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Just as this couple have taken a bold step into the unknown by leaving Russia and moving to Slovenia, so their music has thrown off all shackles to flourish in a defiant show of vibrant and revivifying colour. \"\"The life of an immigrant is a strange thing.\"\" says the bands Sasha Piankov \"\"But luckily, that glow music brings us has never faded, even though the emotional landscape has definitely shifted.\"\" Yet whilst the music that Sasha and his creative and life partner Masha Piankova came up with is testimony to a liberating triumph against oppression and adversity, it also goes beyond. What has emerged is a kaleidoscopic collision of styles which sends the 'skygazing' realm of their previous work spinning into electronic orbit. Whilst the opener 'Foreign Agent' explicitly tackles the pressures of the Russian state, it also throws a Stereolab-style motorik meditation through an in-the-red psychedelic prism. 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Moving beyond the band's acclaimed post-punk foundations. Cartoons blends driving guitars, programmed drums, field recordings and dance-influenced low-end into a sound that is both cinematic and intimate. Across themes of always-on culture, digital overload, hyper-reality and the shifting landscape of modern life, the record captures the confusion, anxiety, tenderness and resilience of existing in a world that never stops moving. Featuring the abrasive lead single \"\"The Mud Never Dries\"\" - a collision of post-punk, drum \u0026amp; bass textures, electronic sampling and spoken word. Cartoons finds TV Priest pushing their sound further than ever before.Written and recorded as a layered, collaborative work, Cartoons holds the digital and organic in the same frame, balancing raw human emotion with experimental production and widescreen ambition. It is an album of anger, grief and connection, but also of small moments of clarity amid the noise. 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While Nikolai Medtner (1880-1951) is best known for the cycle of piano sonatas which assure his stature as one of the great pianist-composers of the 20th century, his musical inspiration was hardly confined to expression through his own instrument. Brilliant Classics have already issued a magnificent cycle of Medtner's complete songs, which cover the course of the composer's long career from his Russian childhood to his exile and retirement in London from 1936. Medtner's wife Anna was a violinist, and he seems to have had her in mind when writing his music for violin and piano. Premiered in 1911, the First Sonata was inspired by the figure of Dionysus, Greek god of revelry. Thus the sonata concludes with a wild 'Dithyramb' which works a tango rhythm into the texture. From 1925, the Second Sonata bears the subtitle 'Spring' less in homage to Beethoven's example than to a poem by Fyodor Tyutchev. This is one of Medtner's most overtly 'Russian' works with it's folky spirit and evocations of balalaikas. The third, last and longest of the sonatas was composed in 1938, once Medtner had settled in London. We may hear in it the mingled relief and sadness at the turbulent state of his homeland, and his distance from it. Born in Naples in 1988, Fabrizio Falasca is Assistant Leader of the Philharmonia Orchestra in London, regularly playing with the world's great conductors of our day, but he also pursues a busy solo career of his own, as both a recitalist and a recording artist. This survey of Medtner marks his third album for Brilliant Classics, following well-received collections of Viotti and Busoni: 'Fluent, musical and well-recorded performances' (MusicWeb International). His partner on this occasion is the pianist Antonio Pompa-Baldi, who is renowned in his own right as a specialist in super-virtuoso piano music and neglected composers of the late-Romantic era. He is a regular guest at the Rarities of Piano Music Festival in Husum, Germany and a professor of piano at the Cleveland Institute of Music. His own extensive catalogue of recordings includes collections of solo music by Grieg and Hummel as well as concertos and chamber-music collaborations such as this one with his fellow Italian, Fabrizio Falasca. Together, violinist and pianist tap into the elusive but deep feelings flowing beneath the complex surface of Medtner's ambitious forms and grand narratives. 