THE FUCHSIA BAND will make history this year as they return to America to appear as HEADLINERS for an unprecendented THIRD YEAR IN A ROW at some of America's most important Irish Festivals such as The Kansas City Irish Festival and The Jackson, Mississippi Celticfest. The lads will also be taking the stage again for the SECOND YEAR IN A ROW at other important festivals such as The Minnesota Irish Fair and the world's LARGEST Irish festival, The Milwaukee Irish Festival Add new appearances as HEADLINERS at other important American Irish Festivals such as The Dayton, Ohio Celtic Festival and The Chicago Celticfest, in the heart of the "Windy City", and the legend of The Fuchsia Band is destined to spread even farther and wider this year! Don't miss the chance to take a trip to Fuchsialand this summer with the lads from Cork!
A quintet comprised of some of America’s most talented, young musicians, BUA have been described by Irish Music Magazine as “the essence of a superb band,” their sound “a throwback to the playing of the 1960s and 1970s, keeping the music down the path of tradition” and their 2006 release, Live at Martyrs’, “a work without gimmicks, where the musicianship is of the highest quality.” It is no surprise then that Bua, lending to its Irish Gaelic meaning of ‘innate gift,’ have quickly risen to the status of America’s premier traditional Irish music ensemble. As a band, Bua have performed at numerous festivals including Boston’s prestigious Irish Connections Festival, The Milwaukee Irish Festival, Cleveland’s Irish Cultural Festival, Celtic Fest Chicago and The Saline Celtic Festival. As individuals they’ve shared the stage with a host of top Irish musicians including Martin Hayes, David Munnelly, Liz Carroll, Larry Nugent, Paddy Keenan, Aoife Clancy, Pat Broaders, Dennis Cahill, John Williams and more! Bill Margeson of the Irish American News captures their essence concisely: “Clearly, this group is no locally-based collection of musicians trying to break out of Chicago. This is a group that has established itself [both] individually and as a group in the eyes and ears of the traditional community…As other bands change, disband or simply fade away, the tradition is blessed by what seems to be an inexhaustible pool of talent that comes to the front of the stage. It is Bua’s time. Here they come.”
Combine the smooth, sensual vocals of David Ryan Harris, the clever turn of phrase of Dar Williams, and the engaging, fan-centric personality of Matt Nathanson and you have ERNIE HALTER. With mature, controlled phrasing that showcases his Berklee education while never overshadowing the intense emotion infused into each note, Halter has mastered a mellow, groove-laden sound so reminiscent of old-school soul that it causes the listener to forget for a moment that they are listening, not to a vinyl LP, but an mp3.
Much like his hometown of Nashville, singer JOSH HOGE represents Music City's competing spirits of tradition and rebellion. Yet, in a town known for the tradition of country music, there’s no denying that rock, pop and soul have all buried their roots into the streets of the city. Spend some time in the neighborhoods and you’ll see, hear and feel the collision of these musical styles. But it’s that very conflict of culture that has helped shape the sound of Josh Hoge – a combination of smooth Southern soul, gritty R&B and a rebellious heart in the tradition of legendary Nashville mavericks.
At the youthful age of twenty-one, it’s fair to say that IJ QUINN is an old-soul at heart. Born and raised on a farm in the small North Carolina town of Warsaw, IJ developed a musical style reverent of the R&B/Soul greats he grew up listening to – Stevie Wonder, Marvin Gaye, Earth Wind & Fire. IJ learned piano at age three (3), self taught guitar at fourteen (14), and has been student of pop music all his life. IJ recently moved to Chicago to finish recording his debut full-length LP, When They Want It The Most, with producer Chuck Gladfelter (ex-Dovetail Joint). He's recently opened for artists such as Ingrid Michaelson, Landon Pigg, Ari Hest, and Matt White.
BOOMBOX is producer/DJ Russ Randolph and singer/songwriter/guitarist Zion Rock Godchaux. This pair of dynamic artists uses their rich musical history and their vision of music and popular culture to deliver a style of music distinctly different from anything heard or seen in music today. This signature sound and show brings live music to a new, elevated level. BoomBox evolved through the common visualization of a pair of forward thinking artists from diverse musical backgrounds. Raised by supportive and musically inclined parents, both Godchaux and Randolph had an obsession with music at very young ages. Godchaux, who grew up with deeply embedded rock and roll roots, began playing drums at the age of two, and played guitar and wrote his own songs as a teen. During the 90s, Godchaux was a well-received touring DJ based out of the San Francisco area. Randolph began as a young drummer, but it’s what was happening behind the scenes that attracted him most. As much producers as they are musicians, it is Randolph’s understanding of soundscape and Godchaux’s knack for songwriting that keeps BoomBox resonating at higher levels.
WILDFIRES RECIPE: : Take one part, Chuy & The Bobcats. One part Lil' Luis y Los Wild Teens. 1/3 Thrill Seekers(Angel & Luis' garage band). A few cases of beer. Some Early Times Whiskey. A few Jaeger bombs for good measure... mix all in a blender with some ice... And what do you get? Your favorite band: LUIS & THE WILDFIRES!!!!! Enjoy!!!!
Omar Romero was born in Ensenada, Mexico, not very long ago. He has been playing guitar since he was 14. He formed his first band "The Screamin' Solo Flights" in August 1999. The band quickly gained a great reputation for their live shows and they toured most of the US until they decided to break up. Playing their last show at the Hollywood All Dayer in September 2001. They recorded two tracks on the Uranium Rock 10" and they were both club hits in the US and received great reviews worldwide. Omar decided that the next band would have a new direction. They would have a wilder rockabilly sound. Influenced by people like Hayden Thompson, Jackie Lee Cochran, Patt Cupp, Warren Smith, Tracey Pendavis. He formed Omar and the Stringpoppers in November 2001. They had their first show in Crazy Jacks with Big Sandy. The band have developed into the US's number one rockabilly band playing extensively throughout California and Europe. Omar onstage is like watching a tornado unleash. If you find this a bold statement, when you catch his live show, you will not be disappointed. Over the last two years, Omar and the Stringpoppers have played in Spain, Germany, Holland, Switzerland, UK, and they were one of the healdliners at Viva Las Vegas 2003. They set a new record for encores and also for CDs sold at the weekender. They continue to headline shows throughout the US where their shows are seen as a major event. And in 2005, they are booked to headline Friday night at May Hemsby, which is usually attended by around 5000 people. From Hemsby, the Stringpoppers start their third European tour. In 2005, they return to Viva Las Vegas's main stage where they are sure to create another storm. The Stringpoppers have released their first ever 45 RPM record and sold out while on their tour through Europe. Their first CD "Take off Rhythm" and second CD "Getting Wilder" with Omar and the Stringpoppers have both sold unbelievably well and are still very much in demand. Omar's permanent band consists of Omar Romero (vocals, rhythm guitar), Jeff Gerow (Drums, Hollers), Danny Angulo (Lead Guitar), Iggy Garcia (doghouse bass).
INDIGENOUS SET TO RELEASE BROKEN LANDS ON VANGUARD RECORDS AUGUST 19th
Mato Nanji Pays Homage To His Native American Heritage On New Recording Guitar virtuoso/singer/songwriter Mato Nanji returns as Indigenous with his sophomore Vanguard release, Broken Lands, on August 19th. With Broken Lands, Mato Nanji (which means "Standing Bear" as translated from the Nakota dialect) articulates an intensely personal record that pays tribute to his Native American heritage. The twelve songs written by Mato and his wife, Leah hold special meaning with lyrics that speak straight from the heart. Leah Nanji also provides background vocals. The title, Broken Lands, is pulled from the lyrics of "Place I Know", a song about the reality of life on the reservation. Raised as a member of the Nakota Sioux Nation on the Yankton Indian Reservation in South Dakota, Mato first came to musical prominence when he formed Indigenous with his brother, sister and cousin. In 1998, they released their debut, Things We Do, which received wide, mass reception and included the Top 10 smash hit "Now That You're Gone" and the Top 20 rock singles "Things We Do" and "Got To Tell You." Indigenous continued their radio success with 2000's Circle, which included the triumphs of "Little Time" and "Rest Of My Days." After three successful albums, the siblings went their separate ways, and Mato forged ahead as the face of Indigenous releasing his Vanguard debut, Chasing The Sun. Chasing The Sun's fiery blues prowess solidified Mato as one of blues-rock's most exciting talents. While his debut album focused purely on guitar ingenuity and Chasing The Sun made the natural evolution toward lyrical substance, Broken Lands displays the culmination of maturity both sonically and lyrically. This new recording marks an augmentation of the Blues into Roots, World and Americana territories, by incorporating native percussion, slide, lap steel and acoustic guitars, and through the creative partnership formed with producer/mixer Jamie Candiloro (Ryan Adams, Willie Nelson, REM).
DANNY BURNS DEFECTORS Led by the roots rocking Danny Burns on vocals, guitar, (a product of a working musician’s family in Northwest of Ireland), Danny has been on the road as a full-time musician since leaving home at the age of 17. Pulling from as many different styles and influences as there are musical tastes in the Defectors, while conjuring up every bit of road and dirt that DBD has rolled in or passed over since first setting out from home. Danny’s voice and the Defectors style have drawn the comparisons of Van Morrison,Willie Nelson, Ray Charles, Richard Thompson, Steve Earle, and Ryan Adams. What Danny describes as "just roots music" contains elements of rock, alt-country, folk and funk.
Celebrate the end of a fantastic theatre season and the beginning of a new one with your friends and colleagues. Not just for managers!! - We hope that the entire community will join us for this one so invite your staff, board, artists, funders, and all supporters of our vibrant community. Support the League, and meet Deb Clapp, the League's new leader and enjoy live music performed by great bands made up of our very own, including Captain Unlucky's Nighttime Tales, and Slim Rughead and the Texas Hangover. So please join us, it won't be any fun without you!! And don't forget, by attending this event, you play an important role in supporting the League.
