REVIEWS/RECENSIONI:

"Come guardare un gran film italiano - uno di Michelangelo Antonioni, qualcosa che hai visto decenni fa, qualcosa di per lo più dimenticato, ma che di fatto è stato registrato nella tua memoria per anni...Moderna musica d'avanguardia, free jazz, l'eredità degli art rockers Demetrio Stratos e Area e la colorata tradizione musicale del cinema italiano miscelati in questo moderno e a momenti oscuro e nervoso, ma sempre bellissimo album"
 
"Like watching a great Italian movie - one from the Michelangelo Antonioni collection, something that you saw decades ago, something almost forgotten, but in fact recorded in your memory for the ages....Modern avant-garde music, free jazz, the legacy of Italian art rockers Demetrio Stratos/Area and colorful Italian cinema musical traditions all mix together in this modern, and in moments dark (noir) and nervous, but always beautiful album"
Voto: 4 stars out of 5
Slava Gliozeris, Jazzmusicarchives, U.S.A., Maggio 2012
 
"This is a great live-in-the-studio recording. Modern avant-jazz at its finest"
 
"Una grande registrazione in presa diretta. Moderno jazz d'avanguardia al suo meglio"
Voto: 4'5 stars out of 5
Darryl Weppler su Jazzmusicarchives, Aprile 2012
 
"Suoni dalle meduse ... Prima di tutto, l'assenza di simmetria ... una tipologia di arte contemporanea.
La ricerca vocale non è lontana dagli esperimenti che Demetrio Stratos stava facendo negli anni '70, anche perché Claudio Milano è uno dei pochissimi cantanti al mondo che ha la possibilità di cantare in quel modo ... Sono rimasto sorpreso nel sentire quello che fa per pochi secondi al minuto 3 di "Planula Larvae", ho ascoltato prima quel tipo di suono solo nell'album "Concerto all'Elfo"...
I testi sono scritti dal bassista. Un'esempio tra tutti, un titolo come "Bile Dal Po", è in grado di colpire come un martello ...
“Diploblastic” merita una menzione per la linea di basso sulla quale gli altri strumenti creano un ambiente ideale in grado di trasportare l'ascoltatore nel loro mondo ...
i primi minuti di "Radially Symmetrical Cnidarians" sono a metà strada tra la musica classica contemporanea e un mantra e, infine, la traccia di chiusura "(C) Tenophores" presenta il basso e il violoncello a dare un "beat" agli altri tre strumenti (che lavorano su frequenze acute) per i primi tre minuti”
 
“Sounds from the jellyfish...First of all, the absence of symmetry...a kind of contemporary art
The vocal research it's not distant from the experiments that Demetrio Stratos was doing in the 70s, also because Claudio Milano is one of the very few vocalists in the world who has the possibility to sing in that way...I've been surprised to hear what he does for just few seconds at minute 3 of "Planula Larvae", as I have heard that kind of vocals only from Stratos in "Concerto all'Elfo" before...
The lyrics are written by the bassist. One thing for all, for Italian speakers, a title like "Bile dal Po" (Gall from the Po) hits like a hammer...
“Diploblastic” deserves a mention for the bass line on which the other instruments to create an ideal atmosphere able to transport the listener in their world...
the first minutes of "Radially Symmetrical Cnidarians" halfway between contemporary classics and a mantra and finally the closing track "(C)Tenophores" with bass and cello giving a "beat" to the other three high-pitched instruments for the first three minutes”
Voto: 4 stars out of 5
Luca Polidori, Jazzmusicarchives, U.S.A., Marzo 2012
 
"Il Radiata 5tet improvvisa con la consapevolezza di una band al completo, sviluppando lentamente pulsazioni, respirando ritmi ed armonie tonali in maniera molto organica ... come un respiro che pulsa con il tempo dell'improvvisazione intorno ai toni della terra"
 
