Diverse mix of music styles and influences, ranging from electronic, jazz, classical and world music, to more experimental and unconventional compositions. Acoustic combinations & computer-generated arrangements capturing a wide range of feelings and scenarios. With intricate harmonies, melodic lines, progressive and groovy beats, Ravchuso's music creates an immersive atmosphere that evokes a range of emotions from introspection to excitement. Combining digital dynamics while echoing with folky chromes engages into a soothing captivating, diverse, psychedelic and unique listening experience designed to explore new sounds and styles while enjoying the familiarity of traditional feels.

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It’s not often one encounters an imagination with the depth and prolificacy of Jacob Collier’s. The London-based 28-year-old is dubbed by many as one of the most innovative musicians of his generation. In 2012, Jacob's self-made YouTube videos achieved legendary status in the music world, attracting the praise of such luminaries as Herbie Hancock, David Crosby, Steve Vai, and Quincy Jones, who manages Jacob to this day. Jacob’s debut album, In My Room, crafted entirely in his room at home, went on to win two GRAMMY's. His success has led to musical collaborators and fans including the likes of Coldplay, John Mayer, Ty Dolla $ign, Tori Kelly, Daniel Caesar, SZA, Charlie Puth, Jessie Reyez, T-Pain, and Lizzo (to name a few).   In January of 2018, Jacob began designing and creating a recording project on an unprecedented scale – a quadruple album called DJESSE: 50 songs, divided between four volumes, with each operating within a separate musical universe of sound, style and genre. Scattered across the four volumes are 30+ collaborators from across every facet of the music world. Djesse Volumes 1, 2, & 3 have earned him a GRAMMY each, affirming that Jacob is the first British artist to win a Grammy for each of his first four albums.

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Steve Lukather’s new album Transition on Mascot Records strikes a perfect balance of style, power and imagination as he takes risks and challenges himself in ways most other players can’t even approach.

That’s been standard operating procedure for this high-wire artist of the six-string for nearly four decades, as his career has gone from the studios of Los Angeles to the world’s biggest concert halls to the helm of the multi-platinum selling group Toto and, recently, to ground-breaking tours with Ringo Starr, guitar geniuses Joe Satriani and Steve Vai, and the reunited Toto, who have scheduled a follow-up 35th anniversary tour for 2013.

“I’ve got a lot to be thankful for, and now is a perfect time for me to take stock of that, which is part of what Transition is about,” Lukather says. 

Over the previous decade a series of trials including divorce, the death of his mother and business hassles had dampened his joy in music making — a passion that drove Lukather to excel since seeing the Beatles on the Ed Sullivan as a seven-year-old growing up in San Fernando Valley. But today the guitar guru is happy, healthy and strongly reconnected to his muse, and the lushly expressive Transition, his second Mascot album, finds him at a creative pinnacle.

“I equate recordings to paintings,” he explains, “ and I wanted to make Transition a big, beautiful album with lots of fine details and shadings and colors. That’s what I do and what my favorite albums — Sgt. Pepper’s, Dark Side of the Moon, Electric Ladyland, Goodbye Yellow Brick Road — are all about. So if it’s a sin to make massive sounding records with huge production values, then I’m going to Hell.”

Fat chance, because Transition’s heavenly sonic architecture — erected with the help of such A-list musical friends as Def Leppard’s Phil Collen, superstar bassists Lee Sklar, Nathan East, John Pierce, and Tal Wilkenfeld, live band members Steve Weingart, Renee Jones, and Eric Valentine, along with mega-drummers Gregg Bissonette, Chad Smith of the Red Hot Chili Peppers, Tos Panos, and Lukather’s longtime keyboard foil and co-writer / co-producer C.J. Vanston — actually weaves a tale of redemption. 

“‘Transition’ is a turning point for the album and a turning point for me,” Lukather explains. “As we were writing the songs, I was thinking about everything I’ve seen — all the people I’ve lost in my life, the great and the difficult experiences I’ve had, and how ultimately it was time to get it together and embrace things for what they are, because we’ve only got one life to live and we’ve got to make the most of it.”

Despite the album’s harmonic depth and sonic surprises, Lukather explains that he kept his guitar sound organic. “These days I like it simple and direct,” he says. “I plugged my new Music Man L-3 signature model guitar straight into a Bogner amp and miked it with an SM-57. Any effects were added at the mixing desk. I used a Kemper Profiling Amp for some of the weird sounds, and that was it. Live these days it’s just my guitar and amp and a couple stomp boxes — and I just go for it.”

“I’ve been working really hard on my vocals,” Lukather attests. “For me, these days it’s all about the song and the performance. I’m not interested in being the fastest gun in the West. I want to make beautiful music that means something.”

Lukather, Weingart and Vanston’s closing instrumental rendition of the Charlie Chaplin classic “Smile” has a very deep connection for the guitarist. “That was my mother’s favorite song,” he relates. “We’ve been playing it as an encore live, and it seemed like the perfect way to close the album, too.”

After seven solo albums, Lukather reflects: “I’d like to say this is the best album I’ve ever made, but that’s a cliché. But I do think I’ve realized my goal of moving forward, so let me say that Transition is possibly the best reflection of who I am in 2012.”

His name is a tribute to a distant relative whose nickname was Mademoiselle, but the elegance of this multi-instrumental singer, originally from Montpellier, expresses itself more in his haute- couture groove than in his wardrobe.
After 5 years of playing classical piano, it is in his collection of records mixed on his turntables in his room and at family celebrations that Monsieur discovered the seductive power of pop choruses and dance.
His instant flash on Prince's psychedelic creativity draws this inspired teenager to playing the guitar on which he composes his first songs. At only 17, this young gentleman has enough material to produce an album. At 20, his passion leads him to Paris where he studies sound engineering and can access a recording studio to release his albums, each song
reflects his desire to embrace with ‘classe’ a bunch of styles like soul, funk, 70's rock, the sophisticated harmonies of English pop ...

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