TV REVIEW: THE BEATLES ANTHOLOGY

4/5

The Anthology Album

9 Episodes. Starring: John Lennon, Paul McCartney, George Harrison & Ringo Starr. Create By: The Beatles. On: Disney +.

Get back to Disney Plus, if you want to spend more time with The Beatles. Mickey Mouse has given the Fab Four from Liverpool a lot of real estate in Disneyland over the last few years. Almost like the Marvel of superheroes, Star Wars and, cue the clouds, 'The Simpsons'. Now, if you thought Taylor had her era here, and from 'The Final Show' of 'The Eras Tour', to 'The End Of An Era' six-episode docuseries coming at the same time, the biggest musician since John, Paul, George and Ringo really does, wait until you see these lads. 'The Lord Of The Rings' director Peter Jackson's almost nine-hour 'Get Back' documentary, taking a look at the making of their landmark last album 'Let It Be', and their final show on the rooftops of downtown London started it all, saving us in our social isolation, coming out of COVID. But over the last few years, Disney Plus have also given us the remastered 'Let It Be' documentary, thanks again to Jackson, and the year that was, the 'Beatles '64' epic. 

Count on more 'Help!' to come from The Beatles original movies before we get the fabulous four ones from Sam Mendes starring Harris Dickinson, Paul Mescal, Joseph Quinn and Barry Keoghan. Not to mention Saorise Ronan and 'Shogun's' Anna Sawai as Linda McCartney and Yoko Ono, respectively. A Starz Original on the streaming service even gives you McCartney's '3, 2, 1', with a little help from his legendary producer friend, Rick Rubin (The Beastie Boys, Red Hot Chili Peppers, Johnny Cash's 'American Recordings'), but this is The Beatles 'Anthology' that you've been waiting for, created by the band itself. Nine episodes in the biographical docuseries like no other, not even Tay, Tay, gives us a backstage pass to the life and times and highs and lows of the greatest group of all-time. From studio creation to commercial success. Bowl cut to bohemian look. This Apple Corps series tells the tale of Beatlemania, from the scream of teens, to behind-the-scenes. All restored with love by Peter Jackson's Park Road Post.

The long and winding road of this eight-year band (that was it?!), that will last forever takes you through plenty of twists and turns through their eight day week. But all you need is to come together over the love. From coming to America, The Ed Sullivan Show and Shea Stadium, to causing uproar in Japan when they became the first band to play Tokyo's 1964 Olympic martial arts venue, the Nippon Budokan. Now a regular concert fixture in the city, this writer seeing Norah Jones and The Smashing Pumpkins there in just one-week, last September. But from The Cavern, to the Budokan, these Liverpool lads faced trouble in The Philippines when they didn't make a royal appointment for lunch. Frenzied fans full of tears are bound to break some hearts, and some thought that would be it for the Fab Four, but then 1967 came. And an outstanding output like nothing before, or since. After reloading the 'Revolver', they visited 'Sgt. Pepper's' on a 'Magical Mystery Tour', all whilst giving us 'The White Album' and taking a real trip on a 'Yellow Submarine', before they crossed 'Abbey Road' to 'Let It Be'. And now, a new ninth episode reunites Paul, Ringo and the late George as they try to make new music with old Lennon recordings. One that you can hear, added to the anthology, now and then. Always to return. TIM DAVID HARVEY.

Further Filming: 'The Beatles - Get Back', 'The Beatles - Let It Be', 'Beatles '64'

TV REVIEW: TAYLOR SWIFT - THE END OF AN ERA (The 6 Episode Docuseries)/THE ERAS TOUR-THE FINAL SHOW

4/5 ('The End Of An Era')

5/5 ('The Final Show')

Era Redefining

Swiftly, the word "era" has become Taylor's. Even though all of us, not this 40-year-old though, are using it always to describe our everyday life. "I'm in my cream cheese on bagels era." No, you're not, Jack, you're just having a nice breakfast. Enjoy it, whilst we run to work with toast hanging out our mouths. We're in our, "oh DAMN! I'm late again" era. Don't let it go cold for Instagram. Seriously though, Taylor Swift is redefining everything. Music, culture, the economy of some countries. From rerecording her own albums to take back ownership of her masters from the man. To performing all of these albums, or eras, in concert for the biggest tour the world has ever seen on a sold-out stage across the hemispheres. The star who was born to do this is our generations Elvis. And coming out of the cage of COVID, we've never seen a tour quite like this, thank you very much.

