Echo City

Pseudo Echo A Melbourne, Australia quartet who has changed their musical style several times over the course of their career. They began playing Duran Duran- and Ultravox-reminiscent synth-rock, mixing elements of late-'70s disco in and sporting a lipstick-and-big-hair look. They switched over to a more dance-oriented sound with extra percussion after a personnel shift in 1987, re-recording some of their early material in that style and also going for a casual, leather-jacket look. In 1989, they suddenly grew out their hair and started playing melodic hard rock à la Van Halen, with similar commercial non-acceptance.

Following their celebrated 10th anniversary album, German vibrator Oneness Records is putting out some from the album and more from their outstanding catalogue all dub mixed by Umberto Echo Beach! Fabulous dubs all around though that's also to do with the original music. Big up the German crew.

Continuing his long-running and highly respected series for Ace, spanning year by year since the germination of his 1966 volume for both Ace and Faber Books, Jon Savage serves us up another of his spectacular insights into popular culture, this time for the years 1983 to 1985. Born out of the ashes of post-punk, there were plenty of experimental singles during the early part of this period: Siouxsie’s ‘Swimming Horses’, Shriekback’s ‘Lined Up’, Soft Cell’s ‘Heat’, Echo & The Bunnymen’s ‘Gods Will Be Gods’, and the Smiths’ ‘Girl Afraid’ – a perfect kitchen sink scenario. Pete Shelley and Scritti Politti went the electronic route to great effect, while the Special AKA delivered the perfect riposte to ‘Hard Times’ (all those ripped jeans) and having fun on the dole with the under-appreciated ‘Bright Lights’.

“I think it’s important to be ambitious,” asserts Echo Bloom frontman and founder Kyle Evans. “When I started this band, that was a challenge that I set for myself. I wanted to make something really beautiful, whether it’s folk music or rock music or something more experimental. The medium and the people I’ve worked with have changed, but I’ve always tried to hold on to that fundamental idea.”

NYC based- Israeli Jazz singer, composer and pianist Tamuz Nissim is described by Athens Digital as “a proof that jazz is a living art and that stars are still being born” . She is performing often in New York City Jazz clubs and in March 2017 she published her latest CD “Liquid Melodies” , a common project with guitarist George Nazos. The CD received great reviews from the press and was broadcasted in more than a hundred radio stations in the States and more around the world.

Continuing his long-running and highly respected series for Ace, spanning year by year since the germination of his 1966 volume for both Ace and Faber Books, Jon Savage serves us up another of his spectacular insights into popular culture, this time for the years 1983 to 1985. Born out of the ashes of post-punk, there were plenty of experimental singles during the early part of this period: Siouxsie’s ‘Swimming Horses’, Shriekback’s ‘Lined Up’, Soft Cell’s ‘Heat’, Echo & The Bunnymen’s ‘Gods Will Be Gods’, and the Smiths’ ‘Girl Afraid’ – a perfect kitchen sink scenario. Pete Shelley and Scritti Politti went the electronic route to great effect, while the Special AKA delivered the perfect riposte to ‘Hard Times’ (all those ripped jeans) and having fun on the dole with the under-appreciated ‘Bright Lights’.