Sarah Alexandra is a singer, multi-instrumentalist and composer aiming to write and perform music designed for big, live orchestral performances. The music is designed to fuse classical chord progressions, harmonies and musical theory with modern, electronic elements influenced by a love of synthetic music. This fusion, mixed with haunting vocals and thick, luscious harmonies cultivates in beautiful, thoughtful music that evokes the senses and lyrically challenges the listener relating to sincere issues of everyday life. 

Sarah Alexandra is a classically trained musician, first picking up a violin at the tender age of 3. By the age of 15 she had gained her grade 8 in violin, viola and piano and went on to study classical music at the University of Manchester. A love of harmony and melody grew from years of playing in orchestras and it wasn't long before composition took up a large part of Sarah's life. 

Whilst in Manchester, Sarah was invited to join the electro band 'Daggers' where she sang and played the keyboards. They spent two years touring the country with various like minded artists and appeared on the NME Radar Tour, spent a stint touring with Gary Numan and released two EPs on Label Fandango, based in Manchester. This allowed her love for electro music to blossom and learnt a lot about production and electro-acoustic amalgamation within modern composition. 

In 2012, Sarah decided to broaden her horizons and become a solo artist. Teamed up with Kevin Thorpe after a coincidental meeting and earning his approval and excitement, his production has taken her songs to the next level. Sarah Alexandra's aspirations are high and the music has the capacity to win crowds, offer a stunning live performance and has the potential to be the next big thing. 

Having been inspired to make music by seeing the Beatles take the stage on the Ed Sullivan Show, “Bad Boy” Troy Tipton began a lifelong music career at age six. He cites as his main musical influence, father Sonny Tipton, mentioning others as an afterthought. These secondary inspirations include Jimmie Page, Eric Clapton, Carlos Santana, Jimi Hendrix, Mark Farner, Paul Rogers, and Jeff Beck.

Tipton has shared the stage opening for scores of titanic rock bands. These legendary names include (but are not limited to) Black Sabbath, Cheap Trick, Whitesnake, Loverboy, A Flock Of Seagulls, Air Supply, Sammy Hagar, Nitty Gritty Dirt band, Atlanta Rhythm Section, Deep Purple, Savoy Brown, Pablo Cruise, Ozark Mountain Daredevils, Kool and the Gang, Ready For The World, Lisa Lisa, The Jets, Roger & Zapp, Starpointe, Steppenwolf, Black Oak Arkansas, David Chastain, Toronto, Kip Winger, Black Stone Cherry and many more.

................"Bad as they may be, BAD STATISTICS are a fanatical bunch of drone improv rockers, veering between prog kraut minimalism and scandinavian doom (not to mention russian trancecore), framing the inimitable civil-servant-on-acid vocals of Thebis Mutante with a semi-coordinated / semi-spastic bed of repetitive riffing, pulsing texture and motoring rhythm."============================================================================================================================================================================================

......BAD STATISTICS' second album 'Lucky Town Gone' released by PSEUDOARCANA...ORDER YOUR COPY AT http://www.pseudoarcana.com/current.htm..

======================================================================================================================================================= On the follow-up to last year's debut "Static" LP ((Kr-aa-k)3), Bad Statistics have set about laying waste to the New Zealand suburban dream with this album, a much darker and heavier affair than their debut. If "Static" were to be regarded as the Mission Statement of Bad Statistics Great Annual Report in the Sky, "Lucky Town Gone" is not the Business Highlights chapter to be expected next, but a sideways lurch straight to Appendix 17: Corrupted Data. Recorded onto degraded old cassette tape, "Lucky Town Gone" is a collection of mean-spirited practice room jams that sees the core four-piece of BAD STATISTICS further embracing the stoner doom drone rock that already defined large parts of "Static". The seven tracks of "Lucky Town Gone" are again spearheaded by the abrasive, sense-eluding vocal emissions of Thebis Mutante. Critical response to Mutante’s contributions on "Static" was deeply divided, and the new album is expected to further polarise opinions. Mutante is backed by Mark Williams (Marineville, Idle Suite, Cookie Brooklyn) on guitar, Justin Barr (Raskolnikovs, Users, Wrongdoings, Delaney Ghost Orchestra) on bass, and Johannes Contag (Jay Clarkson, Cloudboy, Sleepytime) on drums and production. Torben Tilly (Minit, Organ Eye, Full Fckng Moon, The Garbage & The Flowers) was absent due to extended interhemispherical field work.

