Tag: Mute Records (Page 6 of 10)

ERASURE World Be Gone

18 May 2017 /

2014 saw ERASURE celebrate yet another success with ‘The Violet Flame’, where according to Andy Bell, he and Vince Clarke “definitely found (their) mojo again with this record”.

Following their thirtieth anniversary, the synthpop kings now return with the seventeenth studio album entitled ‘World Be Gone’. This time, self-produced by ERASURE and mixed by Matty Green, the long player sees Vince and Andy in a more pensive mood.

Joining their electronic colleagues PET SHOP BOYS and DEPECHE MODE who have both released politically charged opuses, the band reflects on the current political situation. However, ERASURE do it with an expression of faith in the future, as Bell explains: “I think there’s an under swell of opinion, and people are slowly waking up. I’m hoping that people will take the album in a positive way, that they’ll use it as optimistic rabble-rousing music.”

‘Love You To The Sky’ heralds the ten track outing. While it’s a pleasant sounding melody with Andy’s angelic voice and a rather captivating verse, the track struggles to lift to the heights which ERASURE are celebrated for. The beautifulness of the verses disperses with the repetitive chorus, making ‘Elevation’ from ‘The Violet Flame’ the winner in the battle of the first singles hands down. Still, judging by the efforts by their contemporaries, ‘Love You To The Sky’ is a charming and well-written song.

The slower paced ‘Still It’s Not Over’ searches the soul with gentle sounding musicality and simple melody, conveying a hopeful message of the continuation of everyday fights, against all odds, even though we were “left (us) to the sheer attack, and still it’s not over”.

Where the quintessential ERASURE sound comes to play, is on ‘Be Careful What You Wish For’. This excellently led tune sublimely meanders itself around a plethora of Andy Bell’s vocals. The dreamy lyrics are challenging and endearing, and the whole song is just beautifully executed.

Following on, there ushers the album’s title track, which is equally peaceful and gracefully powerful. Reminiscent of the vintage ballads by Clarke, ‘World Be Gone’ ties together with the band’s history in a seamless manner.

‘A Bitter Parting’ tells the story of a failed relationship over African inspired choirs a la ‘The Kodo Song’ by KID KASIO, elegantly penetrated by marvellous synth and added nostalgia in the lyrical content.

‘Take Me Out Of Myself’ is a gentile plea for being treated with deserved consideration, like a demure version of Otis Redding’s ‘Respect’, while ‘Sweet Summer Loving’ introduces a change in tempo with a mid-paced love song.

‘Oh What A World’ superbly escorts a twist in ERASURE’s notion; different sounds, different feels to the vocals and altogether a rather big departure from what we have come to know and love the duo for, but this is where Vince Clarke proves, yet again, that he’s an unparalleled synth magician. It’s possibly the best piece from the Bell / Clarke stable in years.

‘Lousy Sum Of Nothing’ continues the delicate theme, leading to the closing ‘Just A Little Love’. Here is where the lovers of the dancier tracks get their money’s worth. It’s a rather unassuming, yet solid piece to wrap up this wonderfully gracious offering.

As set out, Bell and Clarke bring us more than hope. ‘World Be Gone’ will probably be as commercially successful as its predecessor, and unlikely to follow the fate of the very unloved and misunderstood ‘Tomorrow’s World’.

A few will wonder as to why the production wasn’t delegated out and some will criticise. But every now and then, an easy listening piece is needed to level out the vast material ERASURE have brought us over the years.

Is it their finest? It’s different, more grown-up and maturely executed; still, it will undoubtedly be one of the best things synthpop enthusiasts will hear this year.

‘World Be Gone’ is released by Mute Artists in a variety of formats including CD, vinyl LP, cassette and digital

ERASURE 2017 live dates include Glasgow O2 Academy (27th May), Manchester Albert Hall (28th May), London Roundhouse (29th May)

They also open for ROBBIE WILLIAMS in the UK and Europe throughout July and August, see press for details

http://www.erasureinfo.com/

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https://twitter.com/erasureinfo

Text by Monika Izabela Trigwell
18th May 2017

A Beginner’s Guide To DEPECHE MODE In The 21st Century

19 April 2017 /

Photo by Anton Corbijn

Nearly 30 years since the Concert For The Masses at Pasadena Rose Bowl, DEPECHE MODE continue to fill stadia throughout the world.

