"They were an underground band who started releasing cassettes in 1982 and are from Aberteifi in South West Wales, so they weren't part of a scene. They were from a small, working class town where, strangely, an interesting guy called Malcolm Neon had set up a cassette label, releasing electronic music in the Welsh language. So they kinda fit in – he put a tape of theirs out and gradually they released more albums, which would end up on the Anhrern, a punk rock Welsh language label which John Peel started to play. By the time Pyst came out in 1990, David R. Edwards' voice was becoming the key critical voice of the Welsh language. He held a mirror to society and to himself that was so brutally honest: they weren't embraced by the media at the time because they were misunderstood. They were gradually more acclaimed for their genius as time went on. The name of the band translates to English as 'developing', so they had experimenting as part of their reason for existing. By this time, it was David R. Edwards and Pat Morgan on bass and she brought a really distinctive musicality to the band. Their first two albums had been produced by Gorwel Owen who, for me, is like a Welsh Conny Plank, so everything was experimental but also really well-recorded. And this album [Datblygu] is a mixture of great songwriting. He can – when it's necessary - write a conventional pop song but delivered in a unique way like the classic, timeless songs. We covered one of these, 'Y Teimlad', on the Super Furry Animals' record Mwng. There are some great songs on this record – one is 'Ugain I Un' which is like a generic country and western song about being a horse [running] at [odds of] 20/1 who fails a jump and gets shot before the end of the song. There's another pop song called 'Am' which is just great pop music! But [the album is] always experimental and you could compare David to people like Mark E. Smith, Nick Cave and Allen Ginsberg, people with an honesty and darkness which is timeless as the lyrics deal with basic human traits. This isn't self-consciously Welsh. In fact, it's very critical of Welsh society in the Welsh language as that's the most honest way you could communicate [this idea]. And it captures Wales at that time where there was a great non-conformist musical streak going on ."

"A Game of Thrones meets X-Men in this 14th-century fantasy from Marie Lu (the Legend trilogy), in a world where "fear is power." Sixteen-year-old Adelina Amouteru is a malfetto, one whose appearance is "marked" by the blood fever that crippled the country of Kenettra and claimed her mother's life. The blood fever took Adelina's left eye, turned her hair silver, and gave her a power that's remained dormant--until the fateful night her merchant father agrees to trade her to a suitor in exchange for cleared debts. Adelina runs away from home, and once her father catches up with her, she taps into a great hatred within and conjures forth phantoms that quickly cause his death. It was an accident, but the Inquisitors arrest Adelina and sentence her to burn at the stake--a common punishment for malfettos--for the murder of her father. Master Teren Santoro, the 19-year-old Lead Inquisitor of Kenettra, works to cleanse the world of malfettos with ""demon"" abilities. When it comes time to burn Adelina in the central market square, Enzo Valenciano, a malfetto known widely as The Reaper, melts her shackles with his burning touch and releases her. He takes her to Estenzia, the northern port capital, where Enzo introduces Adelina to the world of the Dagger Society--a group of Young Elites with dangerous powers--and their mission to find malfettos like themselves before the Inquisition can. Adelina must pass a series of tests before she can undertake bigger missions with the other six Young Elites who can control their talents, and it's here with the Dagger Society that she discovers her ability to conjure illusions is rooted in darkness. But when Teren Santoro takes her younger sister hostage in exchange for information on the identities, location and plans of the Young Elites, Adelina is compelled to betray them, even if it means leaving the undiscovered malfettos all over the world prey to the Inquisitors, and risking her own death as punishment at the hands of the Elites. In Lu's compelling new novel, the characters are morally complex (the Young Elites are not fully innocent, there are depths to Adelina's darkness and layers to the cross Teren bears)--and no one is safe in the book's final conflict. What at first appears to be romance-lite unfolds in tricky and interesting ways. The many twists, cinematic battles and the overriding epic fantasy will keep readers hooked for book two, which teases to be quite the game-changer. Bring it on."