Marc Urselli

Sep 132019

Wallace, Bandageman, Bosco Rec, Solchi Sperimentali Discografici
LP out on September 21st, 2019


The Turin-born Daniele Brusaschetto is a musician who, in an ideal world, would need no introduction. Thirty years of career – adolescent beginnings date back to the late Eighties, in various thrash and death metal bands – from the Nineties he began playing first in noise (Mudcake), industrial (Whip) and avant-garde bands (Down!), to then begin his solo career in the mid-decade.

The sound of Daniele Brusaschetto – although each album is different from the other, with a discography able to range from the extreme industrial to a minimalist songwriting, passing through the glitch rock – is characterized by the coexistence between noise and electronic elements and a more intimate soul, to generate a sort of highly personal industrial songwriting based on the use of voice, guitars, pedal effects and laptops.

After a long career, many collaborations (Paolo Spaccamonti and OvO, just to name some) and countless live performances throughout Europe and US, Brusaschetto celebrates the quarter century of a solo career with an album that pays homage to the beginnings of his own career, a "metal" album, a genre that represented the very first spark of his love for music. Among echoes from Godflesh, Prong, the Voivods of "Nothing Face" and Alice in Chains, "Flying Stag" is a backward somersault that lands in the present. An album with a long gestation, started in 2016, when he felt the need to play something more "muscular", physical, funny to perform live. With Alberto "Mono" Marietta, a young and talented Turin-based drummer, he immersed himself heart and soul in three years of hard work, sweat, sacrifices, suffering, satisfaction. And joy.

The intention is to continue on this wavelength, "trying to make one's little boat float among the waves of destiny".


Credits & Tracklist

Alberto "Mono" Marietta | Drums – Daniele Brusaschetto | Guitars, vocals

Composed by Daniele Brusaschetto

Recorded and mixed by Dano Battocchio during the summer 2018, mastered by Audiosiege

Graphics by Mirko Spino, drawings by an unknown artist


Other where | Stag Beetle | Splattering Purple | The Unreal Skyline

Like When It’s Raining Outside | Fanculo Mondo | From a Tight Angle


Studio album

‘’Bellies/Pance’’ ((RRRecords, HHETHH, Hax, Snowdonia, Soundbuster, Zona Libera Records, 1997)

‘’Mamma Fottimi’’ (ZZZ Production, RRRecords, 1999)

‘’Bluviola’’ (Radon, 2001)

‘’Poesia Totale Dei Muscoli’’ (Bosco Rec, D.S.K., Radon, Oggetti Volanti Non Identificati, Bar La Muerte, 2003)

‘’Mezza Luna Piena’’ (Bosco Rec, Bar La Muerte, Dizlexiqa, 2005)

‘’Circonvoluzioni’’ (Bosco Rec, 2007)

‘’Blasé’’ (Bosco Rec, 2009)

‘’Fragranze Silenzio’’ (Bar La Muerte, Bosco Rec, Sincope, Chew-z, 2010)

‘’Cielo Inchiostro’’ (Bosco Rec, 2012)

‘’Rapida e Indolore’’ (Bosco Rec, 2014)

‘’Radio Stridentia’’ (Bosco Rec, 2016)

Marc Urselli
editor in chief, founder

Chain D.L.K. magazine



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Aug 252019
Geist + Codenys is a collaboration between Alex
K/Digital Geist and Patrick Codenys of Front 242. The 12" single
contains 3 different versions of the track "Minor" which was released
on I Die: You Die's "Telekompilation" last year and a remix by Marcos
Cabral. It is limited to 300 copies and is in preorder; shipping
worldwide on 6 September. For more details visit!

Marc Urselli
+1 (917) 470 1170
Other sites by Marc Urselli:

