Homerik are bringing their self-titled album just in time for Halloween

As September draws to a close Samhain approaches, causing the veil between worlds to thin dramatically and allow creatures like Homerik to pass into our world. The New York trio are bringing their new album Homerik with them after three years of meticulous crafting and splicing to unleash their twisted sound upon the masses.

Ken Candelas, Andrew Petriske and Obed Gonzalez have combined to create something uniquely dark and in some tracks even on the side of disturbing. Most bands and artists on the road to success have been influenced by a plethora of sounds and Homerik are not that much different as they have their feet in progressive, orchestral metal bands. However Homerik are also inspired by the malevolent sounds of the world throughout history that they have combined with their music to create something unnervingly raw. Even more unconventionally the band’s want to challenge modern art ranges also comes from twisted video games like Gears of War. These influences have allowed Homerik to highlight the darker side of humanity and take you through the plague-infested pastures you would otherwise glance the other way from.

Whether you want to or not their addictive debut album Homerik will drag you from track to track until your protesting cries turn into screams for more. Beginning with ‘Curse of the Black Nile’, an epic monstrosity incorporating lines from one of the most disturbing Ancient Egyptian texts (The Cannibal Hymn). The track has a regal elegance that slowly descends into something more sinister the longer it plays. Crescendo-ing into a rapid heavy metal drum beat and combining with a mixture of soft and aggressive spitting of lyrics. The guttural vocals are a combing sound of the bands Rammstein and Slipknot with a guitar riff giving the band a slightly Avenged Sevenfold sound. However despite these similarities they are only slight as Homerik have created something new by combining sounds and genres other before them have not. The album then moves even further into the macabre with ‘Unforgotten Kin’, a furiously dark tale about brothers mourning their deceased sibling trapped in limbo. The whole of Homerik embodies a fully orchestral sound that delves even darker than the similar orchestral band Within Temptation and push so strongly against musical barriers they could be breaking through into new territory. The album combines three interweaving vocalists in their ranks as well as guest sopranos to create a chorus seemingly of hundreds eerily floating through each track.

The lead track from the album, ‘A Song of the Night Part 1’ is a fitting example of the way Homerik are infecting music and taking no prisoners. The track begins as a soaring, almost magical ascent into an ethereal sound before plummeting back to the core of Homerik after about three minutes. Giving a sense of false security that the track takes full advantage of. ‘A Song of the Night Part 1’ can be summarised as a spiralling nightmare you can’t help but have over and over as the track becomes stuck in your head. The single seven minute track is long enough and infused with enough musical ability that it could be separated into two but the way the band have combined the different sounds is gothically beautiful. The track is also a perfect example of the band’s video game influence as it sounds like something that would be played on a lute in a tavern with many patrons gathering around to listen. The combination of soft and hard vocals paints the image of the narrator not understanding who they are or what is going on around them, causing them to descend into this world of no control as portrayed by the almost manic playing of both drums and guitar. A swaying hypnotic track that will keep you on your toes with it’s constant tempo and instrument changes. The including of ‘Part 1’ in the title could imply how the band plan to add to this track as they progress to complete the fable like story they have begun.


Spotify: https://open.spotify.com/artist/1Ry0Y2JiVXjpidTHDpYVQx

Youtube: https://www.youtube.com/channel/UCUcYLfk1tEX4vli_KWUzsBQ

Facebook: https://www.facebook.com/homerikofficial/

Twitter: https://www.twitter.com/homerikofficial/

Instagram: https://www.instagram.com/homerikofficial/

Website: https://www.homerik.org/


Review by Skye W.Winwood


Listen to the dark fairy tale of Julia Mascetti

Music is supposed to bring comfort, removing us from our own life and possible troubles for a track long reprise. So, how has Julia Mascetti managed to create something both disillusioned and beautiful with such a haunting sound it gives you goosebumps? Trending water amongst the sea of manufactured sound that has been bred for the sole purpose of profit, Julia is hypnotising many with her siren-like voice and mesmeric harp picking.

Before beginning work on her EP In Distance, Everything is Poetry, Julia was a music student at the University of Leeds. Upon graduating she moved from her home in the UK to broaden her horizons in Japan in August 2015. She began her time in Tokyo teaching English but after six months decided to start playing around with the harp for fun. Even before she began writing music Julia attracted the attention of Japanese audiences and was motivated by this interest to further explore herself as a musician. Julia started using blog posts to help her music reach a wider demographic and managed to also gain a large British following. She has since become a highly regarded blogger reporting on life for women living in Tokyo. Julia soon began preforming professionally at weddings and restaurants, constantly putting her more and more in demand to a point where she is now receiving invitations to tour with bands in a multitude of different genres.

