Lucas Tadini set to release debut album in September

After the success of his debut single ‘The Arsonist’, Lucas Tadini is back with his next single ‘Welcome Back to Freedom’ ahead of his debut album ‘Collective Delusion’ which is set to be released in September. 

Watch the lyric video for ‘The Arsonist’ here

The new track, out on 26th June, tackles Tadini’s past struggles with mental health and how he has freed himself from them in recent times – a very necessary message for us all at this moment in time. 

The album, consisting of 9 tracks, includes this overarching theme of mental health with other tracks such as ‘Over the Rhone’, which addresses Vincent Van Gogh’s struggle with his mental health which resulted in his suicide and ‘23’, a track that Tadini wrote when he was 23 years old about his personal struggles at the time. 

With inspirations for the album coming from rock legends such as Pink Floyd, Led Zeppelin and Jimi Hendrix as well as Tadini’s multicultural background, his education at Berklee College of Music and his cat Lucifer (!), we can’t wait to hear the rest of the album and see where Tadini goes this year. 





Composer Mustafa Khetty’s mission to keep classical music alive in lockdown

I’m sure we aren’t the only ones missing live music at this time.. But if you are a musician yourself and are missing coming together with other musicians to play and enjoy music together then listen up as Mustafa Khetty might have the answer for you! 

In a bid to help classical musical and orchestras which might be suffering during lockdown, Mustafa has released his track ‘Solace’ which follows the story of COVID-19 so far through a musical interpretation. 

His task for you? Get involved in the lockdown re-make of the song.

How does it work? Drop Mustafa a line in his email address below and he will send over a piece of music from a section of the song, once he has all the parts together he will combine them to make the ultimate virtual orchestra. 

Sounds pretty awesome to us! So, what are you waiting for? Drop Mustafa a message now and get involved in his worldwide project –







“Cruise Control” is the new single off New York City musician Kyle Avallone’s upcoming debut album, “Last Minute Man”. The song is an ode to the nightlife and all the satisfaction and suffering that comes with it. A nocturnal journey that starts with desire, ends with discontent, and investigates the dances that perpetuate our longing.

While establishing himself in the NYC music scene playing with artists like Cut Worms and Shilpa RayKyle Avallone began working at home on what would become his new solo project, a dark and moody world where he could investigate the layers of romantic turmoil, hedonistic habits, and ordinary life.

His debut album, “Last Minute Man”, is a sleazy offering of Casiotones covered in barroom smoke and crimson cabaret light; a scuzzed out tower of songs that takes you on a late-night escapade littered with neon signs, bathroom debauchery, and 3AM rendezvous. You could be nightclubbing in Berlin with the ghost of Rowland S. Howard, or zig zagging across the floor of the Black Lodge with holes in your loafers, a tear in your dress.

“I wanted to escape the day-to-day,” says Avallone. That desire to run away permeates through all of the album’s nine tracks. In the sloppy swagger of “The Haunted Screen” a fallen angel has broken a wing at the expense of love. Despite his soul-sucking existence, he flies on. On the hypnotic closer, “Take Me Away” Avallone pleas, “Let’s sail the sea by night/The distant shore is bright/I’ve counted my cards, there’s nothing for me here/Disappear.”

Of course, there are other ways to check out—indulgence, excess, isolation. “Cruise Control” chronicles a night on the town in the manner of Bowie’s Thin White Duke—the pursuit of cold satisfaction and the untold numbness that follows. Over the incessant groove of “I’m Ready” a prophet, prince, or president lays claim to his throne and prepares for his ascension, as well as the end of days. “Somewhere You Can’t Find Me” puts you on the other end of a desperate phone call from the depths of addiction, a lost soul’s muddled goodbye.

But don’t be mistaken—it’s not all doom and gloom. Avallone’s lyrics and delivery contain an undercurrent of wry flirtation that suggests these characters can see beyond their torture. The title track, “Last Minute Man” evokes the self-deprecation and gentle chauvinism of Leonard Cohen—“When your drink is done/when the party’s no fun/when you bite and bat, but still he don’t come/that’s when the light shines on me…” The romantic ballad, “Borrowed Spell” finds our seducer waiting in anxious anticipation, fearful of what consequences love may bring.

These songs are a mirror in a motel where you only like the way you look if you’ve had enough to drink. This album is a soundtrack for those who fly too close to the sun.

