Bio: 

Hailing from Burton-Upon-Trent, Terrors were originally a three piece band made up of Jack Bevan (bass and vocals), Sammy Hughes (guitar), and Huw Griffiths (drums). Terrors released their first E.P., 'Blow,' in December of 2011 to much acclaim – their E.P. launch sold 300 tickets, packing a 150-person venue twice over. 'Blow' embodied a self-described new wave sound, reminiscent of Joy Division and The Smiths.
Beginning in 2013, Terrors became a four piece band with the addition of bassist Ben Easey. The move freed Jack to hone his craft as singer and frontman of the group, expanding crowd engagement and performance possibilities during live shows. The band released its sophomore EP, 'Needles,' in July of 2013. Well-received, Needles gained the band radio airtime and a feature piece in the internationally syndicated FRONT magazine.
Terrors have recently toured country-wide, and are set to play an October 17th show with Max Raptor and Gunning for Tamar in Derby.
Contact Details: 

http://terrorsmusic.wordpress.com/ http://www.twitter.com/terrorsmusic http://www.bandcamp.com/terrorsmusic http://www.youtube.com/terrorsmusic 

Booking Address: terrorsmusic@gmail.com/07902229863


With infectious beats, memorable bass lines, layered synths, funky guitars, and lush vocal arrangements, Goguen is set to break into the Toronto music scene with the debut release "Through The Shelter". 

Fronted by singer/songwriter Joel Goguen and backed by a group of forward thinking musicians, Goguen will make you bop your head and move to the harmonious blend of old and new. Bass and guitar lines reminiscent of the 70's, synth work reviving the synth-pop era, and modern day production philosophy are a few tricks up Goguen's sleeve. All to provide a unique soundscape for Joel's rich baritone and personal lyrics permeated with fun, love, hope, emotions, and self reflection. 

Drink to Me started out in Ivrea in 2002 as a classic four-piece rock band, later evolving from the more traditional bass-drum-guitar sound towards a more sophisticated style. Following a string of self-produced EPs, in 2008 they released their first album, Don't Panic, Go Organic! through the Italian-UK label Midfinger Records. Recorded in London, the album was mixed by Andy Savours (who had previously worked with Blonde Redhead, The Horrors, The Killers, Yeah Yeah Yeahs and several other high-profile bands). Following the album's release, the band started moving away from traditional guitar sound towards a colourful synth-driven, psychedelia-infused electropop. This sound carried them to the recording of Brazil (2010) and, most importantly, S. (2012), both released by Unhip Records (also home to Settlefish, Disco Drive and a Fantomas/Melt Banana split EP). S. was a turning point in Drink to Me's career: the album was named by several magazines and websites as “the best Italian record of 2012”, it earned the band a mention by Les Inrockuptibles as one of the best European acts and a gig as Orbital's opening act for their massive 2012 concert in Torino, before a 40,000-strong crowd. 

In 2013 the band took some time off, during which founder and frontman Marco Jacopo Bianchi started his own Italian-language solo project, Cosmo, which took Drink to Me's sharpest edge towards a more dance-oriented pop sound. Cosmo's success spurred the band to go back into the studio and record the follow-up to S. Carlo Casalegno, the band's bass player from its inception, left and was replaced by Pierre Chindemi, Drink to Me's former guitarist, on modular synthesizers. With this line-up the band started working on fresh material, based on a series of radical improvisations from which the new songs were molded into coherent structures, in a creative process that is more akin to that of electronic music. Songs follow unpredictable trajectories and melodies melt into a more cinematic sound, reminiscent of Krautrock and techno yet still decidedly approachable. 

Bright White Light contains ten new songs and was produced by Alessio Natalizia, who had worked with them previously in Brazil and known for his solo projects (among others Walls, with Sam Willis, Not Waving and Banjo or Freakout), with Andrea Suriani on recording, mixing and mastering. The album will be relased in Italy on October 14, 2014, and will be preceded by the track Bright. Bright White Light will be released on vinyl, CD and digital format on all platforms. The band will be on tour again from November 14, starting with Italy to move on to the rest of Europe. 


