In november 2010, steve surprised kristen by pulling her up onstage to perform lady antebellum's international smash hit 'need you now' at a local tavern. the rest as we say is history…
If lady antebellum, evanescence, aaron lewis, and the civil wars joined forces, they might sound a bit like steve & kristen…
They are singer-songwriters bridging the genres of pop, rock, and country - staying contemporary while resurrecting the long-lost power balladry of the 80s and 90s
“We make music because we can't imagine our lives if we didn't. We hope our songs make you feel the emotions we pour into them.”
DePresleys is an international meeting of minds among composer/programmer/sound designer/guitarist Geir Weggersen in Norway; composer/vocalist/lyricist Jon Ravneng, Norwegian in Utah; drummer/associate producer Rick Shlosser (featured on some of the biggest albums and singles of all time, including Van Morrison’s Tupelo Honey and Rod Stewart’s Tonight’s the Night, as well as work with Alice Cooper, James Taylor, and many more) in San Miguel de Allende, Mexico; and producer/engineer Paul D. Carlsen (whose multiplatinum and Grammy-winning experience includes work with Nirvana, Neil Young, John Prine, Genghis Blues, Zap Mama, and many more) in the San Francisco Bay Area. *** Expert multi-woodwind player Richard Hardy (who has played and recorded with Carol King, Stevie Ray Vaughan, Dave Matthews, and George Harrison) in L.A.; and guitarists Torbjörn Andersson (of Roxette and other well-known Swedish acts) in L.A. and Sweden, and Josh Sklair (two-time Grammy-winning producer/guitarist formerly with Etta James), South African in L.A., also regularly lend their extraordinary talents to the band. *** The sounds of depresleys have been placed in European and American films and TV shows (such as A Matter of Justice and Melrose Place), and over the years, the group has cultivated a publishing catalog of over 258 songs for licensing. *** Should it be any surprise that depresleys’ music embodies this meshing of cultures in an unusually cinematic fashion, at once calling up such seemingly polar-opposite types of beauty as Norwegian snowscapes and Southwestern deserts (which Weggersen and Ravneng have traveled extensively)? Or that you can hear the gamut from ambient techno, alternative and modern rock, soul, beat poetry, African to pop styles in their songs, amalgamated by cohesive stories and stark soundscapes?
The Commuters might hail from New York, but their kinetic, personally revealing anthems capture an alt-rock essence that aspires toward worldwide appeal. Their commercial debut (As I Make My Way – EP) was released at the end of August, and is comprised of 4 songs — “As I Make My Way,” “Bombs Away,” “Fallen From Grace,” and “You’ll Stay Right Here” — all from their upcoming album, Rescue, due out in early 2012. Their video for “As I Make My Way” was added to mtvU’s rotation in early October and they have received extensive airplay at college radio stations throughout the US.
Right from the outset of both releases (mastered by White Stripes/Ryan Adams collaborator Fred Kevorkian), The Commuters’ signature attributes are front and center. Lead single, “As I Make My Way,” has it all: an unforgettable hook, huge guitars that ring and echo and a grounded rhythm section that anchors the track’s precise tension. Elsewhere, you can hear traces of Peter Gabriel’s work with Daniel Lanois nudge against the delicate bite of Automatic/Monster-era R.E.M. The latter is particularly evident in the title track’s feedback thrust and circa-Bends Radiohead gets channeled via the poised, melodic moodiness of album standout “Fallen from Grace.” And what ties all this together are the Commuters’ poignant lyrics, which eschew cryptic sermonizing, focusing instead on transparently human experiences and emotions.
Such richness and diversity on an inaugural release is no happenstance. As their name suggests, the Commuters have traveled through a lifetime of musical influences, but it’s their own personal global journeys that have guided the foursome to something universal but prevailingly intimate. Before forming the Commuters in 2010, Canadian-born, Philippines-raised frontman Zeeshan Zaidi (whose parents were born in Pakistan and India) spent many years in the music industry. His early accomplishments included producing and engineering Grammy-nominated artist Ryan Leslie’s first demo, and he subsequently worked in the marketing departments of major labels in New York helping to develop the careers of other versatile artists, including OutKast and Cee Lo Green. During this time, Zaidi was also honing his craft as a singer, songwriter and musician, performing around New York’s open mic circuit. When the time arrived to put his own abilities as a performer front and center, he immediately shared a dozen demos of his songs with childhood friend, New York-based producer and soon-to-be Commuters guitarist Uri Djemal, who was also raised in the Philippines (by parents of Israeli and American descent). The two got to work co-producing the album at Djemal’s Madpan Studios in Manhattan, where he had produced many well-known artists in New York’s indie-rock scene. Says Zaidi: “Uri’s studio was a few blocks from my apartment and he was telling me for years to come work on my songs there. One day — when I knew it was time — I just walked over and we started.”
