“Smoke in Your Disguise”

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Few new-millennium acts seem to have gotten the balance of familiar ’80s-club emotional throb and original contemporary energy just right, but this Austin-by-way-of-Orlando quartet is one of ‘em. Songs from the group’s upcoming full-length On The Sleeve sacrifice neither groove nor heft to their quest for resonant quality songcraft. There’s an earnestness to their tunes that defies the over-it, overly detached posturing of so much danceable rock, that pairs the cool with an engaging humanity. Also, of course, they kill it.

“NRT Combine the best elements of punk with the sprawling sound of their homestate.” – Magnet

“The highlights abound.” – Delusions of Adequacy

“Think Pixies meets Joy Division by way of Interpol…Kudos.” – Subba-Cultcha

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“Nuff Respect”

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Putting forward conscious, positive and militant English lyrics, No More Babylon definitely imposes itself as a sure reggae value not only in France but also on a worldwide scale. With this musical piece No More Babylon reminds us that even though reggae comes from Jamaica, it is not only a Jamaican affair !

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“Help I’m Alive”

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Formed in Toronto but, at various times, based in Montreal, London, New York and L.A., Metric boasts the sort of history that requires one of those connect-the-dots redlined maps you see in an Indiana Jones movie — and the story of Fantasies is no different. First stop: Bear Creek, located outside Seattle, Washington.

“The four us went out into the woods as a band with no expectations and did whatever we wanted” Haines recalls. “We were coming from London so it was a serious contrast – it felt like we had left civilization and all that mattered was music again. We wrote a lot of songs there including ‘Gimme Sympathy’, ‘Collect Call’… and ‘Black Sheep’, which isn’t on the album ’cause it has a life of its own. When I listen to the finished record, I feel like all its warmth comes from that place in the woods.”

In their recent episode of the Bruce McDonald-produced IFC documentary series, The Rawside Of…, Metric can be seen performing these songs in stripped-down, acoustic versions, and following the taut, barb-wired rock of Live It Out, it would’ve made total sense for the band to pursue a simple, back-to-basics approach further. But as the scene shifted over the course of 2007 and 2008 — back to Toronto and then New York, with Haines’ Argentina retreat in between — so too did the shape of the album. And through rigorous road-testing of the new songs, the mercurial material gradually solidified into a singular sound.

“We toured the new songs a lot,” Shaw says, “because you might play something 30 times live before you start to realize, ‘Why did I get bored every single time I got to the second verse?’ and ‘Why does the ending always suck?’ The songs went through a lot of surgery, and we really feel like we sculpted them and got the best out of them. I felt like I could hear the sound of the whole thing in my head — it was really big and really dreamy. There were images of chasing invisible butterflies and pterodactyls coming out of their shells and flying off prehistoric cliffs. The sound of the record was more based on the idea of soaring pterodactyls than on that of another band, or some ’70s sound.”

And so an album that began its life as an acoustic jam session in the bucolic woods outside Seattle ends in a cartoon orgy of bloodshed in some mythical arena that exists in the darkest recesses of Emily Haines’ mind. Each extreme represents a fantasy in their own right: the ideal of hermetic artistic purity versus the spectacle of excess and decadence. Being yourself versus being what they want you to be. Emily Haines stared down these very polarities on her own that night at the Phoenix, but with Fantasies, Metric are now free to define their reality on their own terms. So when, amid the daydream electro of “Gimme Sympathy,” Haines invokes that age-old existential dilemma — “Who would you rather be: The Beatles or The Rolling Stones?” — it’s only because she already knows the answer: neither.

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“Love Again”

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Practically pre-destined for music and for each other, Neil and Kate Robins are Dirt Poor Robins, both born with music in their blood.

Kate Robins learned how to sing before she could even talk. “My mother made sure I was always surrounded with music,” she says. When most toddlers her age were learning to tie their shoes, Kate was learning piano. She began performing at the age of four, writing songs at age ten, and recording demos at age twelve. “I found my value in writing songs and being heard.”

Neil began his music training in childhood as well. He quickly picked up piano, trombone, cello, percussion, and guitar, and quickly fell in love with rock guitar. Taking his cues from the early hip hop movement, his style evolved into a blend of hip hop, rock and classical. “I was always trying to pull from those three areas,” Neil says. He plays eight different instruments on their album – 95% of the music.

