The NaveBlues self-titled album is a new generation of blues music

When it comes to music some artists focus on sound whilst others are meticulous about lyrics, The NaveBlues are a band who seem to have found the perfect balance of both. Standing at a crossroads of music and managing to take both paths, the four piece Norwegian blues band are bringing back classic blues music with their own personal twist to keep things interesting. Consisting of bass, guitar and drums as the basis of their sound The NaveBlues will both shock and impress you with their peace, love and harmonica approach to music.

The band’s new album, named after themselves The NaveBlues, has a beautifully unique selling point in the form of lead singer Nave Pundik’s insane harmonica playing. Their lead track ‘Possess You’ is a perfect example of Nave’s vocal and instrumental talent for an instrument that hasn’t seen the spotlight for some years.

Watch the music video for ‘Possess You’ here:

‘Possess You’ is a spine tingling track that resonates with a similar sound to rock band Creedence Clearwater Revival and evokes images of a desert sky moving rapidly from day to night. The track begins with a guitar riff that is not that unlike something from The Foo Fighters before plunging deep into the pool of blues music. The first two minutes are a showcase of Nave’s rock star level harmonica playing that seems to sing as passionately as any voice could. The vibrating continuous notes soar high and low with an inclination that speaks beautiful words without any sound passing Nave’s lips. The song could work as a completely lyrical-less piece but Nave’s singing at the mid-way point drives home the message of the song. Nave’s vocals compliment his harmonica playing with the same inflection and vocal style that can be compared to Kristofer Dommin of the band Dommin and evokes a similar sound to Type O Negative’s Peter Steele; Nave’s bluesy rock voice is a perfect finisher for the blues inspired track. The song also showcases The NaveBlues potential to slip into other genres such as space rock as ‘Possess You’ also has Muse hints hidden within the sound.

The NaveBlues have also challenged musical conventions by covering Led Zeppelin’s ‘Thank You’ that continues the hint of space rock with their human adapting to a lonely life on mars music video.

Watch the music video here:

The NaveBlues push musical boundaries by taking the simple, plaintive song and turning it into something both visually and musically fantastical. Through the band’s adaption the song becomes something more intense than the original and works perfectly for the angle they decided to put on it. The pure passion for music this band embodies is encapsulated in ‘Thank You’ through the unbelievable harmonica solos and Nave’s rustic vocals overlapping with those of a soft female voice. Covering ‘Thank You’ further proves how The NaveBlues cannot be pigeonholed and will fly with ease between different genres such as rock, soul, indie and still manage to hold all the conventions of blues music.

The NaveBlues, and their new album, are the band to listen to for anyone who is a fan of musical genius and insane instrumental talent.









Review by Skye W. Winwood


Mosaic are inviting you on a night out with their new single ‘Rio’

Indie music has gone through a rapid evolution over the years, changing and adapting to survive in the harsh world of the dynamically progressing music industry. The term ‘indie’ stems from the word ‘individual’ to high light how during the genre’s rise, artists achieved success off their own backs. Since then indie music has faded in and out in popularity, flowing through both mainstream and niche audiences but always undeniably in demand. This unwavering demand through the years can be narrowed down to a few bands that stood at the front line of indie music and a band now taking up arms is Mosaic.

Mosaic are an indie band based in Newbury consisting of Craig on vocals, Adam on guitar, Will on guitar, Dan on bass and Simon on drums. The band’s name is fitting as they are a combination of a few genres just as classical indie music should be with elements of both pop and rock in their sound. These five guys are the poster boys for the culmination of the British indie movement, donning the ever growing self-confident personas needed to thrive in the music industry. Mosaic have the potential to become the new favourite of any wandering souls at university with a thirst for down-to-a-‘t’ relatable music.

Their new single ‘Rio’ is a song spilling over with drunken university nights that burst forth into hungover mornings that are made better by the memories made the night before. ‘Rio’ has a sound and lyrics that instantly connect with their audience and makes it seem like the song was written just for you. Craig’s quick and quip vocals turn the song into a whirl wind of fun that is perfect to get you pumped up during any pre drinks, the rest of the music keeping up and only becoming more intoxicated as the song goes on. Taking influence from indie bands of eras gone by ‘Rio’ is akin to The Kooks and The Wombats but with a modern day twist that likens Mosaic to Bloc Party and The 1975. Fans of The Arctic Monkeys, also, may be pleasantly surprised by Mosaic and all they have to offer in the form of indie music.

‘Rio’ is out now and is a must for any university going out playlist.





Twitter: https://twitter.com_mosaicofficial




Review by Skye W.Winwood

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.









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:

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:

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:

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?’

‘The Queen’s Rebuke/The Crossing’

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

Pink Milk will take you on a trip with their new album Purple

Pushing the boundaries of music should be a requirement for all artists. To break out of their box and explore fresh, new areas and ideas never before touched upon. Unfortunately this is not the case and although the music of today does provide some good tunes, I feel, along with others, that there is something missing. Pink Milk are proving they could possibly be that something with their new album Purple.

With an other-worldly sound Maria Forslund (vocals and drums) and Edward Forslund (guitars and bass) are something completely new by exploring a sound deemed old. Their break through single ‘Detroit’ put the band on the map of music and the radar of critics. Earning benevolent praise from the likes of Clash Magazine, Shortlist, Kerrang! Radio, Virgin Radio and BBC6 Music Radio. Their first album is a collection of monstrous, cinematic wonders drawing together twisted and dark ideas that evoke clandestine rituals and smoke-filled corridors. Their music has been described as ‘haunting beautiful’ and ‘fascinating’, comparing them to the likes of The Cranes and Cocteau Twins for their approach to recording.