After a six-year absence from the recording studio, Malian guitarist Habib Koité and his band Bamada return this fall with a stunning new album, Afriki. With more than 250,000 albums sold around the globe, an appearance on the popular television show Late Night with David Letterman, a duet with Bonnie Raitt on her 2002 album Silver Lining and nearly a thousand concerts on some of the world's most prestigious stages under his belt, Habib Koité is one of Africa's most beloved and popular musicians. Afriki, which will be released by Cumbancha on September 25th, 2007, features an appealing set of songs that reflect Habib's unique and innovative approach to the diverse styles of Malian music. Few African artists have received the sales and media exposure of Habib Koité. Called "Mali's biggest pop star" by Rolling Stone (in an infamous article in which Bonnie Raitt compared Habib to Jimi Hendrix and Stevie Ray Vaughn), Habib has also received raves from widely-read publications such as People, Entertainment Weekly and the New York Times. Just this June, Habib graced a 2-page photo spread in the pages of Vanity Fair magazine. While sales of African music CDs generally struggle to break the 10,000-unit mark, Habib has defied expectations by selling more than 100,000 copies of his last two studio albums, putting him in the upper echelons of world music artist sales. Devoted fans have waited a long time for Habib to return to the studio to record the follow up to his critically acclaimed 2001 release Baro. As with many craftsmen, Habib is a perfectionist, and spends a great deal of time composing and arranging his material. Habib draws on styles from the different regions of Mali, rather than solely on the music of his particular area as most Malian musicians do. Habib has gained a strong fan base by integrating the rock and folk sounds of the Western world, without watering down his cherished Malian roots. Habib descends from a line of griots, traditional troubadors who provide wit, wisdom and entertainment and his charisma and magnetism translates across cultures. Years in the making and recorded on three continents, Afriki finds Habib exploring some new musical directions. James Brown veteran Pee Wee Ellis arranged horns on the song "Africa," which calls upon Africans to take responsibility for their own future and not depend on the outside world. Habib touches on personal subjects, as in "N'ba" (My Mother), an homage to his mother who passed away suddenly while he was on tour. The rousing song "Massaké" (The King) finds humor in the royal status of children who are treated like kings by parents that obey their every whim. The overarching theme of Afriki, which means "Africa" in the Malian Bambara language, is about the strengths and challenges of the African continent. "People here in Africa are willing to risk death trying to leave for Europe or the USA, but they are not willing to take that risk staying to develop something here in Africa," says Habib. "Life can be really good or really bad wherever you live. People need to understand that. Even though Mali is poor, we still have good quality of life: You can walk outside and smile and someone will smile back. I have thought about it a lot, and I am not convinced poor countries necessarily have a worse quality of life then rich countries." Many of the lyrics on the album follow traditional themes. In the recent tradition of nation-building songs, "Barra," whose title means "Work," calls on farmers, fishermen, animal breeders, and tradesmen of Mali to "get organized, get up, and get to work." Habib is transposing his role of modern-day griot into a facilitator helping fellow Africans survive in the Western-dominated, industrialized world. Also in the griot tradition, on "Nteri" ("My Friend," in English), Habib thanks all the people who have shown kindness and generosity to him along the way. He starts with acknowledging ancestors and nearby families, but then generalizes his gratitude: For all those who have showed me a day of respect I love you, follow you, and greet you, acknowledge you Those who unite the masses, stay in front Those who look after the masses, stay in front Source of hope and joy, I will always be grateful to you Because I am satisfied. "Namania" tells the story of a dark-skinned woman who is always sitting under the shade of a tree by the river. The white of her eyes stands out beautifully. One young man falls in love with her and tells all his city friends, who fall for urban women, that they must come and see this beauty. When the man returns to her tree to find her, she is gone. He calls out, "Where are you? Where are you? I hope you didn't disappear like the trees across the river." Habib recalls a farm he visited as a child with his grandfather. All the big trees of the farm were cut down and the farm was replaced with houses. "In the song, I talk about the things I love so much, and want to keep forever," Habib explains. "It's a love song but it's also about the things I want to keep." Afriki emphasizes a tight acoustic sound, showcasing some little-heard traditional instruments such as polyphonic hunter's horns, alongside balafón (wooden xylophone), n'goni (a Malian lute) and Habib's iconic voice and guitar. "I want to open a small window to the new generation," explains Habib regarding his use of Malian folk instruments, "to help them hear our old traditions even if it is in new music." Afriki will surely please Habib's extensive fan base and should help bring the Malian superstar to an even wider audience. Habib Koité & Bamada's Afriki is the fifth release from Cumbancha, a record label founded by Jacob Edgar, who has been the head of A&R at Putumayo World Music for many years. The album was co-produced by Cumbancha and Contre Jour, Habib's longtime management and production partner.
Here's what Iceland's Perla has to say about themselves:
Gentle Giant? Yes? Genesis? Like it modern? Let's talk about Porcupine Tree, Opeth, Pain of Salvation... Heroes? We have been trying to make our selfs useful the last couple of months. Our debut record is finished, but we have to record it. Our great friend, and the legendary sound genius, Neil Kernon will help us to achieve greatness in these ranks. We've played in Iceland, London and Toronto. Chicago is next on the list. There is no greater thrill. Playing for people that are unaware of the beauty of honest live performances. Let's hope we'll make lots of money, just to spend it on another album and so on and so on. We do not have a record deal, we want one. We're not desperate, but we are eager. Hope you understand. Our record, still to be named in English, will be out late 2008
What do you get when you put together four first-class musicians with resumes that include playing/recording with Sting, Steve Kimock, John McLaughlin, Bela Fleck and Chick Corea? You get Garaj Mahal. This amazing 4-piece band consists of Kai Eckhardt (bass), Fareed Haque (guitars), Alan Hertz (drums), and Eric Levy (keys). Each member of Garaj Mahal is a seasoned artist with reputations worthy of individual praise.
The Hue is a Chicago-based progressive rock quartet featuring Marcus Rezak and Jared Rabin on guitars, Geoff Shell on bass, and Brian Gilmanov on drums. These four individually accomplished musicians came together for the first time as a band in February, 2007. With an array of influences that range from jam-rock, metal and jazz to classical and bluegrass, The Hue has succeeded in creating a totally unique and original brand of electrified instrumental music in their short time together. With all four members of the band contributing to their arsenal of original material, their thunderous sound continues to evolve and grow with each show. From tight progressive rock tunes and wild dance til you drop jams to lyrical and melodious jazz pieces, and of course a healthy dose of dueling guitars, The Hue's live performances are already causing music fans in Chicago to take serious notice.
In their short time together, The Hue has played all over the Chicago scene including venues such as the House of Blues, Abbey Pub, Martyrs', Kinetic Playground, and Subterranean. The band started their experience together with a two-month long stint of Wednesday nights at Chicago's famous Wise Fools Pub. They've already shared the bill with national acts including The Wood Brothers, The Pnuma Trio, New Monsoon, Karl Denson and The Motet, and have been joined onstage by other Chicago artists including Brendan Bayliss of Umphrey's McGee. The Hue is the next truly original rock band coming out the Midwest, so come check out the next show!
Formed in Brooklyn, New York, Piñataland is the creation of David Wechsler and Doug Stone, performers/songwriters who set out to form a new band centered around their fascination for the stories and sounds of the Weird Old World. Over the past few years, the 5-piece Piñataland have become experts at conjuring the strangeness of history to life with violin, tuba, accordion, guitar and drums. Far from being "old-timey" purists, the band's strikingly original music resembles some never-existed pre-WWII rock, lurching from the epic and grandiose to the haunting. Piñataland draws inspiration from the all-but-forgotten events of the past 200 years, yanking dim but startling memories directly into the audience's waiting ears. The menacing "Ota Benga's Name" summons the tragic ghost of the African pygmy who found himself living in the monkey house of the Bronx Zoo in 1904. "Flying Down to Moscow" is a Cold-War, Kremlin-Country tribute to Mathias Rust, the West German teenager who landed his small plane in Red Square in 1987. The epic "Sleepwalker" tells the story of the building of the transcontinental railroad, as seen through the closed eyes of a man sleepwalking across the great plains of the 1860's. These and other shadowy events from our collective unconcious are featured on their new album, Songs for the Forgotten Future. In addition to appearing at numerous venues on the East Coast, Piñataland has been featured on NPR's All Songs Considered, performed at the Thomas Edison Historic Site (where they demonstrated wax cylinder recording), the American Museum of Natural History's Margaret Mead Film Festival, and the historic Atlantic Avenue Subway Tunnel. They have also played live on New Jersey's famed WFMU, and mounted their own multi-media show in 2001 at the HERE Arts Center in NYC.
A native of Austin TX, SUZANNA CHOFFEL grew up singing in bands and school choirs, picked up a guitar at age seventeen, began writing songs and graduated with a BA in Music Technology from College of Santa Fe in New Mexico. Her musical studies combined with her innate sense of rhythmic phrasing, poetic sensibilities, and her naturally smoky voice all work together to create a fresh and unique sound. She uses her guitar to create staccato rhythms underneath her dazzling soulful vocal melodies, all backed by a pulsing band with unique instrumentation. Her music has been described as "indie pop with urban beats", and "jazz-infused soul pop" with comparisons ranging from Feist to Nelly Furtado to Norah Jones to Erykah Badu. Since the 2006 release of her debut album, Shudders & Rings, she has been finding her name atop many a music reporter's list as "one worth watching". Her song "Hey Mister" was licensed by the City of Austin for inclusion in the Austin Music Vol. 7 compilation CD (March 2008 release). In April 2008, Suzanna Choffel won the $10,000 Grand Prize in the nationwide Famecast Pop competition. Suzanna Choffel's red-hot band creates a fresh and original instrumental backing. The lineup consists of drummer Eldridge Goins (Johnnie Johnson, Carolyn Wonderland, Big Al DuPree, The Heathens), bassist Johnny Vogelsang (Bob Schneider, Soulhat), vibes/accordion/synth player Laura Scarborough (Lila's Medicine, Ohn), and saxophone/clarinet player Brad Houser (New Bohemians, Boombox, Critters Buggin'). The result is a smokin' hot rhythm section that can riff, improv and meander like a jazz band, yet has the stability of her strong pop-soul songs to ground them, resulting in a sensational new sound.