Soon, they were joined by Djemal’s previous collaborator, French-raised Ben Zwerin on bass and Italian-American upstate New York native Paul Amorese behind the drums, solidifying the current lineup. Zwerin, the son of an American trombonist and rock critic based in Paris, had previously played and toured extensively with many renowned world and jazz musicians. Amorese had been playing professionally since the age of 14, performing in numerous bands throughout New York City and state. The material that would become Rescue had firmly connected with its improbable shepherds.
The band is signed to Zaidi’s New York-based label, Communal Records. Having established themselves at noted hometown venues in Manhattan and Brooklyn, including Arlene’s Grocery, Lit Lounge and Spike Hill, and received blog acclaim in the U.S. and abroad, the Commuters are eager to build their US presence and also extend their experiences outward to an international audience. As Zaidi explains, the already-dynamic tracks on Rescue “sound energetic and alive” on stage. “We love creating songs in the studio but performing them for live audiences is even more exciting,” he continues. “A lot of our online fans in different countries ask when we’re going to play in their hometowns – and we want to make it to all those places.”
And while every band aims to last, the Commuters’ unique combination of its members’ personal histories and creative backgrounds leading up to this moment foreshadows a longer and brighter future than most. “Our hope and our goal is to be around for as long as possible,” says Zaidi. “We want to build this over time — the first album is just the start.”
The Commuters are:
Zeeshan Zaidi – Vocals, Guitar, Piano, Keyboards, Songwriter, Co-Producer Uri Djemal – Guitar, Keyboards, Co-Producer Ben Zwerin – Bass Paul Amorese – Drums
Kane Miller has always been a musician. Starting at a young age with classical training in both violin and piano, he is now releasing his debut album, Dreamtime. With years of experience performing and working in both live and studio environments, Miller decided to bring his own work to life. Drawing on influences like Damien Rice and Sufjan Stevens he uses his instruments and his voice to create a very rich and thoughtful tone. His music ranges from the very calm, collected and creepy of Introduction to a New World to the very upbeat pop themes of The Alien and The Protest.
Miller’s experiences as a classical musician have helped shape his music immensely. From large orchestrations to solo cellos and piano ballads he uses a large variety of instruments to achieve a deep overall sound. His dedication and his passion for his music is immense and it shines through on each song. Kane Miller is truly an emerging force in today’s music industry.
There is a noticeable and distinct difference in styles between each generation of music. The 60’s were all about freedom, love and tolerance. The 80’s bought us electronic cheese with a dash of hair metal while the ‘noughties’ heralded the dance generation. However, much like fashion, there is no longer a definite standard of music. Now more than ever, there is something for everyone. So how will we define our generation of music?
We will be defined by the boundaries we explore, the walls we break down and the beginning of the musical revolution. We will be defined by our individuality, our diversity. But most of all, we will be defined by our ability to adapt to the ever changing seas of flavour, while keeping a sturdy grip on our roots. We will be defined by bands like ‘Howling Dollhouse’.
The Present; ‘Howling Dollhouse’ is a five piece rock outfit who are just about to release their second full length studio album. Produced by David Carr (Antiskeptic, Sadhana) at Rangemaster Studios in South East Melbourne, the bands next offering promises to be one of the best albums released in 2012, and a key ingredient in the definition of this generation’s musical journey. ‘Howling Dollhouse’ are all seasoned performers with musical interests as varied as the songs they create. Yet even in with their assorted tastes, they hold true to their strengths and find ways to push the boundaries of their genre. ‘Howling Dollhouse’ consists of Azazel on the skins, BenJammin’ on the 6-string, Lee on the low 5-strings, Andy on keys and Trick on the vox. Five guys with the passion and the drive necessary to secure a spot in the soundtrack of the twenty-teens. Five guys who are prepared to take on the world, so the world better be God damned ready.
