Cinema 3000. Common Saints

De Britse muzikant Charlie J. Perry levert als Common Saints en met Cinema 3000 een album af waarbij het echt bijzonder lekker wegdromen is en dat na een paar keer horen echt nauwelijks meer is te weerstaan.

Ik krijg vaak muziektips toegestuurd, maar het leukst zijn de tips die je echt helemaal niets zeggen. Ik heb begin november echt niets gelezen over het debuutalbum van de Britse band Common Saints. Het is een album dat je direct na de eerste keer horen wilt koesteren en dat vervolgens zo lekker klinkt dat je er naar blijft luisteren. De muziek van Common Saints klinkt soulvol en wat psychedelisch, maar met alleen het predicaat psychedelische soul doe je het album wel wat tekort. Cinema 3000 klinkt echt onweerstaanbaar lekker, maar het is ook een album vol hele mooie en interessante passages. Wat mij betreft echt een grote ontdekking deze band uit Londen.

In november kreeg ik van een liefhebber van de muziek van Kacey Musgraves de tip om eens te luisteren naar Cinema 3000 van de band Common Saints. Deeper Well van Kacey Musgraves voert al maanden mijn virtuele jaarlijstje aan, waardoor ik deze tip zeer serieus nam. Ik verwachte eerlijk gezegd een album dat dicht tegen de muziek van Kacey Musgraves aan zou liggen, maar dat is maar zeer ten dele het geval.

Common Saints is een band uit Londen en het begin vorige maand verschenen Cinema 3000 is het debuutalbum van de band. De band beschrijft haar muziek zelf als psychedelische soul en dat is op het eerste gehoor een prima omschrijving. Het is een omschrijving die ik niet snel zou gebruiken voor de muziek van Kacey Musgraves, maar de muziek van Common Saints heeft wel de aangenaam lome en warme sfeer die ook de muziek van de Amerikaanse muzikante kenmerkt.

De overeenkomsten met de muziek van Kacey Musgraves zijn overigens het grootst wanneer in de derde track gastzangeres Taloua opduikt, die bijna net zo’n engelachtige stem heeft. Verder zal ik de naam van mijn favoriete zangeres niet meer noemen, want Common Saints maakt toch vooral andere muziek. Ik noem Common Saints een band, maar het album is grotendeels gemaakt door de Britse muzikant Charlie J. Perry, die tekende voor de songs, de zang, het grootste deel van de muziek en de productie.

Ik heb de spreekwoordelijke warme deken de afgelopen weken al vaker van stal gehaald, maar Cinema 3000 is nou echt een album dat zich als een warme deken om je heen slaat. De muziek van de band uit Londen klinkt soulvol en citeert af en toe uit de archieven van de kosmische soul, maar laat zich ook inspireren door folkrock en softpop, om maar eens twee andere genres te noemen. Het is muziek die soms wat psychedelisch aan doet, maar Cinema 3000 klinkt ook aards.

Charlie J. Perry heeft het debuutalbum van Common Saints voorzien van een geluid dat kan worden beschreven als loom, warm, zwoel, broeierig en dromerig. De songs van de Britse band doen het zonder enige twijfel goed op warme zomeravonden, maar de warmte die het album uitstraalt kunnen we ook goed gebruiken in het huidige seizoen. De soulvolle songs op Cinema 3000 hebben vaak een jaren 70 vibe, maar het album klinkt anders dan alle andere albums die ik de laatste tijd heb gehoord.

Charlie J. Perry heeft het eerste album van Common Saints niet alleen voorzien van een aangenaam geluid, maar ook van een knap geluid, waarin steeds weer opvallende details opduiken. De Britse muzikant heeft flink wat elektronica ingezet, maar ook de subtiele gitaarlijnen en zwoele ritmes hebben een belangrijke rol in het echt bijzonder mooie geluid op Cinema 3000. De zang op het album, met vaak wat falsetklanken, klinkt vooral aangenaam, maar wordt bij herhaalde beluistering van het album steeds mooier, zeker wanneer koortjes worden ingezet.