When Neil and Kate were just entering their twenties, still strangers to each other, they were cast opposite each other as the leads in an off-Broadway musical. “When I heard her open her mouth and sing at the first rehearsal, I thought, ‘That is the best-sounding voice I’ve ever had singing in my face, and I need that voice to sing with me forever’,” Neil says. Two years later, they were married, and eight years after that, they completed their debut album, “The Cage”.

Kate sums up Dirt Poor Robins’ goal: “As opposed to the stereotypical rock star who’s being lifted up by the fans, our desire is to lift up our fans. At our best, that’s what we hope to do.”

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“These Are The Moments” (mp3)

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I would like to think my music is individual and thought provoking after spending many hours on it, My style has been developed over many years in bands and solo, all this and life experience has created what you hear, in joy!

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“Can’t Tear It Up Enuff”

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The late Bob Claypool, who was the music critic for the Houston Post, had this to say about the T-Birds, “On a recent rainy night in the middle of a long and winding pub crawl, a friend finally got down to it and asked one of THOSE questions – the kind no critic wants to hear, on duty or not. It was simply this – what was my favorite band in the whole world? One band that you would pay money to see no matter how short of money you were, one band that you would never miss when they came to town. One band you’d go back to see even if you weren’t reviewing music.”

“Pushed to that point, my answer was a quick and decisive one – The Fabulous Thunderbirds. Out of all the groups currently touring and making records? It’s a statement I can live with quite easily, because the T-Birds have never let me down, from way back before they were making records right down to the present time.”

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“Do You Bossa”

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At the age of 12 Alex, a.k.a. R.O.U.D.O.S. began studying the piano at 18 he became a D.J. A year later he set up his first studio to produce and joined the group “Universal Trilogy”, the first electronic dance act in Greece. After four years touring with the group, he decided to go on his own.

Alex has made a name for himself with numerous productions and remixes, his songs featured on 2 major dance label compilations. His biggest hits were remixes of the music of a Nepal-Tibetan traditional group called “Huun Huur Tu”, and a remix of “Ekki Attar”, which reached no.3 in the Top 10 Singles chart in Greece.

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“When I Got You in My Life”

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Since 2005, this Texas rock band has been turning heads around the country. The band has been described as “truly worth checking out” with “live shows that are fun, full of energy, and will stick with you for a long time after it’s done.”

It’s no secret that the band has been gaining attention across Texas and beyond with their pop-infused originals. Being labeled as “definitely a band to watch as they explode on the scene in the upcoming years,” they have a long distinguished list of accomplishments from recording the hit single and music video “Losing Me” onboard the John Lennon Educational Tour Bus to performing at venues, events, and tours all over the country (SXSW in Austin, The eXtreme Tour).

J-Walkers’ debut album ‘All We Can Do’ is a semi-autobiographical journey of the songwriters with often fantastical and tongue-in-cheek results. Musical styles included range from soul, funk and country to progressive/alternative rock.

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“The Power Of Music”

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Kristine W is the ultimate chameleon. The beauty queen-turned-club-siren enjoys the professional freedom to go from black evening gown and gloves one minute to pink and blue dreadlocks the next.

“It’s great to be able to do a 45 minutes full-on, dance-until-you-drop show,” she says. “Then be on a cruise ship doing jazz versions of ‘Feel What You Want’ with everyone drinking martinis.”

Still, Kristine W knows where her bread-and-butter is. She’s topped the dance charts a record-breaking nine consecutive times and plans to do it once more with her newest single. “When I see my fans on the dance floor, with that fire in their eyes, I know we are connected,” she says. “I feel like that’s what I was sent here to do. I’m the messenger, and I’m doing my job.”

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“Midnight (feat. Diane Carter)”

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They DJ, they write, they produce, they remix…Evan Landes & Parrish Wintersmith collectively known as Groove Junkies, have crafted a style influenced by soul, funk, r&b, jazz, gospel, and latin rhythms. Pumping grooves, uplifting lyrics, and undeniable hooks are the signature elements that define Groove Junkies sound. Born and raised in New York and Detroit respectively, Landes & Wintersmith, have methodically gained support from a legion of fans throughout the global dance community via their consistent quality of work, and an unbridled passion for soulful house music.

From the release of the first record “Inside My Soul’, on Landes’ MoreHouse Records in 2002, GJ’s could claim in their legion of support legendary DJ’s such as Frankie Knuckles, Louie Vega, David Morales, Ben Watt, Brian Tappert, and Tony Humphries. Subsequent original GJ’s releases that have rocked dance floors worldwide.