The Past; ‘Howling Dollhouse’ started their journey under the moniker ‘Into the Night’ in March, 2005. In 2007 they released their first 6-track EP titled ‘The Art of Honesty’, which served to classify the bands overall style. However, by the time the band released their first self-titled album in 2009, their sound was significantly different. The addition of Andy on keys opened the band up to a new realm of possibilities and by now the band was starting to feel far more comfortable with their place in the musical world. Mixed by Sylvia Massy (Tool, Red Hot Chili Peppers, R.E.M, Cog) and Rich Veltrop (System of a Down, Tom Petty) at Radiostar Studios in California and mastered at Crystal Mastering in Victoria, their self-titled album was the culmination of years of persistence and an unwavering thirst to release great independent music. The band has spent the past several years playing in top class venues such as ‘The Hi-Fi Bar’, ‘The Gershwin Room’ at the Esplanade, ‘Ruby’s’, ‘The Middle’ and ‘The Evelyn’, while sharing the stage with such high class acts like ‘Ten Thousand’, ‘Dead Letter Circus’, ‘A Sound Mind’ and ‘Thousand Needles in Red’ to name just a few. Yet, even with the enthusiastic response their album received, it was clear the band still needed to temper their song writing and concentrate on making their music more accessible to a wider audience. And in 2011, the band decided that to tie in with their new outlook, new album and unified style, it was time to upgrade the band’s image. After lengthy deliberation the band decided to abandon their long standing title ‘Into the Night’ and adopt the new name ‘Howling Dollhouse’.
The Future; As a band, the members of ‘Howling Dollhouse’ suffer under no illusions that to be successful in this industry takes more than mere musical prowess, and having a watertight business strategy is just as important as the product. They have spent the past many years not only learning about themselves as musicians, but also tuning their marketing and networking skills. They have the product, they have the skills, they have the drive. All of these elements converge to communicate one clear message;
Howling Dollhouse will one day be classed as Australian musical icons, they will be one of the defining bands of this generation. It’s not a matter of ‘if’; it’s simply a matter of ‘when’.
After his 2009 debut, Find Your Way Home, Washington, DC-based singer/songwriter Wendell Kimbrough dedicated 2 years to playing live shows and developing his songcraft. The hard work bore fruit as Kimbrough’s narrative folk/soul/jazz music found a fiercely loyal audience in DC. Those fans demonstrated their enthusiasm for Kimbrough’s music in 2011 when they rallied behind his new album and fully funded it on Kickstarter in just over 48 hours. Thanks to their support, Things That Can't Be Taught, an album of “heartbreaking melody” that “vibrates with intensity” (Aiding & Abetting) released in November 2011. A 20+ city tour from Dallas to Boston marked Kimbrough’s first steps toward expanding an enthusiastic DC following into a national fan base. Along the journey, he has shared the stage with indie artists Elizabeth and the Catapult and Damien Jurado.
The Dusk is an original four-piece indie/alternative/electro rock band based in Cheshire, north-west England. With a tireless and professional work ethic and uncompromising attention to quality production values and performance, The Dusk are already creating a buzz in the north-west music scene. The Dusk have an original, hard-hitting sound. Taking their influences from some of the north-west’s biggest musical movements, The Dusk have molded a sonic landscape that is clearly their own. Songs are laced with samples, ambient synth and expressive acoustic instrumentation. But The Dusk’s music remains heavily guitar-driven, creating a fresh and vibrant sound that moves swiftly yet comfortably on from the current indie and grunge canon. Trance, ambient, electro-pop, power rock, even latin classical; The Dusk mash up their influences with fluent skill. The Dusk are producing catchy yet relevant material for a wide audience. Fresh and contemporary, genre-crossing, yet redolent of the best years of the madchester and brit-pop scenes, The Dusk’s sound is huge and exciting. Their music has been favourably compared to some of the world’s finest bands; from Doves, The Music, Happy Mondays, to Oasis, Muse, Franz Ferdinand, Prodigy, Radiohead, even U2. After debuting in support at Crewe’s renowned The Box venue in February 2011, The Dusk went straight to a headline slot at the influential Manchester music club, The Roadhouse. Currently, north-west promoters are actively pursuing The Dusk for headline slots at major venues and festivals throughout the region.
Robert Len Stallard a.k.a. RLSguitar, performs finger acrobatics and creates sonic intricacies not typically seen or heard on acoustic guitar. His unique sound and style incorporate standard and alternate (open) tunings along with fingerstyle techniques such as two-hand tapping, harmonics and a few of his own derivations. His instrumental music is a progressive fusion of rock, folk, blues, jazz, new age, world music, among other influences.
He calls it "alpha music" since he seeks to stimulate your alpha brainwaves, transporting you to a dreamy, meditative state. It is music for soothing the mind, relaxing the body and nurturing the spirit, while contemplating God and Creation.
