Julian Ormon

A switch to Island Records resulted in the best possible start not merely a generally fine album but a simply fantastic hit U.K. single, "World Shut Your Mouth." Nothing to do with the record of the same name but definitely possessing much of the same energy, it's a great slice of modern rock, with a crisp arrangement and punchy performance from Cope and his band. Skinner and Fried drummer Chris Whitten reappear, while bassist James Eller and keyboardist Double DeHarrison fill out the lineup. Kate St. John once again adds cor anglais here and there, one of her best moments being the bright charge of the title track. Together they tackle a set of songs notably less insular than much of the Fried material, with full-on performances to match. One song shows that best of all "Shot Down," which originally appeared on Fried and here becomes a swaggering, pounding rocker with keyboards adding to the impact. More than ever before in his solo career, Cope sounds like he's performing songs meant to be heard live, as the charging "Trampoline" and "Spacehopper" show. There's an almost finger-snapping, swinging vibe to a number of the performances that recall Teardrop Explodes days without trying to simply re-create that sound he's not trying to revisit the past, there's no need. A few numbers sound a bit too cold and crisp to work entirely "Planet Ride" is arena soul/rock that sounds like something Robert Palmer would have done around the same time, lyrics aside. A couple of other moments like that crop up, but with the balance skewed more to joys like Cope's in-your-face vocal on "Pulsar" and the lengthy final track "A Crack in the Clouds," Saint Julian is another winner.

Handel Hendrix House in London’s Mayfair holds a substantial collection of keyboard instruments – spinet, organs, and harpsichords – both original from Handel’s own day and reproductions, representing a roster of some of the greatest names from Kirckman and Snetzler to Goetze & Gwynn and Bruce Kennedy’s copy of the Colmar Ruckers harpsichord.

A switch to Island Records resulted in the best possible start not merely a generally fine album but a simply fantastic hit U.K. single, "World Shut Your Mouth." Nothing to do with the record of the same name but definitely possessing much of the same energy, it's a great slice of modern rock, with a crisp arrangement and punchy performance from Cope and his band. Skinner and Fried drummer Chris Whitten reappear, while bassist James Eller and keyboardist Double DeHarrison fill out the lineup. Kate St. John once again adds cor anglais here and there, one of her best moments being the bright charge of the title track. Together they tackle a set of songs notably less insular than much of the Fried material, with full-on performances to match. One song shows that best of all "Shot Down," which originally appeared on Fried and here becomes a swaggering, pounding rocker with keyboards adding to the impact. More than ever before in his solo career, Cope sounds like he's performing songs meant to be heard live, as the charging "Trampoline" and "Spacehopper" show. There's an almost finger-snapping, swinging vibe to a number of the performances that recall Teardrop Explodes days without trying to simply re-create that sound he's not trying to revisit the past, there's no need. A few numbers sound a bit too cold and crisp to work entirely "Planet Ride" is arena soul/rock that sounds like something Robert Palmer would have done around the same time, lyrics aside. A couple of other moments like that crop up, but with the balance skewed more to joys like Cope's in-your-face vocal on "Pulsar" and the lengthy final track "A Crack in the Clouds," Saint Julian is another winner.

Almost three years have passed since »Stand Your Ground«, Julian Sas' last album. Like almost all colleagues, the Dutch blues and blues rock guitarist and singer had to take a break due to the corona. In 2022 he will be back with a new tour and a new album: »Electracoustic«.

Together with its artistic director Julian Azkoul, the United Strings of Europe develop engaging programmes with the aims of finding threads between different works and epochs, musical cultures and backgrounds, of blending the familiar with the new and of encouraging people to listen to works in different ways and discover new repertoire.

Together with its artistic director Julian Azkoul, the United Strings of Europe develop engaging programmes with the aims of finding threads between different works and epochs, musical cultures and backgrounds, of blending the familiar with the new and of encouraging people to listen to works in different ways and discover new repertoire.

In their latest album, Safe Place, German jazz duo Roman and Julian Wasserfuhr craft an intimate refuge through music. This is not about a physical destination—it’s a state of mind, a sanctuary for reflection and focus amidst the noise of modern life. Joined by cellist Jörg Brinkmann and saxophonist Paul Heller, the brothers craft an intimate, heartfelt soundscape that celebrates genuine connection and invite the listener on a musical journey away from distractions, offering clarity and tranquility. It’s a celebration of friendships, authenticity, and the power of music to ground us in what truly matters.

Together with its artistic director Julian Azkoul, the United Strings of Europe develop engaging programmes with the aims of finding threads between different works and epochs, musical cultures and backgrounds, of blending the familiar with the new and of encouraging people to listen to works in different ways and discover new repertoire.