Ik begrijp inmiddels wel waarom mijn tipgever dit zo’n goed album vindt, want wanneer je eenmaal wordt gegrepen door het warme geluid van Common Saints wordt Cinema 3000 razendsnel een hopeloos verslavend album. Ook als producer maakt Charlie J. Perry makkelijk indruk en zoveel indruk, dat ik best benieuwd ben hoe een door hem geproduceerd album van een goede zangeres zou klinken. Ik heb een naam in gedachten, maar eerst proefdraaien met Taloua uit track drie is een goede optie.

Erwin Zijleman

Je kunt Cinema 3000 hier luisteren en bestellen:

https://commonsaints.bandcamp.com/album/cinema-3000

Blood Moon. Ry X

This spring Your Love, one of the singles of Blood Moon, featured in the weekly singles round up on this blog. The music instantly reminded me of City and Colours' If I Should Go Before You', an impressive double EP released in 2015. Blood Moon, finally released physically last week, does not do much to change that impression, so certainly deserves a spot on the blog as well.

There are enough differences between the two albums, so there's not much need to go deeper than this, except for the background of the two artists. The Canadian artist has an emo background, the Australian, a dance/electronics one. This is certainly discernable on Blood Moon. Although an acoustic guitar is the heart of the music on the album, the atmospherics and the, very slow but often deep beats betray his background. It makes for a hybrid album by a 2022 singer-songwriter. The differences in background, while coming up with a similar result, remains striking.

Blood Moon is an album to truly listen to. Singer Ry Cuming shares his emotions with his listeners in oh so subtle ways. His voice is layered, singing in a higher range, and here I must mention Canadian Patrick Watson as well. Like Watson, Cuming's voice is awash with effects, making its sound multi-layered as well as multi-tracked. The same goes for the music. Listening more closely brings forward a host of other sounds that are not immediately obvious when listening more superficially. Every session with Blood Moon may lead to new discoveries.

Ry X presents an album for the later hours, when the mind is receptive to listening and not wanting to do much else. One of those moments when nothing else is required and the world can be shut out for a while. These are the most rewarding moments for Blood Moon. This album is not about the individual songs. They are as such interchangeable, in the best meaning of something that may have a negative connotation. When listening to Blood Moon it is about the experience of the whole and not the individual song. Blood Moon can bring you in a trance like state with its, soft, slow and emotional music.

So nothing much going on then?, I can hear you comment. Yes, if you are in such of a party album, but a definite no when you're in search of a satisfying listening experience. Ry X delivers here 110%.

Wout de Natris

You can listen to and order Blood Moon here:

https://ryxmusic.bandcamp.com/releases

Half Drunk Under The Full Moon. The Fratellis

It's been written before. Also on this blog. The Fratellis are extremely lucky and cursed having scored a monster hit, 'Chelsea Dagger' in the mid 00s. Forever a one-hit wonder. The alternative would have been a no-hit-nothing, as hardly anyone would have remembered the band without it. After a hiatus of some years in the 10s, the band is active again for some years, although I have to admit to have missed most albums after their second and best album.

Writing reviews for a mostly one person blog, comes down to making choices and The Fratellis did not make it to the cut. Not even because I did not like Half Drunk Under A Full Moon. There were simply other albums I wanted to write about. So what changed?, I hear you asking. Well, what triggered me was the review in my newspaper, NRC. The reviewer of duty only gave a 1 to the album and that is something that hardly ever happens. It equals a total failure and when I listened to the album, I couldn't remember listening to a total failure. So, I decided to listen again while cycling to the local supermarket to do the shopping.

Again I noticed the pleasant pop coming by in my ears. There wasn't a lot amiss on The Fratelli's latest album. What I will adhere to, is that the album is without any danger. This music does not have an edge to it. The Fratelli's are in search of perfectly harmless pop songs and succeeded in finding them. In the 60s you had The Yardbirds or The Rolling Stones and there were The Fortunes and The Tremeloes. The 70s David Bowie played 'Oh, You Pretty Things' while The Rubettes sang 'Sugar Baby Love', etc. They all played pop in their ways. So in 2021 The Fratellis going for the influence of the latter examples. Surprising but why not? Just listen to 'The Last Songbird' and then think of 'You've Got Troubles'. The Fortunes scored a huge hit with a song like that. I can't help liking 'The Last Songbird' for very nostalgic memories of songs I got to know as a little boy, like 'My Little Lady' or 'You've Got Troubles' a few years later when it became a hit once again.