Más Trueno is a ancient-futurist dancehall party band. They play music for all liked-hearted partyers, rockers and dancers who passionately enjoy reggae, funk, rock and roll, dancehall, house music, dub music, body music, body music and body music. Formed and forged in Chicago, Más Trueno includes Dina Harrison (vocals) who also plays with Dan Tedesco and used to play in Getaway Cruiser, Seth Hitsky (keyboard, vocals) who has also played with Maschina and the Daniel Givens Age Ensemble, John Maloney (drums and percussion) who also plays with Them vs. Them and the Ghettobillies, Adam Mormolstein (bass, vocals) and Neil Dixon Smith (guitar, vocals) who also plays with Los Guitarristos.
You know full well that Rock ‘n’ Roll isn’t dead. So does INDIGNANT. They just really like reminding everyone what it sounds like. After 2 years of hustling it out in rehearsal studios and rock clubs throughout the Midwest, Indignant has arrived as a 5 piece band dead set on the revival of music that’s informed & instructed by the swagger of classic rock and the energy of punk. To the boys in Indignant, there’s something incredibly life-affirming in the sound of telecaster riffs through a tube amp woven dexterously with Les Paul driven leads, drums that sound like canons firing from the riser, keys that complement the rock with a punchy roll, the dirty wail of a harmonica, howling vocals and a bass line that keeps the whole flying wreck together. This is the sound of Indignant – and it sounds like rock ‘n’ roll. The result is something like sending the Black Crowes on a bender with the gents in Social Distortion – driving, melodic and whole hell of a lot of fun. Indignant isn’t necessarily trying to re-invent the wheel so much as roll that wheel well. To them, bourbon soaked, cigarette stained, bleeding fingers and broken strings is the foundation and the stages they play are the launch pad. They know it’s only rock ‘n’ roll, but hey, they like it.
What can be said about a band that blends the different experiences of Urban men, Farm boys, Designer jeans, Strong chins, Good manners, Foul mouths, Eggsheads, Eye liner, and 4 nationalities into a cohesive modern rock sound? IT IS WHAT IT IS – IIwII. With varying influences tied together only with a dynamic charismatic presence, IIwII can only be described as an electric rock circus. Fronted by the operatic Josh Law and his forceful tenor these guys sound like the bastard children of rock. A slyly smiling Josh, sums up the band’s image as, “We don’t focus on any one particular style other than just playing really good f&*ing music.” As their sound has developed, the acclaimed 5 piece has acquired much recognition for their astonishing live shows, supple melodies and musical panache. Michel Geadah provides a great deal of IIwII’s live show charisma with his incendiary guitar skills. Michel, eyes lighting up while playing air guitar, shouts, “The high energy of our studio songs and the smut in our jams really get the crowd pumped.” Get this man some Ritalin. And while the band has graced the stage of many venerable Chicago venues, IIwII remains no foreigner to dingy local bars and dirty basement gigs. Young Nam, the band’s cofounder and bassist, a smile on his face relates, “I never give a s&*t where we play, I just love playing in front of a packed house since it gets everybody ready for the after party.”
Breaking new ground TOM FULLER's Pop Music Abstract Man CD represents an upbeat new melodic rock sensation the has both classic and contemporary pop rock music listeners excited. His new remake of the classic soft pop rock tune "THE AIR THAT I BREATHE" embodies a sound that you can't escape from. A melodic pop rock masterpiece that reveals a completely different side to Tom Fuller's artistic talent and ability to touch the very souls of classic pop rock fans. ABSTRACT MAN, the title of this amazing new release says it all! Tom Fuller's breakaway from a softer more mellow sound in "CHASING AN ILLUSION" is heard on this CD, which displays a well-rounded up-tempo compilation of melodic rock titles that will move the most reserved of Contemporary rock music lovers to get up and dance.
For more than a decade Sweden's now legendary progressive rock giants,The Flower Kings have dominated the new worldwide prog-revival releasing 11 studio albums in 12 years. Originally drawing from obvious influences such as The Beatles,Yes,Pink Floyd,Frank Zappa & Genesis, the Flower Kings have evolved into a seasoned and mature band who's sound is now as recognizable as that of their mentors. A sound that has come to be adored by fans and press alike.
Flower Kings will play a short USA tour in Aug 2008 in support of their latest critical acclaimed CD . The band will play most of the new album and most certainly some older fan favourites plus the odd jam that is now an integral part of The Flower Kings live experience. Part one of the tour, supporting this latest album "The Sum Of No Evil", saw the band tour most of Europe last november with guest Pat Mastelotto behind the drumkit. Pat an American that once had big USA and worldwide hits with Mr Mister and later on played on many pop albums including XTC,The Rembrants etc. but since the early 90's is most know for his pioneering work with heavy beats and drum electronica,most significant in King Crimson. All members of TFK having a long history in different bands and recordings, most significant are perhaps Roine Stolt's contributions in "Transatlantic" alongside Dream Theaters Mike Portnoy and Marillions Pete Trewavas, a progrock "sideproject" that took flight in early 2000 and quickly gained "supergroup" status among progressive rock fans and press .
The new incarnation of Flower Kings include: (from top left in photo) tomas bodin; keyboards roine stolt: guitars & vocals jonas reingold: bass & vocals erik hammarström: drums ola heden: vocal & keyboard,guitar hasse fröberg: vocals,guitar Any lover of melodic rock,experimental rock,progressive or symphonic will enjoy this band that seems to have found the secret formula of bringing every aspect of soulful and uplifting entertainment alive onstage and on record. Once you've become friends with the music of The Flower Kings there is no turning back.
JOHN WESLEY The music of JOHN WESLEY has been called lyrically sensitive and musically dynamic. Wesley's current brand of guitar-driven acoustic and electric songs represent the cultivation of a diversity of inspirations from alternative, progressive, classic rock and folk genres intertwined with poignant lyrics drawn from the poetry of the common man. Furthermore, his skillful, versatile and energetic guitar style complements with fury his soulful emotionally-charged vocals reminiscent of Roger Waters or Bruce Springsteen. But what really appeals to Wesley's fans worldwide is a spark of sincerity and sensitivity so oft absent in today's mainstream music.
Most recently, John Wesley has performed as sideman, guitarist/vocalist for critically acclaimed Lava/Warner Brothers UK based recording act Porcupine Tree, during the In Absentia and Deadwing world tours. In recent years he as performed lead guitars and background vocals for White Lion frontman Mike Tramp, subbed on lead guitar and bass for Gainesville's Sister Hazel, and as lead guitarist for Scottish neo-prog legend Fish on many lengthy European, American and South American Tours and on several US and European Solo dates.
John Wesley's professional music career began in the early 80's in the Tampa, Florida area where he founded 1991 Southwestern Music Conference's showcase act Autodrive. The following year Wesley embarked on a solo career and became the premier opening act for British rockers Marillion on seven consecutive tour legs around the world -- especially North and South America, the UK and Europe -- where he played for hundreds of thousands of fans. In 1998, Wesley embarked with ex-White Lion front-man Mike Tramp on an extensive tour as premier opening act for the prestigious Peter Frampton/Lynryd Skynyrd tour. Following this was several world Tours with Scottish artist Fish. In 2001, John Wesley was the primary co-writer of Fish's Fellini Days album. He began touring as guitarist and backing vocalist for Porcupine tree in 2002, and has is currently touring in support of the bands recent release, Fear of a Blank Planet.
Wesley's 1994 first album, Under the Red & White Sky, released on Racket Records quickly sold out it's first pressing of 10,000 copies and has been repressed in 1998 quickly selling another 10,000 plus copies. His second release, The Closing of the Pale Blue Eyes, also quickly sold out and has been re-released as a bonus disc on the NEW re-mastered Under the Read and White Sky disc. Wesley's third solo effort, The Emperor Falls, for former Music for Nations label magnate Martin Hooker's new venture, Dream Catcher Records in Europe, quickly sold out it's first printing. In 2002, Wesley released his fourth solo album, Chasing Monsters, in Europe on Dreamcatcher Records to great acclaim in the Euro Indy circles. In 2005, Wes produced and recorded his fifth studio release, Shiver, co-produced by Mark Prator, and mixed by Steven Wilson of Porcupine tree. Wesley has toured the U.S. and Europe extensively to support his independent European releases - performing as opening act for Marillion, Fish, Porcupine Tree, Sister Hazel, and Blackfield.
The PECHA KUCHA phenomenon is now an essential night out on the Chicago creative calendar. On September 2nd, expect an unusual assortment of artists, architects, designers, musicians, writers, movers, shakers, et al. No Norwegian mountaineers this time, but Norman Teague, Jon Langford, Sharon Greene, Zurich Esposito, Michael Kostal, Jessica Lybeck, Tom Livings, and a couple of other über-coolies will be there with some very nifty (but brief) presentations.
Pecha Kucha Night Chicago Volume 6 will blow your socks off. Bring your friends, your Mom, heck, there's beer, so bring Dad too. An annoying Yorkshireman will kick it off at Martyrs', 8pm sharp, or thereabouts. No dogs, cats, or children, please.
Initially devised by Astrid Klein and Mark Dytham (Klein Dytham architecture), Pecha Kucha (pronounced peh-chak-cha) was conceived in 2003 in Tokyo as a place for young designers to meet, network, and show their work in public. But as we all know, give the stage to a designer (especially an architect) and you'll be trapped for hours. The key to Pecha Kucha Night is its patented system for avoiding this fate. Each presenter is allowed 20 images, each shown for 20 seconds each - giving 6 minutes 40 seconds of fame before the next presenter is up. This keeps presentations concise, the interest level up, and gives more people the chance to show. Pecha Kucha (which is Japanese for the sound of conversation) has tapped into a demand for a forum in which creative work can be easily and informally shown, without having to rent a gallery or chat up a magazine editor. This is a demand that seems to be global - as Pecha Kucha Night, without any pushing, has spread virally to over one hundred and twenty cities across the world. Pecha Kucha Night at Martyrs' is a riotous evening with 350 Pecha Kucha fans engrossed by an ”array of artists, musicians, architects, designers, writers and activists each presenting their work in some depth but at a comically breakneck pace—20 slides, 20 seconds each.”
