 Multi Award-Winning Musician/ Guitarist/ Composer & Artist. 
Director of Antastic Ltd. 
London based since 1983.

https://www.harpbazaarmusic.com/

Harp Bazaar was born in the minds of Tara Minton (harp&vocals), Duncan Menzies (fiddle) and Filippo Dall’Asta (guitar) in London in late 2015. 
The three musicians met on a session and embarked on a unique musical experiment:
to combine the majestic and delicate sound of the harp with the speed and erratic energy of traditional Gypsy swing.
 
The band has performed at Le QuecumBar, London’s most famous Gypsy jazz venue, held a year-long residency at North London’s favourite music pub - The Boogaloo, toured Italy in July 2016 and performed at the Royal Albert Hall in April 2017… Welcome to the new world of Harp Bazaar, something you’ve never heard before!

Angelos Tsoutsis was born in Florina Greece .He started classical guitar lessons during the academic year 1991 to 1992 , taught by Laertes Koulis and later continued his studies at the Macedonian Conservatory of Thessaloniki , from which he graduated in 2002. Then he worked as a guitar teacher at the conservatory of Florina Municipality during the academic year 2003-2004 and the High School Musical of town Amyntaion during the years 2008-2009 , and small , local music schools , as  school of Aristotle . Alongside his studies in classical guitar  he was also educated in music therapy from ms  D. Psaltopoulou during the years 2005-2008 .From there he took his first degree in the process Bonney Guided Imagery and Music with supervising professors  dr Peter Jampel and dr Barbara Hesser. He did his practical training , with particular success in K.E.K.Y.K.A. WITH A.(Center of Education Social Support and Training for Handicaped people) of Florina. Until the year 2007 has written music for plays, the most important was called  ''Polis''(Η Πόλις) an attempt on performing  Costas Cavafy 's poetry in theatrical form . Director was mr Asteris  Peltekis and the actor was mr Nickolaos Naoumidis . In 2020 , July 1st , he played and got his Guitar Diploma in Florina Conservatory . The professor was Eleni Tsilipakou.

 Angelos Tsoutsis  has begun giving recitals for classical guitar from an early age in various local theaters  of Greek and while older also abroad . He has attended several seminars classical guitar with great teachers such as Hubert Keppel, Gerhard Reichenbach, Nora Buschmann, Carles Trepat, Alekos Vegοs and others .

  He is  very experienced in concerts in small spaces and in various musical genres. His teaching experience ( about 100 pupils in their entirety ) , has demonstrated that pupils of all ages and from childhood to old age , are experiencing extra ordinary transmissibility during the lesson . Trying to reach each learner with separate terms to suit the particular idiosyncrasies of each of them simultaneously but the lessons remain inside the formal matter of the official conservatory books. So it has been shown that students within a relatively very fast timescale are developing the musical perception and can perform entire compositions.

Hailing from Baltimore, MD are the Machines Of Living Death. This quartet creates what they term “cybercore”, a fusion of the grind of industrial and extreme metal with the grooves of drum and bass. Many will compare them with phrases like “Skinny Puppy meets Slayer” or “Fear Factory meets Orgy”, but listening to them unmasks a sound that is much more complex.

By creating new tones, and stretching the limits of current technology, M.O.L.D. (short for Machines Of Living Death) have created a sound that is much more cohesive then the typical attempts to merge metal and electronica, maintaining enough headbanging accuracy, melodic prowess, and bone-crushing stompability to satisfy the most extreme fan from the jaded rivethead to the death and black metal fan.

Live, a M.O.L.D. Show is an immersion into a digital nightmare, complete with projections, sync'd videos, and the kinetic energy of Zombot, V5.0,  Ghost, and Cancer. After relentless playing the East Coast, and as far away as Texas during 2009, M.O.L.D. Is working on there new EP (Re:boot 2011), and subsequent new album (Horrotica).

Yvette Kay, originally from Berkeley, CA, fell in love with the guitar at age 10 and songwriting as a teenager. Much of the 70s were spent learning how to play songs by the Beatles and Neil Young, who she credits as her biggest influences. In 1977 when a couple of her high school friends returned from a trip to London as punk rock converts everything changed. Now, throwing classic rock aside,  Yvette wailed her punk rock ballads out on her 1969 Tele Thinline (which she still has) and penned such songs as "Just Another Punk Rocker Wailing At The Moon" and "Holocaust At Disco City". Gems never to see the light of day. 