However, their recorded output in the 21st Century and their attitude towards their live presentation leaves a lot to be desired. Despite ELECTRICITYCLUB.CO.UK’s criticism of DEPECHE MODE as a live band with the excesses of The Drumhead and The Noodler, they are still capable of occasional brilliance as an artistic force. And it is that intermittent quality which is the most frustrating aspect of DEPECHE MODE in the 21st Century.

But this article is not about the absence of Alan Wilder or the much-debated choice of producers, it’s about when the DEPECHE MODE brand has got it right, whether with the full involvement of the band’s members or not. So which are those moments that veer closest to the glory of albums such as ‘Black Celebration’, ‘Music For The Masses’ and ‘Violator’ that see Messrs Fletcher, Gahan and Gore properly exploring the electronic sound with which they made their fortune?

Tellingly, many of the best DM moments in this new millennium are remixes, instrumentals, bonus tracks or songs sung by Martin Gore. It must be pointed out that this listing is NOT intended for Devotees, but aimed those former fans of DEPECHE MODE disillusioned by Dave Gahan’s drug fuelled stage diving antics who bowed out after ‘Songs Of Faith & Devotion’ or those hanging on for the possibility of a good record using synthesizers rather than a collection of pastiche electro-blues.

So here are the 18 tracks which act as ELECTRICITYCLUB.CO.UK’s own Beginner’s Guide To DEPECHE MODE in the 21st Century.

Dream On – Dave Clarke Acoustic Version (2001)

‘Dream On’ was a messy trailer to the inappropriately named ‘Exciter’ album, but with Dave Clarke slowing down the song’s acoustic guitar line, the makeover brought the track closer to its full musical potential. Anything BUT acoustic thanks to the addition of electronic drum patterns and icy string synths, there was the bonus of the track being made instrumental and free of the dreary lead vocal on the original.

Available on the 2CD album ‘Remixes 81 – 04’ via Sony Music

I Feel Loved (2001)

Inspired by Giorgio Moroder, the pacey and club friendly ‘I Feel Loved’ stood out like a sore thumb on ‘Exciter’, being the album’s only truly uptempo number. With its synthy sirens and tightly sequenced bassline, treated enhancement was provided by Airto Moreira, a veteran jazz drummer from Brazil who appeared to have a good grasp as to the best way to provide percussive colour to a danceable electronic recording.

Available on the album ‘Exciter’ via Sony Music

Easy Tiger – Full Version (2001)

Martin Gore’s interest in leftfield electronica and thus the employment of the late Mark Bell from LFO as producer on ‘Exciter’ only truly manifested itself in the full-length version of ‘Easy Tiger’ which appeared on the B-side of the ‘Dream On’ single. A beautifully progressive track with many intelligent layers and hypnotic percussive counterpoints, a truncated version of ‘Easy Tiger’ ended up on the album, but was so short that it was rendered virtually pointless when cut off at two minutes.

Available on the 6CD single boxed set ‘6’ via Mute Records

Zenstation (2001)

A dreamy neo-instrumental with a few Martin Gore vocal ab-libs, ‘Zenstation’ emerged as the B-side of ‘Freelove’. Using exotic koto samples and assorted detuned synth sounds, the under rated track was strong on melody and inventive in its percussive interplay. Recalling an earlier mood piece ‘Christmas Island’ but utilising a more meditative environment, its Far Eastern overtones provided a wonderful textural diversion within the DEPECHE MODE canon.

Available on the CD single ‘Freelove’ via Mute Records

A Pain That I’m Used To – MARSHEAUX remix (2005)

Already a magnificent brooding epic in its original form, ‘A Pain That I’m Used To’ was brilliantly transformed by MARSHEAUX, adding their own sparkling top end dynamic. While this is one of DEPECHE MODE’s better offerings in recent years, it seems outsiders have a better grasp of classic DM than the band themselves. Although never officially released, this was voted top remix in a poll of Devotees and far superior to the dreadful Jacques Lu Cont remix that the band insist on doing live!

Remix not officially available

Suffer Well (2005)

The ‘Playing The Angel’ album was a return to form, thanks largely to its “pain and suffering in various tempos” but also following his lacklustre solo debut ‘Paper Monsters’, the rise of Dave Gahan’s abilities as a songwriter, as proven by the embittered thrust of ‘Suffer Well’. It was a fine if slightly overdriven fusion of rock and electronic elements that came over brilliantly in a live setting.