Looking at it from that angle, Half Drunk Under The Full Moon certainly works. It doesn't when judged by 2021 musical standards and not even by their own monster hit. The Fratellis may have drawn the conclusion that whatever they do, there will be no other 'Chelsea Dagger' for them, even if they could copy it somehow. There's only one novelty hit, the repeat usually flops or close to it. So why not make the album the band wants to make?

Jon Fratelli knows how to write a nice pop song and has a hang for pop songs from long ago. He is able to come close to those bands that have slowly disappeared from the public ear, as only the very best from the 60s and early 70s remain on public radio. The Searchers, The Fortunes, The Tremeloes have all but been forgotten.

So it comes to pass that a reviewer scores an album extremely badly as too easy, uninspired pop. A one for the effort it was called in high school and perhaps still is. A lack in musical education it seems to me. You won't find me claiming Half Drunk Under The Full Moon is a brilliant album but certainly a nice and well-made one, with a dip here and there like 'Action Replay', oddly enough coming close to the last album of Arctic Monkeys. Now what does that tell me? For the rest it's smooth listening and that is nice every once in a while.

Wout de Natris

You can listen to and order Half Drunk Under The Full Moon here:

https://thefratellis.bandcamp.com/album/half-drunk-under-a-full-moon

or listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Kairos #123, November 2020

It seems our Wo. is running behind more and more, unable to catch up due to all the albums and singles he is trying to keep up with, the music he plays himself to entertain friends and neighbours in Zoom sessions during the Curfew Tour 2021 and the time needed to listen intensely for one hour to Kairos. Whatever his excuses may be, here's a new rendition of the Kairos talk-throughs, focusing of the Kairos of November 2020.

Before starting the show, I would like to focus for a few seconds on the description .No, in WoNo terms, provides of himself on the Concertzender website and his fascination for radio and music. How as a little boy he would sit in front of the radio, turning the dial and hearing all the strange languages and music. Now, making a programme himself he imagines someone else somewhere in the world tuning in to his show and in his mind's eye sees his younger self sitting there as well, connected through space and time. This is your chance to click on the link underneath this post and to connect to either the younger or the current .No. Looking at myself at that same age, I was done with dialling and picking up strange noises and languages very soon and always returned to that one radio station, illegally broadcasting from the North Sea. I was always humming or trying to sing along to the latest pop tunes of which I still love so many after all these years. My connection with music is 100% internal and in a way this still happens when I listen to the musical experiences presented to me on Kairos. What I try to share with you is the immediate effect the music, drones, choirs, etc., have on me. What you are about to read are my instant, primary reactions, with almost no editing afterwards, except typos or a missed/unfinished thought. Nothing else is changed. The difference between the creator, .No and the listener, Wo..

The familiar intro sound is replaced by soft, layered music that comes to me like the wind, more a breeze that cools while I'm laying outside in the shade on a hot day. Soft breezes that come and go. The soft music is by Yukon Onoma and totally different from the pre-released single I listened to in the fall. This music is of the kind that soothes and does not confront. All through 'Alas! Alas!', a song by Lyenn, 'Staggering Heights' is mixed. As I do not know either, I can't tell what is what. it appears to be a successful mash up, as I can't discern anything out of place.

After five minutes the Lyenn song takes over. It becomes clear how good the two belong together. For all I know, without reading the programme information, it could have been a five minute intro. This is the second song of Lyenn's new album 'Adrift', on Kairos and it appears I have truly missed a beautiful album as it had not reached me at the time. 'Staggering Heights' is not a happy song. There is a difference with Lyenn's previous album. The songs on it sounded as if Lyenn was sorry for himself. Not so in this song. This is a song sung from strength. Solid and strong, even if sad or in despair.

The song leaves me for electronic pulses or music. It is Yukon Onoma with 'If Any Man Have An Ear Let Him Hear'. Soft and layered, long-held notes from a keyboard/synthesizer wash over me, slowly changing my mood. The breeze has been replaced by a warm bath. This music is all around me, covering me whole, without any risk of suffocation. A voice starts some kind of incantation or prayer. Distorted in sound, slowed down making it hard perhaps impossible to hear what is said. Because I'm not listening, just registering, as musically the song expands as well? My impression of Yukon Onoma is changing fast. Did I hear wrong last year, besides tipping .No on the record for Kairos?