1. Somewhere You Can’t Find Me
2. Savage Song
3. The Haunted Screen
4. I’m Ready
5. Last Minute Man
6. Borrowed Spell
7. Born A Bastard
8. Cruise Control
9. Take Me 

80’s obsessed Empathy Test release third album

Empathy Test are set to release their third studio album this week and as Louder Than War put it, it contains “A set of songs lovers of 80s synth pop will be drooling over the minute the first verse has been heard.” 

With the single ‘Monsters’ already released (listen in the link below) we can see why Louder Than War are calling all 80s synth pop lovers to join the Empathy Test hype train. 

The band themselves are self proclaimed 80s obsessive having admitted their name is a nod to science fiction classic Blade Runner and ensuring that the new album will have a vinyl version released in 2020 too. 

And with this new and bigger than ever sound that the guys are bringing with this new album, we believe it won’t just be 80s lovers that are tuning in and downloading ‘Monsters’ on Friday – we expect big things for the London based electro-pop band and can’t wait to see what this year has in store for them. 







David Crosby Will Reissue CPR’s Two Studio Albums, Plus Two Live Album Via BMG

After being a part of two of rock & roll’s most foundational bands (the Byrds and Crosby, Stills & Nash, respectively), and four years removed from a life-saving liver transplant, David Crosby channeled the creative frustration he had been feeling into CPR’s 1998 self-titled debut. Joined by noted session guitarist Jeff Pevar and Crosby’s recently reunited son James Raymond, the trio crafted smart, heady, jazz-indebted rock that showcased their stunning harmonies. They followed that three years later with 2001’s Just Like Gravity, an album that refined the burgeoning trio’s sound. On May 15th, BMG will reissue CPRJust Like Gravity and the group’s two live album – Live at Cuesta College and Live at the Wiltern. All four albums will be available digitally, and CPR and Just Like Gravity will be available on CD July 31st, with liner notes written by Steve Silberman, the award-winning science writer who hosted the illuminating Freak Flag Flying podcast with Crosby from earlier this year.

“CPR was me realizing that the world of CSN and Y was getting old and stuck in its place and that I needed to still keep moving,” says Crosby. “That I had more and different music in me that needed room to grow and stretch. CPR was me finding my son James and realizing pretty quickly that he was an even better musician that I was, and that he was rapidly becoming the best writing partner I’d ever had. CPR was a wonderful chemistry that has now become the Sky Trails band. I don’t think very many people heard these records, and I do think that they are some of the best work I’ve been involved with. Enjoy.”

Still on the road with CSN – but as Crosby says merely “turning on the smoke machines and playing the hits” – the two-time rock & roll hall of famer wanted an outlet for his still churning creativity. After meeting Raymond for the first time shortly after his liver transplant, the pair discovered a creative chemistry neither saw coming. They went on a songwriting spree, and after recruiting Pevar, went on to make CPR. After a series of successful tours, they went back into the studio to record Just Like Gravity. And by opening himself up to working with younger artists to help stoke his creative fires, Crosby’s recent late-career resurgence – highlighted by 2014’s Croz, 2016’s Lighthouse, 2017’s Sky Trails and 2018’s Here If You Listen – can really be traced back to working with Raymond and Pevar in CPR.

CPR was very much a precursor to Crosby’s acclaimed Sky Trails album and the ace live band that grew out of that album, both of which feature Pevar and Raymond. Spin called Sky Trails Crosby’s “most stylistically diverse and sonically lush solo album,” while the Associated Press called it “an excellent batch of tunes.” In many ways, CPR and Just Like Gravity were albums that pushed against what was popular in rock at the time – CPR going up against the nu-metal wave of the late 90’s, and Just Like Gravity coming at the beginning of the turn of the century “rock revival” led by acts like the Strokes and the White Stripes. Crosby, Pevar and Raymond weren’t chasing after the flavor of the day or trying to recreate old glories, they simply followed their muse, trends be damned.

As Silberman says in the liner notes for the Just Like Gravity reissue, “CPR and Just Like Gravity were two of the most powerful and personal records Crosby made in his celebrated career, but they flew under most critics’ radar and quickly went out of print. The lessons that Crosby learned by opening up his creative process, however, made possible later collaborative breakthroughs like Croz, Sky Trails, Lighthouse, and Here If You Listen. Far from done at this point, his best work was still ahead of him.”