Kes Band studio portraits by Lauren Bamford

KES BAND II SYDNEY LAUNCH: Saturday 5 December @ Spectrum with The Icypoles (Melbourne), Ela Stiles (Songs) + special guests to be announced. Tickets on sale now from Moshtix.

Kes on Myspace

MP3: When All Your Silverfish Turn To Gold (from Kes Band II)

MP3: Gentle Elf (from Kes Band)

MP3: The Bruise (from The Grey Goose Wing)

“Wordlessly stunning. Although the spectre of the Dirty Three hangs over the album (Biddy Connor’s violin is more elegant than ferocious), there is so much beauty on display, so much space and atmosphere, so much complexity and grace, that it is truly a record in its own class” - THE SUNDAY AGE **** four stars

“A delicate gentle sonic feast… The themes of each composition are beautifully explored and expanded” - MUSIC AUSTRALIA GUIDE

“This might just be the finest work Karl Scullin and crew have produced… Reserved and passionate, abrasive and sweet, epic and miniature, I’m running out of superlatives” - MESS +NOISE On Rotation

“A slow-burning collection of bush-bashing post-rock and ethereal wind-driven waltzes”
- mX NEWSPAPER **** four stars

“Music so unique and wild, you get high listening to it.” - RHYTHMS MAGAZINE  

“A labyrinth of surprises” - THE AGE

“A beautiful listen” - INPRESS

“Veers off into darker, deeper territory, with some remarkable results” - THE BRAG (Album of the Week)

“The aural manifestation of a dream, one that’s wonderfully different for everyone and on every listen” - TIME OFF (four & a half stars)

“Kes Band II defines Kes (and Kes Band) as one of the most intuitive voices in music, and solidifies the beauty that lies in a unique musical vision.” - BEAT (Album of the Week)

Kes Band II is an all-instrumental album which reveals some resonant new exploratory dimensions of Melbourne’s much acclaimed Kes Band.

Voiceless lyricism and a flair for the transcendental, richly beautiful string arrangements and delicate playing reverberate with almost visual joy and sorrow. Masterfully recorded and produced by engineer Simon Grounds with additional recording done by Neil Thomason at Head Gap Recording Studio.

Kes Band II is at once an intriguing mood piece of strangely moving atmospheric music that sweeps through and around the listener; it is also a dense slice of rewarding cerebral music, full of fertile ideas which reveal and fulfill themselves over time.

Kes Band II Launch review from Inpress:

Fasterlouder photo gallery of Kes Band II launch @ the Arts Centre, Melbourne

Within the refined walls of the Melbourne Arts Centre Fairfax Studio, KES Band launched their album, and were supported by Anthony Pateras & Robbie Avenaim, and Free Choice. 

Kes Band II Launch review from Beat:

There’s a preciousness and a fragility to Kes Band II (Mistletone) which is understated yet still reconciled.

Tonight, part of that dichotomy between the replication of and the unrepeatableness of art were explored, and vented successfully. What am I talking about? Kes Band II, the album, is possibly the only artefact that will survive Kes Band II, and for this alone we are all lucky, the reason being that as a collection of songs or pieces of music, Kes Band II; the collection of musicians as ‘corralled’ by Karl E Scullin, may never group together again to expel these mind-bending tunes. So tonight was a rarity, a one-off, an event. And it was an event.

Missing Jarrod Zlatic’s Free Choice duo, I sort of ‘walk in on’ Anthony Pateras and Robbie Avenaim, who are at the tail-end of their set; the ‘dug-out’ room in The Arts Centre almost full and seemingly transfixed by the jocular touch of Pateras on piano grand and Avenaim on trap-set, sporting a frenetic touch and not less than 4 kick-drums, seeming set off by that man through some home-made contraption of wiring and steel arms. The result is schweppervesence; Pateras on the piano is a mad-man; from the side of the stage he is either playing the piano keys or pounding them mercilessly into their timber bed. Musically it’s rhythmic and dynamic and spontaneous. When the duo finish, both pause momentarily. The crowd wonders, ‘will they dive back into it?’, and the answer is no, when both rise and gesture to one another before they depart the room. Generous and warm applause begins.

Due to the uniqueness of the Kes Band II’s performance of Kes Band II, and the fact that the space amplifies each and every small sound and detail, the audience is patient and appreciative of the chance to refrain from applause and murmur, nestling into their while Kes Band II step carefully through the tracks from their recently released namesake album.