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The newly expanded 20-page LP booklet-featuring rarely seen photos, liner notes from musician and writer Lenny Kaye, and contributions from Nick Cave and Devendra Banhart-rounds out the package. The Oklahoma-raised Karen Dalton (1937-1993) brought a range of influences to her work. As Lenny Kaye writes in the liner notes, one can hear the jazz of Ella Fitzgerald and Billie Holiday, the immersion of Nina Simone, the Appalachian keen of Jean Ritchie, [and] the R\u0026amp;B and country that had to seep in as she made her way to New York. Armed with a long-necked banjo and a 12-stringed guitar, Dalton set herself apart from her peers with her distinctive, world-weary vocals. In the early 60s, she became a fixture in the Greenwich Village folk scene, interpreting traditional material, blues standards, and the songs of her contemporaries including Tim Hardin, Fred Neil, and Richard Tucker, whom she later married. Bob Dylan, meanwhile, was instantly taken with her artistry. My favorite singer in the place was Karen Dalton, he recalled in Chronicles: Volume One (Simon \u0026amp; Schuster, 2004). Karen had a voice like Billie Holiday and played the guitar like Jimmy Reed. Those who knew Dalton understood that she was not interested in bowing to the whims of the record industry. On stage, she rarely interacted with audience members. In the studio, she was equally as uncomfortable with the recording process. Her 1969 debut, It's So Hard to Tell Who's Going To Love You The Best, reissued by Light in the Attic in 2009, was captured on the sly when Dalton assumed that she was rehearsing songs. When Woodstock co-promoter Michael Lang approached Dalton about recording a follow-up for his new imprint, Just Sunshine, she was dubious to say the least. The album would have to be made on her own terms, in her own time. That turned out to be a six-month period at Bearsville Studios in Woodstock, NY. Producing the album was bassist Harvey Brooks, who played alongside Dalton on It's So Hard to Tell Who's Going To Love You The Best. Brooks, who prided himself on being simple, solid and supportive, understood Dalton's process but was also willing to offer gentle encouragement and challenge the artist to push her creative bounds. I tried to present her with a flexible situation, he told Kaye. I left the decisions to her, to determine the tempo, feel. She was very quiet, and I brought all of it to her; if she needed more, I'd present options. Everyone was sensitive to her. She was the leader. Dalton, who rarely performed her own compositions, selected a range of material to interpret-from traditionals like Katie Cruel and Same Old Man to Paul Butterfield's In My Own Dream and Richard Tucker's Are You Leaving For The Country. She also expanded upon her typical repertoire, peppering in such R\u0026amp;B hits as When a Man Loves a Woman and How Sweet It Is. In a departure from her previous LP, Dalton's new recording offered fuller, more pop-forward arrangements, featuring a slew of talented studio musicians. While 70s audiences may not have been ready for Dalton's music, a new generation was about to discover her work. In the decades following her death, many artists would name Karen Dalton as an influence including Lucinda Williams, Joanna Newsom, Nick Cave, Angel Olsen, Devendra Banhart, Sharon Van Etten, Courtney Barnett, and Adele. In the recently acclaimed film documentary Karen Dalton: In My Own Time, Cave muses on Dalton's unique appeal: There's a sort of demand made upon the listener, he explains. Whether you like it or not, you have to enter her world. And it's a despairing world. Peter Walker, who also appears in the film, elaborates on this idea: If she can feel a certain way in her music and play it in such a way that you feel that way, then that's really the most magical thing [one] can do. 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As pioneers of the scene, they inspired contemporaries such as Takao Tajima and Shikao Suga, and have continued their remarkable career since reuniting in 2007, releasing five further studio albums. Now, their landmark debut album, Tsuzuite Yuku no Kana, receives it's first-ever vinyl release. Featuring their timeless signature song \"\"Shiawase de Aru Yo ni\"\", along with a consistently outstanding collection of songs from start to finish, the album perfectly captures the charm and energy of early FLYING KIDS. A must-hear classic that showcases the band's original sound at it's very best. LISTEN: https:\/\/open. 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