With her Celtic folk roots in her Welsh ancestry, Julia used this fascination and combined it with her new experiences in Tokyo to create music that evokes a trance-inducing sound that will have you hooked from the first harp string. In Distance, Everything is Poetry is an ethereal and raw EP tinkling old magic and new music, combining to create a folk fairy tale that tells a story of loss, disillusion and memories. The lead track ‘In Bloom’ has the same eerie string picking as that of a composition by Danny Elfman but the Elvin like sound could belong in any Lord of the Rings soundtrack. ‘In Bloom’, much like the whole of In Distance, Everything is Poetry, is like a chapter directly out of the fairy tale Julia has created about a character confused as to what is and what isn’t real. The lyrics create simple but vivid imagery of the character’s feelings as to whether they are ‘remembering or dreaming’. Julia’s voice alone is soft but embodies an almost authoritative power that you cannot help but pay attention to when the song is playing. However in addition to her singing abilities Julia is a multi-instrumentalist with a six foot harp, smaller folk harp and small purple harp she used to play with metal bands.

Julia’s EP has a similar sound to both Kate Bush and Marian and the Diamonds and already has a rapidly building popularity that will no doubt help her make her mark in the music world with her unique approach to storytelling.


Youtube: https://www.youtube.com/juliamascetti

Facebook: https://www.facebook.com/juliamascetti

Twitter: https://twitter.com/JuliaMascetti

Instagram: https://www.instagram.com/juliamascetti

Website: https://tokyoharp.blog


Review by Skye W.Winwood


Discovering The Decemberists

“On the lam from the law/On the steps of the capitol” were the first lyrics I ever heard by The Decemberists and I haven’t been able to stop listening to them since. The indie rock band quickly caught my attention with their unique and quirky take on music and once more I am surprised it has taken me nearly ten years to discover them. What makes The Decemberists so different from other bands is their niche way of creating a story through their music along the lines of folk stories. Some songs not even having a repeating chorus but a flowing story that is unlike any other narrative based song such as ‘My Mother Was A Chinese Trapeze Artist.’

Listen to the story here: https://soundcloud.com/thedecemberists/my-mother-was-a-chinese

Even though I have only recently begun listening to their music The Decemberists have been around since 2000 and are an American band from Portland, Oregon. Colin Meloy (lead vocals, guitar and main lead on song writing) left his band Tariko before moving to Oregon where he met Nate Query (bass) and was soon introduced to Jenny Conlee (keyboards, piano, organ and accordion). The three scored a silent film together which would set them up for a style of music heavy in creating a vivid picture inside the listeners mind of not only the story but also the characters created. By this time Meloy had already met Chris Funk (guitar and multi-instrumentalist) due to the fact Funk was a fan of Tariko but didn’t become an official member of The Decemberists until their third album. The band circulated through a number of drummers for their albums Castaways and Cutouts and Picaresque before finally inditing John Moen into the band for The Crane Wife.

The name ‘The Decemberists’ is a reference to the December revolt in Imperial Russia in 1825 and Meloy has always stated he wanted the name to evoke drama and melancholy. The name is completely fitting as the musical style of the band can range from upbeat pop to instrumental ballads but nearly all songs are an arrangement of whimsical, dark and political tales that can evoke events and themes from history such as ‘The Bagman’s Gambit.’

Listen to ‘The Bagman’s Gambit’ here: https://www.youtube.com/watch?v=p3oe4vlkoHE

From the years 2002-2010 the band were highly active and released six albums (Castaways and Cutouts, Her Majesty the Decemberists, Picaresque, The Crane Wife, The Hazards of Love and The King Is Dead). In 2003 the band changed labels from Hush Records to Kill Rock Stars and re-released their first album before moving onto their second. In 2004 ‘The Tain’ was released, an eighteen and a half minute single inspired by the Irish myth Tain Bo Cuailgne. The lyrics of the song do not directly quote the epic apart from ‘the mirror’s soft silver tain reflects our last and birthing hour.’ The song itself is haunting in an unexplainable way by its moments of upbeat tune and Funk’s guitar riffs combining with Meloy’s vocals to create something similar in sound to Love Spit Love. The music video created for the song is both mesmerising and unnerving in its shadow puppet-esque style.

