Formed in Bridgeport, Connecticut in 1994, Hatebreed has been one of the most respected Hardcore and Metal bands for over a quarter of a decade. From their original Hardcore demo that was released on a split 7â single in 1995 to their most recent recordings, the band has evolved over the years, sticking to their Hardcore Punk roots but also embracing a menacing Metal sound. This blending of two aggressive styles has been referred to as Metalcore. Alongside other Metalcore band such as 36 Crazyfists, Senses Fail, Lamb of God, Killswitch Engage, From Autumn to Ashes, and Bullet for My Valentine, Hatebreed has been on the forefront of a musical scene that swept the nation and invaded every country, large and small. For many, Hatebreed has been the perfect gateway from Hardcore to Metal and vice versa.
Thirty six years after forming, three of the original members remain in the line-up since those early demos: vocalist Jamey Jasta, bassist Chris Beattie, and lead guitarist Wayne Lozinak (who took a 13 year break from the band from 1996 to 2009). While the rest of the line-up has changed over the years, their musical vision has remained the same â create music that evolves but still retains that classic Hatebreed sound. The band released their debut album, SATISFACTION IS THE DEATH OF DESIRE, in 1997 and followed that up with a series of albums that became stronger and more powerful: PERSEVERANCE (2002), THE RISE OF BRUTALITY (2003), SUPREMACY (2006), HATEBREED (2009), THE DIVINITY OF PURPOSE (2013) and THE CONCRETE CONFESSIONAL (2016). Always moving forward, Hatebreed has built a catalog that continues to inspire a generation of new Metalcore fans.
Their 2020 release, WEIGHT OF THE FALSE SELF, is Hatebreedâs eighth album and finds the bandâs new music arriving at a very strange and unique time in our history. With a pandemic spreading across the globe and politics dividing the U.S., the album may not lyrically address the issues, but the music reflects the anger and confusion that the world is experiencing on a daily basis. The album was produced by Zeuss and follows up the enormously successful 2016 album THE CONCRETE CONFESSIONAL and a 25th Anniversary tour in 2019. With songs like âLet Them All Rotâ, âDig Your Way Outâ, âInstinctive (Slaughterlust)â, and âThe Herd Will Scatterâ are amongst the highlights of this long-awaited release from one of the countryâs most reliable Metalcore outfits. They never fail to satisfy and surprise in equal measure.
WEIGHT OF THE FALSE SELF
Nick Cave has been on one hell of a musical journey over the years. From his early 1970s beginnings in Australia to his more recent recordings, he went from being a post-punk outsider to a critically adored elder statesman of Alternative Rock. Although heâs worked with a few different bands over the years â The Boys Next Door, The Birthday Party, Grinderman, and, of course, The Bad Seeds â the music that he creates is purely Nick Cave. Heâs managed to maneuver his way through a career filled with highs and lows, triumphs and tragedies. Even when he flavors the music with different instruments and atmospheres, Cave still manages to sound entirely unique. Some have called him âGothâ in the past, but Nick Cave doesnât pretend to occupy the darker side of the music industry. Instead, he walks alone on a dusty road, always wondering if the oasis ahead of him is real or just a trick of the light. Along the way, he does what he wantsâŚ and does it very well.
Nick Caveâs best-known work are his recordings with The Bad Seeds. Since 1984, the band has evolved alongside Caveâs songwriting skills. From harrowing heroin tales to sad songs filled with loneliness and confusion, his work is never without hope. They lyrics may take you down a dark alley, the music is often filled with hopeful beauty. And vice versa. Critics fall all over themselves when a new release is dangled in front of them. His fans are devoted and the wait with bated breath for new Nick Cave material. Never one to let his fans down, Cave continues to release albums of that are deep in emotion and wide in ambition. From darkness to light, Nick Caveâs musical journey continues to travel down a road that is filled with suspense and surprise.
2020âs IDIOT PRAYER â NICK CAVE ALONE AT ALEXANDRA PALACE is an album that was born in the shadow of COVID-19. In June 2020, after a long period of isolation and confusion, the UK slowly lifted sanctions and people were able to slip out and experience little snapshots of real life again. While others marveled at the joy of being able to gather down the pub, Nick Cave plotted a musical re-emergence â a way to connect with his audience. While he still had to follow social distancing rules, Cave stepped on to the Alexandra Palace stage, sat down at a piano and performed a tender, emotional set of songs spanning his entire career. During this performance, there was no band behind him, no Charlie Hodge-like henchman wiping the sweat off his browâŚ and no audience. Well, at the venue, anyway. IDIOT PRAYER â NICK CAVE ALONE AT ALEXANDRA PALACE was originally an online-only event, a gift of music and emotion to his fans. The audio of the show is now available on CD and vinyl and is just as heartbreaking and beautiful as youâd expect â just Nick and a piano performing some of his finest material. While it is stripped back, haunting, and gentle, the listener will be inspired as they are met with wave after wave of emotion.
