Standing at the cusp of what promises to be a bold creative chapter, Hunnu Rock pioneers The HU — Galaa (morin khuur, throat singing); Jaya (tumur khuur, tsuur, throat singing); Enkush (morin khuur, throat singing); and Temka (tovshuur, throat singing) — will unveil their forthcoming third full-length album, ‘Hun‘, out July 24th via Better Noise Music. Pre-order/Pre-save ‘Hun‘ – here. They’ve shared the […]
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Musician and composer Jeff Wayne’s musical version of The War of the Worlds was released in 1978.
The musical – based on H.G. Wells’ 1898 novel of the same name – was mostly recorded in Advision Studios, in Fitzrovia, London the previous year. The story centres around an unnamed person’s survival during an alien invasion, and Wayne enlisted the likes of Richard Burton, David Essex, Julie Covington and The Moody Blues‘ Justin Hayward to bring Wells’ apocalyptic vision to life.
Here, the New Yorker details his bond with the late, great Thin Lizzy frontman Phil Lynott and why he thought he’d make the perfect fire-and-brimstone cleric Parson Nathaniel.
“Before we met I was a fan of Thin Lizzy. I loved their work, I loved Phil’s songwriting, and his voice was so distinctive. I approached him because of Thin Lizzy’s Fool’s Gold; he starts it off quite dramatically before singing. I thought: ‘Gosh, he’s got such a great speaking voice, lots of natural drama.’ That’s what triggered my hope that Phil might be interested in appearing on The War Of The Worlds.
“His managers passed the idea on to Phil, who was very keen and he agreed to come into the studio for a demo to give him an idea of what it was all about. He loved it and came on board instantly.
“As far as I know, he hadn’t had any acting experience, but he took direction absolutely beautifully and in good spirit. My dad, who was an actor and singer, did the acting direction, while I produced the music. Phil and my dad got on really well – there were some great outtakes. Once, they were chatting in the studio, then my dad went over to the piano. He played Tea For Two and Phil was on the mic, acting as if he was an MC for a nightclub. It was hilarious!
“Phil was a very physical being. He didn’t hold back performing on Spirit Of Man and his acting. He was very professional. If you have a perception of him as an out-of-control rock’n’roller, that’s not the guy I worked with. He was prepared, he knew the song after the first demo. He was engaged and had a very positive vibe about the production.
“We did a few takes of Phil’s scream [near the start of The Red Weed (Part 2)], because his voice broke on one attempt and he just burst into hysterics! He was into the idea of being the parson and how the character responded to the situation. That’s all you can ask from anyone – to believe they’re giving you all that they’re capable of.
“As much as he was a rock’n’roller, Phil had a very sensitive side. He gave me a signed copy of his book of poetry and prose – Songs For While I’m Away – on the last day. It revealed somebody who had a real soulful being. It’s a tragedy he didn’t go on. I spoke with him in hospital two or three weeks before he passed. He was quite coherent but you could tell the fight had gone out of him. That’s what hit me the most. It was just tragic. So young.
“That book he gave me, you just see the soul of the guy in a different way to that of Thin Lizzy’s persona and their music. You would have to be not only intelligent but soulful to have written that. Compared to his rock persona on stage with Thin Lizzy, it’s as opposite as you can get.”
Jeff Wayne was speaking to Alex Burrows. The original version of this feature appeared in Classic Rock 249, in May 2018
atmos bloom’s Everything is a stunning fusion of dream pop and shoegaze, balancing emotional intensity with beautifully layered instrumentation. Tilda Gratton’s captivating vocals soar above shimmering guitars and driving rhythms, creating a rich, immersive soundscape that feels both intimate and expansive. Exploring the struggle of trying to be everything at once while searching for personal identity, the song pairs heartfelt lyricism with cinematic production and irresistible melodic flow. Everything is a beautifully crafted highlight that showcases atmos bloom’s ability to transform vulnerability into something uplifting and unforgettable.
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Strange Plants’ Time Killing is a mesmerizing psych-rock excursion that pairs vintage influences with a fresh cinematic sensibility. Rich layers of shimmering lap steel, sweeping string arrangements, and warm analog textures create an expansive backdrop for its reflective meditation on time, routine, and existential longing. The song unfolds with effortless patience, gradually revealing emotional depth without sacrificing its melodic charm. Balancing psychedelic exploration with thoughtful songwriting, Time Killing feels both nostalgic and contemporary, further establishing Strange Plants as a compelling force in modern psych-pop and alternative rock.
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Dubh Lee’s Sun Down Sad Clown is an emotionally gripping alt rock statement that seamlessly shifts between delicate introspection and explosive catharsis. Piano-led passages give way to distorted guitars and powerful dynamics, reflecting the turbulent emotional landscape of a relationship unraveling under the weight of anger, stagnation, and addiction. Dubh Lee’s vivid storytelling and expressive vocal delivery make each scene feel intensely personal without losing its universal appeal.
Bold in both arrangement and emotion, Sun Down Sad Clown provides a compelling and memorable conclusion to the FUFO EP.
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Tiger Adopt’s MORTLAKE is a captivating dream pop journey that transforms delayed grief into a rich, emotionally immersive listening experience. Layered synths, shimmering reverb-drenched guitars, and ethereal vocals glide over a driving pulse that mirrors the restless momentum of anxious thoughts. Structured around panic, reflection, and reconciliation, the track evolves naturally while maintaining its hypnotic atmosphere. Despite its emotional weight, MORTLAKE never loses its melodic appeal, offering a compelling balance of vulnerability and sonic beauty. It’s a beautifully crafted release that lingers long after the final note fades.
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Josh Byrd’s P.S. I Love You delivers an emotionally charged alt rock experience, pairing heartfelt lyricism with soaring melodies and dynamic instrumentation. Built on powerful guitar work and an authentic vocal performance, the track balances vulnerability with quiet resilience, gradually expanding into a memorable, cinematic chorus. Its polished production never overshadows the raw emotion at its core, making every moment feel genuine. Honest, melodic, and effortlessly engaging, P.S. I Love You is a cool alt-rock offering that leaves a lasting emotional impact.
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ViVii return in captivating form with Not Your Island, a dream pop gem wrapped in shimmering synths, delicate harmonies, and understated emotional depth. The Swedish trio continues to refine its signature blend of cinematic melancholy and atmospheric indie pop, crafting a song that feels both intimate and expansive. Built around themes of personal boundaries, introspection, and the need for an inner sanctuary, the track unfolds with effortless elegance and quiet intensity. Not Your Island is another beautifully immersive release that reaffirms ViVii’s gift for creating music that lingers long after the final note.
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Peter Hammill has never seemed to be in a hurry to surrender to his followers’ expectations, and he’s not about to change such an approach even at seventy-seven, the age when anyone’s sense of mortality is apt to get heightened. … Continue reading
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