FRACTURED AIR

The universe is making music all the time

Posts Tagged ‘Greg Haines

Mixtape: This Uneven Thing [A Fractured Air Mix]

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This Uneven Thing [A Fractured Air Mix]

To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/this-uneven-thing-a-fractured-air-mix/

 

Tracklisting:

01. Antonio Sanchez ‘Get Ready’ [‘Birdman’ OST/Warner Jazz]
02. A Winged Victory For The Sullen ‘ATOMOS I’ [Erased Tapes/Kranky]
03. Ariel Kalma ‘Almora Sunrise’ [RVNG Intl]
04. Alasdair Roberts ‘This Uneven Thing’ [Drag City]
05. Teho Teardo ‘The Outside Force’ [‘Ballyturk’ OST/Specula]
06. Erik K Skodvin ‘Shining, Burning’ [Sonic Pieces]
07. Black to Comm ‘Hands’ [Type]
08. A New Line (Related) ‘The Slow Sound of Your Life’ [Home Assembly Music]
09. Kiasmos ‘Bent’ [Erased Tapes]
10. Thom Yorke ‘Guess Again!’ [Self-Released]
11. Antonio Sanchez ‘Doors and Distance’ [‘Birdman’ OST/Warner Jazz]
12. Charles Mingus ‘Slop’ [Columbia]
13. Mogwai ‘The Lord Is Out of Control’ (Nils Frahm Remix) [Rock Action]
14. Peter Broderick ‘Colours of the Night (Satellite)’ (Greg Haines Dub Mix) [Bella Union]
15. Noel Ellis ‘Memories’ [Summer/Light In The Attic]

The copyright in these recordings is the property of the individual artists and/or their respective record labels. If you like the music, please support the artist by buying their records.

Fractured Air. The universe is making music all the time.

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Chosen One: Greg Gives Peter Space

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Interview with Peter Broderick.

“I like to embrace the ever-evolving life of a song, and dub music is a very good outlet for that…”

—Peter Broderick

Words: Mark Carry

Artwork: Peter Broderick

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Greg Gives Peter Space is the long-awaited first collaborative work with Peter Broderick and Greg Haines, which was released last June (via download and vinyl release) on the ever-illuminating independent label, Erased Tapes. Inspired by the pair’s obsession with dub music, the gifted multi-instrumentalists create sublime soundscapes, derived from rhythmically driven tracks, evoking the spirit of Lee ‘Scratch’ Perry, King Tubby and Augustus Pablo. On the utterly transcendent track, ‘The Drive’, Broderick asks “Are you ready for this?” — Greg Gives Peter Space unfolds layers of stunningly beautiful violin passages, ethereal sounds from tape-worn synthesizers, celestial harmonies and a hypnotic bassline. Welcome to the ever-expanding and shape shifting sounds of this incredibly exciting new collaboration.

‘Greg Gives Peter Space’ is a six-track mini album which reflects the latest artistic endeavors of Haines and Broderick, who have both been heavily immersed in a seamless array of collaborations in the not-too-distant past. American-born musician and composer, Broderick has long been synonymous with Copenhagen’s Efterklang, in addition to magnificent collaborative works with close friends Nils Frahm and Dustin O’Halloran, to name but a few. British born and Berlin based composer, Haines’s collaborative work includes his ongoing work with the Alvaret Ensemble (whose carefully constructed compositions feature intricate layers of brass, electronics, piano, voice, guitar and percussion) and 2012’s collaboration with the Dutch National Ballet and choreographer David Dawson.

Interestingly, it is the respective artist’s latest solo works which gives traces to the dub-influenced sounds of Greg Gives Peter Space. ‘These Walls Of Mine’ (Erased Tapes, 2012) saw Broderick effortlessly fuse a myriad of genres — soul, hip hop, folk, modern-classical — and the album’s longest cut ‘Copenhagen Ducks’ feels like a distant companion to ‘The Drive’s similarly evolving dub-infused sound. A space and dimension is wonderfully attained. Last year’s Denovali Records LP ‘Where We Were’ (Haines’s most groundbreaking and daring work to date) reveals the British composer’s fascination with dub music (and, indeed, musical experiments) where seamless layers of synthesizers created a resolutely unique body of work. Greg Gives Peter Space feels like the natural next step, where two like-minded artists forge thrillingly new, enchanting sounds.

