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Client is looking for a covers band 14 September.

North Lincolnshire

Private party.

£400 budget. Further details on application.

Please apply via the enquiry form below (this will automatically populate a small database for the client so that they get all enquiry details in the same format from everyone).

{In the same vein, if you aren’t a member of Bands on Demand, please register now. It is free and there are no subscription fees. This means the client also has all the band details in the same format. Skip this stage if you’re already a member}

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We love Luna Blue on Bands on Demand and we’re always excited when we get an email from them to say they have a new track released.

Here’s what the guys said about their latest release.

 The eagerly awaited next single ‘Keep Me There’ from Luna Blue is set to be released on July 28th. With an alluring start into a bouncy dance-y chorus, Keep Me There will keep you listen-ing. 

The track is about feeling trapped in a negative head space which you feel you can’t escape from. ‘I’m a billionaire in a currency of loose ends’ 

Luna Blue are going to promote the single through their socials in the form of competitions and the chance to win a pair of limited edition Keep Me There socks. The way people can win this is through pre-saving the Spotify link and screen shot it onto Instagram story and tag Luna Blue to be entered or by sharing onto their walls and story on Facebook. 

The band are going to debut their single live on Instagram on Thursday 27th at 8pm. 

In the past we’ve compared the guys to Spandau Ballet and Duran Duran (see our review of Tropical here), but the guitarism (yes, we did just make that word up) gives us a warm and fuzzy feeling of Vampire Weekend.

The first riff draws you in and a haunting vocal beckons you in closer. The PR is right, the chorus does make you feel like bouncing.

I still hear the New Wave 1980s influence which again, is no bad thing. New Wave was an extremely successful genre and for me, Luna Blue should be massive.

We insist on it.

Check out the bands feeds on the links below and give them a follow and a good listening to. You deserve it (and so do they):

https://www.facebook.com/wearelunablue/ 

https://twitter.com/wearelunablue/ 

https://www.instagram.com/lunablueofficial/ 

http://www.youtube.com/c/lunablueofficial/ 

 https://sptfy.com/20Oc/ 

[email protected] 

Previously solo, Courtney Askey now plays as a self-titled shoegaze/grunge four-piece. She has been prolifically writing, performing and recording music since 2010.
The debut LP from the band, Oh! Softly Goes was released in 2017. 

The new song ‘River’ is set to be released this Friday 22nd March. It is the first release on Earwig Records (the band’s own DIY indie label) and the first release since the debut LP ‘Oh! Softly Goes’.

“This single marks the end of our slower, more gothy era as our new music increases the pace and plays more on garage and 80s hardcore.”

“The song is a sort of soundtrack for a non-existent film that is probably a Western or neo-noir, the driving rhythms mimicking the travelling in the lyrics. It follows a group of protagonists escaping from the scene of a crime or disaster and leaving the evidence behind in the river.”

“This song comes from a transitional time in my life during which I am moving between ventures and it’s sometimes quite appealing for everything to just go up in smoke,” says Askey.

The grunge feel starts from the very first guitar chords with plenty of distortion to keep it real. Askey’s voice definitely show’s it’s goth roots but there is a little of a Radiohead feel to the new track too.

This continues throughout the track which maintains it’s melancholy edge and the instrumental break in the middle of the track was good because it didn’t fall to the usual solo of one predominantly instrument. The lead guitar was ably matched by the bass and rhythm guitars and the drums. An ensemble of solos if you will. Or won’t. Doesn’t matter if that doesn’t make sense. It will when you listen.

Overall, this track isn’t going to get you up dancing. Swaying maybe, at the end of the night with your lighter in the air if you’ve had too much to drink and accidentally thought you were at Ariana Grande concert. But that isn’t the point of it.

The point is that it is melancholic grunge music that makes your heart ache for a lost opportunity. It does that brilliantly and you’ll want to listen to it again and again. So you will. Because it is a great track and deserves your attention.

https://www.courtneyaskey.com/music

Far Suns Fall combine all the eclectic influences from Blues, Rock, Alternative and Folk. Added with emotional filled lyrics which make honest music that are poignant as much as they are genuine.

Far Suns Fall

Far Suns Fall are Stas Melian on Lead Guitar, Bob Brockwell on Bass, Dave Valentine on Drums and Chris Sagan on Vocals and Rhythm Guitar.

This is a review of Far Suns Fall track Shape of the World. This is the band’s first track released ahead of their forthcoming album Aphelion on 12 April.

I like to listen to a track a few times as I would normally listen to music before I knuckle down to a review, so I listened to Shape of the World while I was driving around in the car. I always want to see how it makes me feel, who it reminds me of, before I write the review and before I read too much about the band so that I am not influenced by what I read.

Often, particular music relates to a specific place or time for each person if it truly connects with them. With Shape of the World, it was there but I couldn’t put my finger on it because it was obviously not the same band as the memories I had.

Initially, I thought it had a sound of the more ‘commercial’ Metallica tracks. Yes, you heard that right, I just compared Far Suns Fall with one of the most successful bands on earth. The fact that it wasn’t quite what I was looking for does nothing to detract from the comparison. This is a great track.

But it wasn’t quite the comparison I wanted and I believe comparisons are important so that others, reading reviews like this, have a handle on what the band is about and whether it would be to their taste of not.

It eventually came to me and it was exactly right. There was a period when I was recovering from a serious operation where I was doing quite a bit of running as part of my physiotherapy. I listened to the same album over and over again as I ran because it was a great album. Shape of the World could have fit on that album without any problem at all. It had the same cadence, the same great arrangement and the same style. A classic four piece, with brilliant balance and very high quality production.

The album was Audioslave – Audioslave. I am comparing these guys to that supergroup.

Yes I am.

You know why?

Because I don’t give a fuck.

It’s that good.

I can’t wait for the album. I might take up running again so I can keep listening to it properly.

Listen to the track on Spotify
Listen to the track on Apple Music

If you would like Bands on Demand to review your music, sign up to the site on the link at the top right and ping us an email or Facebook message. We only review bands that are registered for the site and perform live gigs.

Engine Rooms

The Venue – Engine Rooms Southampton

Southampton’s Mo’Club became Engine Rooms after a complete rebrand and renovation of the venue in December 2014.

The Mo’Club has operated in Southampton, first and foremost as a roller disco, but also regularly playing host to a variety of live performers, including Bastille, Mallory Knox, and Devin Townsend Project. The MJR Group have since transformed the venue into a multi-functioning entertainment space, able to accommodate live music, comedy, exhibitions, cinema, theatre, club music and “bespoke festivals”.

The Engine Rooms also has the added ability to adapt itself for varying capacities of 400, 600 and 800 guests, depending on the nature of the event.

Engine Rooms

We visited The Engine Rooms on 07 Feb 2019 to see The Fun Loving Criminals perform to a full house. See that review here.

The space is a large rectangular area, with a simple layout. Stage at the front and bar at the back. A big, well laid out sound system, great acoustics and lighting set-up and even in the light, it looked neat and tidy.

The place was clean, including the toilets. Bar prices were on the high side but not extortionate. Much less than many places who have a captive audience.

The stage is a good size and being built 3 feet above the floor it gave a perfect view, even from the back of the venue at the bar, for the standing audience.

Staff were all helpful and friendly. Security staff were very cheerful and welcoming and anyone who needed help with seating and the like were looked after well.

Based on the area it is in, this is unlikely to have been designed and built as a dedicated live music auditorium, but  it certainly has the right ambience, right acoustics and for a standing audience, it is one of the best medium sized venues I’ve been to.

It feels like a proper venue, does a great job and I’d definitely recommend it.

 

Fun Loving Criminals Engine Rooms Southampton

Review – The Fun Lovin’ Criminals at The Engine Rooms, Southampton

The Fun Lovin’ Criminals

The Fun Lovin Criminals are a multi-platinum New York trio touring new material for the first time since 2010 including their latest single ‘Daylight’ and the new album ‘Another Mimosa’.

Fun Loving Criminals

A reworking of the Bobby Womack / Georgie Fame classic; ‘Daylight’ features a guest appearance from renowned vocalist Rowetta of The Happy Mondays. ‘Daylight’ is the lead single lifted from forthcoming album ‘Another Mimosa’, in the 20th anniversary year of their cult album ‘Mimosa’. A variation on the theme of the 1999 album, which became a cult classic with Crims fans for featuring clever re-imaginings of classic covers, remixes and rarities, ‘Another Mimosa’ draws on their seminal influences from the last 20 years.

“Another Mimosa is a continuation of a long tradition of the FLC paying homage to those great songwriters that we stand on the shoulders of,” notes Huey, “from our love of hip hop, to soul to jazz and rock we humbly offer our fans another taste of our unique cocktail.”

Recorded in London’s Gibson Studios with life-long “fourth member”, the Grammy-award winning engineer Tim Latham (Hamilton soundtrack, A Tribe Called Quest, De le Soul, Lou Reed), ‘Another Mimosa’ is a collection of beautifully crafted, eclectic ‘original covers’. From Tom Petty’s ‘Mary Janes Last Dance’ switched up with HipHop beats and a classic Rock influence, to the raw blues of Freddie King’s “Going Down’; Ice Cube’s classic “You Know How We Do It” is made their own with Huey’s smoky drawl and the grace of Neil Diamonds’ “Hello Again” receives the FLC treatment. Alongside a high energy reworking of their own ‘Love Unlimited’ and ‘Southside’ and a brand new FLC track ‘Sunset’; it’s an album that turns charms and intrigues.

The band performed at The Engine Rooms in Southampton on the fourth date of their 16-date UK/European tour. The doors opened at 7.30 and the venue filled up over the next 30 minutes with a primarily middle-aged audience – late 30’s to early 50s. This is about as surprising as the sun rising. This audience is a similar age to the band and would have hit their musical formative years between the Loco release and the Mimosa release more than likely.

The FLC didn’t have a support band, they had their ‘house DJ’ to open the show and what a great opening. His thumping mixes got the crowd warmed up straight away with some very well-chosen tracks, mainly from the same era as the FLC ‘glory days’ – the time when most of the crowd were discovering the band.

Fun Loving Criminals

DJ Mateo di Fontaine certainly did the business. Expertly mixed tracks like Skee-Lo’s I Wish, Return of the Mac and the always welcome White Lines by Grandmaster Flash with some additional memory jarring bangers by bands like Jungle Brothers (who I used to love but had completely forgotten about) thrown down with overlays from Queen, Bob Marley and David Bowie, had the crowd bouncing.

The bass lines ripped the breath from your lungs, made your brain wobble and your knees shake – and that’s if you were stood still. But why would you be? No-one else was.

Di Fontaine kept this pace for well over an hour with no let-up and, while the crowd were here for the main act, it was a bittersweet disappointment when he’d finished.

The band took over around 9.30 and the Lower East side trio consisting of frontman turned Sony Award winning BBC broadcaster Huey Morgan, his founding partner Brian ‘Fast’ Leiser on bass, trumpet, keys and samples and the group’s longest-standing drummer Frank ‘The Rhythm Master’ Benbini bounded onto the stage. Well, actually, Leiser and Benbini bounded on stage. Morgan was helped onto the stage on crutches having damaged his foot in an unspecified accident that may or may not have involved alcohol. More on that later.

Fun Loving Criminals Engine Rooms Southampton

The first track played tells you a lot about where the FLC are with Another Mimosa as it is also the first track on the album. Let me say here that FLC don’t do covers. Well they do…..and then they don’t. It’s a cover but not as we know it. The FLC reinvent the song. It’s like when you see someone you know, but you can’t put your finger on who they are because you are seeing them in a different context. I saw a woman in a supermarket once. I knew I recognised her and I could tell she recognised me but I couldn’t figure out who she was. Neither of us spoke to the other, we just kinda looked away and moved on to spare our (my) embarrassment. It took me two weeks of trying to place her to finally figure out that she was my dentist. Different context made her only slightly recognisable to me. Familiar, but difficult to place.

The point of all that is that is what an FLC cover is like. You know you know the song, but you rack your brain because you can’t place it. They don’t cover it, they reinvent it. Take the original and throw it into a hessian bag with a few spices, a crow’s foot and a splash of brandy and then give it a good shake. What comes out is a remoulded, reinvented version of the original but with a bit more grit, a bit more attitude and a bit more spirit. It’s been round the block a little and it shows its experience. So, not a cover – a reincarnation.

That’s how it was with the first track. Let’s call it a new version, in this case of the 1958 instrumental ‘Rumble’ previously recorded by Link Wray and his Ray Men. Straight away, the three guys show you their prowess on their instruments. It says, “Hey, here we are, look what we can do, what you’re about to experience. Get ready.”

We were ready, but then not ready. The second track was Neil Diamond’s ‘Hello’ which was barely recognisable as the same track and now we had all locked in to how this was going to go down.

Brilliantly.

The banter between the band and the crowd was great. Huey Morgan, despite spending a lot of time in the UK, hasn’t lost a trace of his New York drawl and interacted with the audience throughout. It was like you’d been invited round to spend some time with three friends who were just jamming together and shooting the shit in one of their (admittedly very large) living rooms. It was hard to tell if the mixture of Codeine and Remy Martin that Morgan was using to help his foot pain added to the quantity and style of the banter, particularly between him and Leiser, but it made for great viewing between songs.

Huey Morgan Fun Lovin Criminals

‘Hello’ was followed by King of New York which was then followed by ‘Smoke ‘Em’ which had a great trumpet solo from Leiser and some brilliant guitar work from Morgan.

Leiser then showed his versatility by switching to guitar and the band rocked out with ‘Bombin’ the L’.

The distinctive guitar hook on ‘Crazy Train’ was followed by a jump into hip-hop and Ice Cube’s ‘We Know How We Do It’, with accompaniment from DJ Mateo. A West Coast rap track from an East Coast Latin Jazz Band.

Because…erm…because….well, Fun Lovin’ Criminals. Yes, that.

The Tom Petty track Mary Jane’s Last Dance followed to keep the crowd’s head’s spinning trying to keep up with the styles and performance which was then thrown back to an FLC classic Korean Bodega. Keeping up so far?

The new release, Daylight is the love child of a smoky, hard drinking New York beat with a Las Vegas hooker on a night off. The crowd loved it.

Then it happened.

From the first five drum-beats (I’ll name that tune in one, Tom) the crowd all had their arms in the air (many of them attached to phones videoing the moment so they could show all their friends what they missed just because they were too lazy to go out on a school night). Scooby Snacks is the most iconic track of the FLC back catalogue and it did not disappoint. There wasn’t a single body in the venue not pumping their arms in the air. The bar staff should probably have been a bit more restrained as you shouldn’t waste good alcohol, but what the hell? You just couldn’t help yourself.

The crowd energy stayed high for Barry White Saved My Life as everyone chanted along. Maybe he’d saved everyone’s life. Who knows? It’s a mesmeric track for when you’ve tried to drink the same as Huey Morgan, realised it’s beyond you and you’re now swaying on the dancefloor oblivious to everyone else, head bowed, eyes closed swaying away on your own in a sea of people. Or maybe that didn’t happen. But it should have.

Big Night Out followed and I want to know if FLC have been compared to ZZ Top before. I hope not, but they have now. This reminded me of the early stuff by them (ZZ Top), which was weird, but not something I could throw off.

And that was it. Huey limped off, helped by a roadie down the stairs at the back of the stage and off to soothe his sore foot. I assume the Remy Martin bottle was as an antiseptic.

But wait. As if a crowd this invested in this gig was going to let it all end like that! Literally no-one moved. Apart from cheering and clapping for what seemed like an age, which may be related to Huey’s foot, before the band returned.

Benbini introduced the next track, Find Your Own Self, which got the crowd back into the schmooze groove and ready for the finale.

Which was, of course, The Fun Lovin’ Criminal, another iconic FLC track and a fantastic way to finish a brilliant gig.

The band now continue their UK/European tour in Bristol and have another 11 dates after that. I strongly suggest you get your arse of the sofa and get down to see them. You will NOT be disappointed.

The musicianship is awesome, participation and interaction between the band and the crowd outstanding and the performance just exceptional. What are you waiting for?

Tour dates

31 Jan                     Birmingham                            The Mill

1 Feb                        Newcastle                              Northumbria Institute

2 Feb                        Glasgow                                Barrowland Ballroom

7 Feb                        Southampton                        Engine Rooms

8 Feb                        Bristol                                   02 Academy

9 Feb                        Norwich                                UEA

7 Mar                       Worthing                              Pavilion Theatre

8 Mar                       Nottingham                           Rock City

9 Mar                       London                                  O2 Kentish Town Forum

13 Mar                    Prague                                   Forum Karlin

14 Mar                    Berlin                                     Heimathafen

15 Mar                    Copenhagen                           Vega

16 Mar                    Hamburg                               Gruenspan

28 Mar                    Oxford                                   O2 Academy

29 Mar                    Manchester                            Academy

30 Mar                    Leeds                                      02 Academy

Avenoir

Avenoir are part of the Bands on Demand directory and we review their soon-to-be-released track, Orpheus and Eurydice here.

Avenoir are a four-piece alternative rock/grunge band from West Yorkshire, an area not typically associated with being the epicentre of the grunge scene, but perhaps that’s about to change. Avenoir have had a startling arrival on to the scene, having playing the likes of the BBC Introducing Stage at Leeds & Reading festival, Leeds O2 Academy, along with many more venues around the country. Performing a high energy arrangement of primarily originals, they take no prisoners when on stage, thats a fact! Avenoir have played a large number of shows since late 2016, and are being championed by Mike Heaton from the band Embrace, along with having him as their current active producer

Orpheus and Eurydice

Before we get into the track, perhaps we need to put some background to the title. It’s unusual but, having a passing interest in Ancient Greece (I wrote a couple of novels on this era, but don’t worry, I’m not even going to link to them here), I recognised the names so I looked them up. The story of Orpheus and Eurydice is a typical Greek myth. They rarely have happy endings. In a really overly simplified story, Orpheus was son of Apollo and was an incredible musician. He married Eurydice, a woman of extraordinary beauty, but she died shortly after having been bitten by a snake. Orpheus descended to the underworld and won her back from Hades by playing his axe (Lyre in those days). All he had to do was walk out of the underworld without looking back at Eurydice and his wife would have been returned to him. This being a Greek myth though, he looked back only a few feet from the exit and Eurydice was returned to the underworld forever. If that wasn’t bad enough, as Orpheus was a demi-god, when he was torn apart by beasts, the muses decided to keep his head so he could continue to sing for them. Oh, that’s alright then.

Avenoir

Avenoir

But what a story to make a song from. How on earth do you fit that into a few minutes and still do it justice?

Avenoir’s track starts gentle. And I mean very gentle, almost inaudible, but it lulls you forward as it builds, like a Radiohead track at their very best. Rob Arlke’s melodic guitar brings you forward, and then Jack Hendy’s sympathetic drum and Ethan Mumby-Green’s bass join in followed by the initially gentle voice of Tye Jozefowic.

By the end of the first minute of the track, Jozefowic’s voice has gargled gravel and the guitar distortion has taken on a proper grunge feel. The track builds into the first chorus and then stays on the rough, gritty, grunge trajectory all the way to Arkle’s guitar solo that stays hard until the end of the track.

This track has a great three-act storyline; a proper introduction for act 1 where each of the four members are introduced one by one in a way the listener can hear them, a proper middle act 2 where they are building the track and giving us something to bang our heads to, followed by a proper ending – a crescendo of drums, gravelly impassioned singing (bordering on, but never straying into screaming – more Nirvana than Slipknot), a distorted guitar and thumping bass.

The Avenoir boys did the story justice with this track. Orpheus’ dead head would have been proud.

Bring us some more boys, please.

 

The Crying Beauty Queens are a folk influenced alt rock duo based in Manchester.

crying beauty queens

Their new track, After the Fire is their second release (their first, Taking Over is available too) and is available on all digital media streaming services:

Spotify

Deezer

Amazon

Apple Music

The track is a fantastic showcase of the vocals of Jordan Price and the gentle, but engaging guitar playing of Paddy Murphy. I hesitate to compare anyone to The Cranberries because Dolores O’Riordan was such an incredible artist (I couldn’t even bring myself to listen to The Bad Wolves cover of Zombie for the longest time – until I heard about the backstory).

But, I can hear the influence. I’m about to release the second chapter of my series – The Musician’s Masterplan – and in there, I talk about choosing a hero to model yourself on. It sounds to me like Jordan Price chose O’Riordan. If so, it was a great choice and she channels it brilliantly, without any semblance of mimicry or sounding like a cover band (no disrespect to cover bands).

This is a mature release and these guys will do well in the future. I for one will certainly be keeping an eye out for future releases.

unsigned guide

The Unsigned Guide

We came across The Unsigned Guide by accident but saw the quote from PRS “The Unsigned Guide has become the must have for anyone starting out in the music industry.”

Well, that did the trick so we thought we’d check it out for ourselves. Obviously, there is a synergy between what we are trying to do with Bands on Demand, helping grassroots and unsigned music acts and what The Unsigned Guide is doing.

I made contact with Jamie from the site and he kindly gave me 24 hour access so I could have a proper look around.

The first thing I can tell you is that 24 hours wasn’t enough. The site is extensive and has a great deal of resources. I started by letting the simple but effective tips pop up show me what the site was all about.

There is a huge directory of services, 8366 to be precise and 50 categories for you to peruse. The main headers are:

unsigned guide

  • Artist Managers
  • Creative and Branding
  • Finance, Law and Music Business
  • Live
  • Media
  • Music Publishing
  • Music Careers and Training
  • Record Labels
  • Recording and Production
  • Distributing Your Music

Once you get into the main categories there are further sub categories to help you. There has to be, because the database is extensive. As an example, the Recording and Production listings contain over 1000 entries.

The site is intuitive and easy to use. I found my way around without any problems, although I need to spend longer on there to really explore what is on offer.

On top of all the directory listings and contacts, there are three other parts of the site that are really useful.

The first is the advice pages. There are a huge number of articles to help you in your career. Each of the advice pages I read were well-written, extensive and valuable and will be worth the subscription alone. For example, multiple music industry reports, Band Management – Get it Right, Guide to Music Industry Agreements, Guide to Releasing an Album, Quick Guide to Getting Your Band on the Radio and many, many more.

The second is the spotlight area, where you can upload your music etc to get noticed. There is plenty of coverage so its possible to get some serious PR out there via the site. Each month the site takes the 5 best tracks submitted by their members and champions them on their Spotlight blog and on their radio show on Amazing Radio. Not only that

“As well as exposure on our blog and radio airplay, the songs featured on Spotlight every month are sent onto a select bunch of music industry professionals who guarantee to listen. Ranging from contacts at record labels, PR companies, new music blogs & magazines, radio DJs & producers, established gig promoters, managers, music publishers and sync agencies, plus festival and event organisers.”

Last but not least is the projects area, where you can build your own mini database with gigs, contacts etc.

The pricing is very reasonable and definitely good value as shown below.

unsigned guide

Overall, The Unsigned Guide looks well worth the cost for any music band. £29.99 per year is less than I expected it to cost and I will be taking out a subscription myself (no freebies here!) and making the most of everything the site has to offer.

You should too.

Luna Blue takes influences from many other artists to create funk infused ambient rock.

luna blue

The guys say this about their upcoming releases:

“This next batch of singles far surpasses anything we’ve released before, having spent a painstaking amount of time crafting and perfecting our work and having been joined by esteemed producer Matthew ‘Studio Chimp’ Parisi who has also worked tirelessly to perfect the songs. They’re more powerful, more addictive and much more finely tuned than anything that we’ve created in the past and we’re sure you will love what we’ve crafted”

Our reviewers, Lia and Joao have seen Luna Blue before they became our reviewers and have been desperate to see them again so they can write up one of their live shows.

In the meantime, we can appease ourselves by reviewing their latest release, Tropical.

This is a catchy ear-worm of a tune with great production standards. While the band cite Red Hot Chilli’s, Don Broco, Jimi Hendrix, and Foals as their influences, I can draw a real parallel with old school bands like Duran Duran and Spandau Ballet. I’m sure the band weren’t influenced by those of course, they sen’t anywhere near old enough, but the similarity is there. If Simon Le Bon or Tony Hadley grew were born at the end of the last century (instead of in the middle), they would want to join Luna Blue.

Before younger readers turn the nose up at the 80s New Romantic reference, Spandau Ballet alone sold 25 million albums and topped the charts in 21 countries and Duran Duran sold over 100 million. This was in the age when you had to make the effort to go to a shop to buy an album and carry it home to your music player of choice before you could listen to it. I know. Difficult to believe.

So, the comparison of Luna Blue to these two is not only highly complimentary, it is also much deserved. We will see great things from this band in future. You heard it here first. Or second. Or maybe more than that. But it least you heard it here before someone famous says it.

So check them out on Spotify now.

Yes, now.

Click here: https://open.spotify.com/track/4viBPppEHaL1fmmqZ9aDeg?si=zLbshqMKTNeTbzmM1cCYJQ