=================================================================================================================================================================================================================================

Edwin Pouncey, The Wire, April 2009, "Lucky Town Gone" review:

If the memory of hearing Pere Ubu's The Modern Dance for the first time still sends a shudder of excitement down your spine, then hearing Bad Statistics vocalist and clarinet player Thebis Mutante (the alter ego of New Zealand improvisor Jeff Henderson) try something similar on opening track “Balloon Outbreak” might have a similar epiphanic effect. In the style of David Thomas's Crocus Behemoth persona, Mutante's vocalising becomes an alien language, where words become noises and repeated sentences become operatic howls and Beefheart-style yelps. Recorded on a frazzled cassette machine, the altered rock, free-jazz sprawl and glossolalian vocal rants that rage through Lucky Town Gone are a genuine revelation.

.. Aquarius Records review:

...... Awesome! We'd been waiting and wanting more from New Zealand's bizarre Bad Statistics ever since we got their vinyl-only debut, Static, last year. In addition to thinking they had a really excellent band name, we loved the doomic, droning weirdness of their propulsive krauty NZ noiserock, made even weirder by the utter outsider vocal garble that arose over their ritualistic music, like spirits or specters seemingly summoned from the other side. Now, huzzah, there's this new full-length, an actual cd on the Pseudo-Arcana label, and it pretty much picks up where the LP left off! 47 and a half minutes more of mysterious musical ceremony, Bad Statistics style, on these seven tracks. Again, the vocals (produced from the throat of one Thebis Mutante) are really strange, unhinged alien hippy rant-chant, like Ya Ho Wah's Father Yod speaking in tongues, sometimes looped and layered. Together with the throbbing drum beats, distorted electronic textures from guitar and bass, and hollow horn bleat and twitter on a track or two, you have the basic tempel-vibrating template for Bad Statistics' repetitive, rumbling, mesmerizing murk. Best listened to from a yogic position of spiritual openness, legs crossed, mind clear, third eye unblinking. Though, at their loudest, most intense chugging psychrock peaks, some vigorous rocking back and forth will be called for, maybe even full-on writhing on the floor. Let's take the 13-minute title track as an example... it's moaningly eased into, the percussive plod slow and sparse, but after a short while Thebis cries out quite like Can's Damo Suzuki, and the pace picks up, cymbals crashing... before another long droning lull with whistling and mumbling drifting over the slo-mo chug of the guitars and drums... then towards the very end, the singer suddenly seems possessed, his voice dropping into a guttural exhortations, the din of the instruments rising into a psychedelic swirling howl... welcome to the reverse exorcism!! Imagine the kosmic-kraut-primitivism of early Amon Duul, Tangerine Dream, or Siloah, with Circle's Mika Ratto as voice coach, encouraging Yod x Yoko vocal vibrations. Or the linear lo-fi insanity of a secret Dead C meets Reynols monster jam, if directed towards the worship of some ancient god, recorded on cheap cassette only as an afterthought. Yeah. It's pretty much awesome..... ..

..===========================================================================================================================================....BAD STATISTICS' debut LP 'Static' (KED03, only 500 copies!) is available from K-RAA-K.....TO ORDER YOUR COPY GO TO: http://www.kraak.net/en/releases.php....

CHECK
OUT THE POLARISED REVIEWS!:

........AQUARIUS RECORDS..One of our favorite new records of late, comes to us all the way from New Zealand, but via Belgium (where their label, long time AQ faves Kraak are based). A mysterious troupe called Bad Statistics, their debut a two song vinyl only EPIC. Equal parts droney noise rock, propulsive krautrock, and even some weird sort-of-doom. Drenched in swirls of chaotic FX and a blown out in-the-red recording, that manages to be fierce and murky at the same time...Each track takes up a whole side and is given plenty of time to change shape and direction, sound and spirit, transforming gradually, but managing to remain hypnotic and blissed out. The A side, begins as a doomy plod, but with clean guitars instead of downtuned distorted ones, the drums spare, and all manner of weird demon-y vocals, a sort of post rocky crawl. Eventually, synths join the fray, and along with the drums, they lock into a looped cyclical groove, over which, still more strange vocals croon and moan. And we're talking REALLY strange, mewling moaning howling weirdness. The music sounds like some spaced out Tangerine Dream, the drums a constant pound way down in the mix, the synths pulsing and throbbing, the vocals though turn it into some damaged outsider space jam. At one point the synths drop out and the vocals go crazy, sounding like they're speaking in tongues, before the band kick back in, launching into a fierce Hawkwind style FX drenched psychrock outro that goes on forever...
The second track is even better, and one of our favorite songs of the year hands down. A gorgeously blown out dirge, the guitars so hot they crumble with every downbeat, the recording super distorted and raw, but the melody and the main riff are super gorgeous, catchy and minor key, the track relaxes briefly, spreading out into a glitchy ambient murmur, over which guitars shimmer, little bits of electronics flutter, and the bass holds it all together with a simple dreamy groove. Very krautrocky, and a bit like a more lo-fi noiserock Necks. The track shifts constantly over the next ten minutes or so, to weird doomy twang, with gorgeous majestic riffing, thick bass chords, and some shapeless falsetto vocals, then to a super distorted psychdrone freakout, replete with chiming guitar harmonics, and a pulsing throbbing rhythm buried beneath a layer of crunchy buzz, then to a sunbaked space jam, all open chords, simple drumming, more shapeless vox, and finally to a washed out krautrock dirge, peppered with bits of backwards percussion, garbled voices, reverse guitar, and jagged chunks of crumbling distortion, until the whole thing slowly burns to black... Sorry to everyone without a turntable, but this just may be the blown out space psych doom kraut jam of the year!!.. http://aquariusrecords.org/cat/experimental8.html....