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“Rock The Boat”

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Federico Mahjong Conti started his life in music at a young age. His father played classical & jazz music on the harp (harmonica) in the late 50’s with the Hohner Boys, the official Hohner Harmonica quartet winners of several international championship. At the age of 8, Federico studying modern jazz with the famous American organ player Shirley Scott from Philadelphia and with James Williams from NYC for piano specialization. Adding bass, he worked with studio sessions and doing arrangements for orchestras and big bands.

Federico Mahjong Conti has remixed and recorded under more pseudonyms: Mr Gone as electro-house artist, Laisla as latin-house producer, Joe Velvet talking about the breakbeat releases, Nardis for the chill-out Lps and compilations.As Federico Conti heÕs working on a soloist project playing new-age & nu jazz music with acoustic piano and percussions, no bass and other sounds, a pure duet. As Mahjong the most of his past and present house works and remixes.

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“Everyone Comes To Life”

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Goonies Never Say Die are a quintet from the blustery holiday haven of Blackpool, England. Their debut In A Forest Without Trees is a stunning piece of work, well balanced, mixed and produced…it’s a sound that compliments the intricate mixture of instrumental progressive rock.

The band themselves use the phrase ‘cinematic’ and that’s a reasonable description for this ten track, fifty minute adventure. For the best part, the band concentrate on lush, quieter moments, which still sound like The Chameleons on a slow burner (“Don’t Fight The Fire” / “Everyone Comes To Life”), but there are as you might expect, big swathes of noisy fire peaked crescendos, imprinted with the kind of textures often pioneered by Explosions and Mogwai.

Pulling off a series of songs without vocals isn’t as easy as you would imagine, but with the vision to create wonderful landscapes like “When Middle Eights Migrate”, Goonies Never Say Die make the quieter bits sound as interesting and compulsive as the explosive highlights. A remarkable debut.

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“Sorrento Mist”

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Bassik Grooove is…

Me and sometimes myself (Jerry), oh and occasionally my cat Billy will come in and snear his snout at me, which means the Eq is a bit off. They have very sensitive ears ya know. My Production manager(better half) is always floating about saying things like “turn that down its too loud” or “you can do that after you have washed up”, in a what is this sh*t manner. I am no spring chicken but still manage to enjoy all of todays genres and still maintain a strong interest in the past.

I live just outside Ipswich, Suffolk, UK. I have been making music for about 8 years but have been a keen collector since about 1978. For many years I ran a mobile disco in the Suffolk area and always wanted to try and create some music of my own. I tend to make music depending on my mood at the time. I’m predominately a House artist but also dabble in downtempo sounds. My influences range from Disco/Jazz/Funk/Reggae/80’sElectronic /Ambient /House / Techno. I like electronic music with a good dose of jazzy chords and jazz elements. I make music for myself but i’m equally pleased if others find something they like in my work. I have a releases through “Soul People Music” in New York (digital download) .See releases below. Further work due in Autumn for Soul People Music.

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“Take You Home”

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If you lived in California in the 90s, chances are you’ve sung Joyo’s refrain in the shower. After the Manila-born NorCal transplant finished studying opera in Rome, she returned to the Bay Area, where she and future husband Lyrics Born recorded what would go on to be Solesides’ greatest hit, a little number called “Balcony Beach.” The song appeared on 1997’s Latyrx, a record that went on to sell over 100,000 copies worldwide.

Love and Understanding – preceded by a digital-only EP in January 2009 – is a refreshing perspective on traditional soul music handcrafted by Joyo and Lyrics Born with the help of fellow producers Jake One (Aftermath Records), Emmy Award winner Asa Taccone, RJD2, Tommy Guerrero, Headnodic (Crown City Rockers), and the Lifesavas’ Jumbo the Garbageman.

A glimpse into Joyo’s positive, self-affirming outlook, not to mention her impressive talent, it’s already caught the attention of award-winning writer/actor/director Danny Hoch, founder of the Hip-Hop Theatre Festival, who used her new song “Feels Right” in his latest play, Taking Over. Love and Understanding will come out physically and digitally in early Spring 2009.

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“Goodbye Misery”

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Deborah Coleman is, as USA Today notes, “one of blues music’s most exciting young talents.” Along with a discography that now spans a decade, she also gives knockout live performances that have made her one of the hottest commodities on the contemporary blues scene.

Meticulous and focused in the studio and highly charismatic onstage, Coleman has developed a guitar style that reflects the influences of Jimi Hendrix, Buddy Guy, Freddie King, Albert Collins and Larry Carlton. Her vocal inspirations are as often found in the singing of Chrissie Hynde and Patti Smith as in the recordings of Bessie Smith, Janis Joplin, Memphis Minnie and Alberta Hunter.