I missed it here in Tokyo, but I could still feel the atmosphere outside of the Giants Dome that held Taylor's version two years back. Not sure if I regretted not taking up the offer to digitally pay for tickets from the various X accounts that would be suspended a day later. Anyone in attendance knew they were the lucky ones, mind you. Even the Japanese government reassured the watching world that Taylor would be here just days after she watched her now fiancée Travis Kelce win the Superbowl with his Kansas City Chiefs, like the jerseys that adorned the crowd. If you missed out on a once in a lifetime experience (how does she follow this?), then Disney Plus already has you covered with the concert movie to go along with Miss Americana's 'Folklore: The Long Pond Studio Sessions', behind-the-scenes look at her quarantining to create one of her deepest and best albums to date. But last Christmas, Disney also gifted us with the mammoth three-and-a-half-hour final show of The Era's Tour from Canada's Vancouver, BC.

Now, if that wasn't enough, as a plus, the house of mouse has also given us another documentary to go along with Glen Weiss' great directed showstopper that's available in 4K and Dolby Atmos for all your home cinemas. Featuring, as a treat, the entire set of her album 'The Tortured Poet's Department', that we didn't get from the showgirl's previous set. But the real find for the fans is 'The End Of An Era', 'The 6 Episode Docuseries'. A backstage past to all the inner workings and planning that go into creating and crafting the biggest concert of all-time. Fondly featuring family and friends, this intimate and inspired doc also stars Gracie Abrams, Sabrina Carpenter, Florence Welch, Ed Sheeran, and of course, Travis. Around three quarter of an hour each, these episodes are epic, but they become something else when they introduce us to the cast and crew that Swift states she couldn't do without. Tears will be shed, like when Taylor was deeply affected by the attacks that happened in my hometown of Southport at a Taylor themed dance event for children. And we can't thank her enough for reaching out to meet the families. Purists will love the songwriting process. Fashionistas will say yes to the dress. Yet it's the Emmy worthy, standout episode for Marjorie that gets the most personal. An era to her own. World, welcome back to 'The Eras Tour'. TIM DAVID HARVEY.

Further Filming: 'Taylor Swift - The Era's Tour (Taylor's Version)', 'Taylor Swift - Folklore: The Long Pond Studio Sessions', 'Taylor Swift - Miss Americana'.

REVIEW: J. COLE - THE FALL-OFF

4/5

Fall Through

It's a cold world, but it's still a Cole one. Even if some fans lost respect for Jermaine when he gracefully bowed out of the big-three beef with Kendrick Lamar and Drake...but we all knew who the big he was anyway. Cole's move showed class like his concert speech. I'm just mad at him for saying that Kendrick fell-off "like 'The Simpsons'". I sit on that sofa every day after work to watch the Evergreen Terrace family. I know it ain't like it used to be, but I still love them the same. Well, falling through like coins in the couch (thank you, Drizzy), J. Cole is back with 'The Fall-Off'. His seventh seal and first album since 2012's all-star weekend of 'The Off-Season' coming in around the same time he got a SLAM cover and contract with the NBA's Africa league. Following his fourth mixtape, 'Might Delete Later' in 2024, that he took back like his K.Dot diss.

Preceded by the sensational single 'The Fall-Off Is Inevitable' and it's classic continuing and compelling music video, Cole purists are in for a treat, as 'The Fall-Off' is a double album. But wait...word on the street, confirmed by Cole, is that this double delight is actually his final studio album. Well, if that's so, he goes out with a bang! Like Kobe, there are 24 new tracks to remind you who the G.O.A.T. still might be. Conceived over a decade in a room that looks like the awe-inspiring artwork. Just one wooden easy chair and the hard work of a lot of wires, 808s, CDs and tapes in the deck. The instant vintage that powered Jermaine Cole to be the powerful platinum artist that he is and you can see in the amazing alternative artwork's perfect portrait. Beautiful beats ('Drum N Bass') and lasting lyrics ('Bombs In The Ville/Hit The Gas') lace these changing CD's, as J. Cole gives it up for various legends that came before him, covering and interpolating lyrics from the likes of DMX and OutKast.

