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Built around eleven predominantly obfuscated sixties-reinterpretations, the recent work released under the 'Czarista' moniker is essentially nothing more than the intimate collection of the solitary work of the intriguingly interpretative Mr. John Grant, the sole survivor of the dissolved transoceanic sound-entity in question: abandoned by the rest of the crew a few months after the release of the previous and (pen)ultimate work ("Goodbye," a title evidently prophetic) of two seasons ago. Discover the review
Built around eleven predominantly obfuscated sixties-reinterpretations, the recent work released under the 'Czarista' moniker is essentially nothing more than the intimate collection of the solitary work of the intriguingly interpretative Mr. John Grant, the sole survivor of the dissolved transoceanic sound-entity in question: abandoned by the rest of the crew a few months after the release of the previous and (pen)ultimate work ("Goodbye," a title evidently prophetic) of two seasons ago.
A record shouldn’t be reviewed if it clings to your memory like an octopus to a rock, the kind you listen to again that tears open your heart; it shouldn’t be done, it's not honest. Discover the review
A record shouldn’t be reviewed if it clings to your memory like an octopus to a rock, the kind you listen to again that tears open your heart; it shouldn’t be done, it's not honest.
The Czars hail from Denver, but listening to their music with memory one can’t help but be taken to the foggy London atmospheres, through nocturnal streets where the rain seems never to stop falling, and our souls get lost and despair in search of an eternal abandonment. Discover the review
The Czars hail from Denver, but listening to their music with memory one can’t help but be taken to the foggy London atmospheres, through nocturnal streets where the rain seems never to stop falling, and our souls get lost and despair in search of an eternal abandonment.
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