Watch the music video for ‘The Tain’ here: https://www.youtube.com/watch?v=UOYZuaLg0J0

After self-producing ’16 Military Wives’ in 2005, the band’s equipment trailer was stolen but fan’s showed their unwavering support by contributing to a replacement fund along with the help of an organized fundraiser and other musicians such as Lee Kruger (The Shins) and The Dandy Warhols. Later that same year The Decemberists were singed to Capitol Records and were making plans to record their major debut with producers Tucker Martine and Chris Walla (Death Cab for Cutie) the following year. 2006 saw the release of the band’s third album but first with Capitol, The Crane Wife, and opened up a whole new world of opportunities for the musicians. The release of the album was accompanied by an appearance on Late Night with Conan O’Brien and began touring on October 17th. The album was voted favourite album of the year by NPR (National Public Radio) listeners and still remains one of the band’s most critically acclaimed records.

In 2008 the band began releasing a series of singles called Always the Bridesmaid every month until the end of the year. They followed this with a limited tour and performed in support of presidential candidate Barack Obama at a rally at the Tom McCall Waterfront Park in Oregon. The following year The Hazards of Love was released under Red Light Management and was initially intended to be a staged musical. However after some thought it was deemed the story would not work in a stage format and instead was played from start to finish during live shows. The album was inspired by Meloy’s fascination with the British folk revival in the 1960s and after finding a copy of Anne Brigg’s 1966 EP of the same name. The Hazards of Love tells the mythical story of a woman and her shapeshifting love, his fey queen mother and a cold blooded rake. The album includes guests vocals from Becky Stark (Lavender Diamond), Shara Nova (My Brightest Diamond), Jim James and Robyn Hitchcock (My Morning Jacket) and Rebecca Gates (The Spinanes). The sound of the album is a range of accordion infused pieces to heavy mental thunder.

Listen to an example of both here:

‘Isn’t It A Lovely Night?’ https://www.youtube.com/watch?v=MBIA2j9Xh14

‘The Queen’s Rebuke/The Crossing’ https://www.youtube.com/watch?v=qeUHUYaT-WU

By 2011 the band had been nominated for Best Rock Song at the 54th Grammy Awards for their song ‘Down By The Water’ and had a No. 1 on the Billboard 200 with their 2010 album The King is Dead. After such a rise in so many years the band decided to take a hiatus during which time they featured on an episode of The Simpsons as hip new music teachers at Springfield Elementary. 2014 was the year of their return to The Decemberists and released What A Terrible World, What A Beautiful World in 2015. Since their success and to celebrate the band’s return January 20th was officially declared ‘Decemberists Day’ in the band’s hometown by the mayor.

Still active, I eagerly wait for the band’s new music and encourage anyone with a taste for something just a little different to follow me down into the rabbit hole of The Decemberists.







By Skye W.Winwood

Ten seconds is all Anthony Vincent needs to win you over to his music

In this day and age music stars are being created across all kinds of platforms. Signing a record deal to gain fame is a thing of the past with multimedia sharing websites such as Youtube. Anthony Vincent, better known as Ten Second Songs by his Youtube channel, has fully taken advantage of the opportunities the internet offers by creating something to showcase both his talent and musical genius. Anthony takes popular songs and preforms them in ten second snippets in 20+ different styles.

Listen to Katy Perry’s ‘Dark Horse’ in 20 different styles here: https://www.youtube.com/watch?v=jus7S5vBJyU

Beginning his channel back in 2014 Anthony blew up the internet with his unique take on ‘Dark Horse’ currently his most popular video at over twenty-one million views! The cover includes twenty different styles by twenty different artists ranging from Frank Sinatra and Pavarotti to Panthera and Slipknot. Anthony manages to perfectly capture the unique sound of each artist so that they are recognisable even without the subtitles crediting who they are. As his channel has grown Anthony also manages to imitate mannerisms and stage personas of certain artists such as Marilyn Manson in his ‘Pokémon in 20 Styles of the Late 90s’ video. Branching out even further to include styles of Mongolian throat singing and Mozart in ‘System of a Down Chop Suey in 20 Styles Cover’ and ‘Twenty-One Pilots Heathens in 21 Styles Cover.’

Despite being able to imitate a plethora of genres and styles Anthony’s personal talent lies in the heavy rock genre, giving him the multi instrumental talent and powerful voice to seamlessly transform between styles. It’s obvious Anthony takes great pride in his work, the editing of his videos as precise and well thought out as the music itself. Anthony takes the idea of a one-man-band to a level of professionalism that astounds as he also includes videos of himself playing the instruments of each video.