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Aug 232019
Contrary to popular belief, progressive rock didn’t
disappear with the advent of punk, and the lack of media support
didn’t prevent new bands from forming and new music being created,
it just drove it to the margins. It is hard to imagine these days,
with everyone being permanently connected, but there was a time not
long ago when communication was by word of mouth and letter. With no
coverage by much of the media, it was down to fanzines and
independent magazines to spread the word of what was
happening within the progressive rock scene, what was being
released, and who was worth going to see in concert.
Most of these
magazines survived for just a few issues, while others continued for
many years, all having their part to play in spreading the word.
One of the most important during this period was ‘Feedback’.
It initially started as the newsletter of Mensa’s Rock Music
Special Interest Group in 1988, but when Kev Rowland became
secretary in 1990, he determined to turn it into a magazine promoting
music which often wasn’t being written about in the mainstream
press. ‘Feedback’ soon became one of the key promoters of the
progressive scene, and Kev one of the most well-known and popular
reviewers. He also became a contributor to Rock ‘n’ Reel, as
well as writing for the Ghostland website in the early days of prog on
the web. The world had moved on by the time Kev emigrated to New
Zealand in 2006, at which time he stopped
running ‘Feedback’
(which has just celebrated it’s thirtieth anniversary, now renamed
‘Amplified’). It was now possible to discover information about
bands and releases through the internet and the many progressive
rock sites which had been set up, and even the mass media had decided
that maybe there was something in this prog thing after all.
the period when Kev was running ‘Feedback’ was very special in
many ways, a time that has now long gone. The books capture Kev’s
reviews which were published in ‘Feedback’ between 1991 and 2006,
with Volume 1 featuring artists A-H, written within the context of
the period by someone who was very close to the scene. Along with
the other two volumes in this series (which will also be available
this year), this shines a spotlight onto a time when there were
very few writing about the music in a constructive manner.
Volume 1
has a foreword by Stu Nicholson (Galahad), and comments on the rear
cover by Greg Spawton (Big Big Train) and Clive Nolan (Arena,
Finally, it is again possible to discover some great
music from wonderful bands, and this should be used as a guide to
expand collections and understand that prog rock really didn’t die,
it just went underground.

Kev Rowland is a self-confessed
music addict, who has never really been the same since he heard
‘Sabbath Bloody Sabbath’ in 1975. In the Eighties he spent
quite a ridiculous amount of money on all things related to Jethro
Tull and was asked by David Rees to write a piece on Carmen (the
band including John Glascock, not the opera) for the Tull fanzine
‘A New Day’. This simple request was life-changing,
although neither realised that at the time.
Following on from
that, Kev wrote reviews for the Mensa RockSIG newsletter, before
becoming secretary himself in 1990. Over the next 16 years, the
newsletter gained a name, and he put out more than 80 issues, many
of them doubles, in excess of 11,000 pages. When he moved to New
Zealand in 2006, he retired from the music scene, but was
pulled back in – initially kicking and screaming until he
accepted his fate. These days he can be found contributing to many
magazines and websites, is a columnist with the wonderful Gonzo Weekly
magazine and is a special collaborator on
which is designed to be the most important and
progressive rock resource on the web. In 2018 he reviewed 850 albums
of multiple genres.
When he isn’t listening to music, writing
about music, or thinking about music, then he can be found on
his lifestyle block in Canterbury with his wonderful and
long-suffering wife Sara, and their 11 cats, 6 dogs, chickens,
sheep, lambs, calves and cattle. Oh, apparently, he has a day job as
Kev is available for interview but asks for initial contact
to be made via email as time zones can be confusing to some people,
and he does live at the end of the world after
art and design for all three volumes is by Martin Springett,

Marc Urselli
+1 (917) 470 1170
Other sites by Marc Urselli:

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Aug 232019

Dear Friends,

Very pleased to announce my first duo LP with Jérôme Noetinger.

A Sunset For Walter is out now on Pentultimate Press.

You can listen HERE.


Available now from SoundOhm or direct from PP.

US pre-orders from Forced Exposure.



31/8: CH — Willisau: Jazz Festival Willisau


12/9: CH — Lausanne: Le Bourg


27/9: PL — Krakow: Sacrum Profanum Festival


8/10: PL — Krakow: Unsound Festival


Aug 202019

Brainchild Of Guitarist, Woody Aplanalp, Bonsai Universe Takes You On
A Journey To Another World With Its Psychedelic Electric Sound

San Gabriel, CA August 12th, 2019–Woody Aplanalp has toured
extensively, playing guitar and collaborating with a diverse array of
artists such as Bobby Womack, Lauryn Hill, Nels Cline, Thomas Mapfumo
and more. In 2017 he began working on a project he called Bonsai
Universe and in 2018 he released the first album from that project,
Moonstream. Critics described the debut as “intoxicatingly
different” (Tom Carter, KZSU) and claimed that “(he) effectively
captures your attention by combining different styles into one
instantly delectable mix.” (BabySue Music Review)

This year, in between road gigs, he worked on the Bonsai
Universe upcoming release, Too Many Ghosts. Too Many Ghosts was
produced, engineered and mixed by Aplanalp and mastered by Tony
Austin, who plays drums on the song “It’s A Shame” and is
currently touring with Kamasi Washington. “I went to college with
Tony,” explained Aplanalp. “We’ve probably been in 5 or 6 bands
together.” The same holds true for the rest of guests on the
album—veterans of past musical campaigns that Aplanalp has known for
years, distinctive and notable in their own right. This familiarity
and history lends itself a certain warmth to Aplanalp’s dreamy
ethereal compositions.