Additional players associated with Kes are on hand to add sound and timbre to these pieces, and their fingerprints on the performance are important to mention. Julian Patterson looms intuitively on drums and bell, Laura Jean slinks around running from bass to guitar to piano and sundry percussion, and there’s Oliver Mann on piano, percussion, harmonic, and even bull-roarer. He and clarinet player Tarquin(from Bum Creek) provide a moment of wonder as they swing bull-roarer’s over their shoulders to create that most minimalist of sounds, a sound that one can not mistake for anything else except a windstorm. And this is indicative of the event; Kes Band II did not overlook any of the nuances of their record; inviting opportunity and chance to present something which was a perfect representation of the album in its intent and its aesthetic. At another point, 6 of the 8 players including ‘string section’ Biddy Connor and Nick Venerables, appear with small hand chimes which when shaken deliver a subtle resonant bell. When triggered, that resonance disperses a tiny drone for just a few seconds. When played in tandem, these instruments emitted a little patchwork: ’suns of sound’, if you will, that created a segue from the wonderful twelve minutes of opener Doors Open Doors Close and into the next piece. Golden. All of this playing is glued together by Karl Scullin; subdued in tan but glowing a little more than a little from the revelry of this Kes Band performance.

Pretty much the entire album is performed, the tracks closely resembling their original album form, but the spontaneity of Kes Band II and their incredible musical capacity and tempered performance leads to an indelible dusty soulfulness and spindly tenderness. The venue itself is responsible for exquisite intimacy of sound. The combination led to at least one tingling spine.

Steve Phillips.

Photo by Lauren Bamford

From The Age: Everything in its right place

Karl E. Scullin isn’t buying into the stereotype of the unorganised musician. By Craig Mathieson.

KARL E. Scullin, the constant Kes of ever-changing Melbourne indie outfit Kes Band, doesn’t leave things to chance. If there’s something to be done, it must be done properly. And that means a list. His preference is to use butchers’ paper, amounts of which he has tacked up around his home, should the need arise.

“Musicians have this crazy, romantic notion that they’re free spirits and that to even write down some reminders compromises their artistic purity. That’s total garbage - the people who write the lists are the truly creative,” insists Scullin. “People talk about how they don’t know where songs come from but if you’re organised and have a full rehearsal and everyone is prepared and has their instrument, then it’s not exactly rocket science.”

Also a gifted photographer, Scullin is hardier and more focused than he appears. His aim is to record and release an album each year, with the 2009 edition being the recently released Kes Band II, a collection of sparse, moving instrumentals that takes in classical experimentation (The Leyden Experiment) and folk soundscapes (B.P. Grimaud).

“I was totally disillusioned with the format of songs and pop music,” Scullin recalls. “This is a record where the arrangements are searching for something different. I listen to a lot of music on the car radio and it’s all just guitar, bass and drums with everyone playing. I started listening to classical, which I know nothing about, because it had space in it.”

One of the reasons he removed his voice from the Kes Band II writing process was that he knew the album would be his last chance to capture the five-piece line-up that recorded it and 2008’s expressive folk-rock disc, Kes Band, and Scullin wanted to give his band full rein.

“I’d love to be in a core band with four members that goes on for years and years but that’s extremely difficult to find,” he says. “So I’ve learnt to embrace the transitory nature - sometimes you’re going to have to let it go.”

If the new album is an act of requiem, then it will boast an impressive wake. The line-up that recorded Kes Band II will reunite, with a handful of additional musicians, for a one-off launch at The Arts Centre’s Fairfax Studio this Saturday. It’s also a reminder that Scullin is an artist Melbourne keeps to itself: he rarely plays interstate.

“The albums are really important to me. Touring interstate can raise your profile but, as well as the gigs go, you’re paying for flights and accommodation and it’s hard to break even,” he reasons.

“I think that money is far better spent on recording.”

Arts Centre show aside, Kes Band is now a “raucous” rock and roll three-piece and it’s that format that will record his 2010 album, which, according to his albums list, is a “party record, in the way that (Nirvana’s) Nevermind is an upbeat party album”.

Scullin doesn’t believe he’s moving too fast for the public, although there are a further six entries on his albums list he’s already periodically recording song ideas for. Riffs, he believes, are like wine: they get better as time passes.