FOXY DIGITALIS.. This record is not as much bad as it is just terrible… Sorry, but this shouldn’t have been pressed. The band clearly has spent a good deal of time listening to some good music and probably pride themselves on as much, but the clear desire to emulate Finland’s inimitable Circle above having some krautrock/Hawkiwnd leanings is all too apparent and makes their music that much more unoriginal. As musicians, the band isn’t so bad and if they keep going I wouldn’t be surprised if they eventually found their own thing and started producing some exciting music… the potential is there… however, the vocals are just awful; uncalled for to say the least. An attempted weirdness that just doesn’t make it. Sometimes experimental means finding out what works and what doesn’t. To be fair, the b-side is far better and has a few golden moments, but I wouldn’t recommend wading through the swamp of bad taste to find those moments. Not to sound harsh, but honestly, this record would be better served if it were shelved, and the band would do better to go back to the rehearsal space and rework their sound a bit. Hopefully they’ll come back out though, because I genuinely believe there’s something worth salvaging, just not this effort... 1/10 -- Todd Brooks (29 January, 2008)....

DUSTED MAGAZINE.. Sidelong psych/Kraut/groove explorations from this mostly tasteful avant-jam sesh quintet out of Wellington, New Zealand. I’ve given this one multiple listens and there’s parts of it I keep coming back to in awe, namely when the finally hit the stride 2/3rds of the way through “If I Were a Pint of Milk,” a 22 minute colossus of slow-burn fuckery that gives way to a crashing, crushing beat, a manipulated reanimation of said beat on top of itself, and layers of bass, synths, and sax that aim right towards the sun. Make no mistake: despite the label affiliation, this is rock music, and it rocks pretty goddamn hard at that. I could really, really do without the mongoloid vocals of Thebis Mutante flittering all around this otherwise godly heap; his presence brings only distraction and annoyance to what might otherwise be a Kiwi space rock take on Endless Boogie’s endless boogie. Rein this guy in and you might have something. Side B’s medley ebbs and flows a bit in a more erratic fashion, but the peaks are still there, and give notice of some unreal, glowing, enormous promise for future outings. Edition of 500 copies, and taken in its most direct chunks, as killer a time as you’re gonna find in this realm as of late... Doug Mosurock, Dusted Magazine, Vol 4, No. 1.. http://www.dustedmagazine.com/features/708..

Tiff Ku here. Well, I've officially jumped on the SoundCloud bandwagon.

How to introduce myself: well, given that I'm currently hermiting in my studio cave, I think it's best to put this off until later.

However, what I can say, is that I work mainly with experimental media: do check out my webPortfolio (http://tkmedia.eyemagnetmedia.com) to get a sampling of my body of work.

Photography, Graphic Design, and Film aside, this website is mainly for sharing Music, so I'll just keep it simple: I'm an avant-garde, experimental artist who likes to work independently on my own, mainly self-taught, through explorations of cosmic blue skies and birds, to falls into supernatural astral travels through hell, going through that "Eureka!" moment depicted very well in that Christopher Nolan short film that you can find on YouTube, to feeling numb and dead to the world and hibernating in the oven - I work with indie-rock, post-hardcore, post-rock, math-rock, folk, and midi-related baroque music. Instruments? Mainly guitar with a lot of effects, but also bass, drums, and the midi-keyboard. I did buy a cheap $20 horn off the street while travelling through India in 2012, but I can't do much with it besides sound like I'm playing at a funeral and nurse my popped-out eyeballs afterwards. However, midi patches do a good job at emulating the sound so that I can write while wearing headphones without getting evicted from my house. I will find a deserted field in the mountains someday to properly learn how to play the thing, sooner or later - this I promise to myself. :)