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‘Greg Gives Peter Space’ is available now on Erased Tapes.

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https://www.facebook.com/greggivespeterspace
http://erasedtapes.com

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Interview with Peter Broderick.

Congratulations on the incredible Greg Gives Peter Space record, which marks a special collaborative project between you and your close friend, Greg Haines. The music stems from your shared fascination and love for dub music. I must first ask you to discuss your love of Jamaican music and what records provided you the gateway into this exciting world of sound? What have been the most recent dub discoveries for you, Peter?

Peter Broderick: I will admit that the dub influence probably comes more from Greg’s side than from me . . . Greg has been collecting dub records pretty seriously over the last few years, and there have been many nights of us sitting together at his place, him playing me record after record of obscure dub. I’ve picked up several records myself and really grown to love the dub, but I’m an amateur compared to Greg. I do really love pretty much everything I’ve heard from the Wackie’s label . . . recently I picked up a record by Joe Gibbs called Majestic Dub . . . it’s pretty amazing! I’ve also been getting into a local record label here in Portland called ZamZam . . . they only release limited 7″ vinyls of dub music. Very cool!

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One of the most striking aspects of Greg Gives Peter Space is the intuitive nature of the music, something that has proved a constant in both your and Greg’s solo work to date. Can you please recount your memories of recording the album? In terms of the musical layers, did your vocals and arrangements appear first or was it a case of Greg’s synthesizers and tape machines providing the starting point?

PB: The process for each song was quite different . . . some of them started as songs that I wrote, and then Greg sort of de-constructed them and expanded upon them. Others started as improvisations and sound experiments… For instance, The Feeling Shaker basically started when Greg showed up at my apartment in Berlin a few years ago, saying he had recorded some synthesizers, and suggested that we try and make a song based around those recordings. I had this vocal melody in my head that I had been singing to myself while walking or showering, etc… So I sang my words over the top of his synths. Then we added another track where Greg played piano and I played bass. Then we played some percussion together. Everything was done in one or two takes. This song bounced around in many incarnations for several years, before we finally sat down together and made a final mix in early 2014. The mixing process was a huge part of the sound for this record. This is where the dub inspiration really came into play . . . sending the mixes to Greg’s old tape machines, adding live effects as the final mix was being recorded.

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I feel ‘Electric Eel River’ is one of the most special songs you have written thus far. The intimacy, openness and sheer beauty of the ballad provides endless inspiration. Can you please recount for me writing this song? It serves the formidable centrepiece to the record.

PB: I’m so happy there has been a good response to that song. I remember very clearly how that song came about. I was in a hotel by myself in Oslo last winter, and I had my banjo with me. I was thinking about this night I had in the redwood forest last year, getting lost in the woods by myself, having the time of my life, realizing I wanted to move back to America. And I wanted to make a song about that evening. Originally the song was just called Eel River . . . but after Greg got ahold of it and “gave it some space”, he appropriately added Electric

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Rupie Edwards described dub music as “a way of life coming out of a people.” I think this could be the essence of the interstellar journey that Greg Gives Peter Space takes you on. Can you discuss the construction (or indeed de-construction) of ‘The Drive’? This song serves the perfect prologue to the album’s narrative.

PB: The Drive started out as a very basic song, just guitar and voice, just three chords over and over again. Greg actually thought it was kind of a boring and plain song, ha, and basically he wanted to mess it up and make it a little more interesting. In the end the guitar is hardly a part of the song any more . . . but we had a lot of fun playing around with rhythms and percussion, synthesizers, building a small little homemade orchestra for the second chorus . . . and of course, lots of dubby effects!

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What is fascinating about dub music is the endless versions and re-workings of various songs depending on whose production marks are left on the record. For example, I love how there are two versions of ‘Clear View’ on the record. Is it a challenge to settle on one particular take (when honing in on a certain sound or feel) when I imagine you both effortlessly create many mutations of songs as they gradually evolve to its final entity?

PB: It’s always a little strange to make the decision or acceptance that something is “finished” . . . and in fact, I don’t like to think of recordings as “final” versions of songs . . . a song is basically just an idea, and it changes every time it’s played. Even when listening to a recording, it’s going to be different every time, depending on the stereo system, the setting, what you ate for breakfast, everything! I like to embrace the ever-evolving life of a song, and dub music is a very good outlet for that.