“I’ve come to the conclusion that, at least for me, I have a real need to keep it real and keep it live and spontaneous,” says Coleman. “That’s what matters to me and I think that’s what matters most to my audience.”

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“With You”

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There’s something about Ricky.. Some people choose to be a musician, some stumble upon it and others are basically born into it. Meet Ricky Rivaro, a son of a professional church organ player turned DJ. When the sun is near and the first visitors arrive at the beach, Ricky Rivaro prepares himself for his favorite time of the year. As a resident of Holland ’s largest and most known beach club Bloomingdale, and a compiler and mixer of the Sundale CD’s, Ricky Rivaro always brings the sun along in his record case.

Rivaro’s sunny sound and his ability to “get the party started (and going)” soon became
Bloomingdale’s trademark, and Ricky himself became a part of Bloomingdale’s inventory.
Rivaro never fails to surprise the crowd; like his musical heroes Sandy Rivera, Erick Morillo and
Roger Sanchez, Rivaro refuses to be labeled: he would play a tech-y record, an 80’s classic or even a
bit of hip hop just as convincingly as he would play a soulful, vocal track.

Ever changing, never boring, always looking for the ways to improve himself and dedicated to True
House Music, Ricky Rivaro has earned his place amongst the best DJ’s Holland’s got to offer and it
looks like he’s not going to stop there.

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“Fuego”

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Bomba Estéreo, a musical project formed by Simón Mejía and singer Liliana Saumet in 2005, manages to combine folk music from the country’s Atlantic coast such as cumbia and bullerenge with lounge, hip hop, and champeta in what the group dubs as psychedelic cumbia. Their sound ends up being a reworking of Colombian tradition with modern urban sensibilites, using lyrics that allude to spoiled rich brats as well as to the Carnaval de Barranquilla.

Bomba Estéreo’s second album Blow Up will make you forget everything you know about Colombian popular music. Erase Juanes from your playlist. Bury Shakira CDs in a ditch. Blow Up is everything that Colombian pop should sound like: an amalgam of influences that still retains enough originality and danceability to knock you off your seats.

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“Don’t Let The Nightlight Dance”

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Equally meditative and memorable, Track A Tiger coaxes only the most atmospheric textures on their aptly titled full-length. Taking cues from the drowsy, sweet spirits referenced in the title, there’s a touch of intrigue and mystery contained in this infectious collection of sublime indie pop. The real secret of this record is not how these sweeping, organic gems lull you under but how cozy you feel once the jangly strum of acoustic guitar and gentle keyboards wash over, Track A Tiger also has an upbeat swagger, at times cranking out rustic melodies that gallop over dusty passages, referencing a more Americana/Alt Country canon.

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“Evil”

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Now living in New York, this English singer/songwriter has been compared to the likes of George Michael and Stevie Wonder and is Universal Records’ priori ty for the millennium with his album set to be released in early 2000. Goss has been collaborating with such established writers/producers as Rodney Jerkins (Michael Jackson, Jennifer Lopez), Carol Bayer Sager (Elton John, Celine Dion) and Tommy Sims (Eric Clapton, Garth Brooks). In addition, his song Lucky Day (click on the title to hear the RealAudio clip – you will need RealPlayer 5.0 or higher) has been featured in the Motown Records’ soundtrack for the animated Sony feature film, “Stuart Little”. than a decade of success as lead singer for Bros, before going solo in 1992 and relocating to the US.

Most recently, Matt Goss launched the new year with his American stage debut at Carnegie Hall on January 11th, all part of a benefit concert, “Sounds Of A Better World, Small Voices Calling”, a charity event for children. He is headlining a show at the Palms Hotel in Las Vegas on Friday and Saturday Nights in the “Gossy Room”.

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“Trouble Come, Trouble Go”

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Originally formed as a traditional Afrobeat ensemble, Kokolo took their name from a Spanish Harlem term used to describe devout followers of Afro music and over the years developed a far more energetic and spikier sound than many of their contemporaries, proving adept at broadening their scope by incorporating influences from other genres, ultimately transforming their sound into what The New York Times described as “The sound of Fela Kuti meeting The Clash at a late-70’s Hip Hop Jam in Spanish Harlem”.

Ray Lugo, KOKOLO’s charismatic leader, expands: “I thought it would be interesting to make explicit the implicit connection that exists between Nigerian Afrobeat and American Funk and explore the musical dialogue that took place across the Atlantic during that golden era, a dialogue that also included the New York Latin sound, which was also highly regarded and influential in Africa at the time“… Heavy Hustling is the result of this exploration.”