Available on the album ‘Playing The Angel’ via Sony Music

Martyr – Paul van Dyk Radio Mix (2006)

It could be said that the worst judges of DEPECHE MODE’s music are DEPECHE MODE themselves… originally titled ‘Martyr For Love’, this rousing number came from the ‘Playing The Angel’ sessions, but was apparently rejected from the album for being too poppy! Released as the launch single to a ‘Best Of’ compilation, the most enjoyable version of the song came via a remix from top Trance DJ Paul Van Dyk who exploited the tune’s accessibility to the full with a nicely polished club friendly sound.

Available as an iTunes download single via Mute Records

Wrong – Trentemøller Club Remix (2009)

Anders Trentemøller’s superb Club Remix of ‘Wrong’ well and truly outstripped the rather ploddy original. His astute understanding of synthesizers and conventional instruments has made him an acclaimed producer in-demand with both electronic acts and indie bands such as SAVAGES. But despite sitting under the noses of Messrs Gahan, Gore and Fletcher, the Dane has unbelievably never received that call.

Available on the album ‘Remixes 2: 81-11’ via Sony Music

Spacewalker (2009)

Martin Gore writes great instrumentals, but unlike the days of yore when he would explore his synths and build atmospheres like on ‘Oberkorn’ and ‘Nothing To Fear’, they are kept as short as possible, almost in fear of boring the more rock inclined audiences where subtle textures are a bit of an anathema. ‘Spacewalker’ was wonderfully light and tuneful relief on the rather dire ‘Sounds Of The Universe’.

Available on the album ‘Sounds Of The Universe’ via Sony Music

Jezebel (2009)

Martin Gore’s voice is undoubtedly more suited to ballads and in an album of C-sides, a song that perhaps would have only been a B-side a few years earlier was the highlight of ‘Sounds Of The Universe’. With lyrics such as “Whenever we walk in – You’re going straight to hell for wanton acts of sin”, ‘Jezebel’ was a stand-out song and able to keep the some of the more deviantly inclined Devotees happy.

Available on the album ‘Sounds Of The Universe’ via Sony Music

Oh Well (2009)

‘Oh Well’ is one the best DEPECHE MODE recordings of the 21st Century, but it never made the final tracklisting of ‘Sound Of The Universe’ which proves the band aren’t the best judges of their own music. The first Gore / Gahan song collaboration, although their parts were written separately, it showed that they could sound exciting when some creative tension was thrown in. Like Giorgio Moroder meeting DAF, it was cruelly used as a video teaser to fool fans into thinking there would be a full-blown synth work.

Available on the 4CD deluxe boxed set ‘Sounds Of The Universe’ via Mute Records

The Sun & The Moon & The Stars – Electronic Periodic’s Microdrum Mix (2009)

‘The Sun & The Moon & The Stars’ was a Martin Gore vocalled outtake from the ‘Sounds Of The Universe’ sessions and while it was included on the deluxe 4CD boxed set alongside ‘Oh Well’, the original guitar driven ditty was not very convincing. The more overtly electronic Microdrum Mix with its scratchy rhythm passage and robotised harmonies was far superior, as an example of yet another more fully realised recording courtesy of an external remixer.

Available on the iTunes Pass download album ‘Sounds Of The Universe’ via Mute Records

Soothe My Soul (2013)

An obvious cousin of the bluesy ‘Personal Jesus’ but quickly disowned and dropped from the ‘Delta Machine’ tour, ‘Soothe My Soul’ was one of the few crowd pleasers in a live set that had far too many lulls. But with Gahan’s rockist tendencies and insistence on live drums from Christian Eigner, why don’t DEPECHE MODE be brave and go the full blues combo hog, put Peter Gordeno on bass guitar and drop the electronics, as well as the old hits? Is that possibly because no-one would bother to see them?

Available on the album ‘Delta Machine’ via Columbia Records

Broken (2013)

A song that Dave Gahan said to Mojo Magazine was “uptempo” but in reality, was more like ‘A Question Of Time’ with assistance provided by a mobility scooter, ‘Broken’ was nevertheless, one of the better and more electronic offerings on the blues dominated ‘Delta Machine’. But the end result sees Gore desperately trying to work guitar into a track where it’s not needed, almost as a statement to say that DEPECHE MODE are NO LONGER an electronic band!