Not only does Anthony provide a bounty of entertainment but he uses the popularity he has gained to interact with his fans. Holding votes for certain songs to be solely preformed in one style or voting for which song he will cover next. As well as his affinity for music Anthony comes across as a genuine guy who appreciates all the support people have given him over the years. His Youtube channel currently stands at over two million subscribers and I encourage anyone with a love of music to follow him as he continues to provide humorous, talented entertainment with a genre or style for just about anyone.

As well as covers of other artists’ songs Anthony has his own band, Set The Charge, who deserve just as much support and will be covered in a separate blog post in the future!

Popular Videos:

Linkin Park ‘In The End’ 20 Style Cover: https://www.youtube.com/watch?v=urzWY6sqVGw

Jason Derulo ‘Talk Dirty’ 20 Style Cover: https://www.youtube.com/watch?v=YhTaNHYWRZ4

Adele ‘Hello’ 25 Style Cover: https://www.youtube.com/watch?v=ZgMAAzzQz7s

Pokémon Theme in 20 Styles the late 90s: https://www.youtube.com/watch?v=ioE3oKQ6WbU

System of a Down ‘Chop Suey’ 20 Styles Cover: https://www.youtube.com/watch?v=oFwZA4fcetI







Review By Skye W.Winwood

Discovering Rufus Wainwright

Music is ageless. Time passes, eras fade and new genres are invented but these things don’t destroy the music from our memories. This is the excuse I will use for only recently being made aware of the singer-songwriter Rufus Wainwright. My personal music interest can sometimes be dated or specified to a specific genre. Meaning although Wainwright has been active in the musical world since 1988, it took for a Samsung TV advert to make me aware of his captivating music.

Listen to Rufus’s cover of ‘Across The Universe’:  https://www.youtube.com/watch?v=cAe1lVDbLf0

Wainwright caught my attention instantly from the simple fact he had the guts to cover the song. Taking an artist’s song and making it your own whilst still remaining respectful to the original is a tough task but even more so when those original artists are The Beatles. Wainwright went above and beyond with ‘Across the Universe’, preforming a hypnotic vocal sound to continue the exceptionally moving feeling the song creates, nearly bringing me to tears the first time I heard it. Needless to say he made an impression.

Upon further research I discovered Wainwright has been popular for some years, his music always circulating and realised I had heard his music before but mistook it for other artists. Wainwright has a sound similar to that of English rock band Keane, with a similar out of body, otherworldly voice and resonating sound but more in the pop genre. Wainwright’s cover of ‘Across the Universe’ has similarities to both Keane’s ‘Bedshaped’ and ‘Somewhere Only We Know’. Even with this distinctive comparison Rufus Wainwright still manages to maintain a unique sound to his own music with songs like ‘Going To A Town’, ‘Out of The Game’ and ‘Rules and Regulations.’ The artist’s more mainstream songs dip their toes in the pop genre but inherently belong to baroque rock (a fusion of rock music with classical elements). However Wainwright broadens his music horizons by also releasing songs in the indie rock and folk genres.

Listen to examples of Rufus’s genre blending here:

‘Going to a Town’: https://www.youtube.com/watch?v=CtVyl402W5s

‘Out of the Game’: https://www.youtube.com/watch?v=6KvTDeHlIfI

‘Rules and Regulations’: https://www.youtube.com/watch?v=J_TxPQKcG7w

Rufus Wainwright was born in New York but after his parents’ divorce lived most of his youth in Montreal and has dual US and Canadian citizenship. Starting his career in music at a young age, Wainwright had an impressive start. He had a taste of the artist’s life at the tender age of thirteen when he began to play the piano and toured with The McGarrigle Sisters and Family folk group. The group consisted of himself, his sister, his mother and his aunt. He earned himself a nomination in 1989 at the age of fourteen for his song ‘I’m a-Runnin’’ at the Genie Awards for Best Original Song. Then in 1990 he was nominated at the Juno Awards for Most Promising Male Vocalist. During his young life he had an interest in opera leading to the genre heavily influencing his later music such as ‘Barcelona’ that features lyrics from the libretto of Giuseppe Verdi’s opera Macbeth. As well as this Wainwright has cited his musical interests as Edith Piaf, Al Jolson and Judy Garland to name a few. Paying tribute to other artists like River Phoenix in ‘Matinee Idol’ and Jeff Buckley in ‘Memphis Skyline.’