"Like a breathing pulse with time to improvise around the situation and ground tones.... for Claudio a voice is more than that, it also is an instrument, with an equally balance place in an ensemble as any other instrument. Claudio’s role isn’t bigger as anyone else’s place into the whole. The Radiata 5tet improvises with a big awareness of the full band, slowly developing pulses, breathing rhythms and tonal harmonies in a very organic and like I said breathing way of change. Just occasionally Claudio’s expressions are associated with words, he keeps silent elsewhere and he is as close in harmony to the cello as the cello is to the double bass to the trumpet and sax. Often cello and bass find bowed harmony improvisation, then invites to a bit more rhythmical progression, sax and trumpets can follow this or finds its own place of improvisation, a bit faster if necessary. The band hangs in between a chamber-ensemble, a contemporary improvisational band, harmony seeking tonal-aware band, it is a bit free music, but without the need to be special, strange or contradictory"
Voto: 3 stars out of 5
Gearl Van Waes, Psychedelicfolks, Belgium, Marzo 2012
 
"Radiazioni e aureole di una nuova avanguardia sonica.L'avanguardia del jazz contemporaneo e le teorie innovative della musica concreta... Nelle mani di questo ensemble, l'ideale della decostruzione è stata ricostruita e riproposta con grande ingegno."
 
"Radiations and aureoles of a new sonic avantgardeThe avantgarde of contemporary jazz and innovative theories of musique concrete ... In the hands of this ensemble, the ideal of deconstruction has been rebuilt and revived with great talent."
César Inca Mendoza Loyola, Autopoietican/Portalesquizofrenia, PERU, Aprile 2012
 
"Musica surrealista come un’opera d’arte, estrema,sconvolgente in tutte le sue parti sia nell’uso della voce che nei contributi strumentali"
 
"Music as a surrealist work of art, extreme,shocking in all its parts both in the use of the voice that in the instrumental contributions"
Voto: 8
Tiziana Tesio, Saltinaria, Aprile 2012
 
"La musica scorre, attraverso dinamiche diverse e assorbe i nostri sensi, così alla fine ci troviamo dentro il suo mondo, siamo parte di essa.Che grande album questo del Radiata 5tet, altamente raccomandabile per chi ama la musica d'avanguardia con qualche tocco di jazz ... musica che aprirà gli occhi della vostra mente lasciando volare l'immaginazione ...."
 
"The music flows, putting different passages and absorbing our senses, so finally we are within the musical world, we are part of it.What a good album from The Radiata 5tet, highly recommendable for those who like avant-garde music with some jazz touches...music that will open your mind’s eyes and let your imagination fly...."
Guillermo Hernández Urdapilleta, Prog Sphere (U.S.A.), Aprile 2012
 
“Una proposta astrusa e cerebrale, tra atmosfere metafisiche e torride cellule avant-jazz di scuola ESP... adorabile”
 
" "Aurelia Aurita" is an abstruse and cerebral proposal, between metaphysical atmospheres and torrid cells of avant-jazz... Lovely!"
Enrico Ramunni, Rockerilla #380, Aprile 2012
 
“In "Aurelia Aurita", i moduli del jazz contemporaneo, sono decostruiti e ricostruiti”
Voto: 8
Daniele Ferriero, Rumore #244, Maggio 2012
 
"E' divertente sentire come l'inizio timido di alcuni silenzi possa finalmente esplodere attraverso il free jazz e l'energia di interazione, con il ruggito di fiati e archi in un'autentica gioiaImmagino come Claudio Milano possa rovesciare gli occhi al pari di Christian Vander dei Magma quando picchia sui tamburi come un animale, abbandonando tutte le cose terrene"
 
"It is funny to hear as the beginning of some silences finally explode through the free jazz and the interaction energy, with the roar of winds and strings in a real font of joy...I can imagine Claudio Milano while he reverse his eyes as Christian Vander of Magma does when he beats the drums like an animal, abandoning all earthly things"
Volkmar Mantei, Ragazzi.de, Germany, Aprile 2012
 
"Voce...sulla cui interpretazione quasi 'declamata' dei testi appare aleggiare il 'solito' Schoenberg... e strumenti dialogano, a volte quasi mimando un sussurrare sottovoce, in altre parentesi dibattendo vivacemente o addirittura 'litigando', dando vita a un insieme sonoro inquietante, dai contorni affascinanti e talvolta - perché no - anche disturbanti"
 