Available on the album ‘Delta Machine’ via Columbia Records

All That’s Mine (2013)

In a pattern similar to ‘Oh Well’, the best song from the ‘Delta Machine’ sessions was left out of the main act. ‘All That’s Mine’ featured a tightly sequenced backbone, electronically derived rhythms and a gloomy austere… in fact, they were all the perfect ingredients for a classic DM tune! But it was no doubt rejected because Dave Gahan can’t do a Mick Jagger impression to it and would have been changed beyond recognition if performed with live drums.

Available on the 2CD deluxe album ‘Delta Machine’ via Columbia Records

Should Be Higher – In My Eyes Remix (2013)

Using sounds sampled off ‘World In My Eyes’, this 4/4 bootleg remix by DOMINATRIX was far superior to the original, offering many of the synthesized textures and electronic percussive templates that made DEPECHE MODE great. In its original form, the song was good but suffered from a lacklustre production and ploddy arrangement, perhaps in an attempt to project a more authentic bluesman demeanour. It’s as if DEPECHE MODE are scared to be considered an electronic band these days.

Remix not officially available

Cover Me – Alt Out (2017)

The vocal-less second half of ‘Cover Me’ was brilliant, a gorgeous cacophony of arpeggios and layers of sweeping synths reminiscent of the ‘Violator’ era. But when the ‘Alt Out’ mix was issued as a bonus on the ‘Spirit’ album’s deluxe edition, it was as if someone within the band’s circle understood Gahan’s SOULSAVERS warbling was likely to polarise and that an instrumental version would be appreciated by the masses… it was!

Available on the 2CD deluxe album ‘Spirit’ via Columbia Records

Fail (2017)

Despite being the main songwriter, things do not look good when the best vocal song on a DEPECHE MODE album is one sung by Martin Gore. And on ‘Spirit’, it was the turn of the sombre but enticing ‘Fail’. Gore seems to have an understanding of what is appealing about DEPECHE MODE, but appears too frightened to assert that ethos on the grunge victim that is Gahan. But their financial dependency on each other to means that much of the music now in the name of the brand seems strangely muted.

Available on the album ‘Spirit’ via Columbia Records

DEPECHE MODE play London Stadium on Saturday 3rd June 2017

http://www.depechemode.com/

https://www.facebook.com/depechemode/

Text by Chi Ming Lai
19th April 2017

ADULT. featuring DOUGLAS J McCARTHY They’re Just Words

8 February 2017 /

Their last wonderful album ‘The Way Things Fall’ was described by one keen observer as “a snuff film version of Speak & Spell”.

Having signed to Mute, ADULT. are back with a soon-to-be long player entitled ‘Detroit House Guests’.

As the title suggests, it is a collaborative affair based on the visual artist residency model, with each musician coming to Nicola Kuperus and Adam Lee Miller’s studio for a three week period under the premise that they all lived, worked and collaborated together.

The first track to be made public was ‘They’re Just Words’ featuring the vocals of Douglas J McCarthy, frontman of NITZER EBB and also the cousin of Perry McCarthy, the original ‘Top Gear’ Stig. A stark promo video for this slice of mechanical but strangely groovy electro sees the trio in some suitably nocturnal locations, as McCarthy and Kuperus provide a creepy call and response duet.

On ‘They’re Just Words’, Kuperus does a great deadpan take on Siouxisie Sioux, while McCarthy is in particularly good form sounding like an inebriate preacher. He also appears on a second track on the album called ‘We Are A Mirror’.

‘Detroit House Guests’ will feature collaborations with a whole host of musicians and artists including Michael Gira from SWANS, Shannon Funchess from LIGHT ASYLUM, Robert Aiki Aubrey Lowe aka LICHENS, Austrian thereminist Dorit Chrysler and multi-disciplinary artist Lun*na Menoh.

‘Detroit House Guests’ is released by Mute Artists in double vinyl, download and CD formats on 17th March 2017

http://www.adultperiod.com/

https://www.facebook.com/adultperiod/

http://mute.com/artists/adult

Text by Chi Ming Lai
Photo by Nicola Kuperus
8th February 2017

ON DEAD WAVES On Dead Waves

25 May 2016 /

Both Polly Scattergood and James Chapman aka MAPS, have established themselves as two of the brighter stars on the current Mute Records roster.

