It was evident that Ray's passion for music while growing up in the San Francisco Bay Area would take him places.  He discovered his parent’s record and tape collection at a young age and was heavily influenced by artists such as Otis Redding, James Brown, the Beatles, Elvis, Marvin Gaye, and The Rolling Stones.  He later discovered bands such as Depeche Mode, New Order, and Kraftwerk in the 80's which ultimately shaped his current sound today.

From August of 2001-04 he was a resident DJ at the now defunct Blue Room in Washington DC, where he and double o7 (Freddy Williams) brought thousands of people together every Thursday for their themed event called KNEE DEEP. With several other residencies along the east coast, he later joined DEEP DISH (Dubfire & Sharam) to manage their world-renowned record label YOSHITOSHI where he released singles by Eddie Amador, Deepsky, Danny Howells, Little Louie Vega, Luke Fair, Narcotic Thrust and Deep Dish.

Ray quickly began production on his own music and featured his first remix at the 2004 Winter Music Conference in Miami. He later teamed up with long time friend Barrett Atwood to form one of DC’s best DJ duos,“2 Tribes” where they quickly built a reputation for rocking dance floors with their signature blend of tribal house and techno until 2009 when Ray returned to the Bay Area.  He is now back in the studio after a 2 year hiatus and is quickly finding his place in the flourishing San Francisco underground scene. 

He has played in virtually every major US city alongside renowned artists including Dubfire & Sharam (Deep Dish), Derrick Carter, Victor Calderone, Pablo Ceballos (Chus & Ceballos), Peter Bailey & Richie Santana (Mind Control), Oscar G, D:FUSE, Trendroid, Dieselboy,  DJ Icey, Noel Sanger, John 00 Fleming,  Demarkus Lewis, Lance DeSardi, and Groovefire to name a few.

Ray has been featured at the Winter Music Conference, MIDEM, and most recently at Burning Man. His sets have been broadcast globally through various channels including SiriusXM's “Electric Area,” Digitally Imported Radio (www.DI.FM), Driversion Radio (ssradio.com), and Pocket Underground's Beat Soup Podcast (pocketunderground.com).

Fucina28 è un gruppo musicale Indie Rock nato nell' ottobre 2011.
Tutto inizia nell'inverno 2011, in un contesto informale fatto di cene tra amici. Pietro fa ascoltare ai "compagni di tavola" pezzi e melodie composti negli anni precedenti, suscitando subito il loro entusiasmo. Da qui a decidere di fare, delle serate piacevoli, un sogno da condividere, il passo è breve. Ornella comincia ad appassionarsi al basso elettrico, Vito porta il suo contributo con la chitarra ritmica; Simona alla batteria.
A Luglio 2012 l'incontro con Giacomo "Lupo" Luporini ed il suo studio di registrazione, "La Tana del Lupo": inizia a prendere forma anche il sogno di un album totalmente autoprodotto. I ragazzi entrano in studio il 15 settembre e ultimano i lavori il 4 novembre scorso.
"E' Arrivato il Tempo", frutto di questo primo progetto, uscirà ufficialmente il prossimo 28 dicembre.

Everything began during winter 2011, in a very easy contest, made of informal dinners among friends. Pietro introduced his "soup mates" to lyrics and tracks written in the previous years, immediately rising their enthusiasm. From pleasant eves to the decision of a dream in common, came a very short step. Ornella started to get more and more keen on playing bass, Vito gave his contribution with his rhythm guitar; Michele and Filippo, too, leading alternatively the drumming lines.
In July 2012, they met Giacom "Lupo" Luporini and his recording studio: the dream of a first album (a totally self-made production) started to take shape. The guys kicked-off the work on 15th Sept., ending it on 4th Nov. 
"E' Arrivato il Tempo", fruit of this project, will be officially released the next 28th Dec. 

Stay tuned!

Mesmerize Musique is an ambitious project that will start in January 2013 by three young Italian djs/producers, namely Bernardo Cavalli – Babi, Marco Gramegna – Crocodile Soup and Guido Durante.
Deep music is where Mesmerize’s soul lies, sometimes dark and sullen like Berlin’s sky in winter, and others warm and lively with a rich atmosphere all around.
It possesses an innovative sound that goes against any logic dictated by the current musical market. Moreover, it supports art in all its forms as long as they are genuine, as art means effort, passion and above all love for what one does.
Mesmerize is able to make you feel somewhere else, although your feet are going to be planted on the ground, your mind is going to travel far away, beyond imagination…
Mesmerize has no limits…
It is a new world yet to be invented…

Contact: info [ @ ] wearemesmerize.com

Josh Forner’s musical journey began in his early years, growing up in a musically inspired – but not necessarily musically talented – home in Virginia, U.S.A with his Australian mother and American father. The two exposed Josh to a wealth of classic rock and contemporary alternative music from the early 90’s.