“When you come back in six months or a year’s time it has this added resonance,” promises Scullin.

Inpress feature

By Doug Wallen

Karl E. Scullin has carved himself a handsome niche as Kes, a sort of clearing house for Scullin’s varied musical pursuits. A former bassist in Bird Blobs and a contributor to the Melbourne quartet Mum Smokes, Scullin released 2004’s The Jelly’s In The Pot and 2007’s The Grey Goose Wing as simply Kes, followed by last year’s self-titled debut with Kes Band. Lest we think him an egomaniac, the new Kes Band II sees Scullin eschewing his unique, swooning voice over a collection of poised instrumentals that highlights the well-oiled five-piece he’s developed.

“I wanted to step back a bit and everyone else to step forward,” he recalls. “Once we finished Kes Band, I thought we should try something new.” That meant a more democratic approach, with each member contributing songs to the band. As for delving into instrumental music, he says, “It was just an idea I’ve always wanted to try. I wanted it to be more of a musical exploration, as opposed to a lyric- and story-driven thing.”

Having experienced firsthand the fleeting nature of band lineups, Scullin wanted to take advantage of the excellent one he has at the moment. That includes his Mum Smokes bandmate Julian Paterson (formerly of Minimum Chips), renowned singer-songwriter Laura Jean, and Jean’s own bandmates Biddy Connor and Lehmann Smith. What resulted was more collaborative than past Kes records, with the musicians and instruments falling together very naturally into a batch of 10 gorgeous, often ethereal songs.

The album doesn’t simply make use of its players’ talent for one instrument, but also of their multi-instrumental prowess. Patterson plays drums and keys, Connor plays viola and singing saw, and Smith plays guitar, keys, accordion, clarinet, and mandolin, while Jean alternates between guitar, bass, keys, and recorder. Scullin plays a handful of different instruments on the album, including bells and gongs, and guest Lewis Boyes stops by to shake and crack tree branches on two songs. Not exactly a traditional rock record, then.

“I wanted the arrangements to do a lot of the story,” Scullin admits. “I was very disillusioned with [the structure of a] guitar intro, 4-4 drumming, and verse-chorus. I just totally wanted to get away from pop. So The Leyden Experiment breaks down into this droning kind of thing. I’ve never really done drone or anything particularly experimental, but I’m definitely leaning towards those things more.”

While Mum Smokes’ recent two-album set Easy/House Music also features plenty of instrument swapping, Scullin says Kes Band II was only influenced by Mum Smokes in the sense that he wanted to depart from that band’s more pop-based work. It’s perhaps foreshadowing, then, that two of Scullin’s contributions to Easy/House Music take the shape of brief piano instrumentals. He admits to that but also points out that Kes records typically include prominent instrumental interludes. The new album, then, is in some ways simply a progression from those.

“The atmosphere of the album is very much just the player,” explains Scullin. “It’s those five people playing together. To me that’s one of its strengths: all the silence. I think that’s a good aspect of the album: how much space there is. I feel like all the music I’m exposed to is just this barrage of everyone playing all the time. Everyone has to be in on it. I was getting really depressed by it.” He adds that while there are definitely overdubs on Kes Band II, the album is kept somewhat live in its arrangements and ideas.

That said, playing the dreamily subdued instrumentals live is another matter. “This launch will be the first time we’ve ever tried to do it,” Scullin admits. “The songs are definitely not like a fun-time party. We’ve had some [weird] experiences, because we play with a wide variety of other bands. We played with My Disco for their album launch at the Corner, and we were trying for this baroque-y, classical, instrumental stuff. I definitely felt like there were a lot of question marks over people’s heads.”

Asked if the influence of classical music is inevitable when a band starts using orchestral instruments and departing from lyrics and pop structure, Scullin answers, “I guess so. I don’t know much about classical music myself. I listen to a lot of music in my car, flipping between stations, and I always find myself listening to either duets with guitars or little piano concertos, just to get away from that guitar-based [pop] sound. I find it quite draining to listen to that all the time. Classical music seems to think about space more, and have space where it’s not playing, which is where my head was at.”