MAPS’ last album ‘Viscissitude’ was a superb work which presented a far subtler and more atmospheric take on synthpop, showing that a wall of sound approach can function in the context of melodic synthesized music. Meanwhile, Polly Scattergood has released two albums of quirky indie / alt-rock and getting a Vince Clarke remix along the way for her track ‘Other Too Endless’.

Having previously worked together at the Mute Short Circuit Festival, the two have joined musical forces and this has resulted in the eponymous ‘On Dead Waves’ album, a collection of songs which have a far more retro-based aesthetic than their individual works.

Chapman’s guitar work has always been present in MAPS’ music, but normally buried in the background underneath a wall of synths and reverberant electronic drums. But here it takes centre stage in an album that vocally is directly influenced by the songs of Lee Hazelwood & Nancy Sinatra. Chapman’s voice throughout is pitched at a low baritone level (usually an octave below Scattergood’s) and provides textural support to her atmospheric musings.

There have already been three singles from ‘On Dead Waves’ and these are undoubtedly the main highlights here – ‘Blue Inside’ is a thing of beauty, full of melancholy and hinging around a chiming guitar / synth figure which lifts the track to another level in its chorus.

The confessional ‘Blackbird’ takes some of MAPS’ Shoegaze elements and combines it with nods to both country and the films of David Lynch. ‘California’ is short and sweet, incorporating a BYRDS-style twelve string electric guitar, and is the most upbeat and bass-driven track here with its percussive handclap / tambourine / shaker combo making the track fly by in an instant.

Also present is a cover of the classic ‘Autumn Leaves’ which has previously been recorded by artists such as BOB DYLAN, ERIC CLAPTON and EDITH PIAF. Here the song is held together by wide cinematic tremolo guitars and subtle underpinning electronics, with both Scattergood’s and Chapman’s vocals harmonising throughout until the songs ambient conclusion.

The closing ‘Winter’s Child’ initially recalls GOLDFRAPP’s ‘Lovely Head’ with its ethereal introduction and features some welcome electronic pad and synth bass textures. The tolling bells in the track and whistling take their cue from the soundtrack work of Ennio Morricone and the concluding hypnotic ‘On Dead Waves’ mantra appears to accompany the end credits to an unseen movie.

The fact that Lana Del Rey has already previously mined this kind of sound does steal a bit thunder from ON DEAD WAVES, but this doesn’t stop it from being judged on its own merits. ‘On Dead Waves’ is the kind of album to zone out to on a Sunday morning and perfect for re-imagining yourself on a desolate and dusty American highway somewhere.

Considering Chapman’s previous back catalogue, there is a noticeable lack of synths here, but in recreating a sound which is more retrograde sounding, the use of organ, guitar and lighter percussion are obviously the correct musical layers to use to evoke this period.

In a world where everything appears to be moving too fast, an album like ‘On Dead Waves’ is most welcome, it makes you pause… take a step back and appreciate that not all music needs to batter you incessantly for attention. Probably the biggest compliment to give this would be that if a third series of the critically acclaimed ‘True Detective’ were to ever hit our screens, the songs here would be an absolute perfect fit to soundtrack it.

‘On Dead Waves’ is released by Mute Artists in CD, vinyl and download formats

https://www.facebook.com/ondeadwaves/

http://www.pollyscattergood.com/

https://thisismaps.com/

http://mute.com/artists/on-dead-waves

Text by Paul Boddy
25th May 2016

NEW ORDER Music Complete

28 September 2015 /

Band break-ups, although always problematic, can have a polarising, but often surprisingly positive musical effect on those involved.

The well-documented HUMAN LEAGUE Mark I split, where Martyn Ware was effectively fired from his own band, motivated him, Ian Craig Marsh and new vocalist Glenn Gregory to strive to make an album which was better than the one Philip Oakey’s new version of the band was creating. Although arguably in terms of sales and critical acclaim they didn’t, it still set HEAVEN 17 on their way and certainly didn’t harm their future success.

The troubles in the NEW ORDER camp and the acrimony between Peter Hook and his ex-bandmates have managed to rack up plenty of column inches, reaching a nadir with Hook describing returning keyboard player Gillian Gilbert as a “wonky table leg”, to which she rather more subtly and rightly retorted “I’m on all the best records aren’t I?”. What the split has done though, is allow Hook to tour pretty constantly for the last five years, showcasing a mixture of JOY DIVISION and NEW ORDER material which to his frustration, the band (when he was in it) seldom played.