IDIOT PRAYER- NICK CAVE ALONE AT ALEXANDRA PALACE
While Pop, Soul, and Dance music usually celebrates the lighter, happier side of life and love, Country, Folk, and Americana are genres that embrace the more realistic â and often heartbreaking â darker side of things. Yes, there are plenty of powerfully positive Country/Folk songs that are out there, those genres are also prone to tackling less popular subjects like drinking, divorce, abandonment, death, infidelity, and struggle. To be honest, it is hard to convey a âfeelingâ of loss if the production is slick and glossy, which is why modern Top 40 Country songs stick to more lighthearted subjects. However, take a deeper dive into Country, Folk, and Americana and youâre going to find songs that your weary heart can relate to. Sometimes, we need a band that reflects what we are thinking and feelingâŚ
Lambchop is more than just a band. Ever since their first official album â I HOPE YOUâRE SITTING DOWN (aka JACKâS TULIPS) – in 1994, this collective of musicians led by singer/songwriter Kurt Wagner has created a body of work that is inspiring. Often minimalistic in tone, the music that Lambchop creates is never without huge waves of emotion. Like a lonely dog sitting on a porch and waiting for his owner to come home, Lambchop albums leave the heart yearning for something more yet grateful for the life that theyâve stumbled into. Wagner and band create little masterworks that you can hear and âfeelâ. And isnât that the point of creating art?
Lambchopâs 2020 release, TRIP, offers the listener a chance to experience life in real time while adding elements of melancholy and nostalgia. Quite a different release for the band, TRIP is a collection of cover versions chosen by the other members of Lambchop and then presented to Wagner. Instead of this release sounding like a musical diversion until the next proper album, TRIP sounds like a proper Lambchop album complete with tears of sadness and joy. Amongst the highlights is âReservationsâ (originally by Wilco), a 13-minute immersion in emotion â joyous in its beauty yet heartbreaking in its execution. âShirleyâ (originally recorded in the mid-â70s by Clevelandâs Mirrors) is a jaunty, upbeat track with a slightly menacing vocal. âLove Is Here and Now Youâre Goneâ (originally by Diana Ross & The Supremes and Michael Jackson) gets a complete makeover â it is still upbeat but in a completely unusual way. TRIP is an album of many moods and rhythms. It is exactly what youâd expect from a Lambchop album butâŚ completely different. It is a truly atmospheric and ultimately rewarding experience.
Born in Memphis, Tennesse in 1934, Amos Wells Blackmore, Jr. was better known as Blues vocalist and harmonica player Junior Wells. Acknowledged as one of the amplified blues-harp pioneers, Wells is best known for a string of albums he recorded with fellow Blues legend Buddy Guy as well as his own solo releases. While Wellsâ signature song, âMessinâ with the Kidâ, was released in 1960, his most celebrated album is his 1965 full-length debut HOODOO MAN BLUES (featuring Guy). Wellsâ musical career began when he relocated with his mother to Chicago. There, he honed his skills on the blues harp and as a vocalist. Influenced by Little Walter, he joined the Aces and developed his own amplified harmonica style. He was then recruited by Muddy Waters to replace Little Walter and recorded his first sessions with the Blues legend. Wells then began recording a series of independently released singles including âMessinâ with the Kidâ.
Wellsâ commercial profile was raised significantly with the release of the album HOODOO MAN BLUES. The first of many albums to be recorded with guitarist Buddy Guy, it solidified his position as one of the hottest Blues musicians in the U.S. Dozens of studio, live, and compilation albums followed including ITâS MY LIFE, BABY (1966), BUDDY & THE JUNIORS (1970), ON TAP (1974), GOT TO USE YOUR HEAD (1979), UNIVERSAL ROCK (1986), UNDISPUTED GODFATHER OF THE BLUES (1993), and COME ON IN THIS HOUSE (1996). Although he was facing health issues in the â90s, he continued to perform and record up until his death on January 15, 1997. In the 23 years since his passing, Junior Wellsâ catalog has continued to grow with posthumous live albums and compilations. His influence and legacy continue to live on, and he left behind an inspiration body of work that will be studied for decades to come.