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After playing several UK shows during the summer, how have the songs translated to the live setting and have they changed in any way from the studio recordings? I can imagine playing these songs live must be a real thrill.

PB: We had a lot of fun at the shows . . . the songs all became much longer. We save a lot of room for improvisation when we play live, using the songs as a starting point to try and create something new each night. And it’s been a real thrill to get people dancing…

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The album artwork is amazing. It really conveys the ceaseless dimensions the music inhabits. Can you please talk about the artwork that beautifully adorns the sleeves and who is responsible?

PB: We’re so happy with the artwork! It’s actually kind of a funny story . . . Greg and I had this very concrete idea of a picture of Greg in a spaceship with his studio inside, then I would be floating in space connected to Greg’s ship. And we actually had several artists try and create this image before finally ending up with Henning Wagenbreth who did the final version. At one point I even tried to draw the image myself, but since my drawing skills haven’t changed since the 3rd grade, we decided to hire a professional in the end.

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What is next for you, Peter? 

PB: I am preparing for the release of my next solo record on the Bella Union label. I have a single/ep coming out in October (including a dub version of one of the songs by Greg!), and the album will be out next spring. I’ll be playing a lot of concerts around the release of the ep and album, with the help of three very talented musicians from Switzerland . . . it will be my first time touring with a band! But before all that Greg and I will be playing some shows together on the west coast of America. I’m really looking forward to showing Greg the area where I come from.

All artwork above by Peter Broderick. 

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Greg Gives Peter Space will tour across the east coast of the U.S. this month:

24.09. LOS ANGELES (US) The Echo
25.09. SAN FRANCISCO (US) The Chapel
27.09. PORTLAND (US) Mississippi Studios
28.09. SEATTLE (US) Decibel Festival

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‘Greg Gives Peter Space’ is available now on Erased Tapes.

https://www.facebook.com/greggivespeterspace
http://erasedtapes.com

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We’re delighted to be presenting Peter Broderick’s following concert this October:

Peter Broderick (plus band)
w/ Special Guests Loch Lomond

Half Moon Theatre, Cork on Sunday 19 October 2014.

Tickets are €15, available now from Cork Opera House box office, Emmet Place, Cork and from Plugd Records, Floor 1, Triskel Arts Centre, Tobin St. Cork.

Tickets can be purchased online here:
http://www.corkoperahouse.ie/events/peter-broderick-plus-band

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Written by markcarry

September 10, 2014 at 11:34 am

Mixtape: Unfolding Of Consequence [A Fractured Air Mix]

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unfoldingofconsequevce_sleeve

Unfolding Of Consequence [A Fractured Air Mix]

To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/unfolding-of-consequence-a-fractured-air-mix/

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01. Greg Haines ‘The Whole’ [Denovali]
02. Conrad Schnitzler ‘Auf Dem Schwarzen Canal’ [Soul Jazz]
03. Craig Leon ‘She Wears A Hemispherical Skullcap’ [RVNG Intl]
04. The Congos ‘Congoman’ [VP]
05. Augustus Pablo ‘Pablo In Dub’ [VP]
06. Molly Nilsson ‘The Lonely’ [Dark Skies Association/Night School]
07. The Gist ‘Love At First Sight’ [Cherry Red]
08. K. Leimer ‘Ceylon’ [RVNG Intl]
09. Spiritualized ‘Feel So Sad’ (7″ Single Version) [Dedicated]
10. Sonic Boom ‘Help Me Please’ [Silvertone]
11. Fuck Buttons ‘Year Of The Dog’ [ATP Recordings]
12. Vermont ‘Rückzug’ [Kompakt]
13. My Bloody Valentine ‘Is This And Yes’ [MBV]
14. The Beach Boys ‘’Til I Die’ [Capitol]
15. The Gloaming ‘The Girl Who Broke My Heart’ [Real World]
16. Kronos Quartet ‘Tusen Tankar’ [Nonesuch]
17. Jackson C. Frank ‘Blues Run the Game’ [Earth/Columbia]

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The copyright in these recordings is the property of the individual artists and/or their respective record labels. If you like the music, please support the artist by buying their records.

————

Fractured Air. The universe is making music all the time.