As Wainwright became older he performed weekly shows at the Cafe Sarajevo, putting him on the Montreal club circuit and leading to a number of demos produced by Pierre Marchand. Marchand remained with Wainwright to produce his album Poses which peaked at number 117 in US Billboard’s 200 (in 2001 but rose to 103 in 2004) and number 1 in Billboard’s Top Heatseekers. The demos eventually made their way to Lenny Waronker, an executive at DreamWorks who signed Wainwright to his label. On this label Wainwright released his self-titled album to critical acclaim, being recognised as ‘one of the best albums of the year’ by Rolling Stone and named him ‘Best New Artist’ of the year. The album won the GLAAD Media Award for Outstanding Music Album and a Juno Award for Best Alternative Album.

The success of his first album lead to Wainwright’s explosion in the music world and eight more subsequent albums. However Wainwright has not limited his career to a preforming artist but delved into the world of opera, television and film. Wainwright has had roles in films such as The Aviator, Heights and played a part in Tommy Tricker and the Stamp Traveller. His music has featured in iconic films like Brokeback Mountain, Moulin Rouge!, Shrek and Meet The Robinsons as well as his recording of ‘Bewitched, Bothered and Bewildered’ playing in the closing credits of The History Boys. Wainwright’s love for opera has bloomed into the creation of two of his own (Prima Donna and Hadrian). The second of the two premiering at the Canadian Opera Company in 2018.

Beyond music Wainwright also began Blackoutsabbath in 2008 which is a concept he created to become more environmentally conscious, promoted by the organisation Blackout Sabbath. In 2008 Wainwright came out as completely in support of gay rights, stating ‘I don’t think any government should encroach on what goes on in the bedroom.’ Later in April 2010 he became in favour of legalising gay marriage after meeting his now husband, Jorn Weisbordt.

With such a full life covered in the media it is shocking how the artist has only recently come to my attention but has made a lingering impression.






Review by Skye W.Winwood

Have a drink with Albino and their new track ‘Belinda’

In 2017 the 60s are thriving as the decade seems to be making a comeback with the help of bands just like Albino. The four man folk rock band are about to release their new album Night At The Chemist which contains the retro track ‘Belinda.’

Listen to ‘Belinda’ here: https://soundcloud.com/al-bino-6/belinda

Fueled by whiskey and embodying a vintage rock sound Albino promote the iconic ‘flower-power’ that made bands like The Animals and The Doors unforgettable. The band themselves stating: ‘we may not change the world with our music but we’ll definitely leave a scar.’ Made up of Ben Tucker on guitar and vocals, Merv ‘Fuzzy’ Salole on bass, Gareth Morris also on guitar and Don Gibson on percussion, Albino have said their main aim is to entertain with their rambunctious and humours music. Two words perfect for describing the single ‘Belinda.’

The sound of the track alone reminds of an upbeat Johnny Cash with the lyrics telling the tale of a man in love with a woman who is too good for her lay about husband. The narrator of the song just asking ‘when ya finally gonna notice me, Belinda?’ The toe tapping tune contains comical and off-the-wall lyrics that will have you dancing and laughing hysterically at the same time. The music video for the song is both belly aching hilarious and simultaneously creative by using stop animation Lego pieces to form the narrative based video.

Watch the video here: https://www.youtube.com/watch?v=WzNMThSkNBk

Ben, as the main songwriter, uses inspiration from his own life to come up with the simple but extremely catchy words. The rest of the album exploring topics from love and deviancy to distrust of priests and historical events. Much like ‘Belinda’ the songs seem to play almost like short stories that will no doubt keep listeners entertained for hours.

Since putting their drunken genius to work in 2005 Albino shifted through time and have grown as a band to the point where now they are confident enough to say they have found their own sound. Even if the sound is lost 50 years in the past! Although Albino’s multi-talented line up has changed over the years their unwavering commitment and electric energy has remained the same.







Review by Skye W.Winwood

‘A Light From The Other Side’ by Lisa Richards

Australian singer-songwriter, Lisa Richards released her new album, A Light From The Other Side, on 17th April – a record that looks introspectively into Lisa’s life and experiences.

