Enter a world of music where catchy dances with brilliance. Where “pop” isn't a four-letter word. In this world a piano is a billboard, a ladder or a stomp box when not played backwards. Drums are meant to be torn apart and played by everyone. Enter the world of Foxfield Four.

Led by the classically trained pianist, David James, Foxfield Four is a pop-rock, piano-driven spectacle in the tradition of Ben Folds and Jerry Lee Lewis, whose energy and prowess on stage reminds their listeners that music can be both technical and inviting; honest and exciting. With his brother, Preston, and fellow Denverites, Wes Barton and Mike Albrecht, James takes the audience on a roller coaster of dynamic melodies, fun-loving harmonies, gripping rhythms and supernatural solos.

Their 2010 album, "Street Performer", released under the moniker, The David James Band, garnered local praise for its catchy melodies and jazz-inspired style. The final track, "Alcohol.edu", earned James the BMI John Lennon Scholarship. Musicians and non-musicians alike can appreciate the band’s ardent approach to writing and inspired live performances.

By 2012, Foxfield Four continues to propel forward, releasing their sophomore EP, "Weatherman", in early 2013. With a guest appearance by American Idol’s Mathenee Treco on its title track, “Weatherman”. Consistent with their determination to throw caution to convention, this four-piece dazzles fans with an up-tempo and mature groove, sprinkled with a healthy dose of James’ acrobatic piano gymnastics - continuing their never-ending quest for "Pop Music Rehabilitation".


More music by me:
https://soundcloud.com/offcutz
https://soundcloud.com/user-27266

Collaborations:
https://soundcloud.com/virtualtrio
https://soundcloud.com/spampipe
https://soundcloud.com/contrailvanishingpoint
https://soundcloud.com/gutgutgut
https://soundcloud.com/user-610880572
https://soundcloud.com/dasmagus
https://soundcloud.com/schpampipe
https://soundcloud.com/spamjam-22155258
https://soundcloud.com/supertonic-sound-club
https://soundcloud.com/virtualtrio2

Interviews: http://www.musosguide.org.uk/component/k2/item/2762-an-interview-with-alan-maguire

https://www.mixcloud.com/LoveRhino/alan-maguire-interview-radio-active-jazz-show-090815/
TV spot! https://www.youtube.com/watch?v=znqqID-GpVw

Janine "Jah9" Cunningham

Old school blues improvisation meets hard hitting lyrical prowess in a rich imaginative blend of vocal clarity and complexity. Janine brings her refreshing mix of contemporary and conscious poetry to the stage and delivers a mature, sophisticated style with a unique and captivating energy all of her own. Her musical influences range from Billie Holiday and Nina Simone to Augustus Pablo and Sizzla Kalonji. 

As a singer/songwriter/activist, Janine touches on issues ranging from social injustice, violence, politics and gender to intimate matters of the heart, mind and spirit. Janine a.k.a. ‘Jah9’ has emerged from the underground poetry/live music scene relatively unknown and has earned the hearts and respect of her peers and audiences with each encounter since. 

Over the past 5 years she has been consistently and impressively making her mark on the Jamaican musical landscape, inspiring audiences and musicians alike through her songs and the live productions she has conceptualized and staged. She is now poised for heavy rotation due to her signature sound and collaborations with ace producers including Donovan Bennett of Corleon Records, Sheldon Bernard and Beres Hammond of Harmony House Music, and on her highly anticipated debut album project with Rory "Stonelove" Gilligan. The album is slated for release on February 26, 2013 but Jah9 is already in demand as a songwriter and creative director of repute. 

'Jazz on Dub’ is the sound she has created - a mix of her two favourite music forms, while infusing all expressions of the arts into her live performances. She intends to take her word sounds to the world, entertaining and inspiring all along the way. This young woman is full to the brim and pouring her heart out.


ANIMUSIC is a very small computer animation production company I started in the mid-90's. We produce music-driven computer animation (on DVDs and Blu-ray, etc.).

Besides directing animation production, I also produce music -- which is often (but not always!) intended to be animated.

These tunes here are early mixes from The Sound of 12, a music CD I put together mostly earlier in 2012. It was the first time I really just sat down to focus on producing music, for some deep personal reasons as well as the enjoyment of the process. Rather than being concerned about things like: Would a given piece would work well in an animation context? was it in this style or that style? Did it sound decades out of date? Would people like it?... Instead I would take to heart what I've been kindly reminded of on numerous occasions: "Remember, Wayne -- this is supposed to be fun". 

So The Sound of 12 is the result. My creative juices got flowing again, and this cathartic endeavor helped me tremendously in getting re-aligned with the artistic side of things -- breaking free of a multi-year geak-out session that embodied the development of our in-house production system, ANIMUSIC|studio.

The Sound of 12 has been metaphorically referred to as "the Soul of ANIMUSIC 3". But, what does that mean? Is it the Soundtrack of ANIMUSIC 3? Nope (at least not by original intent) -- that music will very much be shaped by the animated virtual instruments that play it -- a process that's hard to articulate, as I'm not sure I understand it myself. But it's very different from just freely working on music with no thought of robots, lasers, or bouncing balls, but instead simply focussing on the fun of making stuff come out of the speakers. 

So I thought I'd share some of it with you, hoping you might enjoyed it too. But just like the Soundtrack CD's from ANIMUSIC 1 and 2 had some extras tracks that were never animated (so far anyway), The Sound of 12 is comprised of 12 tracks that may or may not even be animated. It gets weirder. I might even grab arbitrary parts from different pieces and use them in animations by joined them together with some different musical glue. 

Anyway, when we decided to release the piece (Glarpedge) that was most experimental of all of them (given that the rhythm track was largely assembled from sound effects -- pinball machines, drills, car transmission sounds, etc), with little to no explanation of context, that was… a little risky, perhaps.

The reactions? Delightful. You know what I hear in all the feedback -- passion...which is something very important to me. Beats indifference any day of the week. Thank you for taking the time to listen and voice your thoughts!

And for reminding me that the internet is a scarey place. I'm going back to my cave. ;-)

Wayne Lytle (Aug 2012)

TELEFUNKEN Elektroakustik present the following audio recordings for your aural pleasure.


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