"Voice (on the interpretation of almost 'declaimed' texts seems to hover the 'usual' Schoenberg) and instruments interact, sometimes mimicking an almost whisper softly, otherwise talking vigorously or even 'arguing', giving rise to a set that sound scary, fascinating and sometimes - why not - even disturbing"
Marcello Berlich, Losingtoday, Aprile 2012
 
“Fantastico interplay nelle 10 improvvisazioni a partire da spunti differenti, riflettendo diversi umori e temperamenti. Assolutamente un bell'album"
 
"The Radiata 5tet surprised me with the performance by vocalist Claudio Milano, who switches from very low to high registers without a problem and has an extended vocabulary to his disposal. Fantastic interplay is to be enjoyed here in 10 improvisations that start from a diversity of ideas, reflecting many moods and tempers. Absolutely a fine album. Absolutely a fine album."
Vital Weekly #826, Aprile 2012
 
"Free Jazz, classica contemporanea, progressive rock... un appuntamento con l'arte. La melodia cresce solo nella mente di chi ascolta e i silenzi sono altrettanto importanti, come monoliti, i suoni a volte obliquamente atonali. In mezzo ci sono momenti contemplativi quando i musicisti si fermano per allungare pause e suoni duri come orologi deliquescenti. Poi l'orrore strisciante riprende il suo corso, e il quintetto costruisce un muro più occidentale per portarlo al collasso... è bello sapere che tali opere senza compromesso alcuno esistono ancora. Potente!"" an appointment with Art...without any compromise. Powerful!"
Volkmar Mantei, Musikreviews, Germany, Marzo 2012
 
"Non canto ma recitazione dadaista, ironica ed allegorica. La parola esplode e dà espressione immaginaria al proprio valoreImportante il lavoro del contrabbasso, degno sottolineatore delle situazioni, anche rumoristiche come in "Eumetazoa", dove la tromba ed il violoncello comunicano fra loro in un cadenzare lamentoso e drammaticoIl suono prende forma nel proseguo e muta l'immagine di sé come farebbe un ameba, lentamente ed inesorabilmente. Continuità sperimentale che poco lascia all'armonia intesa come ripetitività rassicurante dell'ascolto.Milano usa la Glossolalia come viatico della lingua, un sistema elaborato già da Artaud, nel quale il linguaggio primordiale, quello ad esempio del bambino, si sviluppa con ecletticità. Ascoltare "Echinoderma" per averne una prova.Difficile descrivere le sensazioni e gli sforzi artistici a parole scritte, quando un disco riesce a prenderti a schiaffi e ti vuole portare in luoghi quasi del tutto inesplorati. C'è da avere paura, ma anche da capire dove può arrivare oggi il suono con la fonetica in cattedra...Per questo resto affascinato ed applaudo alla fine dell'ascolto"
 
"Not singing, but acting Dadaist, ironic and allegorical. The word explodes and gives expression to their imaginary value...Important work done by the double bass, outliner worthy situations, even noise-like "Eumetazoa", where the trumpet and the cello communicate with each other and plaintive cadence in a dramatic....The sound takes shape and changes in continuing self-image as would an amoeba, slowly and inexorably. Milan uses the Glossolalia as viaticum of language, a system already developed by Artaud, in which the primordial language, that of the child for example, develops with versatility. Listening to "Echinoderma" to have a try.Difficult to describe the feelings and artistic endeavors in written words, when a CD can get slapped and you want to bring in places almost completely unexplored.It is to be scared, but also to understand where the sound can get today if we put the phonetic at the spotlightFor this I remain fascinated and applaud after hearing"
Massimo Salari, Rock Impressions/Non solo Prog, Marzo 2012
 
"Between John Zorn, Mike Patton, Einstürzende Neubauten, Debussy, King Crimson, Phil Minton, PAS and Giacinto Scelsi"
 
"Musica che striscia sotto la pelle e attraversa l'intero spettro delle emozioni...un incrocio tra John Zorn, Mike Patton, Einstürzende Neubauten, Debussy, King Crimson, Phil Minton, PAS e Giacinto Scelsi.Non ci sono garanzie ma sorprese efficaci...la voce di Claudio Milano spazia dal registro di controtenore a sfumature demoniache e gotiche e, a volte consiste solo in un ringhiare, gridare e squittire suoni. Questo quintetto è indipendente da un ordine costituito. Musica senza alcuna categoria."
Jan Willem Broek, Subjectivisten, The Netherlands, Febbraio 2012
 


Out from January 27th 2012:
www.denrecords.eu

dEN003 
The Radiata 5tet 
"Aurelia Aurita" 

The playful hysteria of John Zorn and Mike Patton meets the new Italian jazz noise scene.