DRINK TO ME ARE: 

MARCO JACOPO BIANCHI 
FRANCESCO SERASSO 
ROBERTO GROSSO SATEGNA 
PIERRE CHINDEMI

Lucien LaMotte is a composer, guitarist and instructor based in Seattle who is interested in collaborating with other artists to create new sonic environments. In past efforts, he has played guitar for the funk/rock group The Unknown Jeromes with drummer Jason Tabosa and bassist Scott Clay, as well as played in the world music ensemble Brother Sun, fusion ensemble 650 Connection with former Doobie Brother member Danny Hull, and worked with Carlos Santana bassist Myron Dove and Afro-Bebop group the Pascal Bokar Band for former Dizzy Gillespie guitarist Pascal Bokar. I have had the privilege of sharing the stage with artists such as Chaka Khan, Ziggy Marley, Don Carlos, The Temptations, The Whispers and the O'Jays. You can hear his guitar playing on Ben Vega's latest recording Bury the Times. Most often I can be heard playing jazz guitar in combo settings. Lucien is interested in combining folk/Americana elements with jazz harmony, improvisation and electronic textures. The music for his album When You Go is influenced by the sounds of Country and folk music with vocal harmonies reminiscent of the Beach Boys. So take a listen, and if you like the music you hear look for Lucien's CD When You Go on cdbaby.com and iTunes. 

Lucien is currently working in a jazz fusion trio playing jazz standards as well as his arrangements of popular tunes such as "Norwegian Wood" and the Police's "Murder by Numbers." In this setting the group focuses on the improvised elements of original jazz charts, giving them a chance to really "play out," and feature the songwriting elements of Lucien's material influenced by Americana and Alt. Country elements. The high level of performance skill in this group allows the musicians the freedom to move between the variety of musical styles we enjoy, while maintaining the highest standard of artistic integrity. Please visit www.myspace.com/Niehuistrio for more information.



Aloud makes forward-thinking rock & roll that reaches far beyond the genre's boundaries. Spearheaded by Jen de la Osa and Henry Beguiristain, it's a sound rooted in sharp hooks, amplified guitars, and a willingness to explore new ground, with the band remaining in constant evolution.

The group launches itself skyward with Apollo 6, a psychedelic album laced with sweeping, spacey textures and distinctly personal songwriting. "We kept asking ourselves, 'What would a rock band on a different planet sound like?'" says de la Osa, who shares lead vocals and songwriting duties with Beguiristain. "That question led to a lot of sonic experimentation, and we came up with a cosmic, echoing record where you can hear the room itself. You don't just hear the song. You hear the space."

For Aloud, breaking new ground wasn't just a creative decision; it was a necessity. After putting the finishing touches on 2020's Sprezzatura — an ornate album inspired by the Muscle Shoals sound, featuring horns, strings, and contributions from Grammy-winning engineer Guy Massey — the musicians found themselves at home, unable to perform together due to the global pandemic and nationwide lockdown. They'd always been a collaborative outfit, arranging songs together in a rehearsal space before tracking them in a recording studio, and they'd just released the most lushly layered album of their career. Now, they'd have to do something different to maintain momentum.

"As writers, we're always looking at the experiences we've had and trying to use that as inspiration for songs," says Beguiristain. "Being locked up meant we had to turn inward instead, because that's all we had. I think we just naturally went to a personal place, and the guitar became our way of dealing with things. Songs became our therapy."

Recorded in several home studios across Los Angeles, Apollo 6 came to life as Aloud reflected upon the chaos, challenges, and resilient spirit of the modern moment. Beguiristain and de la Osa wrote songs about the benefits of meditation, the detriments of social media, and the coping mechanisms humans turn to during dark times. They experimented with guitar pedals — a Space Echo here, an organ emulator there — to coax new textures out of familiar instruments. They peppered their songs with sound effects, bird noises, and snippets of dialogue. Without help from an outside producer, the two reached out to bandmates Charles Murphy (bass) and Chris Jago (drums), both of whom utilized their home studios for recording sessions. Everyone produced. Everyone shaped the arrangements. As Aloud readied Apollo 6 for blastoff, the musicians also made sure to balance the layered swirl of their instrumentation with the most personal songs of their career.

"The album became the most self-expressive batch of songs we've ever written," de la Osa reflects. "Almost every single one of them was written about something we went through during that pandemic time."

"The Comeback Kid," with its space-cowboy stomp and western sound effects, became a musical mission statement: a battlecry from a band that formed in Boston, moved to Los Angeles, and weathered a host of challenges — from lineup changes to business deals gone south — over the course of six acclaimed albums. "Somewhere To Be" became a guitar-driven march worthy of Oasis, kickstarting the album with bold declarations like "I don't care about
the money; it's all just paper to me." De la Osa wrote about her search for stability with "Meditation for the Housebound," a psychedelic rocker punctuated by blasts of brass, and Beguiristain measured the distance between real life and the echo chamber of the internet with the jangling "Big Blue”.

For all its fiery futurism, Apollo 6 also nods to the musical roots that first brought de la Osa and Beguiristain together. The two met as teenagers in Miami, where they grew up within the same working-class Cuban community. Bands like Oasis, Beatles, and The Who became their mutual favorites, soundtracking the pair's relationship with a mix of guitar grandeur and pop melody. Apollo 6 is rooted in the same musical balance, but it also embraces an updated range of influences. The ambience of musique concrète, the witty angst of The Kinks' Lola Versus Powerman, the psychedelia of Noel Gallagher's Who Built the Moon?, and the unforced cool of French pop all inspire Apollo 6's unique sound, and Aloud doesn't recreate those influences as much as assimilate them into something sharply unique.

Apollo 6 is the sound of silver linings — a booming, boldly assured album created in a time of uncertainty.

Jesse Johnson 
Jesse Johnson—Guitarist/Composer/Producer-Has an impressive set of credentials. With accomplishments including four solo LPs (AM Records), four LPs with The Time (Warner Brother's Records), numerous Gold & Platinum LPs, numerous performances and recordings with and for top artists around the world, Jesse has established himself as a bona fide talent.
Jesse was born in Rock Island, Illinois, but cut his musical teeth in East St. Louis, 111 &? St. Louis, Mo. He started playing guitar and taught himself to play by listening to recordings of Lightning' Hopkins, Funkadelic, Albert King, B.B. King, Curtis Mayfield, Muddy Waters, Jimi Hendrix, Led Zeppelin, Robert Johnson, just to name a few of his favorites.
Playing guitar in The Time, a national act provided the guitarist unimaginable opportunities such as: Signing to WB Records, a successful charting record, selling Gold status, worldwide notoriety, performing to large audiences worldwide, and most importantly learning how to craft and record songs. The show of proof in his early song writing development, can be heard in compositions he co-wrote with Prince such as: The Time's" "Jungle Love", "The Bird" "Ice Cream Castles" and "If The Kid".
Jesse soon left The Time after finishing "Purple Rain" the movie and The Time's "Ice Cream Castles" LP to pursue a solo career. He dove into producing and writing his first solo LP for A&M records, "Jesse Johnson's Revue". His solo efforts proved to be another successful move. His first solo project produced three top ten singles, "Be Your Man", "Can You Help Me" and "I Want My Girl". Jesse Johnson's Revue soon became an added addition to the Gold & Platinum awards that decorated the walls of the studio.
His accomplishments did not go un-noticed. After the success of his first album, Jesse makes worthy strides in movie scoring and soundtracks by contributing to notable films such as, "The Breakfast Club", "Pretty In Pink", "Another 48 Hours", "A Time to Kill", "White Men Can't Jump", "Action Jackson", "Graffiti Bridge", "The 5 Heartbeats' and even independent films such as "Steam" (2009), to name a few.
Jesse returned to the studio to write, produce and perform another solo album but with a different sound. "Bare My Naked Soul" is Jesse's stripped down approach to music. He digs deep, and once again produces an album that explores the depth of his soul.  The album is flavored with guitar, and is uniquely different from anything he had previously released.
 

With Jesse's undying drive to express himself through his music he's back from the studio to deliver his latest release, "Verbal Penetration Vol I & II". This album, once again exposes Jesse's soul to the world by creating a truly timeless piece, issues that affect society today.   This album is sometimes reminiscent of his past work. But with a refreshing twist that is sure to please many a fan that fell in love with Jesse's style of music, guitar playing, and songwriting. "Verbal Penetration" will capture audiences ready for something new as well as thought provoking.
Jesse's continued fan support by admires of his work worldwide, comes as no surprise to anyone who understands the longevity of music that moves you, or in the case of Jesse Johnson, "Music That Makes You Move!!!
Verbal Penetration Vol. I & II
“Verbal Penetration”, released on the Bellavenix Music, is more than just the latest musical project by guitarist Jesse Johnson. The two CD-set of all new original material-produced, performed, recorded and directed by Johnson-is the kind of benchmark work that redefines careers.
Johnson's adventurous amalgamation of soul, funk, rock and jazz finds him at the apex of his recorded creativity, ambitiously going where few artists dare venture in these days of fast food funk and freeze-dried passion.
Tracks such as the bold "Slave 2 R Freedom" and "Propaganda," the artist's pointed take on hype and spin, speak to the bewildered state of popular culture, while sweet "Beautiful Sadie," the assured "We R So Strong" and the head-bobbing "100 Watts Of Funky," as well as the  instrumental homage "Ali vs. Frazier"-during which Jesse's inspired guitar work recalls jazz guitar great Wes Montgomery-all feature a prolific Johnson as he's never been heard before.
"Verbal Penetration" is something else. The work is lofty, yet sexy; introspective, yet in-your-face. It's where all artists end up if they are brave enough to take the chance.  Jesse Johnson has taken that leap. And once you've experience this new collection of works, you too will soon agree: Jesse is writing and playing his ass off!


YonderPhonics  - The Yonder Sound - garage-jazz, funk and roots music.
YonderPhonics, from Charlottesville VA, features driving rhythms & musical themes the likes of George Gershwin via The Black Keys; the 'Yonder Sound' is punctuated by rich lyricism reminiscent of Leonard Cohen & Fiona Apple. Featuring Kevin Culbertson’s vocals & guitar, Don Whitaker on drums & Dylan Farish on bass guitar; the group brings together a diverse set of influences to deliver a lasting sensation that is bound to make you move!
‘Groove Music for Yonder People’

Formed in late 2010, Margate based indie pop four piece The Pantomime Villains are a whirlwind of jangling riffs, indie disco beats and shimmering melodies, beguiling the listener with an intoxicating haze reminiscent of day trips to the seaside gone by. Compared to The Housemartins by Carl Barât and described by Anthony Thornton as the band that “could just be the shot in the arm guitar music needs”, the bands fan base continues to swell, with debut single ‘Hook, Line & Sinker’ reaching over 10,000 YouTube views within a year.
Having recently recorded a brand new four track EP entitled ‘Dreamland’ at Ramscombe Studios in Rochester with the locally renowned Jim Riley (Lupen Crook/Two Wounded Birds), the band continue to play increasingly prestigious gigs, including notable support slots with UK Top 20 charting Spector and The History of Apple Pie, a set on the Meadow Stage at Lounge on the Farm 2012 and a packed headline show at Death 2 Disco (the venue famously referenced in The Libertines song ‘Don’t Look Back Into The Sun’) in London.
‘Dreamland’ features four freshly written songs, each with their own identity and sense of immediacy on the listener’s ears. Opening with the anthemic jangle of ‘Tales of Deceit’, the band set their marker down instantaneously with a reversed guitar track evocative of John Squire circa ‘89. Followed up with the summer surf pop of ‘Falling for the Trap’, this leading track is set to be a favourite in the sunshine. The Pantomime Villains then move on in style with ‘Realise’, a darker track with interlocking guitars and a drum beat designed for dancing, before closing with fan favourite ‘Closer’, a track featuring quick-fire vocals that brings together each element of the bands repertoire in a crescendo of uplifting reverb.
As these four 19-21 year olds continue to progress, this is the perfect time to get on board their feel-good sure-to-be hit parade.

"Since spilling into the open arms of the Sheffield scene around two years ago, Beat The Bandit have developed their infectious sound and pricked ears all around the city. With Beatles-esque vocal lines layered over runaway riffs and fast, energetic drum beats, they stew up concoctions reminiscent of 60’s pop with sugar rush. From their debut EP ‘Winter’, right through to latest single ‘The Lion’s Roar’, these boys have gone from strength to strength, and continue to do so as they move forward with some very exciting new sounds and ideas." - English Rain Sheffield

"A perfect slice of Northern British 90s indie influences ‘The Lions Roar’ demonstrates what has made these guys so popular on their local scene." - Fred Perry Subculture

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