Though it’s a viola and not a violin heard throughout Kes Band II, the album’s spacious and relaxed nature – not to mention the lack of vocals – makes for easy comparisons to Australia’s premier instrumentalists, the Dirty Three. “I wasn’t thinking about it much,” says Scullin, “but I guess when you take my voice out of the mix and there’s a viola, which tends to be a high-pitched, lead-y kind of sound, it would happen. I’m a huge fan – I think Warren Ellis should be the prime minister – but all the arrangements are so different from what the Dirty Three would do. And there’s heaps of variety: there’s recorders and clarinets taking the lead. The viola taking the lead is just a small part of the picture, really.”

After wowing us with both his lyric-based work and now his band’s wordless majesty, Scullin is turning his attention to the more conventional Kes Band III, part of which was recorded alongside Kes Band II. With a Vic Arts grant at his disposal, Scullin envisions the third Kes Band outing as “a rock album, quite high-energy and aggressive,” placing it in stark contrast with the new record. He’s also hoping to release another solo album next year. Just don’t expect Kes Band’s album titles or design to depart from the pattern that’s been established thus far.

“I’m a huge fan of things being simple and functional,” Scullin explains. “It’s good to have a template that you don’t need to worry about. Then you can focus on the material. I like keeping the handwriting on the back and the photo format the same, but the content changes. I like that over a period of time, a body of work will build up with this template staying the same.”

He likens the template to that of the Kes Band song Ones Seventeen (Bass Delay). “It’s always the same chord progression,” he says, “but the content and who’s playing on it always changes.”

Kes trio pic by Ben Butcher

From Beat:

Kes Band interview by Steve Phillips

There is something profound in the air of late. It is as though Melbourne is the home of an epiphany of musical expression.

Album releases of the last 18 month or more from the likes of Grand Salvo, Mum Smokes, St Helens, Love of Diagrams, The Sand Pebbles, Children of the Wave, Beaches, The Sun Blindness, and Kid Sam, have seeped their way into the consciousness of music lovers and continue to permeate through hearts and airwaves alike it seems.

The very same applies to Karl Scullin’s Kes, and in the case of his last and most recent albums, Kes Band and Kes Band II.

The most recent, Kes Band II finds Scullin and band (comprising Laura Jean, Biddy Connor, Julian Patterson, and Lehmann Smith) purveying the Kes musical landscape minus Scullin’s eclectic vocals and always intriguing lyrical component.

Steve Phillips spoke to Karl about Kes Band II, Scullin claiming in that conversation that this album comes at a time when he believes the parameters of pop music may be in need of a bit of expansion.

“I have this radio in my car and you change stations by pushing a button, and there are only four buttons. I found that I was listening to the radio, to classical radio a lot, and I liked how much space there is in classical music. I don’t know a lot about classical music but the music I heard on the radio had these great highs and lows”. Of the distinct lack of his usual pop sentiments, Scullin reflected that “I’ve been feeling really bored with most of the pop music I hear on the radio, and I think this is why I became more interested in exploring other structures. I think I’m also feeling really confident that I can challenge myself and do something pretty different, to see where I can take things.”

Despite Kes being the literal brainchild of Karl, Kes ‘Band’ is a pronounced reference to the input and influence of the additional players who are Kes Band II, and this album, was rather deliberate in its design to spotlight the width and breadth of their talents: “I really wanted to give the others a chance to contribute more, or to get more of a chance to show what they can do, because in the past there hasn’t really been this kind of opportunity. And they’re all really talented, they’re all really capable, and I wanted to push them on this album and give them a chance to show what they can do.”

Hear Kes Band II and there’s absolutely no denying the musical intellect and flexibility that each player exudes. Each has been in the seams of the Melbourne music scene for quite some time, and each is renown for their capacity and for their musicianship. So if you were going to get the chance to expose the chemistry that exists between players, Kes Band II provides the perfect forum; The vast expanse of opener Doors Open Doors Close is quite something, immediately defining the ornate spaces which Kes Band II comes to display in continuum, beset by Scullin’s gentle, skeletal guitar and all manner of washes from Karl’s bullroarer and drones, to Biddy Connor’s viola, and a waltzy patch in the middle which leads through to a blistering esoteria; the piece evoking one long glance across an arid, formidable landscape. Later, Trees Fall also creates the same dusty glass effect through tendril lines and Lehmann Smith’s willowy clarinets.