is Eric is like a seaboy above the rocks um
Who is Eric? Is he as important as this elaborate write-up suggests?
Is Eric bigger than a bread box?
Could you use Eric as a cheap source of fuel? 
Could Eric be a new kind of relaxation? 
Could Eric be found in the crinkles of an elephant's skin?
Could you create a masterpiece using Eric?
Here is a miracle of Tao: Eric draws water, Eric chops wood.
Eric is like a fresh caterpillar spinning slowly in a sticky horn-web.
Eric is a law-abiding citizen! Have you done any community services with him?
Eric is in videos. 
Is Eric a mineral or a vegetable?
Is Eric not a brand of glass eyes!
 Does Eric have a starmap? Has Eric flown a hot drone?
Can you enhance your business portfolio with Eric?
Is Eric receiving plenty of summons?
Could you mail a package using Eric?
When Eric sits with folded legs, is that Post-Eric?


Ian Bevan is a singer song writer from Birmingham in England. He regularly performs sets of covers and original material covering many different genres including pop, rock and country music.

Ian started playing music in his late teens picking up the bass guitar at 16 after being inspired by bands such as the Goo Goo Dolls, Anberlin and the Rolling Stones. He eventually linked up with two friends to form the college band Urban Rose who have played notable unsigned venues in Birmingham such as Eddies Number Eight and the Jug of Ale. The band had an eclectic style of rock music showing off each members diverse tastes. Urban Rose eventually split when the members headed their separate ways to pursue careers and higher education.

It wouldn’t be until his mid twenties Ian started seriously playing music again this time buying an Ibanez acoustic guitar and working on his first solo project. Ian went back to basics and learnt the basic chords for modern pop and rock songs and soon started to learn an impressive number of pop and rock covers. He rehearsed them vigorously and in February 2013 began a YouTube channel to showcase his work, although the videos are considerably low budget (mostly filmed on Ian’s iPad) they soon gained a cult following among his colleagues both new and old alike.

It was this following that lead to Ian taking on his first performance challenge in six years playing a session to an audience of over one hundred people for his offices Comic Relief fundraising efforts. Ian racked up an impressive sum of £180.00 and was inspired to perform in public once again.

Mid 2013 Ian played his first open mic night at the Island Bar in Birmingham playing a set of modern pop and rock covers. He has since then found a regular slot at the open mic in Birmingham’s Road House.

In August 2013 Ian wrote his first original songs ‘Remission’ and ‘It’s a Shame’ which were met with warm audience reviews and the approval of Sheffield acoustic duo ClaraPandy.

Ian’s recent choice of covers and the thoughtful yet rocky tone of his original songs clearly reflect his musical influences and found Ian a niche in the open mic and unsigned scene in Birmingham.

Currently Ian is working on a new songs in a country/folk vibe while maintaining an impressive array of cover songs recently including Passenger 'Let her go' and Gotye 'Somebody that I used to know'.

His current influences are: The Goo Goo Dolls, Lady Antebellum, Boyce Avenue, Linkin Park, Johnny Cash, Dolly Parton, Nickel Creek, The Cure, The Smiths, Anberlin and Neon Trees.

Ian uses: Ibanez & Lindo Guitars, Fender Guitar Straps, Dunlop picks.

The DJ’s work called «Alice» has become one of three tracks in the Teen Collection Hot Jam 96 release, which came on American label Visionquest Records. The «slavic soul» Julia Govor helped Eugene to thrust oneself into the society of such respected label and to enlist the support of one of its activists - Seth Troxler. With Julia as well, Qbeck made a creative collaboration, as we can hear her voice in the deep house track «Alice». Above mentioned Seth Troxler, as a well-experienced Detroit producer, right away highly appreciated the Ukrainian’s work, and after testing it on the lots of own sets – realized, that was not mistaken, as everybody and everywhere just went off one's head from «Alice». The track really stirs: the fuzzy bass and clear drums keeps in a suspense until, as critics marked, the fresh freezing vocal cuts the mist of this thoughtful dark bass-line. 

Besides the work on Visionquest, Jenya has quite huge supply of the releases, that came on Send, Receive, Plasmapool, Suicide Robot, Bug Eyed Rec, Piso, System recordings, Balkan Connection. Among the musicians, whose approval has condescend to the young DJ we can see - Tale Of Us, MANDY, Droog, Maceo Plex, Luciano, Guti, Solomun and many others. He is just 24, and already - a hard-working producer, what gives the reason for the favourable career forecasts. Following the motto of his favourite - Martin Buttrich, who defined harmony as a main guideline in a music producing, Qbeck goes into a depth of deep house. However, once, the musician confessed, that he has some works in a nu disco style, yet hidden from everybody.

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