Album of the Month: Satellite Paradiso by Satellite Paradiso

Satelitte Paradise

Satellite Paradiso is an experimental musical project hosted by ex Psychedelic Furs John Ashton on (Guitars & Loops), Fred Schreck (The Ancients/Crush) – Vocals, Guitars, Keys. Sara Lee (Gang of Four/B-52′s/Todd Rundgren) – Bass. Gail Ann Dorsey (David Bowie/Lenny Kravitz/Tears for Fears) – Bass. Roger Morris (Psychedelic Furs/Castle Bravo) – Guitars, Keys. Duncan Kilburn (Psychedelic Furs/The Strangers) – Sax. Frank Coleman (Bentmen/Secret Agent) – Drums, Piano. Paul Ferguson (Killing Joke) – Drums. Paul Garisto (Psychedelic Furs/Iggy Pop) – Drums. Don Yallech (Psychedelic Furs) – Drums. BP Hurding (X-Ray Spex/Classix Nouveaux) – Drums. Cheetah Chrome (Dead Boys / Rocket From The Tombs) – Guitar. Mars Williams (Psychedelic Furs/The Waitresses/Liquid Soul) – Sax. Amanda Kramer (Psychedelic Furs/World Party) – Piano, Keys. Jo Quail – Electric Cello. Jonathan Donahue (Mercury Rev) – Keys, Loops. Jane Scarpantoni (Lou Reed/Yeah Yeah Yeahs) – Cello. Alexandra Cutler-Fetkewicz (Chamber Orchestra of Philadelphia) – Violin. Mark Volman (Flo & Eddie/The Turtles/Frank Zappa/T.Rex) – Backing Vocals. Jen Gloeckner – Backing Vocals, Synth, Loops. and many more.

It’s a cosmic, ever-evolving body of work, which sits nicely in the recesses of post-punk, psychedelic, shoegazing, dream-pop, new wave and art-rock, whilst spinning from a contemporary panel. Incorporating the  sax/guitar rhythmic elements of the Psychedelic Furs, Ashton and his constellation of musicians have come together and produced a colossal self-titled album, that delves deep into the magnetospheres of music, amongst the solar flares, debris and dust.

With its virtuoso riffs, sonic swirls, sassy sax, melancholic cello and powerful vocals, “Satellite Paradiso” is music of the highest calibre, that transcends a sense of peace amongst the chaos, light amongst the darkness, whilst you inhale its zephyr and feel its musical mastership through its spectrum of sounds.

Listening to the the self-titled Satelitte Paradiso album is a celestial and nostalgic experience, which sees  Ashton revisit the new wave sound of yesteryear and add a contemporary veneer.  It’s an epic album, whose textured tones mutate and stream through the spectrum of alternative rock. Through its array of virtuoso guitar arrangements, Satelitte Paradiso draws you in to its hazy days and majestic jubilations.

It’s immaculately presented, delving deep into its mesmerising psyche. With Fred Schreck on vocals, the album rockets to invincible heights. As a frontman, Schreck is a force of nature, whose rich vocals are a powerhouse amongst a million electric currents.  As an album, Satelitte Paradiso is a musical wonder, music to completely submerge yourself in and feel every quiver of emotion and be in awe of its dexterity.


With its opening track “Invisible”,  you soon become entranced by the stellar sound of the Satelitte Paradiso. Through its unravelling synths, piercing drones and acoustic riffs, “Invisible” thunderbolts out of the blue and whose electric currents spark, sending the wheels in motions. Like Zeus on an inflamed chariot,  Schreck  races with conviction, through the dry ice, cutting through the scrapey soundscape, whilst taking an ethereal excursion through the  jangly riffs. It’s a mesmerising opener, whose romanticism is crystallised through the fleeting violins and whose ambience is captured through the streaming synths.


With its fierce strumming and pounding beats, “Dream”s races with iron will against the turbulent tides and oceanic ambience. Along with the robust vocals and soaring sax, “Dream” runs wild, wallowing  in its blackened soul whilst unleashing an array of jagged riffs and metallic drones. It’s a great song, which grabs you by the jugulars, dragging you into its lovelorn sentiments.

Super Anti-Hero:

With its hammering beats, plucky strums and curving riffs, “Super Anti-Hero” stomps into the limelight, which is soon hijacked by Schreck’s  firebrand presence. Along with the tightly gripped riffs and robotic vocals, “Super Anti-Hero”pulsates with fierce resolution. It’s a great song whose primitive wails add a raw sentiment amongst the dark romanticism that lurks through the spirited lyrics.

Big Block:

With the loosened beats, sax surges and accordion plods, “Big Block” ventures with nomadic ease. It’s an idiosyncratic number, whose thick and heavy riffs, spin and shriek along a murky highway. Along with the metallic vocals and underlay of ghosty synths, “Big Block” plunges into shadowy depths, almost receiving subliminal messages by the menacing riffs.


With its signature sax and pounding beats, “Still” nestles in the shadows of  new wave rock. It’s a belter of a song, which sees Schreck’ vocals reach fever pitch in unison with the female backing vocals. Providing a romantic silhouette, it’s through the duality of vocals that Stil’s sentiments are encapsulated.  Along with the scrapey, reverberating and nimble-fingered riffs, “Still” moves with bona-fide rock credentials, that triumps and dazzles through the animated interludes.


With its descending riffs and roaring vocals, “Situation”  shouts from the punk terraces, whilst heading towards a new wave arena. It’s an adrenaline infused song which pulsates with relentless force, whilst being possessed by the haunting synths. Along with the virtuosso guitars, “Still” is a testament to the Satellite Paradiso’s sheer skill and high calibre of sound.

Bad Blood:

With its rumbling opening riffs, “Bad Blood” broods with understated tension, which is then amplified through the bellowing vocals. With its dipping saxes, steady bass and quivering violin “Bad Blood” convults and throbs with bitter-sweet abandon. Through the crashing, soaring, wah and zig-zag riffs, “Bad Blood” maintains its precedence as a quintessential rock song, that could stand its ground amongst a crowded stadium.


With its wah waves and crunchy riffs, “Insomnia” saunters in with its sexy swagger against the spectral gospel-esque backing vocals. Through its eerie ambience, “Insominia” creates a backdrop of dazy mesh, that subdues the fiesty vocals and inflamed lyrics. It’s a brilliant song, which shows once again how Schreck’s vocals command centre stage, amongst the scribble riffs, proving himself as a charismatic front-man.


With the distant sax, trumpets and sunken vocals, “Angelic” takes Satellite Paradiso down a more wistful and steady road, that is intensified by the pensive lyrics. Along with the stripped down acoustic and piano-infused synths, “Angelic” adopts a more melancholic motif, that drifts amongst the levitating vapour and towering tones.

Touch the Sky:

“Touch the Sky” is a boundless, interstellar voyage that glides and collides  into the realms of shoegazing, dream pop and new wave sophisti-pop. With the scribble riffs, speckled synths,  piano and spiral sax, “Touch the Sky” propels into a visceral, hypnotic and mesmerising soundscape. It’s an epic song which  rotates and soars in-between each sonic sphere of sound.  Through the gliding synths and spacey beats, “Touch the Sky” creates a celestial ambience that synchronises effortlessly against the dramatic and elongated vocals. Like a cluster of meteoroids floating through space, “Touch the Sky” creates a fragmented soundscape that swirls, drifts wistfully and crashes into a multi-dimensional crescendo.