This one hour and one-minute long album shows that 2026 is already going to be a big one, just one week into the second month. Coming seven days after the UK's finest Labrinth also gave us part one of a two disc special with his 'Cosmic Opera Act I', coming after last year's 'Prelude'. And Cole had his own precursing EP with last month's celebrated 'Birthday Bash' with DJ Clue. After the '29 Intro', featuring a serious sample of James Taylor's 'Carolina In My Mind', the NC rapper gives us what he's known best for, a hive of active lyrics that sting like a hornet's nest. The man that once boasted about having no features, also has uncredited cameos from Future ('Run A Train', 'Bunce Road Blues' (also with Tems)), Erykah Badu ('The Villest'), Petey Pablo ('Old Dog'), Burna Boy ('Only You') and Morray ('What If'). Not to mention, production from the legendary likes of The Alchemist and many, many more. From 'Two-Six', to the beautiful bonus of 'Ocean Way', the 'Safety' if off as Jermaine unleashes lines like, "Congruent with s### that I do to rhymers/On Deuteronomy, ain't s### n####s can do but honor me/What I'm quotin’ is God sculpted, come view the pottery" for all you 'Poor Thangs' like a "punk b####!"

The 'Legacy' has already been set for this legend of the game, but tracks like 'The Let Out' will make you wish for another album of the same name. Let it be so, Jermaine. Because it's 'Lonely At The Top', but it's never been this compelling. This player's tribune gives us a 'Life Sentence' of dedications ("My flow switch, slow the pace, this the Ma$e one/I'm not a player but I'm crushin' like the late Pun/Let's take one, go"). Pointing to the only one that can judge, the most high, as the 'Man Up Above' offers the terrific Saturday to Sunday, night to mo(ur)ning testament of, "Certainly are, while y'all prefer to be hard/Memories of my dog's wake, it's hurtin' me, y'all/The windows to his soul closed, saw its curtains be drawn/Innocent as a child, but weren't we all? Before the h##s and the smoke." 'I Love Her Again' takes you even further into the heart of a man who delves deeper. And even a 'Quik Stop' offers the quotables of, "We need to change our ways, doin' the same thing we did yesterday/Making beats, gettin' high, chasing freaks, feeling fine/It's still the same old s### (The same old s###), but I think we ain't gon' quit/Making a rhyme, climbing a hill, stayin' alive, tryin' to live." Wise words to ponder before that's it for all of us. Trust, 'and the whole world is the Ville' as Fayetteville's finest signs off with his last sports adjacent album. The Friday night lights are shut off, but the sideline story will still be told. TIM DAVID HARVEY.

Playlist Picks: 'The Fall-Off Is Inevitable', 'Legacy', 'Ocean Way'.

Spin This: J. Cole - 'The Off-Season'

REVIEW: LABRINTH - COSMIC OPERA ACT I

4/5

He Is The Cosmos

Past is prelude, and it only seems like we've just been woken up from the September that British singer, songwriter, rapper and record producer, Labrinth, gave us his sonically charged 'PRELUDE' E.P. The perfect precursor to this. His new album, to awaken the love of a calm January, 'Cosmic Opera Act I'. It's time to act right in 2026, because the great Brit legacy maker is promising us even more to follow with their part one. Just like the seasons of his soundtrack. From Simon Cowell to Tinie Tempah. An 'Earthquake' up in here, to a 'Euphoria' with Zendaya, this cosmic boy has gone out of this world. Labrinth is now a legend. Going forth with his fourth album, and first since 2023's 'Ends & Begins', the LSD member (him, Sia, Diplo) is given us a whole new electronic earth. The imagination of this misfit kid is inspired.

Back to black, like Winehouse, with a deep, blood wine shirt on backwards to cover, this is album art. As soon as the for the record intro tells us this is 'Something Like An Opera', we know it's exactly, outstandingly, that. And the bass dominant 'Debris' that follows and falls like 'Get Out', will shake you to your core. "The roof is on fire/Nothing left of me/Party at my house/Now it's all debris/Now it's all debris/Picking up the pieces/Just another morning/Same old routine/Now it's all debris/I don't know these people/Welcome to the ruin/I'm the centerpiece/What the f### am I doing?", Timothy McKenzie asks. Right now, nobody mixes the Saturday night fight with Sunday sacrament quite like this Tim. This modern day classical influence continues on the INCREDIBLE 'IMPLOSION', in all-caps. Not to mention the mad scientist single, and sensational music video set of 'S.W.M.F.' ("Star Wars, motherf#####", indeed!) and the heavenly highlight, 'God Spoke'. Like this will, to you.