On stage, few would disagree that KOKOLO delivers one the most dynamic shows today, often playing for 3 hours non-stop in a frenzied punky Afro party. “The stage is our bridge to the world” states Lugo, “it is the primary reason this band exists, to spread soulful music around the globe”. Their well-known reputation for electrifying concerts has seen them perform on some of the world’s most prestigious stages in dozens of countries around the globe, such as The Montreal Jazz Festival, Glastonbury and scores of others.

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“Alone”

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Playing in orchesters and school bands for 8 years Andreas Josifovski realized that music will be his life. After moving back from Skopje to Munich he got infected with electronic music and so he started to buy records and spin them home just for fun, but his passion quickly grew deeper and deeper as he developed the production knowlegde how to express his emotions electonically

His favorite genres bounce back and forth between deep Tech/House and kicking minimal Dubtunes, as the influences of labels like Basic Channel, Deep Chord, Raum Musik, Chain Reaction shaped his sound to become more dubby deep and minimal. Creating deep music from his heart and soul, inspired from all different emotions, places and experiences he has felt and lived through his life. His love of music is reflected in his audience and enjoys seeing at full underground clubs; expect a unique style of mixing combining laptop and traktor-dj-studio with turntables creating new soundscapes.

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“Moonlit Horizons”

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The Desert Dwellers are a collective of music producers and DJs spanning throughout the Southwest deserts from New Mexico to California; all sharing a passion for outdoor sonic explorations and the re-discovery of ritual beneath the vast desert skies. There they have spent many a full moon opening their inner ears to the sounds of the deep night sky, soft sandy dance floor, and the wide-open spaces that these magical realms have to offer.

Amani Friend, Rara Avis, and Treavor Moontribe all bring a lifetime of compositional and performance experience to their current collaboration together. Their music blends elements of trance, progressive house, downtempo, dub, breaks, tek-house, electro, and ambient; while also incorporating traditional world music in a way that shows a deep respect for that which has come before us, and our understanding of where we are now.

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“Every Road”

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In the world of dance music production, Jay-J has forged the reputation as the producer with the “Midas touch”. He is known for his signature ’sexy, soulful, dance floor driven’ style blending elements of funk, soul and disco combined with sultry vocals.

As both a DJ and Producer, Jay-J has consistently generated quality like very few can. With over 150 productions released to date, his peers consider him one of the most influential, respected and prolific individuals in the industry. Fans can expect more innovative and unique productions from his new label, Shifted Music, and hear them “live”, as Jay-J continually tours the globe, sharing the music he’s been so passionate about for the last 15 years, and that has made him a dance music icon.

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“Black Sunrise”

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Since forming in 1998, the Wellington-based 7-piece have been winning over fans with their unique blend of reggae, dub, funk and soul, carving out their reputation on the strength of their critically acclaimed studio albums and legendary live performances. They now enjoy a large following all over Aotearoa, as well as a growing fan base throughout Australia and Europe.

The Black Seeds started turning heads around New Zealand following the release of their debut album, 2001’s Keep On Pushing which eventually reached gold sales status. The group’s second studio album, 2004’s On The Sun, added a heavy dose of funk and soul to the dub reggae sound that underpinned Keep On Pushing achieving double platinum sales something that 2005’s Into The Dojo continued.

2009 sees’s the band preparing for their much anticipated fourth release, Solid Ground, and preparing for US 12-show tour with U.S reggae act – John Brown’s Body before heading to the U.K, France, Germany and Switzerland for a 16-show tour.

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“Que Belleza”

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Naga aka Balazs Fejer started his music career in the end-of-eighties’ alternative era, debuting at Nap-Nap fest with his group Ivan Lendül. He was co-founder of the famous hungarian pirate radio called Tilos.

In the mid nineties he edited the techno-related column of Törökfürdo magazine (Turkish bath), and around the same time graduated as cultural anthropologist. An essay on the acid age turned him towards electronic music. Naga has been on the dance scene as dj since 1994.

At the time he became a recognized dj in Budapest with his remarkable techno sets. While dub, breakbeat, tribal and deep proghouse have become part of his style in the past few years, “Naga-fans” weren’t disappointed by the eclectic sets he played.

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“You Gonna Wreck My life”

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Although generally lumped into the blues-rock arena, Tim “Too Slim” Langford and his band fall into whatever category a combination of Tom Petty, Creedence and ZZ Top would create.