Mixcloud / Soundcloud

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Fractured Air 14: Time To Be Free (A Mixtape by Greg Haines)

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A special Dub Mix compiled by the UK-born and Berlin-based composer Greg Haines. This June, Greg Gives Peter Space, Haines’s brand new collaborative project with US songwriter and multi-instrumentalist Peter Broderick, release their debut album via Erased Tapes. Haines’s latest solo LP is the magnificent ‘Where We Were’, released last year on Denovali Records. As well as producing a string of impressive solo albums over the past decade, Haines also performs alongside both The Alvaret Ensemble and The Group. 

greghaines_front

Fractured Air 14: Time To Be Free (A Mixtape by Greg Haines)

To listen on Mixcloud:
http://www.mixcloud.com/Fractured_Air/fractured-air-14-time-to-be-free-a-mixtape-by-greg-haines/

“You hear a lot of talk about “dub” music these days, and I myself find the word slipping from my lips on a daily or sometimes hourly basis. “Dub” is cool again, and I have to admit I find it a bit frustrating that the word “dubby” is thrown around in reviews of every album that has echoey vocals or a cowbell! The word “reggae” still seems like it hasn’t caught on, it’s as if its a dirty word. But dub without reggae is the equivalent of John Cage’s 4’33”: just an empty tape of silence. So here is a mix that is based around roots reggae tracks that I have been spinning recently — it sure is dubby, but you can’t forget your roots!”

—Greg Haines

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Tracklisting:

01. Cedric “Im” Brooks ‘Satta Massa Ganna’ [Water Lily]
02. Jackie Mittoo ‘Ayatollah’ [Nefertiti/Basic Replay]
03. Dadawah ‘Run Come Rally’ [Trojan]
04. Keith Hudson ‘Felt The Strain’ [Joint International]
05. Al Campbell / General Lee & Trinity ‘Jah Love / Jah A Me Right Hand Man’ [High Power Music]
06. Pad Anthony ‘Blackman’s World’ [Hit Bound]
07. Sista Beverley ‘Rasta Woman’ [Iroko]
08. Willie Williams ‘Come Make We Rally’ [Black Roots]
09. Dennis Bovell ‘Jughead’ (Dubplate Mix) [Kingston Connexion]
10. Ernest Wilson ‘I Know Myself’ [Hit Bound/Channel One]
11. The Mystic ‘Forward With Jah Orthodox’ [Black Art]
12. Freddie McKay ‘I Am A Freeman’ [Money Disc]
13. Noel Tempo ‘Time To Be Free’ [Iroko]

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Track-by-track description by Greg Haines:

01. Cedric “Im” Brooks ‘Satta Massa Ganna’ [Water Lily]
When asked to compile this mix, I immediately thought of this track to start it off. Originally written by The Abyssinians and covered endless times since, it has even turned into something of a hymn for the Rastafarian religion. This version brings a completely different flavour to it — something like a reggae big-band feel, which opens with such power and confidence that in a strange way it reminds me of the classic opening passage of Isaac Hayes’ “Hot Buttered Soul” album.

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02. Jackie Mittoo ‘Ayatollah’ [Nefertiti/Basic Replay]
A beautifully synth-y track, reissued by Basic Replay, this was another contender for the opening track of this mix. Its got a little bit of an Ethiopian feel to it, along with a lot of hazy sci-fi goodness, which always seems to work well in the context of dub. Amazing female backing vocals hidden in there too!

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03. Dadawah ‘Run Come Rally’ [Trojan]
This record is one of my favourite recent finds — it has a spaciousness and a sacredness to it that combine to create something really beautiful. Run Come Rally, a Niyabinghi chant from Jamaica, is another song that crops up very often in different versions, but after hearing this version, it will always belong to Dadawah to me. Ras Michael, the man behind the project, has released many records and so far I have loved everything I have heard. Always very loose and vibe-y, but made with intent.

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04. Keith Hudson ‘Felt The Strain’ [Joint International]
A less common cut to the famous track by the legend that is Keith Hudson. There is always something to his tracks which is unique — to me the only way I can explain it is a hot, swampy sound. Its like the music is dripping in sweat. It’s also got a strong psychedelic quality to it — the room must have always been smokey when Keith Hudson was recording! I could have easily have picked another track from him, especially something from the “Playing it Cool” album which I love, but I just picked this up a few weeks ago and its been on heavy rotation ever since.