Space feels like the first and foremost frontier (I know that's 'Star Trek', quit your Jabb-ering, fans of 'Wars'), on this album that reaches for infinity like the cosmos. Delving deeper at an 'Interstellar' rate, further into the labyrinth, 'into the black hole' searches through your subconscious. All before the 'Big Bad Wolf', huffs, puffs and blows your house on the hill, all the way down, with lines like, "I'm f#####g awesome/My head get bigger than Austin/Hear my ego contorting/Feel myself like I'm choking/I eating on your offspring, I'm Mike Tyson, no cocaine/Make you feel those endorphins, man, I'm just too important/Now they're all saying there's something wrong/I got my head in the f#####g sun/All of my dreams get undone/I walk around like an unsung." Now, if you thought the sensational singer and songwriter had given up on the lyrical licks of rapping, then like a notorious one, you're dead wrong. 'I Keep My Promises' and McKenzie keeps moving in any direction the music in him takes him.

After the opulence of an 'Opera Interlude', Labrinth conducts an 'Orchestra' that will have you on your feet and up in applauding arms like the Royal Albert Hall. Just imagine how this set would sound here for the Hackney hometown hero. "Trumpet, trombone, violin, check/Here we got the sound of a feeble attempt/Begging for applause that I need to exist/When I bring the sound that will keep you possessed/I give you the horn, and I give you the bass/Larger than life when I'm hiding my pain/I'm the f#####g best 'cause I claw for my fame/Praying it's the cure to my sizey charade (Go)." Moving in a time lapse, like the singles cover art. This might just be Labrinth's best yet, from an artist whose magnum opus might just be his whole career, up in here. He understands the loneliness of 'Euphoria' and brings it all back for 'Still In Love With The Pain'. But when he is left 'Running A Red', akin to the shirt, that's when his heart bleeds all over the studio's floor. "Yeah, baby, I'm a slave to living on your medicine/'Til I walk upon that day/'Til I run up on that." There's a hidden yearn that burns here. Thank God, it wasn't left on the cutting room floor. We can't wait until he acts again in this opera. Like the prelude, this is just an overture. TIM DAVID HARVEY.

Playlist Picks: 'Debris', 'God Spoke', 'Running A Red'.

Spin This: Labrinth - 'PRELUDE E.P.'

LIVE REVIEW: TsuShiMaMiRe @ TOP BEAT CLUB, Tokyo, Japan (12/01/26)

4/5

Punk Power

Austin, Texas, USA. Renowned as the Live Music Capital of the World. That's where TsuShiMaMiRe, the Japanese all-female rock trio, made their name Stateside at the South By Southwest music festival. Punctuating this with performances with the Suicide Girls and at anime events for these Japan girl's nights. The only other city in America, apart from the jazzy likes of New Orleans and New York's hip-hop, that has quite an effect on the world's soundstage is Music City itself, Nashville, Tennessee. Such an iconic landmark of country and western music, that even Detroit's own Rock and Roll Hall of Fame White Stripe, Jack White, had his first Third Man record store there. 

Last March, TsuShiMaMiRe (abbreviated as TSMMR) supported White during the Tokyo set at Toyosu Pit of his brief but brilliant tour of Japan that also saw him make a surprise stop at the Shibuya store Hysteric Glamour, that just looks like an album cover. This gig, albeit getting in late because of the number roll call (I can only count to ten in Japanese...I'm just kidding...five), was my first introduction to Tokyo's perfect punk trio. Their bassist bending backwards with ease. Pulling better faces than Haim's Este, whereas I pull my back out these days, even reaching into the fridge. The lead singer, unafraid to cede some of the spotlight to a fellow star because we all know the bassist is the underscoring soul of any band.

Originally hailing from Chiba Prefecture, these jets, not to be confused with the Tsushima island in Japan, are art punk all the way down to their nuanced name. A neologism of their bassist, Yayoi Tsushima's family name combined with "Ma" (for vocalist and guitarist Mari Kono, with a style and pixie cut Yayoi Kusama would be proud of) "Mi" (for original drummer Mizue Masuda) and "mamire", which means "mixed up". Well, now TSMMR can add Hokkaido's own Addy, AKA, Asami Suzuki to their iconic name. Their new drummer, who won her sticks and is absolutely amazing on the skins. 