A quintet born from the collaboration between Stefano Ferrian and Cecilia Quinteros a cello player based in Buenos Aires.
Join forces in this album also Claudio Milano and Luca Pissavini, both winner of the Demetrio Stratos Prize with NichelOdeon, and Vito Emanuele Galante on trumpet. Expect Avantgarde, Improvisation and some experiment in conduction of the higher level.


L'isteria giocosa di John Zorn e Mike Patton incontra la nuova scena jazz noise italiana

Quintetto nato dalla collaborazione tra Stefano Ferrian e Cecilia Quinteros, violoncellista di Buenos Aires. Ai due si uniscono Claudio Milano e Luca Pissavini, entrambi vincitori dell'Omaggio a Demetrio Stratos nel 2010 con il progetto NichelOdeon, e Vito Emanuele Galante alla tromba. Un progetto in bilico tra avantgarde, improvvisazione ed esperimenti in conduzione istantanea. Il rumore della poesia, la poesia del rumore.

http://soundcloud.com/denrecords

Groove is at the heart of Pace (pa-chay) Barrett’s playing. This fact has made him one of New York’s first call players. Equally comfortable in the studio and on the stage, he has played electric and acoustic guitar on many of NYC’s best stages.

Born in Philly, guitarist and composer Pace Barrett spent the early part of his life moving with his family. He had a desire to play that showed at a very early age. By the age of five, he was playing drums, and by seven piano and classical violin

When asked how he got started in music Pace states that “music started in me”. His earliest memories are of plunking out melodies on his family’s worn out piano or beating out rhythms on chairs. His first set of drums was purchased after his parents realized that a used drum set was cheaper than new chairs.  By the time he was in his teens he traded in his violin and was playing bass, guitar, piano and beginning to write songs.

Already a Berklee College of Music alumni, Pace next received a scholarship to study at Kripalu, in Lenox MA. Here he met an older fellow traveler who had a measure of success in the music industry, but had become disillusioned with the direction in which he saw his career going. The two became instant friends. Pace spent the next sixty days listening to stories and absorbing musical concepts. It was his new mentor that gave him his first acoustic guitar, and even more importantly, the conceptual foundation that would shape his sound for years to come.

The next experience would prompt him to start his own group. While in rehearsal with Abbey Lincoln, she pulled him aside and told him that he "was jazz, past and present and future" and that he "had all that [he] needed to be great, [he] just had to let it out."

Simona Barbera is a visual artist and musician based in Oslo, Norway and Genoa, Italy.

Hailing from Margarita Island in the Venezuelan state of Nueva Esparta, Bárb's interest in music and the arts rapidly evolved during her formative years. However, it wasn't until after her arrival in the UK that Bárb felt the need to embrace the intoxicating blend of Latin American & Caribbean rhythms and melodies reflecting her cultural origins.


"When I arrived in the UK, I had the idea of getting into the local folk scene, but then realised I didn't want to do the same thing that everyone else in the scene was doing at that time. I began to miss my homeland and truly acknowledge the richness of my culture and language."


Barb’s intuitive response to these influences gradually led her into the enticing world of writing and performing songs in both English & Spanish, whilst absorbing the sounds of PJ Harvey, Patrick Wolf, Agnes Obel, Laura Marling, Juana Molina and Bat For Lashes.


Following in the footsteps of such engaging storytellers heightened Bárb's passion for abstract imagery, shape-shifting its way around sparse chord-structured sound design, tinged with shards of dissonance. Her vocals weaving from sensually intoxicating, to hauntingly primeval. 


"I've always considered myself primarily as an intuitive songwriter working with music at the same time. So it is much more about the rhythm or the accumulation of musical ideas emerging from improvisation." 


