fathom. Carpenter himself said the ‘…Themes’ albums were fun as he had no pressure to score over images. Perhaps the combination of working in both media however is what makes Carpenter Carpenter…

Normal service was quickly resumed with the band all donning sunglasses for an excellent ‘They Live’ which had some people bizarrely dancing along. Then came 2 pieces from the soundtracks Carpenter didn’t write. ‘Starman’ was dedicated to the beautiful women of “Glas-Gow” and the Ennio Morricone penned main theme from ‘The Thing’ were followed by ‘Distant Dream’ from ‘Lost Themes’.

From here, it was all Carpenter however. “Have you paid your dues Jack? Yes Sir, the cheques in the mail” heralded ‘Big Trouble in Little China’ and brought the 2nd biggest cheer of the night, before the moment most had been waiting for. The 19th of October saw the release of the latest ‘Halloween’ movie and the theme from this segued effortlessly into the classic piano motif of the 1978 original. From here, the pacing of the show dropped off a little underlining that this wasn’t a rock show despite the venue and the staging.

An encore consisting of some of his later work was rounded off with the message to drive home safe and the theme from the Stephen King adaptation ‘Christine’. Heading out into the developing chill of a Glasgow (Glas-Gow?) October evening, I was left to ponder on what the legacy of John Carpenter will be. As a film maker, the extracts that formed a visual greatest hits to accompany the music certainly left me wanting to revisit some of those films.

As a musician he should be recognised as one that brought the synthesizer into the soundtrack mainstream and in doing so, probably exposed as many people to electronic music for the first time as Jean-Michel Jarre and Vangelis. For that we should be thankful. We may even in the long run be able to forgive him for being one of the fathers of Synthwave.

‘Halloween – Original Motion Picture Soundtrack’ is released by Sacred Bones Records in CD, vinyl LP and digital formats

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Text and Photos by Ian Ferguson
23rd October 2018

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