Perhaps swampy Americana is closer to the trio’s sound, especially on this terrific album. Slim’s been at it for quite a while; nearly two decades, yielding a dozen or so releases when this disc appeared in 2007. But that hard work has paid off, big time.

Langford writes melodies and especially lyrics that show him to be an under the radar talent who has gone unnoticed for too long. Vocally his gruff voice is somewhat similar to Top’s Billy Gibbons and this album is a good example of what that Texas band might have sounded like if they hadn’t cheesed out with synths and dance pop in the ’80s.

Slim’s evocative words and distinctive growling vocals bring surprising introspective depth to music that could easily deteriorate to bar band grind status. This album is several levels above that. Even with all the miles already on Slim’s life odometer, there is plenty of gas left in his tank. His journeyman experience makes these songs resonate more passionately than what’s on the surface and connect on a deeper level.

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“Whole Wide World”

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Muzology is the duo of vocalist Martin Adebisi who first burst onto the music scene in 2003 as the lead vocalist for the ’New Love Symphony’ project which teamed him with the extremely talented Barrie ’H’ Hayes (Mr. Chords)

The duo offically joined talents as Muzology (formally Trippwuire) in September 2005 and is currently performing semi live PA’s, and recording and performing acoustic sets and with full band. Muzology is not just a Soulful House act, they have gone on to record some quality smooth grooves.

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“Five O’Clock in the Morning”

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Over the last eleven months award-winning singer songwriter Ray Tarantino has performed more than 150 shows to promote his critically acclaimed debut album Recusant.

Whether it was the sound of a duo vibing next to the Atlantic ocean; a Brazilian-grooved-six-piece band in Southern Europe; a trio formation jamming in a surprisingly-welcoming Germany; a featured solo artist in London’s premiere acoustic nights; a fast-paced NYC-based band or the performance of a light-weight songwriter’s journey across America, Ray has been feeding the flames of his talent for thousands of listeners, only to find that there’s a lot more to come and many many to meet.

With a plan to solidly tour the States over the next two years, Ray is keeping alive the promise he made to himself.

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“Kissing The Rain”

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Whether he is composing beautiful music for films, writing catchy pop songs, arranging and producing records or producing tracks for vocalists for live shows, it is amazing and wonderful to realize the full depth, capability and range of Peitor Angell’s great musical talent.

If you ask him how he is able to encompass so many different genres and styles in his work, he will tell you that he’s fundamentally a conceptualist. “I like to create music that is delightfully unexpected.

I love the challenge of finding the absolute right combination of elements for whatever I am working on. Being versed in a number of different musical arenas enables me greater choices to find a fresh solution to each situation. It keeps my work interesting and steers me clear of falling into standard formulas or repeating myself.”

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“Night Is Beautiful”

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Philadelphia lyricist/vocalist Ellie Perez, guitarist/producer Tim Motzer, and bassist/songwriter Barry Meehan join musical talents to records as the collective ‘Nu Cultures’ with each contributing vocals, songs, words and music to this ambitious 2 CD album project.

At a time when artists and labels are downsizing, this group of Philadelphia artists have ramped it up and released an ambitious 2 CD set “Butterflies, Zebras, and Moonbeams” on 1k recordings. This adventurous collection of music is a kaleidoscope of songs and sound blending shapes and hues with vocals, horns, strings, piano, drum machines, vocal loops, guitars, bass, and left-field electronics into a brilliant textured soundscape of modern pop music.

From three perspectives, lyrically and vocally, “Butterflies, Zebras, and Moonbeams” delves into questions of love, war, darkness, despair, light, and hope. musically it’s an eclectic 21 song journey with acoustic guitars ruminating over electronic and tabla beats; the shimmering vocal downtempo tone-poems of Ellie Perez; the dark foreboding jazz of “Babylon Is Crying”; upright pianos floating over languid grooves of “Think I’m Losin’ It” and the wind swept desert guitar musings of “Mind Dunes.”

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“Hey Baby”

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Winner of the 2003 Melbourne Blues Performer Of The Year, Ash Grunwald is an inimitable blues talent.

Recorded live in the studio, ‚I Don’t Believe‚ is a modern blues and roots album. Featuring Ash’s trademark guitar grooves and stunning, soulful vocals, I Don’t Believe combines delta blues with hypnotic, ‘phat’ grooves. The percussion on the album was created by using a foot controlled sampler, pots, pans, tambourine, beat boxing, claps and his guitar,bringing to the studio the essence of this one man band’s exciting live show.