In August 2002 they became The Who. September was Sly & the Family Stone, followed by CSNY and then The Police. Tributosaurus is not just a band…it is a musical event, a happening. Tributosaurus is the Jurassic beast of multiple musical faces, and every month, the beast morphs into a different rock group. Every set is tweaked with the lineup essential to accurately re-create the recorded material of an amazing array of artists. This mandate draws the finest musicians from Chicagoland and beyond to join the core group to sit in…to sing and play songs they’ve wanted to cover all their lives. For Paul McCartney, they had members of the CSO and 30 people on stage, for Ray Charles they had a full big band, for Paul Simon an ensemble of native South American flutes -- whatever it takes. If there's a song that requires 2 keyboard players, 3 guitarists, a mandolin and a 6 piece horn section -- you can bet they'll have 'em.
The Tributosaurus Core is comprised of 4 of the top musicians in Chicagoland - Chris Neville (Keys/Vox), Curt Morrison (Gtr/Vox), Dan Leali (Drums), and Jon Paul (Basses). These players consider themselves the Civil War re-creationists of rock and roll, as they skillfully learn a brand new set of material every month, note for note.
The shows have developed into a unique scene — hipsters and musicians mingling with fans in the sell-out crowds, enjoying a one-night experience that will never be performed again. For over 50 bands, we have been joined by members of The Rolling Stones, Umphrees McGee, Sonia Dada, Blue Man Group, Mister Blotto, Anita Baker, The Band, Poi Dog Pondering, Local H, The Pat Metheny Group, the Chicago Symphony Orchestra, and the list goes on and on.
A night of drinking, dancing, socializing, networking and non-stop music since 1991. For die hard rockabilly devotees and civilian music fans. Over the last decade, this highly organized vibrant jam session, held the first Thursday of every month at Martyrs', has become rockabilly central for many of the musicians & fans of Chicago's American roots scene. Although the monthly jam is devoted to rockabilly, the Big C Jamboree has also offered the span of '40's-'50's Amereicn roots music from Hillbilly Boogie to Western Swing, Jump Blues and 1st generation Rock-n-Roll. The night is run swiftly and simply: a host band performs a short set, followed by a myriad of roots musicians who do 3 songs each. The party like atmosphere includes socializing, drinking & dancing galore while the rotating line-up onstage usually features the raucous sounds of pompadoured rockabilly musicians wailing away on upright basses and hallow-bodied electric guitars; and there's NEVER a cover! It's one of the most dedicated evenings of music in the city. -Chrissie Dickinson, Chicago Tribune
THE DEL MOROCCOS are a powerful new 8 piece Rock n' Roll band (guitar, bass, drums, piano, tenor/bari sax, and 3 sexy frontwomen) who put out an awesome full-length show of dirty 50's rock, R&B material with girl group vocals. Knock the Ronnettes and Link Wray together, with a blast of 60's garage, a hit of late '50s black rock n' roll, dress 'em up like Johnny Cash, and you get a raucous, mean mix of "'50s garage". The members are veteran Chicago musicians from the surf, ska, rockabilly, jazz and R & B scenes, from bands including: Mighty Blue Kings, Four Charms, Deals Gone Bad, The Stranger, Kevin O'Donnell's Quality 6,Reluctant Aquanauts and Honeybees. The Del Moroccos lead guitar player Boss Shadow, aka Jimmy Sutton, hand picked the line up for this relentless new sound. The Del Moroccos set list features choice selections of obscure, rockin' early independent label songs and wild originals, capturing the sound of the 50's played with the heart of 60's Stax and Motown and the emotion of early punk and mod revival. New on the scene, the Del Moroccos have opened for the Queen of rockabilly, the legendary Wanda Jackson.
Following on from their debut release ‘Don’t Mind If I Should’ in 2004 TURBINE have now augmented their sound with some fine harmony vocals and blistering solos. All the songs come from the band and The Turbine turn up the throttle on ‘Roll On’ & ‘Stand Down’ and explore their Band roots on ‘Cranberry Creek’ with some sublime guitar work from Jeremy. The quality of song writing never drops and towards the end of the record on ‘Seven Years of Bad Luck’ and the title track Turbine shows there is plenty left in the tank. Relix Magazine - "Artists on the Verge": "Their sound is exhilarating, with flurries of melodic guitars and wailing harp propelling complex improvisations" "Spontaneous and genuine music that comes straight from the soul. Hilliard is lightning fast on electric guitar and Rightmire plays harmonica like he's running from the law" Jambands.com: "Their music wails, whispers and directs our thoughts to the deeper mysteries of life" Jambase.com on their 10,000 Lakes Festival Appearance: "A four-piece band from New York that writes in just about every style imaginable" "What’s different and unique is their approach to songwriting, as they songsmith traditional sounds of rock, bluegrass and Americana for a blending that reeks of genius. Turbine is not what you’d immediately expect from the Big Apple but it’s what you’ll now be holding as the standard"
TERRIBLE SPACESHIP: "...And this problematical object came out clear and sharp and bright. And this Thing I saw! How can I describe it? A monstrous tripod, higher than many houses, striding over the young pine trees, and smashing them aside in its career; a walking engine of glittering metal, striding now across the heather..."
ATYPICAL SCIENCE is here! In the words of the great Parliament Funkadelic the mother ship has landed. We've come to rip down the walls and elevate your minds. Comprised of J-typical the doctor and C-typical the maestro, Atypical Science started out as a recording project that spent 2½ years recording and writing “Encyclopedia.” This show is the release party for this record. A deep multi layered soul and dance groove backed by the hard hitting drum stylings of Earl Talbot of Poi Dog Pondering fame, the Atypical Science live show is a heavy hitting dark danceateria that should not be missed.
Upon hearing Claire Stahlecker, the music can evoke feelings you might not remember having. The fluid notes and palm mutes will give you an image of them floating around you and the lyrics will consume your thoughts, giving you an idea of what it's like when someone elses words and thoughts relate to you and yours. Listening to this original artist honing her craft can push her sound to the top of your favorites-list simply because Claire Stahlecker has a passion for sharing her thoughts and dreams while just playing a little tune for those who enjoy what she does.
This Chicago native is establishing herself as a credible singer/songwriter in a male dominated genre and has already shared the stage with Chicago up and comers Chris Bryan and Jessica Sonner, as well as Massachusetts native Mieka Pauley whom Billboard Magazine called "a young Sarah McLachlan". Citing John Mayer as the reason she picked up a guitar and other influences such as India Arie and Lauryn Hill, Claire has created a sound all her own that speaks for itself quite well.
Come check out this authentic talent, maybe you'll be able to say 'I knew her when'...Claire is no doubt going places, so come out and show your support for a musician that's doing big things.
With the release of their second studio album The I's Mind in the fall of 2006, New York City's U-Melt continues its progression of becoming the band it wants to be--a band without boundaries. While creating a cohesive album which perfectly flows from one song to the next, The I's Mind showcases U-Melt's ability to distance themselves from traditional labels, revealing a unique sound by combining intense and captivating compositions with soulful lyrics, virtuosic chops, and infectious dance grooves that will keep your feet moving and your mind floating. In just three summers on the road, U-Melt has already performed at some of the country's premier festivals, including appearances at Gathering of the Vibes, 10,000 Lakes Festival, Summer Camp, Snoe.down Winter Music Festival, as well as a multi-set performance at this year's moe.down. Based on mesmerizing playing and word of mouth, U-Melt has quickly earned a reputation for creating high energy dance parties and epic late-night performances. From an already legendary overnight set at Strangefolk's 9th Annual Garden of Eden Festival (in which no member of the band left the stage for more than 7 hours), to brilliantly covering the Pink Floyd album Wish You Were Here in its entirety during their all night performance at the Stonehenge Music Festival, U-Melt always has something special planned for their fans, and has built a strong following among festival goers. In fact, U-Melts reputation helped them beat out thousands of bands in an on-line Voting Booth contest for their performance slot at this year's 10,000 Lakes Festival, providing the band the opportunity to perform in front of thousands of live music fans in a brand new market. In February of 2006, U-Melt was honored by Jambands.com with their coveted New Groove of the Month award. In his feature on the band, Jambands.com and Relix Magazine writer Mike Greenhaus declares, "Since first linking up in 2003, U-Melt has blossomed into one of the jam-scene's hardest working acts, barnstorming high-profile festivals...and performing upwards of 300 shows in just under three years. Commanding a clear understanding of the jamband blueprint, U-Melt's varied live show is a throwback to the improvisational bands of yore, stocked with zany covers and high energy segues." U-Melts music has also been praised by the likes of Richard Gehr of the Village Voice, Jambase.com, Glide Magazine, State of Mind Music Magazine, KyndMusic.com, Earvolution.com and The Independent, just to name a few. Recently, U-Melt was asked by Relix Magazine and the other Jammys producers to perform a special late-night show at New York City's B.B. Kings Blues Club as part of the Official Jammys After Party, providing U-Melt with a chance to bring their late-night dance party to a room full of hometown fans, Jammys performers, and new faces. U-Melt has had the good fortune of having many incredible musicians join them on stage during their shows, including Al Schnier, Rob Derhak, Chuck Garvey and Vinnie Amico of moe.; Jake Cinninger of Umphrey's McGee; Jon Trafton, Russ Lawton, Erik Glocker, Luke Patchen Montgomery and Don Scott of Strangefolk; Rob Somerville of Deep Banana Blackout; Ed Palermo; Gordon Stone; and members of Perpetual Groove, Brothers Past, Max Creek and The Bridge. U-Melt is Adam Bendy (Bass), Zac Lasher (Keyboards, Synthesizers & Vocals), George Miller (Drums & Vocals), and Rob Salzer (Guitar & Vocals).
Musical worlds colorfully collide in the form of THE STATION. Paired in a music scene long-dominated by excessive, guitar-heavy outfits dropping into 10-minute jam after jam of trading solos, they have been able to discover a newly-formed and rarely traveled crevice in today’s wall of sound. While guitar-rich in essence, The Station has managed to produce a sound void of the same all-too similar, stagnant riffs. Somewhere tastefully aligned between the progressive rock style of Geddy Lee’s Rush, American hard rock, the latter days of John Coltrane and the many fiery incarnations of saxophonist extraordinaire Skerik lie The Station.