In 2020, Junior Wellsâ music is given a new lease on life with the release of BLUES BROTHERS, a collection of recordings that combine original Junior Wells tracks with new instrumentation by many of todayâs most exciting Blues artists. BLUES BROTHERS features guest performances from guitarists Eric Gales, Joe Louis Walker, Tyler Bryant, Colin James, Kirk Fletcher, Popa Chubby, Pat Travers, Guitar Shorty and others. This set also includes smokinâ harmonica from James Montgomery. Includes fresh versions of such Junior Wells classics as âGood Morning, Little Schoolgirlâ, âBaby, Scratch My Backâ, âYou Donât Careâ, âWorried Life Bluesâ, âYou Gotta Love Her with a Feelingâ, âHoodoo Man Bluesâ, âMessinâ with the Kidâ, and many more. Without abandoning the thrill of Junior Wellsâ recordings, these versions blow off the dust and give each song a shiny new spin. They donât try to erase the memory of the originals. Instead, they add a new dimension and present Wellsâ energy and excitement to a new generation of Blues fans. .
AMPED Distribution will begin working with Entertainment One (âeOneâ) for its diverse labels beginning November 1, 2020. AMPED will take over physical distribution for the majority of eOne music labelsâ titles in the US, Mexico, and Canada. eOneâs label family includes landmark labels like Death Row Records, Dualtone Records, Artemis Records, and Steamhammer, as well as a roster of 150 artists on the companyâs flagship music label. The new deal demonstrates the ongoing need for logistically strong, digitally savvy physical distribution partnership.
eOne is one of the most iconic and important multifaceted labels ever. From eOne to Dualtone to Death Row and SPV/Steamhammer, itâs simply impressive. Then add in some of the artists they have like Ace Frehley, The Lumineers, Brandy, High on Fire, Bryant Myers and that list is deep!â states Dean Tabaac, head of AMPED Distribution. âAMPED is thrilled and honored to be entrusted as Entertainment Oneâs new distributor and to become a part of their growing legacy for years to come.â
âeOneâs titles include some of the most iconic albums in contemporary music, as well as groundbreaking new releases,â says Sean Stevenson, eOneâs EVP and GM, Music. âWeâre looking forward to having the support of a seasoned but innovative partner to get this music out to listeners across the continent.â
The partnership kicks off a crucial time for sales, the holiday season. Several major eOne releases are timed to drop on Black Friday (Nov. 27, 2020) for Record Store Day including Ace Frehley, Snoop Dogg, and Tha Dogg Pound. Additionally, other notable releases are set for that date, including classic, Memphis hip hop from Juicy J (The Hustle Continues); new thrash metal from Sodom (Genesis XIX); and a convergence of metal and hardcore from Within The Ruins (Black Heart).
AMPED is one of the fastest growing, top-tier independent distributors committed to developing and growing independent artists and labels worldwide. A part of Alliance Entertainment, AMPED gives the indie community access to a global distribution system with the largest sales force, a seasoned and skilled staff that provides a suite of services and data second to none. AMPEDâs customer base is the largest in the industry directly servicing brick and click retailers large and small along with (DTC) direct consumers. AMPEDâs growing roster of labels include labels such as AWAL/Kobalt Music Recordings including Glassnote, Alligator Records, Believe Digital, Big Loud, Bloodshot Records, Cleopatra, Compass Records, Empire, Hopeless Records, Inner Knot, Merge Records, Prospect Park, Ruf Records, Shanachie, SM Entertainment, Tuff Gong and more.
Entertainment One Ltd. (eOne) is a talent-driven independent studio that specializes in the development, acquisition, production, financing, distribution and sales of entertainment content. As part of global play and entertainment company Hasbro (NASDAQ: HAS), eOne’s expertise spans across film, television and music production and sales; family programming, merchandising and licensing; digital content; and live entertainment. Through its extensive reach and scale, and a deep commitment to high-quality entertainment, eOne unlocks the power and value of creativity.
eOne brings to market both original and existing content, sourcing IP from Hasbroâs portfolio of 1500+ brands, and through a diversified network of creative partners and eOne companies including: international feature film distribution company Sierra/Affinity; Amblin Partners with DreamWorks Studios, Participant Media, and Reliance Entertainment; Makeready with Brad Weston; unscripted television production companies Renegade 83, Daisybeck, Blackfin and Whizz Kid Entertainment; live entertainment leaders Round Room Live; world-class music companies Audio Network, Dualtone Music Group and Last Gang; and award-winning emerging content and technology studio Secret Location.