Forner began to expand his influences into funk and soul in his teens before making a sharp U-turn towards folk, adult contemporary, soft rock and elements of alternative country.

Over the period of 3 years prior to 2013, work was done on his first release, the 11 track full-length LP, ‘Leading to Nowhere,’ combining stories of love, heartbreak, young adult fantasy, politics and self-proclaimed “tragedy-folk”.

Extensive gigging ensued and Forner began to gain confidence and networks through Melbourne’s open mic scene. Becoming known for his incredibly emotive and strong baritone voice, it was obvious to onlookers that Josh Forner was a songwriter who connected deeply with his material.

Over the following 7 years, Forner’s involvement in the music industry never waned, yet his relationship with performing undertook several up-and-down moments which coincided with drastic life changes.

Josh Forner has had his songs shortlisted in the Australian Songwriter’s Association Songwriting Award as well as the Melbourne Music Bank competition run by Bank of Melbourne.

His behind the scenes work includes hosting Melting Pot’s iconic ‘Songwriters in the Round’ events, creating content for their website, and slowly teaching himself the ropes of live sound engineering and recording.

Having recorded and mixed a substantial portion of his first album, he continued to educate himself in sound production and has mixed at iconic Melbourne band rooms such as the Wesley Anne, Bar 303, Northcote Social Club, The Grace Darling, The Old Bar, Charles Weston and many more.

Josh Forner was awarded membership to the International Association of Professional Writers and Editors in late 2019 for his freelance and opinion piece writing, featured primarily on his website blog. He moved to Adelaide to pursue further music, work and life opportunities.

His multitude of life experiences have become evident in the next phase of his songwriting, in which the content has become far more political and real-world based as he works towards the creation and release of his second full-length album, ‘A Crooked Point of View.’

Hail you! The Great Gnu, another veggie in the soup

GALDYTRON! does not like to sit still. The past six months have been busy for Durham, NC native, Ian Galdy. Dropping the title of DJ for more appropriate title “new media artist”, GALDYTRON! has become more than Galdy ever expected it to. As a DJ he has become a regular on the festival circuit, making appearances at major festivals such as Camp Bisco, Wakarusa, Dexfest, and Signal Fest and opening for the likes of Zoogma, Archnemesis, and Papadosio. As a VJ he has added a new visual dynamic to his already wildly high energy DJ sets, collaborated with Elm and Oak artist Cherub as well as Soup Visuals (Elliot lipp, Ana Sia, Zoogma). His photography and video production have landed him some of the most exclusive views of the nations biggest parties including Camp Bisco, Bass Church, and Dex Fest. With a slew of fall and winter shows already building and new, mix-tapes, videos, and collaboration projects in the works, the word busy honestly doesn’t even begin to cover it. 


Rick Street is a USA midwest native, where he grew up with the sounds of the folk rock revolution in the 60s, playing and touring regionally. While attending the University of Cincinnati, Rick wrote and performed music for several theater productions and more recently performed acting and singing roles in several local productions. While attending the University of Cincinnati, Rick wrote and performed music for several theater productions: Shakespeare's "A Midsummer Night's Dream", Brecht's "The Caucasian Chalk Circle", and Carmichael's "Another Day." He has also written several pieces for Brad Lang's "Three Hundred." Rick has recently performed the singing/acting role of "Ken" in Vincent Kee's "Sonny's Place: The Greatest Jam Session that Never Happened." Rick has also acted in Shelly Gibbs' Phat Cat Films productions of "Harmonica Man", "Wildwood Boot Camp.", and "Where Have All the Italian Cowboys Gone?" The latter was one of 24 official selections into Somerset Community College Theatre’s Digital Video Productions’ “Winter Shorts Film Festival.” Recently performed as Groucho Marx in "Holidays with the Legends." In 2006, legendary Fraternity Records released an EP "Rick Street and 3 Root Soup". In 2007, Rick released "Improvimental Journey", a collection of instrumentals. In 2013, Tate Music Group released Lucky in Kentucky, with the Independent Country Number 1 song for March 28, 2014: "Hardened Hearts", receiving nearly 12000 spins on 69 radio stations. "Splintered Dreams" is Rick's latest project with TMG released summer 2015. "Trials & Airs", an EP produced in Nashville with Bill Wence Promotions was also released in 2015. Rick is a retired Lieutenant Colonel in the US Air Force Reserve, and is music director at church where he plays the pipe organ, piano, and guitar. He and his artist wife Teina Tallarigo currently live in Cincinnati, Ohio. Some of Rick's musical influences include male vocal soloists from traditional country, folk-rock, and jazz standards. Rick is the creator of https://store.cdbaby.com/Artist/RickStreetTheaterofOriginalMus

My dad, Chet Van Lannen played  clarinet for a while in a little group named Matskie’s Men About Town. They played every other Sunday on the Bandstand at Bay Beach Amusement park. He brung me with too, and when the band would take a break to go catch a beer or something they would let me fool around with the organ just to keep me from bein’ a pest. One day dey came back an I’m sitting there playing the Whiffenpoof  song like nobody’s business, from that day on I was hooked. 