Haunting the roads that bridge the worlds of progressive rock, hip hop, electronica and jazz THE THEY (formerly Seeker) has been building their name as a Midwestern favorite since 2004. Thanks to their story oriented anthems, unique vocal harmonies and energetic live performances, this Chicago/QC hybrid continues to evolve and is quickly building its fanbase throughout the United States. With their unique arrangements and chaptered compositions which can only be likened to a graphic novel of sound, their music will capture your imagination as readily as your favorite pair of dancing shoes. With these characteristics in tow the musicians of The They are never content with the predictable! A pleasant dilemma, as fans of this band know one thing with certainty as they walk into a The They show: You NEVER know where the journey will lead…and you can’t wait to find out!
Play Pause Stop, the latest disc by the Benevento/Russo Duo, is as much of an anomaly as the band that created it. Yes, it is a rock album — but there is no guitarist, no bassist, and you can sing along even though there are no words. “The things we wanted to do on the last record we actually achieved on this new one,” says drummer Joe Russo. “We’re more confident in our instrumental rock songwriting than ever before.” The Benevento/Russo Duo formed in 2002 when Russo was offered a Thursday night residency at New York City’s Knitting Factory. The gig paid $100. Simple economics led Russo to conclude that a duo would be twice as nice as a quartet. He enlisted childhood chum Marco Benevento and the two performed as an organ and drum combo for $50 each. With hardly any written material at first, the band made a virtue out of necessity by converting loose sketches into 20-minute improvisations. From the very beginning, the group proved that they could also handle instrumental revisions of Led Zeppelin or Radiohead songs with equal skill and audacity. They were an indie-rock band that jammed. They were a jazz-combo that rocked. Once more and more fans began showing up regularly and more rabidly, the pair slowly realized they had stumbled onto something much bigger — and much more rewarding — than a weekly engagement and a $50 paycheck. “And it all happened by accident,” says Benevento. “We didn’t say, ‘Let’s start an organ and drum duo.’ Our fans kind of turned us into a band.” After self-releasing a pair of albums, the Duo signed a one-year contract with Ropeadope Records in 2005 and dropped Best Reason To Buy The Sun. Generating rave reviews (Paste Magazine rightfully called it “one of the most exciting break-out discs” of the year), the album introduced the group to a rapidly growing national audience. A heavy year of touring followed, during which the Duo played everywhere from sweaty dives and smoky bars to Bonnaroo and SXSW. “We were a road band for sure,” reflects Benevento, adding that the group’s overnight/four-year success has been a “gradual…but kind of quick…process.” In February of 2006, the Duo flew to LA to begin work on the follow-up to Best Reason to Buy the Sun. While that album featured multiple guest appearances, this time the pair wanted to prove that they didn’t need any outside help — “We were happy to have the people that we had on the last record,” says Russo, “but this one we wanted to just be the two of us. We’ve found a way for us to fill things out sonically where we don’t need anybody else.” Far from its initiation, when the Duo was conceptualized for economy, these days the band remains a twosome out of pure artistic desire. “Limiting yourself leads to new discovery,” says Benevento. As an example, he offers that the title track of Play Pause Stop was an exercise in stringing chords together from one single note. The restriction resulted in an incredibly creative and entertaining powerhouse of a song. Much like the idea of the Duo itself. Russo began to program some of Benevento’s parts into his drum pads, and Benevento learned how to play foot bass. Time on the road, both on and off stage, has led to a group intuition and collective consciousness. Now that they know how to seamlessly complement each other and custom compose for the Duo, Russo remarks that their unique format has been far more liberating than limiting. “That’s my favorite thing about this,” he says. “I don’t feel like there’s a melodic or a rhythmic leader — Marco can bang out these rhythms, and we can go back and forth melodically.” Play Pause Stop is the culmination of all these newly mastered techniques. Whereas the band once relied on improvisation as it worked through the mechanics of being two musicians emulating more, the band is now focused on its songwriting craft and composing concise rock instrumentals. “The new album is grittier than the previous one,” says Benevento. “I went to Berklee College of Music and I was way into jazz, so I wanted to get my chops together,” he says of the band’s jazz odyssey beginnings. “But my roots are in rock and it’s really challenging to write a rock song in a duo setting. That’s what we’re into right now.” On the album, Benevento employs a wide array of instruments (including Mellotrons, a Wurlitzer, and circuit-benders) while Russo occasionally trades his drums for a guitar. Contextually, too, the album feels like a rock album, with meaningful songs despite the fact that there are no lyrics. “When I write songs,” says Russo, “it’s usually through love or heartbreak, just like everybody else.” Two songs on the disc (“Memphis” and “Powder”) are about breaking up with his girlfriend, while two others (“Soba” and “Something For Rockets”) were inspired by recent tourmates Something For Rockets. The title track (named because the symbols for “Play, Pause, Stop” resemble the word “DUO”) opens with percussive slaps before Benevento starts laying down the melodic groundwork for what, a minute later, becomes nothing less than a rock anthem. But just when the song reaches an apex, it purposefully disintegrates into a quagmire of knob-turning and electronic goo, before slamming back into it full force. “Best Reason to Buy the Sun,” titled after the band’s previous album, presents a more concise composition without sacrificing any of the classic Benevento/Russo characteristics — boom-boom drums, organic riffs, transcendent hooks. Play Pause Stop was co-produced by drum notable Matt Chamberlain (David Bowie, Shakira) and Grammy-winning engineer Tom Biller (Kanye West, Fiona Apple). The disc will drop July 11 on the band’s own Butter Problems label, distributed by Sony/BMG. The Duo will follow premium festival slots (including Lollapalooza and Austin City Limits) and summer amphitheater appearances with a lengthy cross-country trek that will close out 2006. “Emotionally, it feels really good right now,” says Russo. “If the Duo were to ever end, I’d be crushed to not have this sound happen. Other bands are great, but I can’t imagine not going out and doing this. I can’t do it with anybody else.” “And it all happened by accident,” laughs Benevento.
EVERTHUS THE DEADBEATS: This is what happens when sunshine-pop gets freaky, or when psych-rock gets a sense of humor. I have no idea what these songs are about, but listening to this big band of five gives me an incredible urge to eat funnel cake, twirl around in big plastic teacups, and water-color on the back of paper plates like there's no tomorrow." OH MY ROCKNESS "Everthus the Deadbeats came into this pop thing with more imagination and sheer ability than the majority of their fellow newbies; they craft songs like a jeweler polishes diamonds and they've made one of the most thoroughly enjoyable debut albums not just of the year, but really, ever. It's ever-listenable, ever-amazing and, well, everthus your musical life will be enhanced by supporting these five crazy kids. This is one rare occurrence you don't want to miss: the arrival of a luminous new pop entity in a world that needs them more than they probably know." Playback STL "Echoes of everyone from the Olivia Tremor Control's homemade tape loop anarchy to Tom Waits' clanking junkyard instrumentation to 10cc's quirky but slick prog pop can be found on these 15 varied tunes." Billboard.com "Both Bannister and Sanders coat the music with guitars that can be gritty like the Beatles at their most intense on “Abbey Road” or atmospheric like the Electric Light Orchestra. John Kill and the Microscopic Lullaby is an album you want to listen to over and over. It’s an album full of mysteries you want to solve, an album full of pain you want to remedy, an album with enough sweetness to revel in. NUVO
Curt Morrison and Chris Neville (from Tributosaurus) will be here with a new project. Shamus is an all Grateful Dead cover band featuring some of the best musicians in Chicago. They'll play the rock&roll, the country , the funky, the bluesy, the spacey and also a mini acoustic set. So if you like Tributosaurus AND the Grateful Dead this is as close as Tributosaurus will come to doing a Dead show.