Believe it or not, it has been 37 years since Country Music duo The Judds first entered the charts with their debut single âHad A Dream (For The Heart)â (a cover of a 1976 track by Elvis Presley). However, it was 1984âs #1 single âMama Heâs Crazyâ that sent their career into the stratosphere. Up through 1991, every single by The Judds reached the Top 20 on the Billboard Country Singles chart, 14 of them reaching #1. Their six albums were certified gold and/or platinum including WHY NOT ME? (1984), ROCKINâ WITH THE RHYTHM (1985), HEARTLAND(1987), RIVER OF TIME (1989), and LOVE CAN BUILD A BRIDGE (1990). In short, The Judds practically owned the Country Music charts all throughout the â80s. Although their albums did better on the Country charts than on the Pop charts, they certainly did cross over and sold a lot of records to folks who wouldnât normally listen to Country music. The Judds were literally everywhere. And I havenât even mentioned all of the awards they won over the yearsâŚ
However, all good things come to an end. The duo â mom Naomi Judd and daughter Wynonna Judd â was sidelined in 1991 when Naomi was diagnosed with Hepatitis C. They immediately stopped touring and Naomi essentially retired from the grind of the music business. However, there was a lot of music left in Wynonna so she embarked on a solo career that was just as successful as The Juddsâ. Reverting to using her first name only, she released the album WYNONNA in 1992. The album hit #1 on the Country Albums chart and #4 on the Billboard 200. Her second solo album, TELL ME WHY (1993), did similar business and proved that Wynonna could easily carry The Judds legacy into a new decade. Other hit albums include REVELATIONS (1996), WHAT THE WORLD NEEDS NOW IS LOVE (2003) and WYNONA & THE BIG NOISE (2016). Wynonna even reunited with Naomi a few times over the years, but those were never meant to be permanent. While her solo career is more or less low key these days â by choice – than during her first two decades, sheâs no less a Country superstar in 2020.
Wynonna returns to her roots this year with the release of her RECOLLECTIONS EP. This five-track release finds Wynonna in fine form, recording a handful of her favorite songs including âI Hear You Knockingâ, âAngel of Montgomeryâ, and âRamble On Roseâ. Mostly recorded during quarantine at her Tennessee farm, RECOLLECTIONS will surprise those who think of Wynonna as just a commercial Country Music artist. This EP is loose and bluesy, filled with honest emotion, and a spirited rootsy vibe. This might be the most raw that weâve ever heard Wynonna. In a sense, this is much like being a fly-on-the-wall during a fun and relaxed jam session with Wynona and her band. The love and passion she has for creating music is on display for all to hear. She says that the recording of this EP took her right back to where she started and, in many ways, it certainly feels that way. But sheâs matured as an artist and all her life experiences come through loud and clear. This is the real Wynonna and that is what makes this an inspiring listen whether you are a fan or not.
The daughter of legendary guitarist Johnny Copeland, Shemekia Copeland was born to sing the Blues. Her first public performance was at the Cotton Club at the age of 10 but she didnât fully commit to a singing career until the age of 16. Johnny took Shemekia on the road with him and she became his opening act. Thanks to her electrifying live shows, she became one of the most talked about artists on the Blues scene. She signed a recording contract with Alligator Records, releasing her debut album, TURN UP THE HEAT!, in 1998. She followed that up two years later with the award-winning WICKED. Her third album, TALKING TO STRANGERS (2002), was produced by New Orleans legend Dr. John. Her next release, the Steve Cropper-produced album THE SOUL TRUTH, was released in 2005.
At this point in her career, Copeland was being lauded as one of the most exciting Blues singers in the studio and on stage. Her tour schedule took her around the world, playing to adoring fans in intimate clubs and bustling Blues festivals. In 2011, she inherited Koko Taylorâs crown as the new âQueen of the Bluesâ at the Chicago Blues Festival. But that wasnât her first âawardâ, having won many from the Blues Music Awards, Down Beat Magazine, and others. Copelandâs 2015 album OUTSKIRTS OF LOVE reached the #6 spot on the Billboard Top Blues Albums chart. In 2018, she released the album AMERICAâS CHILD, which climbed to the #3 position on the Blues chart and walked away with Album Of The Year and Contemporary Album Of The Year awards at the 40th Blues Music Awards. They also honored her with the Contemporary Blues Female Artist Of The Year Award in 2020.