Having forged a dynamic alliance with composer/arranger Nico Claverie, Bárb's forthcoming debut single, Burning Desire, encapsulates the dark, alluring melancholia found lurking within the viscera of a Guillermo del Toro soundtrack.


Welcome to the Enchanting World of Bárb Combellas.

JORDAN YOUNG
PERSONAL BIOGRAPHY



	Born in Detroit, MI in 1978 music was always a continuous presence in Jordan's upbringing. His earliest musical influences came from his mother's vast record collection, which included classical, jazz and classic rock. He began to play drums at age ten, immediately falling in love with the instrument. As soon as he was good enough, he started playing in local rock, punk and heavy metal bands. His first experience playing jazz was in high school jazz band, where he was first chair all four years. His exposure to a variety styles at an early age helped him to become the versatile and creative musician he is today.
	Eventually, Jordan attended the Jazz Studies Program at The University of Michigan, where he refined his drumming and compositional skills. In Ann Arbor, he was consistently sought out to perform with local groups with styles ranging from jazz to pop to avant-garde. Simultaneously, he was hanging at more jam sessions in the Metro-Detroit Area, which led to gigs with Detroit jazz legends Donald Walden, Marcus Belgrave, Teddy Harris, Jr., James Carter, and Rodney Whitaker. Meanwhile, at the University of Michigan, Jordan was taken under the wing of world-renowned drummer and composer, Gerald W. Cleaver. Studying with Gerald, Jordan really began to dig deep into world of jazz drumming, absorbing himself in the music of master drummers like Art Blakey, Jimmy Cobb, and "Philly" Joe Jones. During the five years Jordan spent at Michigan he dedicated himself to this music: practicing, playing and gigging as much as humanly possible.
	Upon encouragement from his mentors, Jordan moved to New York City to become an active part of the NYC jazz scene. As soon as he arrived, he began studying with world class educator John Riley, earning his masters from Manhattan School of Music.  Other teachers and mentors such as Carl Allen and Kenny Washington have helped to shape Jordan's playing as well. Jordan leads a jazz organ group based in New York City, The Jordan Young Group.  The group has been a working unit in various capacities since 2009.  The individuals in the group, while rooted in the jazz tradition, come together to form and create a modern organ group sound. Their range of influences creates a deep and diverse musical palette.  Naturally, the JYG is inspired by classic 60's organists such as Jimmy Smith, Jack McDuff, Larry Young and Melvin Rhyne, too name a few. Influence from non "jazz" artists such as Stevie Wonder, Jimmy Webb, and Burt Bacharach contribute to the creation of a sound that is well-rounded and appealing to many diverse audiences.  They can create colorful musical ambiances from slow and mysterious to bright and upbeat.  These variations of musical textures are bound to leave the listeners inspired.  The group's aim is to engage the audience with their fresh sound, taking them on a musical journey where past and present combine. 
	 Their first self - titled recording, "The Jordan Young Group" was a successful collaboration and clear example of four unique voices merging together to create a unified and cohesive sound.  Jordan's sophomore recording "Cymbal Melodies" was released by Posi - Tone records on September 11, 2012.  It has received rave reviews.  The group continues to perform at renowned New York City jazz clubs and venues such as Smoke, Smalls, Cleopatra's Needle, Arturo's, Fat Cat, Silver Lining, Little Branch, to name a few and performs weekly as the house band at TriBeCa jazz lounge B Flat. 
	Currently, Jordan resides in Brooklyn, NY.  He is on faculty at The Music School of Westchester and maintains an active private teaching studio.

Following on from the success of last year’s Emerald City, E.M.M.A. (Keysound, Wavey Tones) joins Parris and Etch (Keysound, Soundman Chronicles) to host another party in Dalston, this time at Power Lunches on November 7th, featuring some very special guests. 

E.M.M.A., Etch and Parris said: “We’ve all had a really busy year but were keen to get our second party sorted as the last one with LV and Sully was really fun. The same theme applies to this night; we’ve brought in some artists who occupy complimentary musical spaces to our own, drawing on similar influences but each taking them in an entirely different direction. “Everyone on the bill has the ability to make brooding, bass focused music but at the same time there is an emphasis on melody, colour, and absorbing atmospheres which are crafted through their productions and sets. As the nights draw in and we get in to winter, we can’t think of a better time to throw Emerald City II.” 