“I’m just tired of being a foreigner,” says Federico Aubele who has been living away from his native Argentina (in Berlin & Barcelona) and touring the world for 5 years, “I need to go back home to Buenos Aires.” Despite some of the remaining effects from Argentina’s economic and political crisis in 2001, Aubele loves Buenos Aires. “It’s like going out with a crazy, but incredibly beautiful, charming and seductive woman. She might drive you insane at times, but when you take a step back and look at her, you’re reminded how much you love her and why.” At the tender age of eleven, a friend convinced Federico Aubele to be a couple of Beatles and start playing guitar-- “You’ll be George, I’ll be John,” he said. His friend eventually became interested in literature, but for Aubele it was too late--he was infected by the music bug. From there he delved into music in all its forms and became an avid vinyl junkie. A few months here as a Kinks fan, a couple of weeks there as a Ramones fan, many more months listening to Mozart—followed by Wes Montgomery, Jimmy Smith, Vinicius and Tom Jobim all became an important part of his record collection. In time he discovered the avant garde Argentinian tango composer and bandoneonist Astor Piazzolla. “Piazzolla was the first Argentinian artist that I connected with,” says Aubele, “prior to him, I listened mainly to foreign artists. Piazzolla sounded like Argentina and, more specifically, Buenos Aires. It’s like Sinatra and New York, Piazzolla and Buenos Aires, it’s the perfect soundtrack for the city.” After playing guitar, composing and arranging for several pop bands, and DJ-ing a wide range of music styles in scores of clubs and lounges in Buenos Aires, Aubele began working on a solo project. Based on sampled beats and sounds taken from his many records, he laid down plenty of tracks, which were usually lead by a hypnotic guitar line. “At the beginning I didn’t have any other instruments besides my guitars,” Aubele explains. “So I would just take everything from my records, transform it, manipulate it, and then add the guitar. The guitar is, and always was, my main instrument. We understand each other very well. It is hard for me to imagine myself doing a track without it. I’ve tried, but I always end up adding the guitar. I like an organic sound, so I just play and record everything myself--from the bass, the shakers and the keys, to synth sounds, etc. Today, I still don’t have a MIDI interface, I just don’t see what I could use it for.” The addition of vocals—intially as samples, then live female singers (friends from Buenos Aires)--led to the composition of proper songwritten material brought together with his arsenal of existing instrumental tracks. Then Aubele did what any aspiring muscian would do. “I had the Thievery Corporation single of ‘Focus On Sight’ so I got the website info from the back of the sleeve, logged onto the ESL Music website and emailed them asking where to send demos.” The first of these demos got the immediate attention ESL Music label heads Rob Garza and Eric Hilton of Thievery Corporation. “I got a very detailed email from Eric, with a couple suggestions and he asked that I send him some more music,” says Aubele. The subsequent demo’s were equally impressive and Aubele signed to ESL Music and Thievery Corporation agreed to produce his debut album. The resulting body of work, Gran Hotel Buenos Aires is a sound collage of latin guitar, tango flair and dub-influenced tracks with Spanish lyrics sung beautifully by chanteuses Gabi and Sumaia. Aubele’s longings for Buenos Aires and South America as a whole, set the tone for his latest album, “Panamericana,” released by ESL Music in September 2007. “I wanted to make an album influenced by the idea of The Americas,” says Aubele. He notes that although each country has its own, sometimes brutal, history, The Americas possess a unique concoction of people: indigenous populations, former slaves, and constant waves of immigrants from every part of the world. “I find the cultural clashes, mixes and blends that have occurred over time exciting, fresh, and very young when you compare it with Europe or Asia.” The Pan-American Highway, Via PanAmericana in Spanish, is a network of roads that stretches from Fairbanks, Alaska to Cape Horn, Argentina, nearly the length of both North & South America. “I think that being a foreigner in Europe made me start looking at the Americas a lot more closely, distance can do that,” muses Aubele, “when I thought about it, all of my musical influences originate from American countries, be it dub/reggae from Jamaica, Mexican bolero, Argentine tango, or old school US hip-hop. So the idea and the actuality of a road that links these disparate places and cultures together became a very strong influence on the album. Since the Panamericana was officially commissioned in Buenos Aires,” he continues, “it became the perfect metaphor.” On the 13 tracked “Panamericana,” one hears guitars, the bandoneon, and horns that play out Latin rhythms. There are tango influences, a touch of bolero, reggae/dub bass lines, hip-hop beats, and electronic sounds. Vocals, all in Spanish, float in a smooth and sensual way over congas, drums and heavy bass beats. Aubele, who wrote all songs and lyrics—with the exception of “Lluvia,” lyrics written by Gonzal Garces—sings solos and duets on 6 of the tracks. A variety of South American artists are featured throughout “Panamericana,” such as singer/songwriter Amparo Sanchez of Amparanoia, the Columbian singer Vernie Varela, and Natalia Clavier, one of Aubele’s live show singers. Among other groups who collaborated on “Panamericana” are Calexico (trumpets and wah guitars), and the legendary Argentinean Latin ska band Los Fabulosos Cadillacs (horn section). Eric Hilton of Thievery Corporation produced the album from the ESL Music Consulate in Washington, DC. “Panamericana is more of a songwriter’s album,” says Aubele, when comparing it to his first release “Gran Hotel Buenos Aires” (ESL Music, 2004). “Although aspects of the sound are similar, the songwriting on ‘Panamericana’ is more solid, and immediate.” Through it all, “Panamericana” is about memories and a longing for more familiar confines. Aubele says, “Life takes a different shape when you are living abroad. Your relationship becomes your country, your memories weigh on you in different and unpredictable ways, you long for moments that are frozen in time and can’t be recaptured, it’s all very strange. Then when your relationship ends you realize, ‘What am I doing here?’ I just want to go back home.”
Native Argentinean NATALIA CLAVIER has lived a lifetime of music. “Music just comes to me. Music always finds me. I’ve never had to look far for inspiration” she says of her passion. Born and raised in Buenos Aires, Natalia was exposed by her mother at an early age to a constant stream of music ranging from classical, Argentinean folk, Bob Dylan, Joan Baez, singer-songwriters from Spain, to soul music from North America. She began singing in school choirs at the age of three, and at eleven was performing as a soloist for a state sponsored kids music and theater show to packed houses at Teatro de Las Provincias Argentinas , one of the largest concert halls in the city. As a teen in drama school studying to be an actress, Natalia would mimic her favorite pop stars in private. Later she discovered jazz great Sarah Vaughn and had a new musical hero to admire and a new direction to follow. After a short time acting with local troupes and companies, Natalia met a variety of musicians and joined an ethnic/electronic/acoustic outfit called “Cosmic Ja-Ja.” After some time performing live in Argentina she moved to greener pastures in Barcelona. In Barcelona Natalia immediately hit the jazz circuit and launched herself into the electronic music scene contributing vocals to house and techno singles and even singing live at raves in front of thousands. Quickly establishing herself in the local scene she was introduced to a young guitarist and ex-pat from Argentina named Federico Aubele (who had already released his debut album Gran Hotel Buenos Aires on ESL Music). The two became fast friends and Federico asked her to tour with him and eventually, to sing on his new album Panamericana. While touring across the globe with Federico, Natalia was once again exposed to new and inspiring sounds including those of songstress Lhasa de Sela. Having always sung in languages other than Spanish, Natalia felt a new and irresistible calling to express herself in her native tongue. With Federico’s help and support, Natalia composed and recorded an impressive 10 track demo. When she returned with Federico to ESL Music studios in Washington DC to record vocals for his sophomore album Panamericana her demo came into the hands of Eric Hilton of Thievery Corporation. He was immediately taken by her singing talent and within the month Natalia Clavier became ESL Music’s newest solo artist, and first female artist. “My songwriting is honest and simple. I don’t want to write complex poetry or crazy intellectual stuff. I write about simple human things. Ordinary days, life, love. Any theme can be a song. Songs are in the air and I just pluck them out. Sometimes I’ll get the melody first and sometimes the lyrics. Most times it comes to me all at once” says Natalia of her song writing process. Armed with this light hearted humility and an angelic voice, Natalia is already in the process of recording her debut album with Eric Hilton at the controls. Her full length debut, titled Nectar, will see release in early 2008 and will undoubtedly be a unique addition to the diverse ESL Music catalogue.
Deanna Devore is a multi-instrumentalist/songwriter/singer/arranger from Toronto, Ontario, Canada. Her rich sound incorporates acoustic, electronic, orchestral and Brazilian/jazz elements. Deanna has recently completed and co-produced a professional recording of 7 of her original songs with Chicago producer/engineer Bjorn Thorsrud (Smashing Pumpkins, Dandy Warhols, Billy Corgan) at Steve Albini's studio, Electrical Audio in Chicago. She plays all the instruments with the exception of drums which are played by Matt Walker (Filter, Smashing Pumpkins, Garbage), and Ed Breckenfeld (Modern Drummer Magazine) with additional programming by Brian Liesegang (Nine Inch Nails, Filter, Billy Corgan). She has been performing live as a solo artist and will be accompanied by her band in the coming months. Deanna has recently received the honour of being named a finalist in the prestigious international songwriting contest, Song of the Year.
With the release of his sophomore effort, “The Sum of my Habits,” Chris Bryan has further proven himself to be a major force among singer/songwriters. Delicately balancing between jazz, pop, and blues, Bryan has blended a variety of musical genres and created a truly unique sound. I feel like I’m done trying to prove to the world that I can write clever lines with quick rhyme schemes. Music isn’t supposed to be a puzzle, it’s supposed to express the truth about my place in the world and how I feel about that particular place. Now, I’m not saying that I don’t try to write anything with wit, or that rhyme schemes aren’t important, because I do and they are, but the reason I’m so pleased with “The Sum of my Habits,” is that the material is more earnest, straightforward, and heartfelt. These songs are a true expression of my habits – the way I interact with my life emotionally, mentally, and spiritually.” “The title of the album is actually borrowed from Aristotle,” Bryan reveals. “In some of my reading I came across an Aristotelian statement which argued that a man’s character is simply ‘the sum of his habits.’ I like that. Someone can talk the day away about who they want to be and what their future holds, but in actuality, we’re just the sum of our habits. I wanted to address this issue head-on with the new album. I wanted each song to be an insight into my character – my thoughts, my dreams, my fears, and consequently, my habits." The album is packed with emotionally charged material, from “Seasons” – a quiet prayer for change, to “Thousand Times Goodbye” – a painfully honest description of the difficulties in letting go of a relationship. The result is an incredibly revealing and personal collection of songs that show a well developed talent for imagery and metaphor, as well as a performer’s charm. With the strength of this new album and the nationwide recognition Chris Bryan is gaining, it seems inevitable that people will be more than satisfied in making “The Sum of my Habits” one of their favorite listening habits.
TREVOR MEANOR: “The next guitar legend on the verge of greatness.”—GROUPEEZ MAGAZINE “Extraordinary guitar work and voice that belies his age...on the cusp of something big.”—THE GRAND RAPIDS PRESS It takes some people their whole lives to decide what they want to do. Trevor Menear figured it out by the time he was two. That’s how old he was when his parents gave him a drum kit. He loved his little set, but found himself gravitating toward his father’s guitars. “I would pick them up and fool around, bend the strings,” Menear recalls. Twenty-one years later, the Chicago-based guitar slinger hasn’t looked back. On his self-titled debut, he conjures up images of his musical heroes Jimi Hendrix and Duane Allman, while creating his own accessible blues pop hybrid. His expressive voice is bolstered by his plangent, nuanced guitar work that belies his young age. France’s CROSSroads magazine declares, “his playing is on par with Stevie Ray Vaughan and Jonny Lang.” While his Shangri-La Music debut will be most people’s first exposure to Menear, many have already discovered him through his participation on Warner Bros. Records’ “Instant Karma: The Amnesty International Campaign to Save Darfur,” where he sits in the company of such giants as Green Day and U2. His cover of John Lennon’s “John Sinclair” was one of six exclusive bonus tracks selected for the American Express edition of the CD.
Started from a 4-track tape recorder in the corner of studio apartment, Aryk Crowder began laying the groundwork for what would later become lo/fi pioneer.
Drawing influences from R&B greats Marvin Gaye and Stevie Wonder, Crowder set out to cultivate a refreshing sound, free of electronics and true to soul – pioneering organic blends of pop and funk through lo fidelity means.
LO/FI PIONEER’s sound became complete with the introduction of A'drian Morris and Will Nickson, rounding out the trio on bass and drums, respectively. Shortly thereafter, the group hit the studio and recorded their inaugural 3-track demo. The music, impressive enough to book the group at landmark venues in their hometown of Chicago, including the Double Door, Wise Fools Pub and Elbo Room, remains true to the visions created in that original 200sq. foot apartment. With nods to legendary artists Sly & the Family Stone, Prince, James Brown, Al Green and Bill Withers, the sets are balanced with crowd pleasers and uplifting originals. With more than a handful of live shows under their belts, lo/fi pioneer is quickly turning little ripples into waves as they support their first 8-song EP.
