At its core, Radiate would prove to be a very personal and profoundly painstaking song to lyric-write. I was riddled with internal strife and unbridled energy, yet with a nomadic need for self intimacy. With Radiate I would wrestle with conscious unraveling. Eternally striving for truth. My truth. Human truth. My lyrics went through many iterations before arriving at it’s essence of core. So with the beautiful backdrop of Zu’s handpan, José Manuel Aguilera’s flowing, melodic guitar, Tony Newton’s Motown edge on electric bass, and Victor Bisetti’s solid drum and snare beat, I set out to…
– PRODUCERS NOTE by RONAN CHRIS MURPHY
When I first heard the demo for “Atsui,” it was already a fantastic track. Kathleen and Arthur had the foundation of something fun and energetic that fused elements of dance and Latin. We never had a firm idea of exactly where it would go, and often at sessions, it would be a bit of an afterthought. If we had some extra time with a musician, we would try having them play on it. When the rhythm section of Victor Bissetti and legendary Motown bassist Tony Newton laid down an organic foundation, combined with Degnis Bofill’s percussion in Cuba, the track had really come to life. With horns from Danny T. Levin (who has a new co-write with Post Malone),
The music began to turn into a true global collaboration.
I felt an intensity as soon as we arrived in Taksim Square. We had settled into a fabulous 7th floor flat with a spiral staircase leading to an overlook of Taksim square and İstiklal Caddesi. From our window in the heart of modern Turkey, we could see the buzz of commercial activity to our left and the tension of political action to our right. The frenetic bustle of shoppers and musicians on one side, balanced by the motionless pressure of paramilitary police standing in wait on the other.
If you let it, Venice will seduce you and she gives up her magic in unexpected ways.
If you let it, Venice will seduce you and she gives up her magic in unexpected ways. Strolling through the Venetian Calle, as the summer light was starting to fade, we heard a mystical sound floating through the air that drew us closer. In a small square we saw Zu, a handsome thin-bearded Italian sitting with a Handpan in his lap, filling the air with beautiful music as the bustle of tourists shuffled by. Ronan and I got lost in the music and I knew he should be a part of Project Electrico. -Kathleen
A dialog between a voice, a fretless bass, and a church organ made in 1791. In a handful of countries, two churches, and two continents.