Something of Kes Band II reminds me of another Melbourne outfit whose capacity to evoke such imagery was equally strong. That band was Hungry Ghosts, whom I am aware Karl is familiar with, and even just a little bit fascinated by: “I know a bit about J P Shilo, who was a guy who was in the Hungry Ghosts. I know he’s worked with Rowland S Howard’s on his new record and apparently he really helped Rowland out a lot. I might have seen Hungry Ghosts a few times, maybe five or six, and I remember that they supported some pretty amazing bands. Their shows were intense, I think I saw them at the Prince and they really filled the space. Apparently J P Shilo went after they broke up and learned about music in a Buddhist retreat for 12 months. I’d really like to meet him and talk about what that was like, to really learn about music.”

What Karl refers to in passing might be Kes Band II’s unique musical language and sensibility. There is a remoteness and a sense of space throughout its ten tracks, and a feeling of isolation which belongs to the phrasings, the playing, and the execution of each and every note struck. Hungry Ghosts’ debut album had very much the same aura of space and time, as does The Drones’ Gala Mill to some extent.

Kes Band II is being launched in Melbourne at The Arts Centre, generally not considered a hub for indie-rock. Nevertheless, the venue will host Kes Band II in an expanded mode performing the album which may, or may not, ever be repeated. But thus, in keeping with the twisted limbed elegance that lingers over Kes Band II, the venue in all its suggested opulence is the perfect place for such a one-off.

I pondered this with Karl and was pleased to hear that he’s not as unnerved by the event as he may have been: “I was nervous about the capacity, but we had a rehearsal and everyone seemed to know the songs pretty well so I feel really confident. We played Trees Fall when we did a show with My Disco and I couldn’t tell if people really got it or not. No-one really seemed to know what to think, but I think it should be pretty good.”

The Age A2 review:

Mess + Noise review:

The all-instrumental ‘Kes Band II’ proves that you don’t need to speak or sing to produce the sublime, writes LAWSON FLETCHER.

It almost seems bland on paper: an instrumental follow-up album simply called Kes Band II. Don’t let the modesty fool you though, this might just be the finest work Karl Scullin and crew have produced, with intuitively weaved-together songs as delicate as spider’s silk, yet so texturally dense and compositionally complex you’ll find yourself taken in by them over and over.

Take 10-minute opener ‘Doors Open Doors Close’, for example, a sweeping emotional suite so intimate and detailed that it sets your heart soaring. Commencing with a pretty, lyrical string and guitar duet, gentle incursions of musical buzz and errant cymbals subtly motion to the chugging drone storm that swallows its midsection. The duet is later reprised in the coda, but this time as a more melancholic waltz. Such rise and fall, instrumental juxtaposition and just brilliantly refined musicianship defines what’s to come.

Forgoing the often unbridled exuberance of Kes Band’s freak-outs, these musicians have channelled their energy into less assuming, but no less affecting compositional refinement. These are swirling, intricate arrangements that are by turns pensive and playful, gentle and lush; an utterly beautiful journey.

I say journey quite deliberately, because the album suggests a unifying, if unspoken narrative as much as it explores a series of moods. The meticulously sequenced tracks are like little scenes of a play about a boy lost in the outback - feelings of loss, regret, hope and ultimately redemption – and the cast of characters are the instruments, who move about one another with actorly grace, in a display of finely staged and effortless precision.

“Singling out highlights here, judging who plays the best, really isn’t what this album asks of you - it’s like trying to pick out the best colour on a Monet painting.”

Kes Band II never once feels like an indulgence, or worse, the product of a jam. Even if songs like ‘Trees Fall’ invite jazzy experimentation within the crevices of a repeated guitar peel, every moment of improvisation is integrated into the broader tapestry. Similarly, it’s a struggle to name a standout contributor. Every musician shines - from the yearning evocative viola of Biddy Connor to Julian Patterson’s perfectly applied drumming, whether delicately measured or brightly disjointed.

Or how about that special moment, the one that every great album is in possession of, like the inspired switch from pining dustbowl pitches to a wind-up blues slide in the coda to ‘Outs’, metamorphosing a country dirge into a brilliant classic rock stomp? Or the tongue-in-cheek tussle between a smiling violin and the mashed low-end of a piano on the playful ‘The Leyden Experiment’? Singling out highlights here, judging who plays the best, really isn’t what this album asks of you - it’s like trying to pick out the best colour on a Monet painting.