________________________________________________________________________________________________________

ACRE (Tectonic/Lost Codes/Project 13) - 
https://soundcloud.com/acre
https://www.facebook.com/AcreUK
http://acre-music.tumblr.com/
http://www.discogs.com/artist/2293170-Acre-3
@AcreUK 

From his mesmerising Forgotten EP for Visionist’s Lost Codes label to his release on Pinch’s new imprint, Cold Recordings as well as Tectonic, Acre’s cold, warped aesthetic references grime, techno & dub whilst retaining an individual sound unlike anyone else. 

MOKADEM (Melodica/Dummy) -
https://soundcloud.com/mokadem
https://www.facebook.com/mokademuk
@mokademuk

London based Mokadem makes spectral electronic music which is bass-heavy, atmospheric and full of subtle melodic progressions. Her music merges non-Western influences with distinctly UK club rhythms, as seen on her Melodica Records debut earlier this year. She features next to E.M.M.A on Dummy Records (Brille Records sister label) “21st Century Pop” vinyl compilation alongside John Wizards, Larry Gus and others. 

HERMAN BRAHNS (Rye Wax/How The Other Half Lives) -
http://howtheotherhalflives.net/
http://www.junodownload.com/plus/2013/12/16/how-the-other-half-lives-set-for-return-with-herman-brahns-release/
http://www.redeyerecords.co.uk/vinyl/49804-htohl004-herman-brahns-pilot

The elusive Herman Brahns are a collective of artists based in Peckham, who are good friends of Rye Wax Records. Herman Brahns made waves last year with their amazing release on How The Other Half Lives. “Pilot” and “53py9” were “made very quickly and semi-live with the minimum of fiddling.” Their sound is inspired by Wax Trax era dancefloor Industrial, Italo and synth soundtrack, as well as “the endless suffering and sorrow of existence.” 

E.M.M.A. (Keysound/Dummy/Emerald City) - 
https://soundcloud.com/oiiemma
http://www.discogs.com/artist/3243829-EMMA-2
@oiiiemma

Since the release of Blue Gardens on Keysound in summer 2013, E.M.M.A. has been busy pushing the limits of her sound and exploring her musical interests. Having been commissioned for the first Tate Britain mix, appeared on Boiler Room, played FWD and invented prog-medieval grime in the shape of the recent “Mindmaze – Mumdance Special” for Mumdance’s Rinse show, E.M.M.A. will be showcasing signed new material at Emerald City for the first time. 

PARRIS (Tempa/Keysound/Soundman Chronicles) -
https://soundcloud.com/parris_dj
https://www.facebook.com/parris1.dj
http://www.discogs.com/artist/3733236-Parris-2
https://www.facebook.com/soundmanchronicles
@parris_dj 

Producer & DJ, Parris has gone from strength to strength initially breaking into the scene via his incredible vinyl & dubplate only sets and his label Soundman Chronicles which has housed releases to Etch, Epoch, Facta, Gantz & more. He has recently released on legendary label Tempa alongside producer Wen and with big things in the pipeline 2015 is set to be a huge year for both Parris and his label Soundman Chronicles.

ETCH (Keysound/Soundman Chronicles/Emerald City) -
https://soundcloud.com/d9kabloowww
https://www.facebook.com/ETCHofficial
http://www.mixcloud.com/etchesonmyhead/
http://www.discogs.com/artist/3340829-Etch-4
@E_TCH

Keysound & Soundman Chronicle's break scientist and Emerald City's resident is set to have an equally huge 2015 with a splattering of releases set to go on various labels and fresh back from his trip to New York for reconstrvct. Well known for the acclaimed Rise EP on Soundman Chronicles and Old School Methods EP on Keysound Recordings, Etch is set to turn the party out with the usual unexpected 100 to 160bpm selection with styles ranging from jungle to hardcore to grime to dubstep reminiscent of his own vibe and approach to production