So now with a new record deal with Mute, it’s an ideal opportunity for Bernard Sumner and his colleagues (old and new) to prove that after a couple of “so-so” albums, that they still have some creative fire left in them and are able to function without their founder member and bassist.

The lead-off single and album opener ‘Restless’ certainly didn’t bode too optimistically for ‘Music Complete’, although in the context of the album is certainly more of a grower and takes a few listens to appreciate its charms. Next up is THE CHEMICAL BROTHERS’ Tom Rowlands produced ‘Singularity’, whose sequencers recall ‘Temptation’ and also features some welcome KRAFTWERK-ian percussion sounds and unhinged resonant synth squeals throughout. The melodic synths and half-time drum patterns used are refreshing for a track which doesn’t try to pander to any particular genre.

‘Plastic’, which features Elly Jackson aka LA ROUX, revolves around some even more prominent Moroder-ish sequencing with the sort of girly backing vocals which first made an appearance on ‘Crystal’. A Hooky soundalike bassline by replacement Tom Chapman makes an appearance midway which is sure to wind up the ex-bassist and an extended electronic middle section showcases the first significant programmed drum machine work on the album.

‘Tutti Frutti’, with its pitched down Italian vocal, initially recalls ‘Fine Time’ from ‘Technique’ and once the song skips past its jaunty ‘Relax’-style intro, proves itself to be a classic NEW ORDER song. This time, Elly Jackson’s guest vocals compliment Sumner’s perfectly, whose own phrasing during the song’s verse sections showcases a previously unheard lazy vocal delivery from the frontman and includes the classic line “where every scholar means a dollar”. The song’s middle section and ending features a wonderfully orchestrated string section, throws in an acid house drum pattern for good measure and at its climax, some more additional low pitched vocals (sampled from a very suspect Italian game show) which unfortunately could prove the deal breaker for some.

Photo by Nick Wilson

‘People On The High Line’ with its ultra-funky bass and guitar combination, starts rather worryingly like ‘Club Tropicana’ by WHAM! before descending into a rather forgettable ‘dad house’ piano track – Elly Jackson again guests here. ‘Stray Dog’ is one long IGGY POP monologue which is based upon a poem that Sumner constructed and is surely a wasted opportunity – a sung vocal performance would certainly have proved more intriguing.

‘Academic’ showcases the band-style NEW ORDER sound and is a highlight of ‘Music Complete’; it effortlessly glides past and features some classically direct Sumner guitar which is missed elsewhere on the album. ‘Music Complete’ closer, ‘Superheated’ is a Stuart Price production and features Brandon Flowers from THE KILLERS on vocals – it’s a rather lightweight uptempo conclusion and features more string orchestration. Yet again, like other songs here, it seems to miss Sumner’s trademark guitar.

What this album DOES have in its favour is that it doesn’t try overly hard to win you over. Whereas the recent DURAN DURAN album (with its myriad of guest vocalists and producers) was the musical equivalent of a tired old dog trying to hump your leg to get your attention, ‘Music Complete’ is a far more subtle proposition and is far better for it.

Although very electronic in places, there is still a real band dynamic here, especially with the use of Stephen Morris‘ drumming and the implementation of producers, which has generally helped rather than hinder the creative process. Though not a classic in comparison with ‘Low-Life’ or ‘Power, Corruption & Lies’, ‘Music Complete’ does in places provide some compelling listening and in many respects is a revitalised, if flawed piece of work.

At the end of the day, what proves ultimately enlightening, is that by the end of the album, Peter Hook’s presence isn’t overly missed. Tom Chapman ably replicates his sound (albeit mixed slightly lower in the songs here) and although hardcore fans will perpetually scream “No Hooky, no New Order!”, ‘Music Complete’ is a complete and musically coherent enough product without him.

‘Music Complete’ is released by Mute Artists in CD, clear vinyl LP, vinyl box set and download formats

http://www.neworder.com/

https://www.facebook.com/NewOrderOfficial

http://mute.com/artists/new-order

https://newordertracks.wordpress.com

Text by Paul Boddy
28th September 2015

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