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05. Al Campbell / General Lee & Trinity ‘Jah Love / Jah A Me Right Hand Man’ [High Power Music]
One of my favourite tracks to DJ with. The take over in the middle is insane and brings a huge smile to my face every time I hear it…“Jeeeessuus Christ! We’re Nice!”. The legendary Roots Radics playing the riddim, and Scientist behind the desk – which is always a winning combination. And lets not forget Al Campbell’s powerful vocals. Incredible track.

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06. Pad Anthony ‘Blackman’s World’ [Hit Bound]
The b-side to Sugar Minott’s “No Vacancy”. Minott’s work, particularly on the Wackies label, often blows me away, but as I recently made a mix of exclusively Wackies tracks, I thought I would try to stay away from it this time. Anyone who says that the lyrics of dub reggae are all nonsense should listen to this track — it’s heartbreaking; political yet personal, and pretty melancholy despite the upbeat riddim.

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07. Sista Beverley ‘Rasta Woman’ [Iroko]
More women singing reggae please! I love the sound of a woman’s voice over such a tough riddim — if someone out there has some more recommendations for me, please let me know! Reissued through Iroko — a constantly good label from France. Produced by Dennis Bovell — but more about him in a minute!

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08. Willie Williams ‘Come Make We Rally’ [Black Roots]
Not much to say about this one except that its a beautiful production — slinky! Fantastic horns. Produced by Sugar Minott, who I mentioned above. Mixed by scientist — the master!

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09. Dennis Bovell ‘Jughead’ (Dubplate Mix) [Kingston Connexion]
The second mention of Dennis Bovell, and this time its in the context of a record under his own name. This is the b-side to a 10”. The A-side is another mix of the same track, but there is something about this dubplate mix which is so biting and driving. I always have a soft spot for re-issue records that have been recorded from the dubplate — they certainly have a different sound, and although usually you loose a bit of the lows and a bit of the highs, the degradation of the audio can sometimes add something incredible. I love that about dub and reggae music — a lot of of the textures of sound you hear come from years experimenting the studio, but some of the things you learn to love about it come from the limitations of the moment or the medium…and these limitations can even be exploited for wonderful effect. Its man vs. machine!

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10. Ernest Wilson ‘I Know Myself’ [Hit Bound/Channel One]
One of my favourite tracks to come out on Channel One, and one of my favorite vocal tracks out there — can’t help but bring a smile to my face! And the best thing is that the 10” I have includes four versions of the same track. Perfect! The only thing thats better than listening to it once is listening to four different people’s take on it!

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11. The Mystic ‘Forward With Jah Orthodox’ [Black Art]
One name has been notably vacant from this list so far, and that is Lee “Scratch” Perry. It’s hard to underestimate his influence on all that came after him. This track by The Mystic, produced at Black Ark by Scratch, and is a perfect example of why he is so revered.

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12. Freddie McKay ‘I Am A Freeman’ [Money Disc]
Just a fantastic song. An alternative take to the original, from the album of the same name — the last he made before he died.

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13. Noel Tempo ‘Time To Be Free’ [Iroko]
This song just gets to me every time — its unusual, its extremely soulful, and it has a mixing style that shows that Jamaican mixing techniques are more than just delays and reverbs. Its a very “dry” track. What it lacks in FX, it makes up for in emotion, and channels a little bit of the classic Motown singers like Curtis Mayfield or Otis Redding along the way. This is a great track to play to people who think they don’t like reggae music. Its such a diverse world, and with this mix, I tried to show just a little bit of that. I hope it whet your appetite for me — but trust me, it won’t sound quite right unless it’s on vinyl!

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Greg Gives Peter Space, the new collaborative project featuring Greg Haines and Peter Broderick, will be released on vinyl and download via Erased Tapes on June 16th, 2014.

http://greghaines.co.uk
http://erasedtapes.com

Greg Haines’s latest solo album, ‘Where We Were’, is available now on Denovali.

http://denovali.com

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To follow Fractured Air you can do so on Facebook HERE, or Twitter HERE.