Or is the change I like another song? Richard Bolhuis' House of Cosy Cushions comes in somewhere in Onoma's song. A pump organ accompanies a male voice singing in a Pink Floyd kind of way, as on 'Atom Heart Mother' or 'Meddle', before the band found its true voice(s). 'The Mad Sisters' has that feel and thus sounds very familiar. The unexpected church organ sound and the cello that come in as an instrumental chorus are quite surprising.

Chaos comes next. Human voices, bird songs, flowing water, it all can be heard, with music hidden away deep behind the sounds of nature after the humans have left the forest. Like a ghost a choir comes in, slowly moving towards me, only to disappear again, making it even scarier, had I been alone in that fairy tale forest. Where did it go? Next a musical version of a chainsaw moves in, as an extremely long bowed note on a violin. Looking at the Kairos playlist, things get rather confusing. There's Med Gen. Brook for nearly 20 minutes, Howard Skempton, thrice and all slightly adapted. At the end Remy van Kesteren shows up as well. So, my best guess is that the natural sounds are all from the album 'Terrapy' and the "ghost" choir is the work of Howard Skempton by The Choir of Queens’ College, Cambridge. I suppose the bird song, I hear blackbirds singing, and the long, long held notes must be Med Gen. Brook (Medical General?) too. I also suppose that this music is supposed to soothe me, make me calm and relaxed but it is having a rather opposite effect on me. Not because it is ugly or anything like that, no, because I do not have the rest to undergo minute after minute of almost nothing. Perhaps because I have just played 'Drunk Tank Pink', the new Shame album, not Kairos recommended, loud on my headphones, with its mix of postpunk and Talking Heads. The contrast is quite huge. When the choir returns I know my ordeal is about over. Again it is as if it hovers above the ground. The mix made by .No seems to suggest a clear cut between the earth and the nether world. As if there are short breakages between dimensions and choir song is leaking into where it does not belong. The effect is rather dramatic. So, is the music I'm hearing after the second choir piece, what Med Gen. Brook truly made? Are the "earth" effects even on the record, as they have totally disappeared here?

A harp enters after a third choir excerpt. Remy van Kesteren moves over the long composition and gets centre soon. The chords are a joy to hear after twenty minutes of basically non-music. Underneath the harp an electronic sound hovers again giving the harp an otherworldly quality. 'Waves' is slow, majestic and very, very serious.

Slowly more music is mixed into the empty composition 'Wave' is. Time to pay attention because usual something happens in Kairos in moments like these. Faten Kanaan returns to Kairos with 'Hesperides'. This music is like striding towards an alter or throne. It is electronic music but with a soul. When a repeated sequence starts, I do not really know what to make of it. Underneath it a countermelody suggests change but for that the repeated sequence is too dominant.

Slowly it fades out and is replaced by another composition in which the music rolls towards me, except that now I see it as waves on the beach, rolling towards me, receding, towards me, receding, ever onwards. Although this is perpetual motion, the bigger picture shows inertia. Nothing ever changes. I'm in a place I cannot stay in too long. Despite Faten Kanaan returning over 'Devils on the Back Posh', I know I have to move on.

Paul Haslinger, who returns to Kairos as well with a track from his album 'Austerlitz', does not truly change the mood. Not even Fink does, despite that there's singing in this Kairos, for the first time* (not counting the ghostlike choir from Cambridge). The mood remains so downcast. I hear my girlfriend downstairs working from home, having fun with her colleagues, laughing, shouting, a world away from the music I'm listening to. Outside snowflakes keep falling, covering over the path I made this morning. Fink is moving his music towards some kind of climax it seems but decides not to or not yet. I notice I do not care. I can't get into the right mood today.

Underneath Fink something's changing. Electronic music moves in. Again a long held note, perhaps even a choir that is looped. Over it violins come in and a dark, deeply mixed voice as if coming to me from the bottom of the deepest ocean. Deep under the obvious contribution (Högni) the drone of Highland Spokesman is continuing, before Remy van Kesteren is allowed to come forward to close this Kairos with a second composition from his album 'Amber', 'Walking Across The Atlantic'. Although not the deepest ocean, there you have my idea on Högni's contribution anyway.

This wasn't my easiest Kairos ever,

Wo.

* P.S.  It wasn't, reading over my notes before publishing. It certainly felt that way by then.