£3 b4 11/ £5 after

Augie DeLaRosa has been playing House Music for over 15 years, and just started playing in public 8 years ago. He plays Chicago's top venues. A regular at Ybar Gallery Fridays, he has also played Soundbar, VLive, SpyBar, Crescendo, Bevy, Vinyl, NV Penthouse Lounge, Parliament, Vertigo Sky Lounge, Lumen, Room Seven, and Time,  He’s made 4 guest appearances at Porn & Chicken,(including the P&C Rooftop Takeover of E11EVEN in Miami during WMC 2014) and the annual AddictedToRadio.com South Beach Tour during Winter Music Conference 2013, 2014, and 2015. Tiger Records Germany tapped him to play at their Miami In Session Pool Party during WMC 2015.He has provided direct support for Plastik Funk, Oscar G., Sharam, DJ Dan, Groovebox, Deniz Koyu, Tom Staar, DJ Icey, Armand Pena, Crazibiza, Vicetone, Stefano Noferini, Federico Scavo, Stonebridge, and Saeed Younan.
Augie was a Finalist in the Best DJ Category for the 2015 Chicago Nightlife Awards. (Out of the five finalist, only Augie and winner Derrick Carter are House DJ's) Augie hit the studio in 2014 and his first release, the  EP Vacant, co written and co produced with fellow Chicago Producer/DJ D2A hit #4 on the Progressive House Top 100 Releases Chart on Beatport,  #15 on the Tech House Top 100 Releases Chart on Beatport, and #44 on the Overall Top 100 Releases on Beatport in February 2015. He also won the V.I.Peeps 2012 North Coast Music Festival DJ Competition, winning the battle, to play this popular festival. 


Current/Past Residencies:
Room Seven
Time Chicago
YBar Chicago
Vinyl 
Privet
The VLounge at VLive Chicago  
The Gallery Fridays at Ybar
NV Thursday's NV Penthouse Lounge 
Fuze NIght Club  
Amp Underground Lounge  



        773-494-9317   augiedelarosa@gmail.com


The Pieces of Mind are a band from South Wales, playing a mix of R&B and original music.  They were very popular in South Wales and Germany in the years 1963-69.  From their early practices at the St. John the Bosco Hall, on Cromwell Road in Newport, through supporting bands such as The Who at Coed Eva Community College in 1966, to playing nightclubs such as the Star Club, Top Ten & Crazy Horse in Hamburg, the Pieces achieved an almost cult status.

In that period, we supported many well-known groups including: Billy Fury, Chicken Shack, Stu James & the Mojos, Georgie Fame & Blueflames, David Bowie, Gene Vincent, Johnny Kidd and the Pirates, Manfred Man, Marty Wilde, The Applejacks, The Hollies, The Merseybeats, The Moody Blues, The Nashville Teens, The Pretty Things, The Searchers and The Who. 

When the band eventually ran out of steam in the late 60's, members went on to join bands such as David, Judas Jump and The World of Oz. 

The band reformed in 2013 to celebrate the 50th Anniversary of forming in 1963.  Our first gig in nearly 45 years was to a packed South Wales Club on the 26th April 2013.  The Radio 2 DJ, Johnnie Walker, introduced us and the show raised nearly £3000 for a local charity. 

In 2015 we were invited to take part in a BBC programme, which looked at the UK's best part-time bands. This show was more of a documentary than a talent contest and as Rhod eloquently put it in Belfast 'there are no prizes...you get F*** All'.  1200 bands applied or were invited to participate and we reached the last 15, playing a gig in Belfast on January 15th 2016, which was introduced by Rhod Gilbert and Midge Ure. The documentary was aired on BBC4 in June 2016 and our band was the only one to be featured on the BBC1 Graham Norton Show and the Ch5 Mathew Wright show.  Rhod also played us a few times 2-3 on his BBC Wales Radio show.  We really enjoyed taking part in the show as tiring as it was.  

The band played the Brentwood Festival in July 2017, in support of Midge Ure, Heaven 17 and Go West.

It's taken over 45 years to release our first album, 'Born at the Bosco'.  The Manic Street Preachers kindly offered us use of their studio in Cardiff and also arranged for it to be engineered by Dave Eringa, who had just finished the Wilko/Daltrey album ‘Going Back Home’.  It was released in January 2015 and now available on Amazon, iTunes and other digital outlets.

Beverley Imogene is following