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“Mode In Mind”

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Staedler & Waldorf are a squelchy Welshy drum ‘n’ breaks band with more styles than a Run Run Shaw flick. Rough in the jungle, the dancehall and the house, S&W growl from the stalls, making their namesake look like a rubbish salad and a biro that never works when you’re trying to write a ‘to do’ list. This is “music that f*cks you on the dancefloor” according to a post on their myspace. This is grimy, pulsating, electronica from the home of Clarke’s pies and Shirley Bassey.

Steve Jones has been producing music for more than 20 years, his first five releases as Groovy Onion all placed in the top 5 in the dance chart and secured remix projects for Lee Coombes.

Paul Smith and Steve Jones have worked together on various projects for over nine years. As DBOOGA, they played Glastonbury for 3 years running and now, as Staedler & Waldorf, they’ve teamed up with Lacey Chaiff, and performed for pigs all around space with the equivalent eclecticism of a George Clinton hairdo.

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“Love Is Hip”

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In the sultry jazz of Koo-Kee, the smooth pop psychedelia of Bluestone and the funky dark abyss of Down Deep, The Feeling Groovies’ prove themselves to be a very slick bunch of musicians. Versatile and defying category, The Groovies bounce from your cocktail cabinet to the dance floor without ever losing direction of the overall groove.

The Feeling Groovies washed ashore for but a few weeks to capture the sounds that are CROWD PLEASER. After bustin’ a drift on the funky plasma sea with the echo box stuck on 12 the Groovies had plenty to say. Much has been written and said about the Groovies and their music; trippy, dubby, acid-pop-jazz, ambient-lounge-funk. Whatever! All of these apply and at one time or another have been more or less true…

But one phrase has followed the Feeling Groovies from outset – Man this band is a CROWD PLEASER!

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“Keep Me Home”

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Kraak & Smaak formed in 2003 through a series of chance meetings, and have been winning over audiences all over Europe with their powerful debut album and energy-charged live shows.

Dutch trio Kraak & Smaak, already popular in Europe for their unique blend of funked-up breaks and soul-jumping grooves with elements of Blue Note Jazz is beginning to gain respect in the US as a talented up and coming act.

In 2005, they won the Best Newcomer Award in their native country, Holland, and garnered praise from the likes of Radio 1’s Annie Nightingale, Pete Tong and IDJ.

Citing Jazz, Hip Hop, Funk, New Wave and Breakbeat, as well as all experimental music as their main inspirations, their debut album “Boogie Angst” is unabashedly awash with funked up breaks and soul jumping grooves. The band however simply likes to call it, “Dance music to listen to.”

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“Love Like This”

Zito is that rare new artist who is completely in synch with the contemporary music scene, while at the same time having a lifetime’s worth of experience to draw from that informs his music with soul, depth and lasting appeal that grows with repeated listening.

This album is a dream come true for me. I’ve been writing songs, practicing guitar night and day and singing for most of my life. I’ve spent a lot of time in my mind, hoping for the day I would get the chance to record my songs with great musicians in a real studio with a real producer for a real record label. With all that, I couldn’t have been prepared for the magic that has taken place while making “Today.”

I love these songs. They’re my life, my feelings, my being and my craziness. But most of all they’re my awareness. I’m not sure where these songs come from, but I’m thrilled they came to me to write. From a young kid in St. Louis listening to everything I could find and later moving to Texas, music has been everything. My influences are so vast: the spirituality of Hendrix, the purism of Clapton, the passion of Stevie Ray Vaughan, the reckless abandon of Van Halen. I also love the singers and songwriters, the real voices: Johnny Cash, Neil Young, John Prine, Shelby Lynne, Lyle Lovett, Mick Jagger, Tina Turner and John Hiatt —there are so many.

All of it went into “Today.” It’s what I have sounded like in my mind forever. It’s a journey through a life that has just really begun. One of some bad choices, wrong thinking but then, thankfully, waking up. A time of love lost and love found inside myself. I have discovered that everything happens for a reason, and the trick is learning to trust the journey.

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“Hold That Train”

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From smoking slide guitar boogies to raw-boned Chicago shuffles to the deepest slow blues, guitarist/vocalist/songwriter Lil’ Ed Williams is an awe-inspiring master bluesman. He and his blistering, road-tested band, The Blues Imperials—guitarist Mike Garrett, bassist James “Pookie” Young, drummer Kelly Littleton—are celebrating 20 amazing years together. Live, Lil’ Ed And The Blues Imperials simply can’t be beat as Ed breaks out the deepest back-bends, the highest toe-walks, and the most authentic electric slide-guitar blues being played today. Not since the heyday of Hound Dog Taylor & The HouseRockers has a Chicago blues band made such a consistently joyous, rollicking noise.