 

Here's the link to this Kairos:

https://www.concertzender.nl/programma/kairos_579361/

This month's playlist:

00:04 – 05:21  Yukon Onoma. ALas! Alas! Album ‘Until the Northern Light Takes Us’. Munich Records.

00:37 – 00:44  Lyenn. Staggering Heights (fragment). Album ‘Adrift’. Near Gale Records – WasteMyRecords.

00:53 – 01:00  Lyenn. Staggering Heights (fragment). Album ‘Adrift’. Near Gale Records – WasteMyRecords.

01:09 – 01:15  Lyenn. Staggering Heights (fragment). Album ‘Adrift’. Near Gale Records – WasteMyRecords.

01:48 – 01:54  Lyenn. Staggering Heights (fragment). Album ‘Adrift’. Near Gale Records – WasteMyRecords.

03:26 – 03:32  Lyenn. Staggering Heights (fragment). Album ‘Adrift’. Near Gale Records – WasteMyRecords.

05:03 – 09:13  Lyenn. Staggering Heights. Album ‘Adrift’. Near Gale Records – WasteMyRecords.

08:35 – 15:05  Yukon Onoma. If Any Man Have An Ear Let Him Hear. Album ‘Until the Northern Light Takes Us’. Munich Records.

14:44 – 18:53  Richard Bolhuis. The Mad Sisters. House of Cosy Cushions. Album ‘Bliss’. Outcast Cats.

18:24 – 19:06  Howard Skempton. The Flight of Song – The Arrow and the Song (fragment). The Choir of Queens’ College, Cambridge. Album ‘Flightof Song’. Guild Music Ltd, GMCD 7213.

18:46 – 35:15  Med Gen. Brook (slightly adapted). Album ‘Terrapy’. Pantheon.

19:49 – 20:18  Howard Skempton. The Flight of Song – The Arrow and the Song (slightly altered fragment). The Choir of Queens’ College, Cambridge. Album ‘Flightof Song’. Guild Music Ltd, GMCD 7213.

30:06 – 30:33  Howard Skempton. The Flight of Song – The Arrow and the Song (altered fragment). The Choir of Queens’ College, Cambridge. Album ‘Flightof Song’. Guild Music Ltd, GMCD 7213.

34:10 – 35:14  Howard Skempton. The Flight of Song – The Arrow and the Song (fragment). The Choir of Queens’ College, Cambridge. Album ‘Flightof Song’. Guild Music Ltd, GMCD 7213.

34:54 – 39:49  Remy van Kesteren. Waves. Album ‘Amber’. Snowstar Records.

39:02 – 43:29  Faten Kanaan. Hesperides. Album ‘A Mythology Of Circles. Fire Records.

42:33 – 46:40  Vanity Productions. Devils on the Back Posh. Album ‘But All Spiked’. Posh Isolation 242.

44:05 – 45:36  Faten Kanaan. Hesperides (altered fragment). Album ‘A Mythology Of Circles. Fire Records.

45:25 – 48:33  Paul Haslinger. Mirror. EP ‘Austerlitz’. Fire Records.

47:57 – 53:43  Fink. That’s how I see you now. Album ’Bloom Innocent’. R’Coup’D/DGR.

52:39 – 59:57  Highland Spokesman. Sounds 03 three (fragment). Album ‘Sounds’. Pantheon.

53:43 – 55:42  Högni. Dragdu Mig. Album ‘Two Trains’. Erased Tapes Records eratp103.

55:55 – 59:57  Remy vanKesteren. Walking across the Atlantic. Album ‘Amber’. Snowstar Records.

Canyons. Young Gun Silver Fox

De Nederlandse zomer laat normaal gesproken nog wel even op zich wachten, maar met Canyons van Young Gun Silver Fox haal je de zomer onmiddellijk in huis.

AM Waves van Young Gun Silver Fox maakte bijna twee jaar geleden een hele stapel blue-eyed soul albums uit de jaren 70 in één klap overbodig. Het album klonk als een soundtrack uit vervlogen tijden en het was een soundtrack die niet of nauwelijks te weerstaan was. Op Canyons trekt het Brits/Amerikaanse duo de lijn door en strooit het nog wat driftiger met zonnestralen en honingzoete melodieën. De instrumentatie en de zang zijn ook dit keer prachtig, de productie is overdadig maar wonderschoon, terwijl de songs nog wat beter zijn en de grote voorbeelden uit de jaren 70 nadrukkelijk naar de kroon steken. Volstrekt onweerstaanbaar als je het mij vraagt.