Being a Catholic, his music expresses Christian values. However, he tries not to preach or force any of his values and beliefs upon others. He just wishes to deliver his instrumental guitar music to those who want to listen and hope it touches them in some positive way.
Full Moon Rising is an International Music Project that integrates Daniel Tyler Pohnke’s thought provoking and infectious style of song writing into collaborations with local musicians to create a full color spectrum of music.
Daniel was inspired to write his first song the day his mother died in July 4th, 2000. Shortly after, the concept of Full Moon Rising was born as a way to express the lessons learned through Daniel’s life experiences. By 2003, Full Moon Rising quickly excelled in the Los Angeles and surrounding areas performing at Internationally Acclaimed venues like The Viper Room, Whisky and House of Blues.
In 2005 Daniel Recorded and Self-Produced the first 2 Albums: compiling more then 20 musicians to create the personally reflective double-disc musical quest entitled “Release,” and the visionary single-band EP entitled “Transition.” Both records were released on April 19th 2005. Immediately following, Daniel embarked on a five and a half month United States Tour creatively entitled “The Chameleon Tour,” building a following of over 10,000 active viewers that followed him via Photo blog as he performed spontaneously at Festivals, frat parties, living rooms, bars and streets, without any advanced bookings.
In 2007, after discovering Yoga, Meditation and the spiritual philosophies of the East, a yearning for a deeper experience in life led him to the Motherland of India. As he traveled the ancient land interacting with the people, music began to come to him in a much different way.
In the winter of 2008, after trekking the Himalayas a vision of an empowered Humanity came to Daniel as he was writing the lyrics of “Brave New World.” From that day forth, a plan was set into action and the invaluable partnership with the Mai Segev was born.
In 2009, they brought the music and message to Mumbai, began working with local musicians and performed at colleges, major clubs and festivals (i.e. Blue Frog, Khala Goda, celebrate Bandra), as well as intertwining with various spiritual paths and facilitating workshops for the “so-called” slum areas (i.e. Dharavi).
The recording of “Brave New World – The Time is NOW!” album began with the intention of collaborating with a different producer and unique set of culturally diverse musicians for each track. These recordings led them to remarkable personal and business interactions throughout India to Israel, Egypt, Germany, USA and back to India.
The unique multi-genre journey “Brave New World – The Time is NOW!” has grown beyond the album into the Brave New World Empowerment Festival and currently, Full Moon Rising is performing in various cities around the world. “So Come On Angels - With Open Eyes - There's A Brave New World - In The Rising Tide - So Make Up Your Mind - And We Better Believe - The We Can Change!” -Brave New World.
Rumour Den began life in 2000 as part of a healing process. Gilmore + Simms had played together in a Heavy Rock band - ABANDON which almost broke through in the early 90's only to fall at the final hurdle. Dispirited + disillusioned the pair didn't think about music for several years, but stayed friends and eventually the guitar came out. An acoustic guitar though not the bright orange Charvel!
Using Simm's acoustic guitar and Gilmore's voice and lyrics, the pair wrote a batch of songs which exorcised their demons and, despite the 'downbeat' nature of the songs, made them fall in love with music again. They did a couple of gigs as a duo in the bars in Belfast and got some great feedback as they were not your typical acoustic performers thanks to Simm's unique style.
Spurred on by this feedback they decided to record the songs in a local studio - originally to be a single or EP. Somewhere along the line the decision was made to form a band and a rhythm section was found. April '01 saw the release of their self-financed single 'Under A Cloud' which received great reviews from all who heard it including legendary Irish music mag -Hot Press.
Further encouraged by the press, the sales of the single and some promising noises from management companies, the band finished recording 10 songs. This would become the album 'Melancholics Anonymous'. Unfortunately by the time the album was completed and ready to be promoted, fate intervened and personal problems beset both Gilmore + Simms to such an extent as they felt they had to take a break briefly, hoping to return soon afterwards to kickstart promotion for the album. But it never happened and once again the pair were left ruing missed opportunities. Poor health hampered Gilmore's attempts to get back into music and Simms found himself working away from NI to make ends meet.
But now Gilmore is in full health and Simms is back home and the pair want to resurrect Rumour Den and do the songs justice in a live context. To this end they have put together a band of quality musicians (Billy Causby + Alan Boyd) and have now started to rehearse with a view to be gigging by the Spring of 2012 as preparation for a 'Night with Rumour Den' show at a top Belfast venue by the Summer…
Band Members:
AJ Gilmore (Vocals) Steve Simms (Guitars) Alan Boyd (Guitars) Billy Causby (Bass) Gerry Lisk (Drums)