"Both inspirational and entertaining; local Chicago band HONEST ENGINES’s six song album is a sweet reminder of how music is supposed to make you feel... It is refreshing to hear an unsigned local Chicago band have as crisp of a recording as Honest Engines do. Honest Engines should stand as an example for aspiring local musicians, no matter what city they reside in." -Liz Catalano Second Wave Music
EVA is a Chicago based rock outfit blending different production styles, a flirtation with electronics and psychedelic atmospheres. The band began through their unwavering adherence to and reinvention of the classic guitar pop approach of vintage acts like Big Star, Pink Floyd and David Bowie, but at the same time adopting the dissonance and free form melodies of bands like Sonic Youth, Dinosaur Jr, My Bloody Valentine and Pavement. Combined with their admiration for glitch and laptop electronica, EVA seemlessly blends these genres into songs of lilting, ethereal music and crushing discordance. EVA is Alex Dzamtovski (Vocals), Jason Militante (Guitar), Justin Schmidt (Bass) and Mike DeLeurere (Drums). They recently released their debut full-length album (Race for Space) and are now touring in support of the new record. "Honest Engines prides itself in lyrical juxtaposition and poetic imagery that likely looks as beautiful on drafts of scrap paper as it sounds when sung in each other's company. Mulcahy writes a lot - and it shows" -Lisa Balde/Entertainment Editor Daily Herald Honest Engines is an indie rock band that was born of a unified desire to fuse musical influences and experiment with the timbre of simple pop music. The group’s inception can be marked when Ben and Steve rekindled a musical friendship and began laying down pop tracks on record, playing them for friends and relatives. A warm response and dedicated following catalyzed a mutual enthusiasm for forging onward. Thus, Ben and Steve set out to bravely embark on the journey of forming a full band. Things began to truly coalesce when Matt joined in on drum kit, bringing with him a strong and experimental backbeat that quickly shifted the band’s collective focus. Evan came aboard next to provide additional melodic assistance and background vocals. Marcus, the final and youngest addition, joined up to seal the quintet. Marcus provides electric guitars as well as strange, experimental noises that no one can quite explain. “Where do these noises come from?” The band often wonders. The end result has been compared favorably to Wilco, Death Cab for Cutie, Built to Spill and The Shins. The group recently finished a six song EP, "Don't Talk of California", which is now available.
Nate awoke to the sound of wind whistling through the wire-meshed screen. Conditions were prime to fly, thought his kite as it pulled him out of bed. Class could wait another day. Nate & His Kite is a five-piece ensemble from the Midwest. Forged from industry and farmland, Nate & His Kite's styling of synthetic and organic sounds results in a blend of music that has no boundaries. Comparable to the free-spirited nature of Nate and his beloved kite, the quintet is adamant about not adhering to one subdivision of pop culture. Rather than drawing lines between musical genres, Nate & His Kite tends to blur them.
DOCTOR, THIS VIRUS IS SILENCE has been aptly described as "a frantic assault that will trigger a fight-or-flight response from the listener." Their music is a series of trials and explorations that take rise to unforeseen heights and fall upon a brooding dark territory which is a trademark of their songwriting. DTVIS makes music that is progressive in nature rather than relying on the tried-andtrue prepackaged melodies and mindless repetition to numb the audience. With a style of rock that may be disconcerting to those whose audio diet is provided solely by faceless corporations, DTVIS will continue to destroy themselves to create songs that will resonate in your memory.
Cassidy is the former lead singer, main songwriter, and driving force for the all female rock quintet, Antigone Rising. Known for their grass roots indie ethic and non-stop touring schedule, AR released 4 independent albums between 2000 and 2003. In 2004, then president of Lava/Atlantic Records, Jason Flom (Matchbox Twenty, Jewel, Kid Rock) heard a song Cassidy had written 4 years earlier called “Better”. Based on this discovery, he attended a single AR show in Hoboken NJ, after which he immediately entered the dressing room and offered the road warriors a major label record deal. The investment paid off. Cassidy has written songs with such legendary and Grammy winning songwriters as Rob Thomas (Matchbox Twenty, Santana), Annie Roboff and Beth Nielson Chapman (Faith Hill), Darrell Scott (Dixie Chicks). She has been invited multiple times by the NFL to sing the national anthem at NY Giants Stadium and the Philadelphia Eagles Veterans Stadium. The upcoming film titled “The Skeptic” (slated for 2009 release) presents Cassidy in her acting debut. In addition she was commissioned by the director to write, produce, and perform the only song in this full-length feature. She is currently managed by Stephen Weintraub of W Management (Sheryl Crow, Citizen Cope, Matt White) and is represented by world class booking agency William Morris for both music and acting. Her latest passion is teaching songwriting, poetry, singing, and stage performance both privately and most recently at Celia Cruz Performance High School in the Bronx, and The #1 Elementary School in Scotch Plains N.J.
MATT BECK: Being an accomplished keyboard and guitarist, Matt also plays the Mandolin, B3, Banjo, Lap Steele, Dobro, Bass, Casaquinho and Melodica. He has played with Lisa Loeb and Nine Stories, Dweezil Zappa, Peter Stuart, Ejectrode, the Push Stars, James Katz, Tracy Bonham, Red Letter, Antigone Rising, Ari Hest, Cantinero, Ina May Wool and in 2003 toured with the boys of Matchbox Twenty where he was dubbed "the newest member of the traveling circus." This vocalist and self proclaimed "sound junky" admits to struggles with the writing of lyrics. However he has described his song writing as a rock, pop, songwritery or folk type of music. Raised on classical music he sites not only Mozart as his favorite composer, but also the impressionist DeBussy and Chopin. Under the influence of the Beatles and jazz he notes Led Zeppelin, XTC, Tom Petty and Jellyfish as a few of his favorites. While performing with Matchbox Twenty he was able to play Madison Square Garden, a place where he says he used to watch Rush, Yes & AC/DC perform. Playing MSG was a dream come true for this native New Yorker. Not only an incredibly sweet and humble man I believe Matt to be a kid at heart. During the Matchbox Twenty tour I caught up to him riding his scooter to a safe distance where he could eat a handful of Tootsie Rolls he had recently snagged. He would love to one day take the stage with Paul McCartney, XTC, Fiona Apple and Aimee Mann. In my opinion hes headed in the right direction. The opportunities for Matt are endless. He auditioned to play with Five for Fighting however being asked to play with both Rob Thomas and Paul Doucette on their solo projects kept him pretty busy. He helped on the track Movie Stars with Kyle Cook whom is producing the band Virgin Millionaires. In July 2006 Matt was on tour with Rob Thomas as not only the keyboard and guitarist, but as the Band Director!! Im sure if a 3 years ago you had told Matt he would have his own fan following he may not have believed you. Even now we continue to wow him with all the fan appreciation. Never one to disappoint a fan he takes the time to talk with us, both in person and via email. At shows he makes himself available for autographs and pictures. He will also take the time to just "chat" with us fans after a show. He spent a long and entertaining, full of computer problems, almost 3 hours chatting with us fans. Something not too many artists still have the time to do. Lucky for us he was not deterred and came back to participate in two other chats. If you have the chance to meet Matt while he is on tour, take it you wont be sorry! You will walk away from the experience a fan of Mr. Beck, I guarantee it!
LOVERS IN ARMS (LIA) was formed by Caroline Yohanan(lead vocal) and Armando Perez(vocal/production)in early 2006 to create an inspired emotional album of down-tempo and dance tracks. Receiving acclaim and positive reviews from the local underground scene and the Chicago Sun-Times, the couple independently released their debut disc "Belmont Electric" in local music shops and over the Internet providing digital distribution for national and international support. Writing and recording as a duo led to the experimental and progressive formation of a five-piece live band including Ryan Schoen(bass), Dan Lieber(drums), and Juan Lugo(percussion). The music can be identified by its funky soulful rock, jazzy beats, and soaring vocal melodies and harmonies. Their new record "Strength For The Weary" embraces the live band's performance approach, showcasing their ability to write poignant love songs, as well as upbeat party tracks. Songs such as "Love Me Still" and the new single "Oh My Brother" demonstrate the strengths of this Chicago based trip-hop rock band.
ANNE HARRIS and her band are excited to celebrate the release of her new studio record, "Gravity and Faith." The singer/songwriter, fiddle player, and indie recording artist is known for her passionate and captivating performances, evocative songs and her versatile, powerhouse band. Her strongest, most compelling work to date, at times Gravity and Faith is achingly lovely, at other times quite unexpected. Her voice exudes a revealing honesty, clarity and deep-rooted strength, while her fiddle playing and string arrangements have never been more emotionally engaging. "Anne Harris' songs frequently sound born of a spiritual awakening." (Chicago Tribune) "Filled with vibrant life, a single listen sends you out into the world feeling empowered and alive." (Chicago Innerview)
With the national release of the Tennessee Before Daylight album under their belt and years of consistent national touring and collective song writing, OUTFORMATION entered the recording studio in early 2007 to record their second album, Traveler's Rest. For Outformation, recording Traveler's Rest was a collective song writing process among band members and other musical influences. The title track, "Traveler's Rest" was a large collaboration between Widespread Panic and Outformation. In addition, Mickey Raphael, from Willie Nelson's Family Band, plays harmonica on the track "Winds". "We're really excited to have him on the album, his tone is unbelievable" said Sam Holt. The album is composed of an array of songs old and new. For instance, the song "Anymore" had never been played live at the time of the album recording, "Carnac" had only been played once, and "Toy's Song" had been around since the start of the band. Outformation has appeared at Bonnaroo, SXSW, Hi Sierra Music Festival, Magnoliafest, and Wakarusa. In , 2007 following the release of Traveler's Rest, Outformation opened for Widespread Panic, Shooter Jennings, and Umphrey's McGee. These days Outformation finds themselves more mature and focused on their music. With a growing national fan base and consistent touring schedule, Outformation is ready to explore a new and exciting musical territory, which they find in Traveler's Rest.