In het verleden greep ik op de vroege zondagochtend nog wel eens naar albums van vooral in de jaren 70 populaire muzikanten als Chicago, The Doobie Brothers, Kenny Loggins & Jim Messina, America, maar zeker ook The Bee Gees, The Eagles, Boz Scaggs, Steely Dan, Toto en Hall & Oates. Het is allemaal niet meer nodig sinds ik in het voorjaar van 2018 AM Waves van het Amerikaanse duo Young Gun Silver Fox in handen kreeg.
 
De Britse muzikant Andy Platts (eerder actief met de zwaar onderschatte band Mamas Gun) en de Amerikaanse muzikant en producer Shawn Lee (die onder andere werkte met Lana Del Rey en Jeff Buckley en een beroemd maker van soundtracks voor games is) grepen op het tweede album van hun band schaamteloos terug op de zonnige blue-eyed soul, die in de jaren 70 vooral aan de Amerikaanse westkust werd gemaakt. AM Waves van Young Gun Silver Fox was suikerzoet, maar het album ging er bij mij in als koek.
 
Vorig jaar was er het al even aangename soloalbum van Shawn Lee, maar dit jaar staat weer in het teken van Young Gun Silver Fox. Op Canyons zet het Brits/Amerikaanse tweetal geen nieuwe stappen, maar gaat het verder waar het bijna twee jaar geleden was opgehouden. Ook Canyons grijpt terug op de blue-eyed soul van de jaren 70 en strooit driftig met zonnestralen.
 
Vergeleken met AM Waves klinkt het allemaal nog wat zoeter en is de productie nog wat voller. Het levert een album op waarvoor heel wat muziekliefhebbers de neus zullen ophalen, maar ik kan ook het nieuwe album van Young Gun Silver Fox met geen mogelijkheid weerstaan. Ik hou zo af en toe immers wel van de muziek van de bovengenoemde inspiratiebronnen en kan ook een lekkere volle productie wel waarderen.
 
In muzikaal en productioneel opzicht haalt Young Gun Silver Fox alles uit de kast en laat het zich niet alleen inspireren door alle bovenstaande namen, maar dit keer ook zeker door Earth, Wind & Fire en hier en daar een beperkt vleugje 80s Prince. Invloeden uit de 70s blue-eyed soul en softpop domineren echter op dit album.

Canyons valt op door een vol, maar ook warm en zonnig geluid, dat bijzonder lekker uit de speakers komt. Er is flink gesleuteld aan de muziek van Young Gun Silver Fox en het resultaat is er naar. Laat Canyons uit de speakers komen en de gevoelstemperatuur stijgt tot een graad of 25. De bassen leggen een heerlijke basis, waarop met name het gitaarwerk en de orgeltjes kunnen excelleren, maar ook de blazers (die in tegenstelling tot een aantal beweringen op het Internet zeker niet uit een doosje komen) klinken geweldig.
 
Luister naar Canyons en de Nederlandse winter wordt in één keer verruild voor de Californische zomer. Het nieuwe album van Young Gun Silver Fox klinkt in muzikaal en productioneel opzicht fantastisch, maar ook de zang op het album verleidt bijzonder makkelijk en dan zijn er ook nog eens de songs, die in de jaren 70 stuk voor stuk wereldhits zouden zijn geworden.
 
De criticus zal beweren dat Young Gun Silver Fox een kunstje beheerst en dat inmiddels wel erg lang uitmelkt, maar ach wat beheersen Andy Platts en Shawn Lee dit kunstje goed en misschien nog wel beter dan veel van hun inspiratiebronnen. Canyons is 40 minuten pure nostalgie, maar ook 40 minuten zorgeloos genieten van laid-back muziek die lichaam en geest op bijzonder aangename wijze tot rust laat komen. Canyons klinkt misschien nog wel beter dan zijn voorganger en is een album dat ik heel vaak ga beluisteren. En zeker niet als guilty pleasure.

Erwin Zijleman

Je kunt Canyons hier luisteren en kopen:

https://younggunsilverfox.bandcamp.com/album/canyons


of luister naar onze Spotify Playlist en ontdek waar we over schrijven:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g