Yvette wanted to be in a band and in 1980 she fulfilled her punk-rock dream by joining the San Francisco all-girl group, "Wilma" where she played electric guitar and sang mostly backup except for the self-penned college-radio hit "Life Without Adjectives" (http://soundcloud.com/yvettekay/life-without-adjectives. Wilma was a Bay Area favorite post-punk band and was signed to San Francisco Indy record label, Subterranean Records where they released a 45" single in 1981 and then posthumously a full-length album in 1985. Wilma never toured outside of the Bay Area, but their music is still played on College Radio stations across the country. 

All through the 80s Yvette continued to play in bands honing her singing, songwriting skills and electric guitar playing. Her musical style had become more sophisticated and daring. Now she was influenced by bands like The Pretenders, Simple Minds and Roxy Music. While in bands she played many gigs and opened for quite a few big name acts of the day. During these years she gained a lot of confidence performing as a front person.

In 1990 Yvette's songwriting again reaped the benefits of great mentoring by talented Bay Area producer Bill Cutler who she had worked with a few years earlier. They would spend hours picking through her material and re-working things to get a song just right: re-writing lyrics, vocal phrasing and changing song structures and parts. This effort had a big influence on Yvette's songwriting then and in the future. By now her songs were more in the folk-rock vein and In 1991 Yvette and Bill recorded a demo together in which he hired great session players and recording engineer Gary Mankin. Click here for the link to these songs: http://soundcloud.com/yvettekay/sets/1991-demo-san-francisco 

Beginning in 1992 Yvette, playing solo, strapped on the acoustic guitar and put her harmonica in a rack and played the coffee-house folk circuit for tips. She played with a confident and rhythmic flat picking style, uniquely her own, and her lyrics reflected her deeper and more spiritual side. Matured as a singer/songwriter, in 1995 Yvette recorded this group of songs for the self-released CD, "New Voice New Eyes". Click here for songs from "New Voice New Eyes": http://soundcloud.com/yvettekay/sets/1995-cd-release-new-voice-new-eyes

Eventually life and it's challenges screamed louder than playing music and Yvette decided to go to recording engineering school and get a "real" job. Eight years of working and other distractions passed by and unfortunately her songwriting was mostly left behind. Yvette recently called upon her songwriting muse again, but it's being stubborn. She was able to quickly get her voice and acoustic guitar playing chops back, but her muse is slowly returning, but has not "re-mused" completely to her satisfaction. For other fellow musicians, this detail should be taken as a cautionary note. Don't let your muse die or be taken for granted, it's not easy to bring back. Songwriting needs to be stroked in order to thrive. 

In the meantime, while stoking the fires of her muse, Yvette plays in two bands. In The Big Bossies, an acoustic trio, she plays and sings her own compositions accompanied by cello and accordion. These songs are in the process of being recorded in Yvette's home Pro Tools HD studio, Chez Baboo Productions and will eventually be added to soundcloud.com - stay tuned. 

Yvette also plays bass, which she took up over the last 8 years, in a rock cover tune band that rehearses just for the enjoyment of "rocking out with your cock out". The Belle Amiz play music by Neil Young, The Beatles, The Pretenders, The Kinks, Talking Heads, The Eagles, Bob Dylan, Linda Ronstadt and others. This band has absolutely no intention of playing for anyone other than the neighbors who, luckily, never complain. 

------Thanks for your interest. Enjoy the music and please leave your comments, Yvette

̈LEFUTRAY ̈ comes from Mapudungun (the native
Mapuche language) and means “Fast Sound”.
To date, LEFUTRAY have released 3 studio albums, 2 live
albums, 2 EPs and a DVD, as well as having toured in Brazil,
Argentina and throughout Europe.
LEFUTRAY has taken part in important shows in Chile and

overseas: The Metal Fest (2014), Merquén Rock Temuco, Rie-
dfest (Germany), Aggressive Music (Czech Republic), Blacke-
nedLife (Russia), as well as numerous events in Chile, Brazil,

Argentina, Germany, Poland, the Czech Republic and Russia.
 
 © 2018 Lefutray

Female Folk Rock Duo. Songs of hope, growth and discovery.

Faarjam Saidi is an Iranian musician and producer whose sound blends pop and indie pop with rich Middle Eastern influences. Drawing inspiration from contemporary Iranian poetry, his music is marked by emotional depth, poetic lyricism, and a unique cross-cultural sensibility. Tracks like “Fathe Bagh,” “Sabze Lajani,” and “Amsterdam” showcase his ability to fuse reflective storytelling with memorable melodies.
With releases including Koala (EP, 2017), Sabze Lajani (2022), and Harf Bezan (2024), Faarjam continues to explore themes of identity, longing, and resilience through his distinctive musical lens.

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