Purple is a heavy heated, 80s infused album that is the product of three years hard labour and uncontaminated by outside influences off the coast of Sweden in the Baltic Sea. Pink Milk’s debut album will hypnotise and seduce you with its displays of additive, darkly atmospheric sound. The whole album blends together perfectly with the expert use of synthesisers and electric guitars to create a sound right out of The Lost Boys or Legend. A magical, haunting collection of songs that takes the listener on a journey through a world they could never even think to exist.

Although the album overall has a similar sound running through it, each individual track showcases the genius of Pink Milk. Such as ‘Kill 4 U’, a hypnotically harsh track that spirals down a dark path as Maria’s voice pleasantly haunts the inside of your mind. A vocal comparison that is a combination between Alanis Morissette and The Cranberries’ Dolores O’Riordan. The album also includes a cover of Foreigner’s ‘I Want To Know What Love is’ but completely reinvents the song into something harrowing and almost unrecognisable from the original.

Watch their brooding video for ‘I Want to Know What Love Is’ here:

Pink Milk have created a completely unique and refreshing sound that reminisces long forgotten 80s movies but the band are unlikely to find themselves as easily forgettable any time soon.





Youtube Channel






Review by Skye W.Winwood

“The King of Prog Rock” Steven Wilson

After nearly thirty years holding reign in the court of the music industry singer-songwriter Steven Wilson’s new album To The Bone has finally earnt him his crown. Expected to go straight to number one Wilson may be one of the most successful musicians no one has ever heard of. In his own words Wilson has put this down to not being a part of the mainstream world of music but with new singles like ‘Permanating’ he is making his mark.

Listen to ‘Permanating’ here:

Born November 3rd 1967, Wilson is an English musician and record producer that has unofficially become the face of the progressive rock genre. Wilson’s interest in music, like most, was influenced by his parents, recalling one Christmas when they exchanged albums like Pink Floyd’s The Dark Side of the Moon and Donna Summer’s Love to Love You Baby. Wilson describes music as being in his blood and takes influence from these bands as well as ABBA and The Carpenters. As a child Wilson was forced to play guitar and inevitably ended up hating it until he discovered a nylon string classical guitar in his parents’ attic. Experimenting with this lead to his father – who was an electronic engineer – building him a multi-track tape machine so Wilson could really begin exploring himself as a musician.

This experimentation led to Wilson founding the band Porcupine Tree where he was the singer, lead guitarist and songwriter. Before this Wilson also worked in a number of other bands such as Opeth, Tears for Fears and Anathema, to name a few. Initially launched as a project titled “Porcupine Tree”, the idea was originally intended to focus on psychedelic rock before developing through phases of rock, modern guitar, progressive rock and heavy metal. By the middle of the 2000s Porcupine Tree was a well-known rock band on labels like Atlantic and Roadrunner. Alongside the band’s success Wilson had become a producer that has since been cited as an influence for various aspiring musicians.

In 2008 Wilson broke from Porcupine Tree to try his hand as a solo artist. His first solo album Insurgents was released in November of the same year and was recorded in various places across the world. It was released as a double CD, DVD and a 4 x 10 inch vinyl version before becoming a full length feature film by Lasse Hoile that was based on the recording of the album. From here Wilson’s success as a solo artist only increased with following albums Grace for Drowning, The Raven That Refused to Sing, Hand. Cannot. Erase.; each new album gaining more traction and earning him the title of “The King of Prog Rock.” However even with this title Wilson has remained relatively unknown and is only now joining the mainstream world of music with his new album To The Bone. Using his music to explore his views on his own beliefs such as being a strong critic on organised religion through the use of characters and stories in this album. An out of this era/psychedelic/soft rock album that is sure to make Steven Wilson’s name one to remember.





Review 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:

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:

Jason Derulo ‘Talk Dirty’ 20 Style Cover:

Adele ‘Hello’ 25 Style Cover:

Pokémon Theme in 20 Styles the late 90s:

System of a Down ‘Chop Suey’ 20 Styles Cover:




Review By Skye W.Winwood

Royal Blood Influenced Three-Piece Let Drummer Lead from the Front

Dave Grohl; Phil Collins; Roger Taylor; Levon Helm, Karen Carpenter…modern music has thrown up the occasional musical quirk over the years, none more so than the singing drummer. The ultimate in patting your head and rubbing your tummy at the same time, these talented renegades have proved that it’s always possible to go beyond the conventional four-piece band set-up.

Enter Dead Days, one such trio who have elected to put their singer at the front of the stage with a mic stand. Readying the lead track “Fight” from their forthcoming EP, Start Over Again, for radio play and live performance, the Home Counties-based brothers Travis (drums and vox), DC (bass) and their guitarist friend James Mattocks have made up for their lack of personnel with a huge, thunderous sound which immediately brings to mind current press and fan faves Royal Blood.

Add in a dash of Biffy Clyro, a splash of Foos, a sack of deliciously melodic rock and a heavyweight video to boot and you have the earworm your brain has been craving.


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’:

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’:

‘Out of the Game’:

‘Rules and Regulations’:

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

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