The Philadelphia Inquirer expresses it as “raucous and hugely entertaining.” But no matter how you describe it, Lil’ Ed’s seriously inspired music will take you on a fast trip from your chair to your feet. Now, with Full Tilt and a schedule that will take the band on another non-stop tour across the country and across the ocean, Lil’ Ed And The Blues Imperials will continue to rip, roar, rock, roll, bend and fully tilt into the hearts, minds, souls and dancing shoes of Ed Heads all around the world.”

Lil’ Ed and the Blues Imperials – Hold That Train

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“Sunday Jazz”

Dee first became interested in guitar while in elementary school. One of his classmates could listen to a song on the radio and play it back on his guitar. Watching his classmate play fascinated Dee and he wanted to emulate his classmate and started taking lessons with the hopes of one day being able to play like B.B. King.

Dee continued to advance with his playing skills and while still in high school and after college, he decided to form a short lived R&B group before he decided he wanted create an album featuring him on guitar, and teamed up with saxophonist Gentry Shelby to form ’Shelby Brown’.

Since then he has moved on to his solo project ’No Time to Waste’ where his skills as a guitarist, composer, producer and arranger were showcased, for the first time. Brown’s long-time friend & producer Gerald Mitchell of Los Hermanos helped him achieve a sound targeted for Smooth Jazz listeners as guitar and saxophone leads were equally balanced. Brown’s ’No Time to Waste’ is currently available on CD or download. Pick up your copy today!!!

Dee Brown – Sunday Jazz

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The Hermit

“Si Vous Me Quittez” (mp3)
from “Turn Up (The Stereo)”
(So Called Recordings)

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The Hermit’s story is one of musical evolution and creative growth. Three albums and multiple tours stretching across almost a decade for founder Hamish Thomson have seen The Hermit’s sound change and evolve, whilst bonds with trusted band-mates Jon Frederiksen (bass), Robert Mitchell (keyboards), and Duane Murrin (guitars) have been strengthened and new vocalist Red welcomed into the fold.

Founded in the year 2000 by Vancouver drummer, producer and multi-instrumentalist Thomson, The Hermit began life as a solo electronic project “Flying out of Solitude”. A successful independent release led to multiple West Coast Music Award nominations and a label deal with Nettwerk Records.

On the 2005 follow-up “Wonderment”, Thomson once again acted as Producer, but this time captured the essence of a diverse pool of musicians and vocalists, garnering The Hermit an Indie Award for “Favourite Electronica Artist” at Canadian Music Week 2006 and a #1 chart placing on Bravo TV’s Video Countdown with “Sir Real”

Building on the collaborative group dynamic that had grown out of touring “Wonderment”, the now five piece group began work on their third album in 2008 “Turn Up (The Stereo)” and 11 shimmering songs about twisted relationships, love, loss, dreams and desire was release in 2009.

The Hermit – Si Vous Me Quittez

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“Senseless War”

Teshome Mitiku’s career stretches back to Addis Ababa, where he began performing at local schools and nightclubs when he was just a teenager.

In the late 60’s, Teshome (singer/keyboard), Theodros “Teddy” Mitiku (alto saxophone), Tamrat Ferendji (trumpet), Fekade Amde-Meskel (bass), Tesfaye Mekonnen (drums), Alula Yohannes (guitar) and Seifu Yohannes (singer) joined to form the influential Soul Ekos Band. The band released numerous songs, including 4 tracks written by Teshome like Gara Ser New Betesh, Yezemed Yebada, Mot Adeladlogn and Hasabe.

Teshome fled to Sweden at the peak of his musical career in 1969 after the government endorsed a strict, mandatory night curfew, which prevented him from performing at local venues, and enrolled at the Music Conservatory in Malmo and later received his Masters of Arts in Sociology, and later pursued a PhD in Sociology from Lund University.

During a brief visit in the 80’s to the United States, Teshome collaborated with the Admas Band and released “Teshome Mitiku and His Experience,” an album full of jazzy tracks like Mengezem Hulgezem and Almazeye, and in 1995, Teshome relocated to the United States and released the critically acclaimed album “Yegna Neger” with favorite tracks like Photoyen Ayechew and Che Belew.