Two years after AMERICAâS CHILD, Shemekia Copeland returns with UNCIVIL WAR, an intimate and powerful follow-up to one of her most successful albums. Produced by singer/songwriter/producer Will Kimbrough, whose career dates back to the â80s and his Roots Pop band Will & The Bushmen. The album includes performances and/or songwriting from Kimbrough, Jerry Douglas, Sam Bush, Jason Isbell, Steve Cropper, Shawn Mullins, Duane Eddy, and others. While the album is certainly brimming with the Blues, fans of Rhythm & Blues, Soul, Gospel, and Americana will find a lot to love on UNCIVIL WAR. From âClotildaâs On Fireâ to âApple Pie and a .45â, âUncivil Warâ to âLove Songâ, the album is filled with songs that reflect the emotional times that we are all experiencing in 2020. While the subject matter may cut deep, there is still a real sense of hope, strength and passion that shines through in Shemekiaâs voice. In times like these, let Shemekia be the voice of peace, love, and understanding.
When a major Rock band splits up, most people expect the lead singer/frontman to be the breakout star while all of his former bandmates struggle to keep themselves in the public eye. However, this is MĂśtley CrĂźe that we are talking aboutâŚ and MĂśtley CrĂźe is no ordinary Rock band. Known for their hard rocking hits in the â80s and their offstage debauchery, the CrĂźe became one of the most popular bands in the Hard Rock and Heavy Metal genre. One of the most astonishing things about the band is that they were able to maintain their credibility while also becoming hugely successful and one of MTVâs most popular bands. And for a Hard Rock band to maintain their integrity while also being commercially successful was a rarity in the â80s – very few bands knew how to maintain that balance. And you have to admit, MĂśtley CrĂźe deserves a lot of credit for thriving and survivingâŚ at least through the â80s.
The public first learned about MĂśtley CrĂźeâs inner turmoil when lead vocalist Vince Neil left the band in early 1992. While MĂśtley CrĂźe continued with a new vocalist and Vince pursued a solo career, their releases did not sell as well as expected and Vince eventually rejoined the band. However, even while their main band was back together, bassist Nikki Sixx and drummer Tommy Lee pursued musical projects outside the CrĂźeâs universe. While Sixx continued down a Rock ânâ Roll path with Sixx A.M., drummer Tommy Lee took a far more eclectic solo path. From Hard Rock to Punk, Nu Metal to Hip Hop, Tommy approached his various solo recordings and side projects with the same manic energy that he exhibited in the CrĂźe. He even guested on album by a wide variety of artists including Fall Out Boy, Richard Marx, The Smashing Pumpkins, Rob Zombie, Post Malone, Fuel, Jackâs Mannequin, and others. Since the late â90s, Lee has continued to work with MĂśtley CrĂźe, yet still finds time to record and release solo albums as well as albums with Methods Of Mayhem and Rock Star Supernova. With each release, he has continued to explore and experiment with many genres of music.
On his 2020 album ANDRO, Tommy Lee rounded up a cast of vocalists and musicians and created a Hip Hop-influenced album that couldnât be more different from MĂśtley CrĂźe yet still manages to retain the same restless energy and bravado as anything else heâs done over the last 40 years. From the scream-filled Rock blast of âKnock Me Downâ (featuring Killvein) to the dark cover version of Princeâs âWhen You Were Mineâ (featuring Rock Star Supernova vocalist Lukas Rossi), ANDRO is a sonic blast of edgy, blissed-out Hip Hop ânâ Roll. Other guest vocalists on the album include PAV4N, Josh Todd, Mickey Avalon, Brooke Candy, Moonbounce, King Elle Noir, PLYA, Push Push, and Shotty Horroh. The album is modern and sleek while still playing it dirty and dangerous. Tommy Lee has certainly done some surprising and unpredictable things in his life, and itâs nice to see that heâs still challenging himself and his fans.
STEPHEN SCHNEE: QUIET PLACES has just been released. How are you feeling about the album and the reaction youâve had to it so far?
