Sexybody From November, No.20 2013 Taiwan

2013 release, the 20th album from the veteran British Electronic music pioneer. The songs on Splinter were written by Gary and his longtime co-conspirator Ade Fenton. The album sees Gary blending his unique musical vision with modern technology, creating something this is both 'current' and entirely different than anything else you will hear all year.

Original CHASTAIN band reforms! CHASTAIN's "Surrender To No One" marks the return of original vocalist Leather Leone. Long considered one of the originators of the female power metal vocal style, Leather proves on the new CD she hasn't lost anything from her glory days. Also returning to the band is original bassist Mike Skimmerhorn. The drums are now being handled by Stian Kristoffersen (Pagan's Mind, Firewind).

The album, first full-length by 10,000 Maniacs in 14 years, contains eleven original songs. This album is the first to feature guitarist Jeff Erickson since he took over for Robert Buck following his death in 2000, and the first Maniacs album to feature Mary Ramsey without her longtime music partner, John Lombardo. In addition to his guitar efforts, Erickson provides the first male lead vocals on a Maniacs song since John Lombardo's vocal on the Human Conflict Number Five album of 1982.

If history has always been written by the winners, in the case of Spain's youth music of the late '50s and early '60s, it has basically been told by the records, first by the few that were actually released, and finally by the lucky ones that enjoyed certain success and critical appreciation. Set aside as marginal, the rest have been left ignored due to the debatable and apparently set in stone statement that the history of Spanish rock starts with the legendary festivals at Madrid's Price venue promoted by musician Pepe Nieto, then drummer in Los Pekenikes. Without wanting to reduce in the slightest the importance of those shows as a revitalizing element of Spain's rock scene, the start date of those famed Madrid matinees (end of 1962) doesn't respect the fact that at the end of the '50s, and at the pace that the autarkic Spanish society of the time allowed, the foreign young rhythms slowly reached the country with the healthy intention to stay and make people dance.

If history has always been written by the winners, in the case of Spain's youth music of the late '50s and early '60s, it has basically been told by the records, first by the few that were actually released, and finally by the lucky ones that enjoyed certain success and critical appreciation. Set aside as marginal, the rest have been left ignored due to the debatable and apparently set in stone statement that the history of Spanish rock starts with the legendary festivals at Madrid's Price venue promoted by musician Pepe Nieto, then drummer in Los Pekenikes. Without wanting to reduce in the slightest the importance of those shows as a revitalizing element of Spain's rock scene, the start date of those famed Madrid matinees (end of 1962) doesn't respect the fact that at the end of the '50s, and at the pace that the autarkic Spanish society of the time allowed, the foreign young rhythms slowly reached the country with the healthy intention to stay and make people dance.