The 15-song album kicks off
with the aforementioned “It’s a Shame” which is a nod to Bobby
Womack, “It’s my version of a disappointment blues,” said
Aplanalp. “I used to play Bobby’s first hit song, ‘It’s All
Over’, so this is kind of a twist on that.” “Beepsy” is a
hypnotic electro-pop number that was written for Aplanalp’s cousin,
Beepsy. –

“Beepsy , I thought you’d like to hear a song
just for you | It might not be the best song , but I still hold it
dear “.

The title song, “Too Many Ghosts” is a
dreamy melancholic song lamenting impressions that are left behind,
“In the small hours before the dawn | something still there
something gone | In this old house outside of town, something won’t
stop , hanging around”.

Aplanalp resides in the
foothills of the San Gabriel Mountains and there’s a thread of
California running throughout the album. “Walnut Grove” was
written as a nostalgic memory of growing up in Rosemead, CA. An avid
cyclist, “Altadena” was written for his favorite cycling route
that cuts through that city, while “Ode to Ridge Road” is also a
favorite road that cuts across the San Gabriels to Mt. Baldy. And
then there’s the funky tune, “Crumbs” because, as he explains,
“California is perpetually drought ridden…so yeah.”

The album ends with “My Little Corner”, which is a song
from 1960 by Anita Bryant. “However,” he clarifies, “this cover
is closer to the Yo La Tengo version from the 90’s.”

With Too Many Ghosts Aplanalp has struck planetary gold again.
Steve Hochman, music critic for KPCC (NPR-affilliate) said “…as
Bonsai Universe, it seems he’s a lovelorn, instrospective, gentle
spirit with a cosmic gaze.” Aplanalp explains it like this, “With
this project, each song could be its own little universe, or you could
say, A Bonsai Universe.”

Guest Players Noted and Notes:

1.“It’s a
Shame” — Drums-Tony Austin | Bass-Miles Mosley (Kamasi Washington
Band, West Coast Get Down) “Miles and I were in Lauryn Hills band
together and Dakah, The Hip Hop Orchestra” | Keyboards-Jon Neimann
(Gospel Beach, Miranda Lee Richards) “I’ve been working on songs
with Jon on and off for years.”

2. “Beepsy”– Drums
-Justin Smith (Howlin’ Rain and Aplanalp’s bandmate from Old
Californio) | BV- Liela Avila “Liela is from my neighborhood and
I’ve been friends with her dad since she was a kid. He’s on a few
songs, as well.”

3. “Walnut Grove”–Drums-Anthony
Logerfo (Neil Young, Promise of the Real) “Anthony played in my band
many years ago and we’ve done various projects over the years.” |
Bass- John Avila (Oingo Boingo) “John is a neighbor of mine and
we’ve been in several bands together over the years, including Oingo
Boingo Former Members.

4. “Altadena”– Vocals- Gwendolyn
(Composer for Orange is the new Black, Weeds) | Percussion-Brandon Jay
(Composer for Orange is the new Black, Weeds) | Bass-John

5. “Too Many Ghosts”–BV-Dylan McKenzie (Derde
Verde) “Dylan was a guitar student of mine and now he has his own
band.” | Bass-John Avila

6. “Do Something” – All

7. “Crumbs”– Drums-Justin Smith | Keyboards-
Jamison Trotter

8. “Ode to Ridge Road”– Percussion-
Randy Gloss (Hands Ensemble) | Bass-Jason Chesney (Michael Nesmith,
Old Californio “Jason and I have been playing longer than anyone
else that I know. We’ve done many projects together.”

“Spanish Lady”—All Aplanlap

10. “Hey Brown
Eyes”—Drums Bryon Holley | Bass and BV Corey McCormick (Neil
Young, Promise of the Real, Chris Cornell)

11. “Sideways
Summer”—Bass- Juan Perez (Quetzal) “Juan and I have played
together in Quetzal and with Aloe Blacc.”

“Rain”—Drums-Justin Smith | Bass-Jason Chesney

“Long Long Time” – Drums- Bryon Holley | BV- Corey

14. “Drunk Firefly” –Instrumental, All

15. “My Little Corner”—Synthesizer-Robert Hall |
Bass-Jason Chesney | Vocals- Liela Avila


Marc Urselli
+1 (917) 470 1170
Other sites by Marc Urselli:

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