Influenced by the likes of Rage Against The Machine, this band have even had songs on Fortnite ('Break The Curse'). Now, sandwiched between last year's American tour, and this year's Ice Cream Punk Tour of Australia (starting at Shotkickers in Melbourne, February 19), they have just performed at Tokyo's Top Beat Club to start the working week. And this was one Monday you would have liked in one of the town's best hidden gems of a venue, serving drinks, music and damn good coffee. Their plectrum drink token (a 1,700 yen cover) being the perfect memento for those like me who don't drink (I still have my gold coin from Toyosu Pit), as all the acts strummed the night away.

Getting there a little late for this battalion of bands, I caught the tail end of my own country's amazing Mika Bomb and their bold and brilliant, boundless energy. The same that carried over for the terrific TsuShiMaMiRe, who showed us their soy sauce and a jukebox of instant sing-a-long hits like 'Brain', 'Sex' and 'Eel'. Kono being a kinetic stage presence, having audience members hold the mic as she sang into it and kept her energy effervescent, just like Yayoi's eyes and Asami's hands. Recently, from Aimyon to Sakanaction, we’ve talked about music in Japan, just like the latter's bassist Ami Kusakari linking up with fellow electronic artist Kyoka for MUTEK JP 10. It's their turn. It needs to be noticed and have its day outside of the Land of the Rising Sun, too. Anime is all over the world with its themes, and the neighbouring South Korea's K-Pop showed we don't have to be lost in translation. TsuShiMaMiRe are further proof that Japanese music rocks! TIM DAVID HARVEY.

REVIEW: NAS & DJ PREMIER - LIGHT-YEARS

4/5

Legends Have It

Saving the best for last, Mass Appeal's 'Legend Has It...' series concludes with a classic collaboration before the curtain of this calendar. Slick Rick ('Victory'), Raekwon ('The Emperor's New Clothes'), Ghostface Killah ('Supreme Clientele 2'), Mobb Deep ('Infinite'), Big L ('Harlem's Finest: Return Of The King'), De La Soul ('Cabin In The Sky'). And now, Nas, who appears on all the albums from the aforementioned artists with the respective, 'Documents', 'The Omerta', 'Love Me Anymore', 'Down For You' (with Jorja Smith), 'U Ain't Gotta Chance', and 'Run It Back!' But now, Nas is like back with the legendary DJ Premier, like some of their collective classics. And the name of the game is 'Light-Years', like how much ahead of the competition this old-school/out of this world album is.

Premier previously released 'The Reinvention' with Ransom, mere months back, but it's God's Son who has been on a tear lately. Since COVID, Nas has given us the 'King's Disease' and 'Magic' trilogies, the latter with producer Hit-Boy, showcasing his supreme skill set as one of the game and genre's most legendary lyricists. This half-decade of dominance, making fans and purists alike debate if this was one of the G.O.A.T.'s greatest eras (he's an icon who deserves his time to be called as such), like the inspired 'Illmatic' beginnings, or the 'Stillmatic' career comeback when he gave the 'Ether' to Jay-Z. Not to mention when he buried all sorts of hatchets on 'Hip-Hop Is Dead'. Or almost called an album the 'N' word. And we can settle that Nasir Jones versus S. Carter debate right now. Jigga hasn't had a solo set out since they read the wrong name for 'Best Picture' at The Oscars. But by this moonlight, Nas makes it to 21 savage albums, if you count his collaborative ones with Damian Marley ('Distant Relatives') and The Firm ('The Album'). AZ calling it twenty-something on the real reunion of 'My Story Your Story'.

Jones really is a superhero like the Marvel comic collaboration with Mass Appeal. The premier DJ, too, giving us one of the New York rapper's greatest hits since 'Nas Is Like'. Singles? This dynamic duo doesn't need singles, like J. Cole doesn't guest features. Although 'Define My Name' last year, to mark 'Illmatic's' 30th anniversary was incredible. Not when they have sequels to their cinematic canons of hip-hop history. The instant classic, trilogy closer of 'N.Y. State Of Mind Pt.3' brings a bold and beautiful Billy Joel sample for Madison Square Garden's finest. Whilst we're in our '3rd Childhood' in closing now. Who else could it be? N.A.S. NAS! And Preme on the wheels of steel. Primo when it comes to other top tracks that could serve as spiritual sequels. Most notably, 'Sons (Young Kings)' for 'Daughters'. And the tribute to the best women in rap, with the 'Bouquet (To The Ladies)', like the 'U.B.R.' of an 'Unauthorized Biography Of Rakim'. And as he shouts out all the greats, like he does his 'Legend Has It' icons on the opening 'My Life Is Real, or the NYC sports teams on 'State Of Mind', whilst you listen out for Nicki, I'm wondering, where's Jean Grae?