ANDREAS VOLLENWEIDER: QUIET PLACES is intended to provide something like a hide away, a place where we can slow down, step out of the crazy spinning carousel of life, and breathe freely for a moment. Especially in these times, such moments of contemplation are of existential importance. The first things that go overboard in such situations is our view for the positive, which very often is overpowered by the seemingly dominant negative. Music can lead us to such a place where we can gather strength for our fight for the better and the good. The feedback we have received to QUIET PLACES so far makes me quite confident, that it really does work…
STEPHEN: It has been quite a while since the release of your last album. Do you consider QUIET PLACES a continuation of your recorded legacy or a musical rebirth? Or maybe a little of both?
ANDREAS: I do not follow any strategy, neither in my life, nor in my work. I mainly follow my intuition, which has been a reliable mentor so far. For the first time, I had an unusual, additional support from my work on my novel IM SPIEGEL DER VENUS. I could actually say that writing has inspired the music and the music has inspired writing.
STEPHEN: During the lengthy break between your last album and this new one, did you gather quite a backlog of material ready to use, or are the songs on QUIET PLACES written specifically for this project.
ANDREAS: The music of QUIET PLACES is actually the result of many hours of improvisation with the brilliant young cellist Isabel Gehweiler. Although musical structures were formed here and there, most of it is still open and free and could never be played the same way a second time. As an additional source of inspiration, the themes and ideas behind the novel REFLECTIONS OF VENUS always floated somewhere in the room.
STEPHEN: While many music fans are fairly aware of the songwriting process in Rock music, how do you compose your songs? Are they born from improvisation or do you think of a certain melody and then begin writing composing around that?
ANDREAS: All our music from the past 40 years have come from improvisation – one could almost say that the music has written itself.
STEPHEN: And sticking with the same subject, do you compose your music differently today than you did 40 years ago?
ANDREAS: I am far too wild a spirit, not to be tamed even by myself. I am not disciplined and structured enough to construct music intellectually on the drawing board.
STEPHEN: QUIET PLACES is filled with beautiful melodies that evoke a sense of wonder and beauty, which is especially welcome during these trying times. When putting together an album, is it easy to create an atmosphere that will take the listener on an emotional journey? Or is that the most difficult part of the recording process?
ANDREAS: You have to go on these journeys yourself, dive into these depths yourself, experience all this yourself, and the music will emanate the right atmosphere all by itself. The work on our mindset, and our stance towards life, with the sum of our feelings, thoughts and values that must be the basis of our artistic expression. Only then we are worthy of credibility and people will follow our invitation to join us on the journey.
STEPHEN: QUIET PLACES is the beginning of a new trilogy for you. Like your first trilogy, which began with 1981âs âŚBEHIND THE GARDENS â BEHIND THE WALL â UNDER THE TREE, do you pre-plan out which direction you want each release to go, or do you let the music guide each project?
ANDREAS: As I said earlier – I am planless and clueless đ
STEPHEN: QUIET PLACES serves as a companion piece to your first novel, IM SPIEGEL DER VENUS. Did you initially conceive QUIET PLACES to work as a âsoundtrackâ to the novel or are you treating them as two separate projects?
ANDREAS: QUIET PLACES was never intended as a soundtrack for the novel. It has developed parallel to the story, it has accompanied me over the many years of my research, it has grounded me, and made my thoughts fly, just like a good travel companion should.
STEPHEN: Over the years, your music has been classified as everything from New Age to Jazz to Classical. How would you prefer your music to be classified?
ANDREAS: Honestly? I PREFER NOT TO BE CLASSIFIED, AND SO DOES OUR MUSIC (same way as you and everybody else, I think…)
STEPHEN: What is next for Andreas Vollenweider?
ANDREAS: The international release of QUIET PLACES, the novel as well as the audio book. That keeps me busy for quite some time. Touring seems not really to be an option due to the virus. All we can do at the moment are these LIVE@HOME mini concerts on YouTube. It’s a very surprising new way for me to bring the music to people, even to places we could never travel to. I must admit that I have underestimated this option very much and today, however, I am very excited about it. I would never have thought that such an intense feeling of closeness is possible in this very virtual situation. But seen in this light, even a love letter that the postman brings is also virtual. You are not personally present there and yet, if the letter is well written, you can touch your loved one deeply.
Special thanks to Andreas Vollenweider
Additional thanks to Larry Germack, Clint Weiler, and Doreen DâAgostino