Once they seen I was serious, they sent me to my Aunt Verna. Verna had one of them pump organs. It wasn’t much to listen to, sounded like a camel giving birth to an elephant, but it was a good starter.  It had a pump that you pumped with your right foot while you played.  By the time I was fourteen I had a right thigh muscle the size of a Pulaski ham. 

I played birthday parties and family gatherings mostly. One spring we had Father Ollmann, from St. Bernard’s parish, over for Sunday brunch, and he suggested I play for the Easter services. 
I played everyday after school learning all the standards. “Holy, Holy, Holy,” “Peace in Heaven,” “Easter Parade’’ and a spiritual called. “Hey Lazarus You Can Get Up Now.” When Easter came I was as nervous as a lawn chair at a fat farm, but I got through it okay and got some applause. 

In the 50’s I moved down to Milwaukee, I started out playing the churches again, but I was getting restless and plus the pay aint all that good, so I started looking for other work. The first place I worked was the Roll’a’Bowl on Fifth. I drove by there a couple summers ago but there aint nothing there no more. That winter they opened up a indoors ice-skating rink too, down by the Mayfair. You could skate all day for a dime, fifteen cents if you had to rent skates. 
It was a couple a years later that they started putting out them new electric organs. The two big ones on the market where the Hammond, and the Whirlitzers. Them organs were fancy, but they didn’t play themselfs , and so every November they hired somebody to demonstrate all the features. Mostly what you did was just play all day and switch it back an forth between the different instruments so that folks could get a feel for it. Make it look easy, even though it isn’t! But which I made look like it was. 

About my forth day of showing off, I keep seeing the same young gal showing up to hear me play. She was a cute in her black and white saddles, and Saint Mathew’s school uniform, and right away I knew I had to know her better. One day while the boss was away I asked her if she wanted to sit down and try it for herself. 
Now, one thing I have to make clear is this was against the first rule of floor demonstrations. And they were very strict about it too; never let the customer touch your organ. If they touch it, the boss always said, they’d find out how hard it actually was, and then they wouldn’t want one for themselves. Even though I caught holy heck from the manager, it was a good thing I talked to her and found out her name that day, because she turned out to be my wife, Mrs. Evelyn Van Lannen. 

In the insinuating years following, I made a pretty good living playing weddings and wakes, brat fests and Brewer’s games, but the lifestyle of a professional musician, aint never easy, and there was a couple of three nights there were I didn’t come home till sometimes 11:30. 1976 was a particularly crazy year what with the bicentennial and all, and Evelyn suggested that maybe it was time to settle down some, so that fall we packed up the family and moved up to Lena.

There was a supper club in Lena called the Asp-Inn, where you could get a prime rib special for $6.95. It came with salad and bread bar, your choice of potato, and a cup of instant homemade French onion soup. The owner of the place, Less Vanness, played the synthesizer, which was really just an organ but with more buttons, but it also had its own drum setting, so you could play waltz or salsa, even disco if you wanted. 
Lucky for me, one winter Less drove his Ski-doo through the ice, up on Kelly Lake, he didn’t die or nothing, but his fingers got pretty frostbit, and whenever he played people said it sounded like a gorilla wearing work gloves. 
Finally he just quit altogether an asked me if Ev’ would mind me playing a couple nights a week. I said I could talk her into it which I was pretty sure I could do, since they stopped serving at 9:30. 
Over the next twelve years I played darn near every supper club in Northern and Central Wisconsin. But as any musician can tell you times change, and the restaurant business switched over to Muzak, which pretty much put yours truly out of business. 
But a while I was playing for Ev’s bridge club and they said that I aught to record an album of this before I can’t anymore. Which I took to mean before I kick the bucket or what not. And I thought, darn it, they’re right, this is a dying art form, and I need to save it for prosperity. 

So I rented a recording studio and made “Elmer Vanlannen’s Dinner For Two”. The studio technician loved it. His exact words were, “I can’t believe you did this.” Which is pretty much the reaction I’ve been getting from everyone who listens to it. 
So mix a couple of Black Russains, have some onion sticks and cheese spread, then sit back and relax, your dinners will be out shortly.

Elmer Vanlannen. 


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