This schedule by Mass Appeal is as good as that great day in hip-hop, a landmark moment for the genre. This should have been done when rap celebrated its 50th birthday. As classic as this cover in black and gold, blinging like the same 'Star Wars' Nas rapped about on another 'Illmatic' anniversary. The seventh seal and divine number. 'Nasty Esco Nasir' rapping like a 'Madman' and calling himself the crypto king on 'GiT Ready'. Rhyming "Welcome to the underground, that basement life/Way underneath the earth, dig up dirt, termites and baby mice, scatterin’/Below the surface, we deep in the soil, we jackhammerin'/To the core of it all, avoidin' the laws" with Ralph McDaniels. All before giving it up for the graffiti 'Writers'. Big beats take you through these streets as DJ Premier is as powerful as he is profound. Laying the groundwork for Nas to say such things like, "Rhyme a few bars, kick a few flows/For every word I spit, I get phenomenal/And we might as well shine together" for a Notorious B.I.G. refrain. No need to 'Pause Tapes', this hip-hop 'Junkie' who has been free-bassing since 2020, has that vision once more. Ayo, Black, 'It's Time' again. The appeal is mass and will last for light years beyond this great year in hip-hop. TIM DAVID HARVEY.

Playlist Picks: 'N.Y. State Of Mind Pt.3', 'Writers', 'My Story Your Story (Feat AZ)'.

Spin This: Mobb Deep - 'Infinite'

LIVE REVIEW: KYOKA + AMI KUSAKARI @ MUTEK JP 10, Spotify O-East, Shibuya, Tokyo, Japan (23/11/25)

4/5

Water Studies 

Music is art, plain and simple, simple and plain. You only have to see sound and hear time with the late, great Ryuichi Sakamoto to feel this. Earlier this year, another artist inspired by the legendary likes of him, Ami Kusakari, released her inspired instrumental, and stunning solo set, 'Garden Studies' to rave reviews. Taking us back to the beauty and nature of life, soil to seed. This atmospheric album played in the white fog, of an exhibition like entrance to the epic, back-to-back, K-Arena 'Sakanaquarium' concerts with this bass player's band, Sakanaction, concluding their tour of the rising sun in August. 

Kyoka, also, needs no introduction. The first female artist signed to the iconic experimental German label, Raster-Noton (now Raster Media and NOTON), splits her time between Switzerland, Berlin and her native Japan. The eclectic sound and installation artist, DJ, field recorder and electric producer knows music and sound to the notes she devotes. Exploring and experimenting, the whole soundscape with a purists touch. Records like 'Is (Is Superpowered), 'iSH' and 'SH' will take you further...and higher. Using synths, equalizers and MIDI pads, Kyoka not only brings echos and reverbs of her signature sound, but also the amazing art itself, as the movie that played behind her and Ami was composed by Kyoka, herself. All for a personal and profound passion project that is "inspired by motion picture blindness". All through the flow of water and our own human perceptions in this compelling communication from Kyoka and Kusakari.

Together, the perfect pairing offered a stunning set, incredible, inspired and absolutely beautiful. All for the tenth MUTEK JP festival, from Montreal, Canada, to Tokyo, Japan. Playing in Spotify's O-East venue in the heart of Shibuya, just a few corners from the crossing. But through these neon streams, audible art took you on a path more meaningful and moving than all that. All for a three-day festival that also included the electronic music and digital creativity likes of Alex Vlair, Atsushi Kobayashi, BunBun, and many, many more. This tech cultural-exchange in the form of music celebrated it's tenth anniversary in Japan with a special showcase, and Kyoka and Ami were at the heart of it, headlining the final day. From Kyoka's heartfelt introduction to her work, and songs like 'Susurrus' and 'Shush', to Kusakari giving us her 'Garden Studies' (including 'Sound Of A Pier', 'RainFalls' and an extended version of 'Ginkgo Tree') in all their beautiful blooms, this left us all in attendance wondering what it would be like if this dynamic duo gave us an actual album. But this perfect performance was much more than that. Floating through the depths of our subconscious and resonating with us in layers. Sensory, physically and mentally. It contained multitudes. TIM DAVID HARVEY.