STRANGE ARRANGEMENT, a Chicago based Quartet, is a band combining a wide array of musical styles, from jazz to rock; raggae and funk to bluegrass; as well as Afro-Cuban and West African Music. Their high energy performances bring a fresh sound to the stage and always draw people in to experience something different. They have been reaching new audiences across the Midwest, playing venues in Illinois, Wisconsin, and Michigan. In January 2008, they released their debut record, Side by Side, which combines their unique musical landscapes into tightly knit, well-crafted songs that somehow go from Folky/Indy to Progressive Funk Fusion, meeting in the middle somewhere to create a new path.
For those of you who grew up in Ireland, Thin Lizzy led by Phil Lynott, were the greatest rock band of all time. For everyone else they were the band that made the summer of '76 memorable with their radio hits "Jailbreak" & "Boys are Back In Town". Although many may think of Thin Lizzy as a hard rock band, Critic John Dugan writes that "As the band's creative force, Lynott was a more insightful and intelligent writer than many of his ilk, preferring slice-of-life working class dramas of love and hate influenced by Bob Dylan, Van Morrison, and virtually all of the Irish Literary tradition. Van Morrison was a major influence, as well as American groups Little Feat, Bob Seger and Bruce Springsteen. Their music covered much territory including hints of country and traditional folk music." Though others had earlier used similar techniques, Thin Lizzy is widely recognised as one of the first rock bands to employ double lead guitar harmony (the twin guitar clash) - a technique pioneered by Wishbone Ash in the U.K., whilst independently in theUSA by Lynyrd Skynyrd & The Allman Brothers Band. This style was later refined and popularised by bands of the emerging New Wave of British Heavy Metal, Judas Priest & Iron Maiden especially. The latter group in particular has praised Thin Lizzy extensively and even covered the song "Massacre" from Lizzy's popular Live & Dangerous album. Come celebrate Ireland's greatest rock band & their leader, Phillip Lynott. Tin Lynott digs deep into the catalogue playing tunes from every record from the band's 1971 debut to Phil's solo pop releases of the '80's. Hear why " IN PHIL WE TRUST"
Reattachment is the newest Compositional Rock album from Chicago based singer-songwriter, composer, and guitarist DAN WALLACE. Over the course of 14 songs, Wallace applies his always colorful lyricism and sophisticated musicality to themes of loss, nostalgia, fantasy, and ...decapitation. “Music for fans of the unexpected” is his record label’s mantra, and, as usual, Wallace delivers on that promise with this new album. He also plays some wicked guitar solos. Long-time band member George Lawler brings his energetic drumming to the more rockin’ songs that comprise roughly half the album, while the other half is mostly made up of intimately recorded acoustic numbers featuring classical and steel string guitars. Wallace explains, “I wanted to put out an album that uses simple rock instrumentation to get across a wide variety of musical ideas and colors. Whether it be an epic indie pop-rock tune with neo-prog undertones like ‘Invisible Lines’, or a stripped-down acoustic ballad such as ‘Easy Come Easy Go’, I rarely needed to go far beyond guitars, drums and a couple of synths. Although I did play a Pyrex Corningware bowl for the chorus of the closing song.” “Instrumentation aside,” Wallace continues, “this album means a lot to me because it represents the culmination of an eight-year period of reclusive writing and recording following a particularly dark period in my life. I have vivid ideas for future music, but for now I’m just going to enjoy promoting Reattachment. I’ll also need some time to recuperate because making this one took a lot out of me. As with Wallace’s last three albums (including Neon and Gold and Culture of Self), the album art is by award-winning artist Vesna Jovanovic. Inspired by the lyrics and concept of the album’s title track, it portrays a future representation of a four-thousand-year-old amnesiac-decapitation-survivor who's trying to discern the difference between paranoia and intuition.
POST HISTORIC is a young rock band based out of Champaign/Urbana, IL. Their music can be described as folk rock that embraces newer musical directions but still maintains the craft of songwriting as a focal point. Their sound has been compared to rock greats R.E.M. and indie rockers, My Morning Jacket. After two years, Post Historic has just finished recording their debut CD, “Memory Banks of Blue” and has been hitting the road, touring across the midwest. The album evokes nostalgic images of dilapidated cities, open highway landscapes, and burned out beaches, with an often melancholy, yet hopeful lyric. Look for them to be playing shows in and around Champaign this fall. Post Historic is committed to the idea of holding onto the past while looking forward to the future.
Percolating with the nervous energy of the Talking Heads, the stuttering punk-funk of Gang of Four, and the pulsating synths of the Cars, JUPITER ONE injects colorless indie rock with a bracing rhythmic pulse, two-fisted pop hooks, and East Coast swagger. K Ishibashi and Zac Colwell, the founding members of Jupiter One, are no strangers to the rock 'n' roll circus. In fact, that's sort of where they met. "It was like Barnum and Bailey but classier and only one ring," Colwell says, remembering the bus-and-truck outfit he joined for a national tour in 2000. "It was an amazing show with lots of superhuman people." One of them turned out to be another musician – Ishibashi, a young violin player who shared eclectic interests in Indian classical music, jazz, funk and the avant-garde. As Ishibashi now recalls, "Zac was playing every woodwind imaginable (tenor sax, alto, flute, clarinet, sh'nai). We bonded in our love for soul and contemporary music, and that's really how Jupiter One started." After the big top folded, the duo hunkered down in Zac's hometown of Austin before moving to New York in 2003 where Jupiter One would officially form. In New York K re-connected with girlfriend Mocha, a Japanese-born keyboardist and fellow violinist who also joined the group, adding a decidedly female perspective to the mix. Jupiter One further evolved with the arrival of drummer Dave Heilman, who rounds out their sound with the distinctive thump the quartet needed. (Fun fact: After a long courtship and studying violin together at Boston's Berklee College of Music, K and Mocha are now husband and wife.) Today, Jupiter One produce an electrifying, invigorating sound that recalls the pogo-party frenzy of the late '70s-early '80s underground club scene with a contemporary guitar punch that has drawn comparisons to the Killers, Franz Ferdinand, and Bloc Party. Their live shows are marked with a manic intensity, wowing audiences and gaining new fans with their boundless enthusiasm and irresistible charm.
Singer/songwriter Bridget O'Callaghan and guitarist Sam G's collaboration led to the creation of ON WE. On We serves up its infectious brand of Electro Rock with an emphasis on great songwriting and an exciting live show.
Canada's most popular roots rock band, BLUE RODEO became a veritable institution in their home country, although they never quite moved beyond cult status in the U.S. Their sound was a basic blend of country, folk, and rock, but with a definite pop appeal that underlined their devotion to later-period Beatles, in addition to expected touchstones like Gram Parsons, Bob Dylan, and the Band. Consistency was the hallmark of Blue Rodeo's output, both in terms of sound (which followed much the same blueprint throughout their career) and quality (thanks to the songwriting team of vocalists/guitarists Jim Cuddy and Greg Keelor). That, in turn, allowed the band considerable longevity, and they started to earn a whole new audience with the advent of the No Depression movement.
Chicago showcases the best of international music at the 10th annual World Music Festival: Chicago 2008, Friday, September 19 through Thursday, September 25, 2008. The multi-venue festival showcases both traditional and contemporary music from many diverse cultures. The 2008 festival line-up features more than 60 events at 28 venues. Events include a mix of free and ticketed concerts, live radio broadcasts, in-store performances, and more.
"Hungary's hottest export since gulash!" (Funkhaus Europa 103,3) LITTLE COW is a fine mix of joy and melancholy, humour and lyricism. Gypsy-tinged ska/rock/funk pop songs performed by charismatic musicians. Real party music that makes your feet move and keep your mind work. The band in its current form ganged up in 2005, which was also the year of the incredible success of their song Szájbergyerek (Cyber boy). Though the video clip was not brodcast by any commercial channels –for it was said to be too underground - it became quickly wide-known and popular with the mediation of the internet. This has become a real hit breaking all records in the Hungarian music industry including the ringtone-download. What’s more, the clip headed the video chart of the Hungarian VIVA Television for weeks, while the song burst out as a Nr. 1 hit on all the home charts and was chosen as the ‘Song of the year in Hungary’ on the Fonogram Award. Shortly it gained fame even abroad - it was selected for the British ‘Beginner’s Guide to Eastern Europe’ compilation album. Thanks to this success the public interest arouse quickly in Little Cow: the band was invited to different festivals, village days, cultural celebrations, TV shows in Hungary, and they even made it to Paris, where they played to a truly enthusiastic audience. By 2006 they became one of the Hungary‘s most popular bands. Their new album Szerelmes vagyok minden nobe (I’m in love with every lady) was published that year by EMI in Hungary and the international version I’m in Love with Every lady came out on Berlin based label Eastblok Music in February, 2007. Thanks to them, the album is available all across Europe. The release gig in February in Berlin was a real smash-hit: the audience loved them and they were interviewed by important media, did a live session on Radio Multiculti. Soon afterwards their live radio recording gig in Dortmund brought them the review which calls the band “Hungary’s hottest export since gulash“. Their return in to Berlin’s Rodina club was such success nobody would believe. In Hungary the band choose to launch their new album in a surprising way – they created a little theatre show out of their music and toured the country with their production, sponsored by T-Online, Hungary. In 2007 Csintalan became a Platinum Album in Hungary. This year the band has done a successful spring tour in Austira and Germany, has played in Slovakia and the Czech Republic and is invited to the Lowlands Festival in The Netherlands. They are also preparing for their autumn tour in Germany and Austria, going for debut gigs in the UK and the US. Their song “Virágok a réten“ (featuring their gypsy friends Romano Drom) has been selected on the Top of the World album of the Songlines Magazin, UK and the Gypsy grooves album of Putumayo World Records.
CHICHA is the name of a corn-based liquor favored by the Incas in pre-colombian days. Chicha is also the name of a South American music craze which started out in the late 70's in the Peruvian Amazon. Cumbias amazonicas, as they were first called, were loosely inspired by Colombian accordion-driven cumbias but soon incorporated the distinctive sounds of Andean melodies, some Cuban son, and the psychedelic sounds of surf guitars, farfisa organ