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Written by admin

May 13, 2014 at 10:43 am

Whatever You Love You Are: Peter Broderick

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Portland Oregon-based composer Peter Broderick will release a special collaborative record with longtime friend — the UK composer and Berlin-based artist, Greg Haines, this summer. The resultant mini-album, entitled ‘Greg Gives Peter Space’, will be issued by Erased Tapes on June 16th. Here, Peter Broderick reveals his newfound passion for Dub music and what has inspired his latest project.

Words: Mark Carry, Illustration: Craig Carry

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I’ve definitely been inspired by pretty much everything I’ve heard on the Wackie’s label…and more recently I’ve been getting into the work of Joe Gibbs. Not to mention classics like King Tubby, Prince Jammy, Augustus Pablo, and Lee ‘Scratch’ Perry. I also love the sideways approach to dub music by Bill Callahan on his latest record ‘Have Fun With God’. The thing I love about dub is how the studio becomes an instrument in itself, and very tangibly so…it’s all about deconstructing songs and piecing them back together again in a very intuitive and playful way. And something about the sound of old analog tape delays is just so warm and beautiful! And funky!

—Peter Broderick

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Joe Gibbs & The Professionals ‘Yard Music’

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Augustus Pablo ‘King Tubby Meets Rockers Uptown’ (Leftside Wobble Edit)

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Prince Jammy & The Aggravators ‘Prince Jammys Magic’

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Lee ‘Scratch’ Perry & Max Romeo ‘Chase The Devil Dubplates’

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Augustus Pablo ‘Power Of The Trinity Dub/West Abyssinia Dub’

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Jackie Mittoo & The Soul Vendors ‘Love Is Blue’

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Greg Gives Peter Space is the long-awaited first collaborative work with Peter Broderick and Greg Haines, which will soon see the light of day (via download and vinyl release on June 16th) on the ever-illuminating independent label, Erased Tapes. Inspired by the pair’s obsession with dub music, the gifted multi-instrumentalists create sublime soundscapes, derived from rhythmically driven tracks, evoking the spirit of Lee ‘Scratch’ Perry, King Tubby and Augustus Pablo. On the utterly transcendent track, ‘The Drive’, Broderick asks “Are you ready for this?” — Greg Gives Peter Space unfolds layers of stunningly beautiful violin passages, ethereal sounds from tape-worn synthesizers, celestial harmonies and a hypnotic bassline. Welcome to the ever-expanding and shape shifting sounds of this incredibly exciting new collaboration.

‘Greg Gives Peter Space’ is a six-track mini album which reflects the latest artistic endeavors of Haines and Broderick, who have both been heavily immersed in a seamless array of collaborations in the not-too-distant past. American-born musician and composer, Broderick has long been synonymous with Copenhagen’s Efterklang, in addition to magnificent collaborative works with close friends Nils Frahm and Dustin O’Halloran, to name but a few. British born and Berlin based composer, Haines’s collaborative work includes his ongoing work with the Alvaret Ensemble (whose carefully constructed compositions feature intricate layers of brass, electronics, piano, voice, guitar and percussion) and 2012’s collaboration with the Dutch National Ballet and choreographer David Dawson.

Interestingly, it is the respective artist’s latest solo works which gives traces to the dub-influenced sounds of Greg Gives Peter Space. ‘These Walls Of Mine’ (Erased Tapes, 2012) saw Broderick effortlessly fuse a myriad of genres — soul, hip hop, folk, modern-classical — and the album’s longest cut ‘Copenhagen Ducks’ feels like a distant companion to ‘The Drive’s similarly evolving dub-infused sound. A space and dimension is wonderfully attained. Last year’s Denovali Records LP ‘Where We Were’ (Haines’s most groundbreaking and daring work to date) reveals the British composer’s fascination with dub music (and, indeed, musical experiments) where seamless layers of synthesizers created a resolutely unique body of work. Greg Gives Peter Space feels like the natural next step, where two like-minded artists forge thrillingly new, enchanting sounds.

————

‘Greg Gives Peter Space’ will be released on vinyl and download via Erased Tapes on June 16th, 2014.

Tour Dates:
5th June LONDON – Village Underground · Tickets: bit.ly/1eyLl9B
9th June BERLIN – Berghain Kantine · Tickets: bit.ly/1sYgVRT

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http://greghaines.co.uk
http://peterbroderick.net
http://erasedtapes.com

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Written by admin

April 28, 2014 at 11:37 am