"There were three brothers. They lived and grew up in Small Town on the east of the Country. They loved music ever since their early years, so their parents sent them to Music School. Teachers managed not to kill their passion for music. They graduated from renowned music colleges. They used to collaborate with best orchestras and conductors. They travelled around the world and performed in famous concert halls. But one day they got tired. Tired of lack of freedom, of being only tools instead of creators, tired of working with people who didn't even like music. So they decided to quit. They moved to the countryside and started to play music that they had in their hearts. It was a beginning of The Olsten Brothers Band."
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"Było sobie trzech braci. Mieszkali w Małym Miasteczku na wschodzie kraju. Od najmłodszych lat ciągnęło ich do muzyki więc rodzice wozili ich do szkoły muzycznej do oddalonego o wiele kilometrów Dużego Miasta. Nauczycielom udało się nie zabić w nich pasji do muzykowania. Odebrali gruntowne wykształcenie, pokończyli prestiżowe studia muzyczne. Przez długi czas związani byli ze światem muzyki poważnej. Jako kameraliści i symfonicy koncertowali w najlepszych salach Europy i Azji. Występowali z czołowymi orkiestrami, pod batutą wybitnych dyrygentów. Lecz przyszedł moment refleksji. Mieli dość odtwarzania, nie chcieli być niewolnikami nut i cudzych wizji. Zmęczeni dotychczasowym życiem rzucili wszystko i wrócili się na prowincję, by odnaleźć harmonię i szukać dźwięków bliskich swojej naturze, dźwięków którymi będą mogli wyrażać własne myśli i uczucia, dźwięków które sprawią im radość. Tak narodził się zespół The Olsten Brothers Band."

Short biog:

Grúska Babúska is a 6-piece all female band, with an electronic, melodic, acoustic, and twisted Icelandic folk fairytale sound. The band was founded in 2010 by Arndís, Harpa and Guðrún Birna. Dísa joined the group in 2011, adding drums and percussion to the the other instruments, which are flute, ukulele, synths, keyboard, guitar, melodica, musicbox and beats. Björk has also recently joined the band, adding visually hypnotic electronics and vibes as well as base guitar. The most recent band member is Íris, who comes in with a breath of fresh voice and electronics.

 

Grúska Babúska music has been described to range from the Notwist to old Icelandic folk rhymes to 70´s children´s TV music, and also from Múm meets the Knife.…. Well, or simply like the most common description: it can´t really be placed anywhere.

 

Grúska Babúska has performed at numerous shows in Iceland, where they focus on putting up their own shows in inspiring spaces and places in and around Reykjavík, such as Laugarnestangi, the old Salt fishing factory in Grandi and in Nauthólsvík. The band has also toured in the UK, where the UK label Static Caravan put out their first release - a babuscka-usb-doll containing 6 songs, co-produced by Mike Lindsay (Tunng, Cheek Mountain Thief) and mixed at Greenhouse studios (Sam Amidon, Paul Evans and more). The band had their Airwaves debut live performance at Iceland Airwaves in 2013, where they released their B-sides in wooden babushkas containing an online code to 4 songs.  In 2015 the band released their 5 video single, with a premiere on Iceland Airwaves 2015.


www.gruskababuska.com

Nothing's Free Out Now: https://angelolsen.jagjag.co/nothings-free

Šuma is an independent project that mixes ancient pagan chants and electronic music. 
The duo preserves Belarus’ cultural code through hypnotic techno, psychoacoustics, and rich sound textures. The singer performs rare pagan ritual songs of disappearing singing culture. 
Authentic mystical artists.


Music genres: ethno, electronica, hypnotic techno and abstract IDM.

Swedish artist, songwriter, musician and producer. New album out fall of 2016 through Glitterhouse. Guest vocals from french singer Soko and american artist Mark Lanegan

“Rebels know how to stir the pot, but Swedish musician Christine Owman kicks the whole damn thing over... Owman is a multi-instrumentalist songwriting prodigy in the strain of Tom Waits, St. Vincent, and Beck. Owman’s second LP evokes sounds reminiscent of its title: beautiful, emotional, precise, and deadly. “ 9 out of 10 by Alex Lemonde-Gray, Eastern Surf - Vital Reverb (US)

"..beautiful, eerie melodies, sometimes delicate, sometimes ragged arrangements, and a dream-like vocal prettiness can only add to the conundrum. Christine Owman is certainly not going for the obvious."   Jennifer Kelly - Blurt Magazine (US)

“This chanteuse is artistic.. It’s exquisitely haunting and as intriguing she performs backed by 20s silent films.. chilly updates of old-timey accents, then coos like a mother siren waking napping children with a tense of edge instead of a comforting caress.
Jack Rabid - The Big TakeOver (US)

"If you weren't there, you should buy her record anyway and tell people you saw her.".
review by Peter Hemminger - Ffwd Weekly regarding CHRISTINE OWMAN @ Arrata Opera Centre, Calgary Canada 2010

”..most unique performer over the four days..."
review by Stephen Greenwood - Virtual Festivals regarding CHRISTINE OWMAN @ Liverpool Sound City 2010

"It was the most moving performance of Sound City 2010 and lovely example of ‘performance art.”
review by Ed - Shakenstir regarding CHRISTINE OWMAN @ Liverpool Sound City 2010

There's so much you have to do when you're alive. I hate the conventional part of me who struggles with keeping up with what the ideal woman is supposed to look and be like, what latest innovation that'll make me happy or what a happy life is supposed to be like. I struggel with convention every day. It feeds me with unnecessary cravings and makes me compare myself with unrealistic visions. Living today, atleast in my generation equals to the eternal search and race towards getting acknowledgement from others. Getting seen. There once was a saying "I think, therefore I am." Todays version of that is "You see me, therefore I am". I don't have to stand out of the crowd. I just don't want to be a part of it. 
-Christine Owman

Tom Wait's rhythms, PJ Harvey's sensual attitude, Elliott Smith's reserved vocals, the mystique of Twin Peaks combined with Bjork's fresh originality.




Cate Le Bon is an artist hailing from Carmarthenshire, rural West Wales. Be it on her more minimalist, acoustic-leaning 2009 debut album Me Oh My or critically acclaimed, liquid-riffed 2013 LP Mug Museum as well as 2016s Crab Day and the Mercury Award nominated Reward, Cate Le Bon’s solo work — and indeed also her production work, such as that carried out on the recent John Grant album, Boy From Michigan, or  Deerhunter's Why Hasn’t Everything Already Disappeared?  (4AD, January 2019) — has always resisted pigeonholing, walking the tightrope between krautrock aloofness and heartbreaking tenderness; deadpan served with a twinkle in the eye, a flick of the fringe and a lick of the Telecaster.

New album Pompeii bears a storied title summoning apocalypse, but the metaphor eclipses any “dissection of immediacy,” says Le Bon. Sonically minimal in parts, its lyrics jog between self-reflection and direct address. Written primarily on bass and composed entirely alone in an “uninterrupted vacuum,” Le Bon plays every instrument (except drums and saxophones) and recorded the album largely by herself with long-term collaborator and co-producer Samur Khouja in Cardiff, Wales.

The songs of Pompeii feel suspended in time, both of the moment and instant but reactionary and Dada-esque in their insistence to be playful, satirical, and surreal. From the spirited, strutting bass fretwork of “Moderation”, to the sax-swagger of “Running Away”; a tale exquisite in nature but ultimately doomed (The fountain that empties the world / Too beautiful to hold), escapism lives as a foil to the outside world. Pompeii’s audacious tribute to memory, compassion, and mortal salience is here to stay.

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