They live in a haze of accidentally anthemic self-made and self-assured angst, where webs and threads of Bona Drag and Juju clean-jangled guitars (from Morrissey and Banshees respectively) weave like a network of nerves up and through.

Harsh isolation, dystopian dreamscapes, semi-connected catharsis caught up in electronic precision. 

That’s the evolving sound of Blancmange 2.0; collections of stripped down half hooks, building in escalating elaborations, repeated in sheets of thin ice and cool water. This is Neil Arthur from 2016’s Unfurnished Rooms, through to 2017’s Fader and Near Future, through this year’s Blancmange album Wonderlust.


Austin. Achingly hip and alarmingly cool. Coffee bean fetishists, thrift store hi-glam, nu-age craft ales in gleaming clean structures and retro set wide-eyed fresh faces.

Hot dog and burger bars tower their meats with all kinds of sides, only skyscrapers outside match their stature. Weed’s offered out by bar maids and waiters and I don’t feel young, pretty or thin.

We’re still star-fishing our way in and out, back and forth spikes out of Panama City Beach, moving on interstate spines. This is last trip where we go out and back before leaving our friend’s nest for good. Three New Orleans nights and return then it’s not so straight lines to nowhere.

New Orleans Street JazzNew Orleans is glistening voodoo jewel jubilation with rhythm and heat in the pit of its soul. New Orleans sleeps rough in the dirt of it’s past, it’s disasters and racial divides. It’s truth is a sweet spot between.

Nashville has an ego. Lights, signs and neons all big as that ego with history gone to it’s head. It’s been ‘Music City – USA’ since WSM AM radio cast out it’s shout over 38 states with weekly live shows and recordings. Broadcasts began in 1925, name was claimed 1950 set against rock and roll. ‘Birthplace of bluegrass’, ‘home of country music’, ‘songwriting capital of the world’; There’s plenty of others to pick from.