Normally when you listen to new music, you can instantly place it into a genre-defining box, but this simply isn’t the case with Lisa Richards. It’s not unusual for an artist to straddle a couple of styles but Lisa’s music takes on a number of influences from all over the musical world including, folk, blues and jazz, plus elements from many more. Lisa admits this saying: ‘My music is difficult to pigeonhole stylistically, my voice is hard to pin down, it demands attention and yet it is unruly. My songs don’t quite fit anywhere’ yet this is the beauty of what Lisa is doing.

Personally, if you’re listening to an artist that you can’t even begin to categorise, you know that they must be good as they are pushing boundaries and defying the conventions in music that have already been laid down.

The talented singer-songwriter was born and raised in North Queensland, Australia, where her mother, who had previously worked as a concert pianist, had moved to for Lisa’s father. Her childhood was unstable to say the least, which eventually led to her flying the nest in search of a career in music in the city.

Track Listing: A Light From The Other Side

  1. Frank Sinatra
  2. Water Needs To Fall
  3. Milk and Honey
  4. Mr. Happiness
  5. You Got The Power
  6. Summer Afternoon
  7. Walking Woman
  8. Weather
  9. Where My Heart Used To Be
  10. What Lying Does
  11. Friends Out Of Strangers








Joe O’Donnell’s Shkayla Release Special 40th Anniversary Version of ‘Gaodhal’s Vision’

Joe O’Donnell’s Shkayla are a world music collective who create an exciting blend of Indo-celtic folk, joined with hints of rock, jazz and orchestral styles.

Joe found success back in 1977 with his innovative concept album, Gaodhal’s Vision, which tells the story of the Milesian people leaving Egypt for Eire (Ireland), a place foretold to them by Moses. The album displays Joe’s fascination with the esoteric and celebrates the origins of the Celts and many distinctive aspects of their famed culture.

The album also features the talents of legendary guitarist, Rory Gallagher, whom Joe became good friends with through their shared passion of creating music. Consequently, the record was met with strong praise upon its release, owing to Joe’s quality musicianship and Rory’s coveted guitar skills.

To celebrate the anniversary, Joe will be performing Gaodhal’s Vision in its entirety with his band Shkayla (Gaelic for ‘stories’) on 31st March and 1st April at the Belgrade Theatre, Coventry. The band will be joined by guest musicians as well as Indian fusion and Irish dancers. The performance will also be accompanied by narration, visual projections and Rory Gallagher’s original solos, synced with the live show, making for a multi-sensual, multi-media experience.

Joe was classically trained but from his early experience working in rock bands, he quickly grasped the affinity between Celtic modal and Indian Music, and now his band Shkayla bring together aspects of these, mixed with jazz, rock and classical orchestral styles. Shkayla generate great energy and excitement through their music, channeling the sensitivity and delicacy needed to keep Celtic music faithful to its roots.

The 40th Anniversary Special Edition of Gaodhal’s Vision is set for release 28th April 2017.







Buy tickets for the shows here:


Track Review: ‘After Eve’by Warsaw Radio

Warsaw Radio were founded in 2013 after front-man Brian McNamara read about the siege of Warsaw in 1939. The Warsaw Radio Orchestra kept playing their music throughout the siege until their transmitter was destroyed by an artillery shell. Such an inspiring story led to the incarnation of the band.

Consequently, Warsaw Radio take on the orchestral vibe of their inspiration with sweeping string sections combined with pop-rock hooks and the enticing vocals of McNamara.

‘After Eve’ has possibly one of the most interesting stories behind the lyrics: it takes on the perspective of Adam, after Eve and himself have been banished from the Garden of Eden. It imagines the situation of the pair separating after this key moment. It isn’t often that you come across a group with such original starting points for writing songs and it makes a refreshing change from the typical love songs that you hear in the majority of popular music.

The strings build a sense of sonic tension along with Brian’s warming vocals that are then accompanied gradually by the rest of the band. As the texture builds, so too does the emotion of the song. Even without knowing the context behind it, it’s the kind of song that tugs on the heart strings.

There’s an easy listening nature to the track, but this would take away from the quality musicianship at play from Warsaw Radio. ‘After Eve’ is crafted with poignant lyrics and delicate melodies that evolve into something much more powerful by the end of the song.

As a group W.R take influence from the likes of Wilco, Fleetwod Mac, The Waterboys and The Frames. They are all set for UK and Ireland dates from February, kicking off with a home town head-line show at Komedia Brighton on February 8th.

Overall, ‘After Eve’ is a beautifully put together piece of songwriting that draws on folk stories whilst adding a modern musical edge. This is the definition of ‘quality’ music and songwriting. Well worth a listen.







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