Maybe that’s a good metaphor for Kes Band II, because it really is a fucking work of art. With a mostly softened palette, the band daub and mix tone and textures within and between tracks, often reprising particular motifs later so a kind of circular pattern forms across the album. They progressively flesh out moods and ideas until they arrive at a transcendent, richly beautiful canvas whose whole is so much greater than the sum of its parts.

But if all this seems a bit formal, a bit writerly, then it’s only because as a critic, my analytical lens will always fail to capture what makes this album truly good. Because not once does Kes Band II seem only a compositional achievement, it’s driven by an overarching purpose: to be beautiful, to be inviting. I hesitate to invoke The Dirty Three – even if it flickers with the more haunting, softer moments of their post-rock, it’s never quite as exhausting to listen to.

Reserved and passionate, abrasive and sweet, epic and miniature, I’m running out of superlatives. It all falls away in the end, though; you don’t need to speak – or sing – to create the sublime.

Sunday Age review:

Time Off review (four and a half stars):

Kes is like one of those special dreams you don’t often have where everything is awesome and where even days later you’re still wishing you could go back to that place – so far and foreign from your real world but filled with a mysterious air of distilled emotions.
Well, Kes Band II really truly is the aural manifestation of a dream, one that’s wonderfully different for everyone and on every listen. A leap of sorts for the man behind the acronym, Karl Scullin has from his early recordings often been defined by the unique and haunting voice that swims from his head. With this, his fourth Kes album, he (and his bandmates Laura Jean, Julian Patterson, Biddy Conner and Lehmann Smith) have left behind the road signs of lyrics and consigned to us ten instrumental pieces of pure abstract beauty.
Built upon the equally unique and vivid pictures Sculin paints with his guitar, these songs transform themselves as though they were one 40-minute story – ‘Treesfall’ and ‘Patterson’s Curse’ are reminiscent of the lost, transcendent journeys that define The Dirty Three. ‘Doors Open Doors Close’ and the shorter ‘Jessica Braz’ are filled with the shape-shifting guitar of Sculin that sings like a siren’s voice off in the distance, while the effortless gallop of ‘Outs’ and lurch of ‘The Leyden Experiment’ cast long shadows of unease across a dusky landscape.
Kes Band II is filled with all the beauty of previous albums, even though it is unlike anything Kes has done before. It’s a wondrous album that constantly flicks lit matches into the kindling of your imagination and while it’s not telling you what to think or what to feel it will give you an exquisite world to escape to and play within.
Alex Gillies

Beat review (Album of the Week):

The shadowy sway of this record is its heart, that and its subtle languidity. These elements feel and sound sentimental, sentimentality not being a sense we’ve found too often on Kes records past, at least not in such any pronounced fashion.

Ten instrumentals, Kes Band II is claustrophobic from the outset in the form of opener Doors Open Doors Close, yet it is also indelibly personable (The Leyden Experiment), always intricately executed (B.P Grimaud, Patterson’s Curse) and even sweeping at times. There’s a visual aspect to the pieces here that imply a certain reference to colonialism, but far from being distinctly remote the vibe is more homely and narrative. This forms the aesthetic connection, one which I was not expecting, to seminal Melbourne outfit Hungry Ghosts, particularly through Doors Open Doors Close which evolves gracefully and beautifully into something utterly textural and ambient.

B.P Grimaud tinkers sweetly like a minuet written in the 19th century, and Trees Fall oozes Free-jazz tones and shapes; drummer Julian Patterson channeling Jim White’s shuffling beats, and somehow it is this track which congeals the intentions of Karl Scullin’s vocal-less approach on Kes Band II.

Here even the playful is sublime. Musical intensity resonates throughout but seldom overwhelms; Scullin and Kes Band taking the listener into dark corners, to view through windows the daylight as it creeps towards the horizon-line, and to lie underneath the stars. Outs continues with the same evocative, sparse arrangement and expands upon it through dewy guitar notes. The ‘recurring’ motif One Seventeen is incredible; mesmeric, creepy, and cavernous. Things shake, burn, glow, and ring out, whistling drones haunting the corners and permeate into the atmosphere.

Kes Band II defines Kes (and Kes Band) as one of the most intuitive voices in music, and solidifies the beauty that lies in a unique musical vision.

Steve Phillips

Inpress review: