Fact. Air's new album might not be one of their best offerings so far. Fact. Their new video, on the other hand, is definitely one of their best yet. Watch it.

Don't know if it's the weather but today I'm feeling a bit melancholic and somewhat depressed. So what better time to hear some good old dramatic virtuosity courtesy of german legend Klaus Nomi, right?

I don't have much more to say than what hasn't already been said about him, so I will not try to go that way. I will say this, though: he is without a peer in what he did. Noone before or after has crafted such a niche and unique corner in the history of music and we all should be thankful that he took the time and the effort to share his immense talent with the rest of the world.

Listen, then to his timeless classic, The Cold Song and while doing it, picture yourself as if living in a planet of a still undiscovered galaxy. Well, it works for me, anyway.

Now, here's a duo to look out for in the future. Sweden's songbirds FIRST AID KIT have just released this, their debut album - The Big Black & The Blue - and are already causing ripple waves across the music community.

Moving effortlessly between folk with a strong leaning on american traditionals and the roots of celtic musical sensibilities, they have managed to put together a collection of songs that is sure to melt even the most stern of critics. At times it's quite baffling how such tender age can produce songs of such maturity and emotional investment. And herein lies most of their appeal. Oh, and those harmonies are to die for. Rarely have I heard two voices that go so well together.

I leave you with Waltz for Richard, one of the many magical moments to be found in what I hope to be the first of a long discography. I see you soon.

A quite recent discovery for me (in fact, I just found out about this album yesterday!) but one that I had to share with all of you as soon as I could because this is really worth your while.

Kathe Green can be no more than a mere footnote in the history of popular culture from the 60's but let's just say it's one footnote worth reading and finding out more about her. Actress, model, singer, songwriter, this is what Rev-Ola has to say about her having rescued her debut album from obscurity:

Finding herself in London as guest and bosom buddy of Richard Harris, himself enjoying a spin-off career as a hugely successful pop star at the time, Kathe found herself singing Mark Lester's vocal parts on Where Is Love? for the soon-to-be-massive Oliver soundtrack. She was snapped up by Deram where she was teamed up with in-house whiz-kid producer Wayne Bickerton, arranger supreme John Cameron and the cream of London session players. Kathe wrote 10 of the album's 13 tracks, which recall all manner of contemporary female vocalists of the time, from Marianne Faithfull to Sandie Shaw to Dana Gillespie (with whom Kathe shared Bickerton'sproduction savvy, not to mention a couple of his tunes). She also turns in a lump-to-the-throat reading of Cameron's perennial If I Thought You'd Ever Change Your Mind.

The selling point for me was the album cover, a sort of Alice in Wonderland gone wrong which I find very suitable for the songs that comprise it. Oh, and the title is also very evocative of the mood permeating the whole album (Run the Length of Your Wildness, a piece of poetry bestowed on her by Richard Harris himself). Here is one of its more delicate moments: Why? (The Child's Song). Enjoy it.

I'd like to start the month with a great recommendation which was also a great discovery for me when I first heard about this album and this band in particular. The band in question is called A Banda do Casaco, which roughly translates to The Band of the Coat or The Coat Band. They're from Portugal, my home country and it's not everyday that I sing our praises but when they're due, they're overdue.

This - Dos Benefícios dum Vendido no Reino dos Bonifácios - their debut album, is one of the finest ever recorded and produced around here and they seemed to manage what few bands have: to be truthful to portuguese musical roots and capture the sound of their era at the same time. Beautifully sung and played throughout, this is one of those albums that keeps you coming back to them many times over to discover layer upon layer of new sounds and words that you just didn't listen to the last time you played it. A keeper then.

I'm going to leave you with one of my favorite tracks at the moment: A Cavalo Dado (A Given Horse). Have a great month of March, everyone. I know I will because right now I'm on vacation! See you around.

I've been watching this video on and off ever since coming across it. Guess it's time I got to know this Mademoiselle Berry a little better. Take care y'all and I see you soon.

I still don't know much about this somewhat mythical and sonically adventurous chanteuse, except for the fact that she was born in 1939 and is still going strong and shocking people left and right. My kinda gal, then.

This is one of her first albums (it's curiously titled Brigitte Fontaine est... folle) and it's a treasure trove of quirky pop songs (for lack of a better definition) sung in a very laid-back somewhat out-of-tune style that seems to be her trademark. When asked, music critics have said that she is kind of like a Françoise Hardy on acid or what Piaf might have sounded like if she worked with late 60´s Gainsbourg but these definitions, though amusing as they are, don't come close to painting a proper portrait of this groundbreaking woman.

The album was produced by none other that Jean-Claude Vannier of L'Histoire de Melody Nelson fame and you can expect to find beautifully crafted pieces of music in every track. It's almost like opening a jewel box and finding all these wonderful pieces of jewelry that you'd love to put on you and wear them everyday. And since it is pouring rain over here, I leave you accordingly with Il Pleut, the album opener. Stay safe.