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Subterranean Street Society takes the raw & unexpected
energy from the streets and brings it onto the stages all around the world. With steel resonator guitars, hollow body basses and rumbling Rock n' Roll drums they attack the audience with an uncompromising sound. On top of cassette tape drones, melodic feedback and thunder like basslines, you hear a raspy voice that has been described as sounding like "mahogany and leather", a voice telling stories of romantic remedies, lazy lovers and drifting characters struggling to choose the right direction. The songs move beyond the grey zone of genres and even though comparisons are made to bands like Black Rebel Motorcycle Club, Radiohead and Paolo Nutini there is really only one label that you can always put
on Subterranean Street Society and that is: “Heartfelt".

DISCOVERING A MUTUAL PASSION FOR SONGWRITING
AND PERFORMING, REED FIELDS AND JILL HAMLIN 
CREATE ROOTSY AND ORGANIC ‘SILHOUETTES’ AS
THE AMERICANA DUO A LITTLE BIT MORE

Located at the junction of US 60 and Kentucky Highway 36, Owingsville, Kentucky is the classic rural small town, with only two major streets and a population of about 1200. If you listen closely as you drive through, you can hear some dynamic, rootsy sounds pouring out of garage jam sessions. A few years back, singer-songwriter and mullti-instrumentalist Jill Hamlin walked into one of these gatherings and was blown away by the talent of veteran musician Reed Fields. The two became fast friends and, with some of their mutual musical friends, formed the popular local cover band Highway 36. 
While gaining a regional fan base with their versions of songs by legends like Allison Krauss and The Allman Brothers, Jill and Reed started writing original songs and performing them outside the group setting. This crafty moonlighting gave rise in 2012 to their Americana duo A Little Bit More and performances at black tie benefits, house concerts, taverns, fairs and festivals. One of their core venues, The Twisted Cork in Lexington, is hosting the CD release party rolling out their highly anticipated full length debut album Silhouettes. Jill and Reed recorded the 13-track collection at Nashville’s legendary Station West with famed engineer Kyle Manner, whose client list includes country music greats Dierks Bentley, Alan Jackson and Brad Paisley.
The two bring fascinating individual backgrounds into their creative vibe as A Little Bit More. Jill is a multi-instrumentalist (piano, mandolin, banjo, violin/fiddle, bass, guitar) who began playing the piano by ear at age three. She earned a Bachelor’s in Sociology with a minor in traditional music from Morehead State University, then earned her Master’s in Social Anthropology Ethnomusicology from Queen’s University Belfast in Northern Ireland. Her multiple band associations include Mountain Delivery, Rhythm Wheel, KCTM Old Time String Band/KCTM Old Time Bluegrass Band, and she has played with J.T. Cure, bassist for Chris  Stapleton. A longtime high school social studies teacher with a Masters in teaching from Morehead State University, Reed’s passion for outlaw music has led to his working with groups like Flat Creek, Ridge Runner and the Charley Lyons Band. He’s also opened shows for Exile and Chris Knight.  
A Little Bit More thrives on the chemistry between its two principals, whose mutual musical influences (including John Prine, Chris Knight, Hayes Carl, Emmylou Harris) led them to create a fresh voice as songwriters and performers. Those listening to Silhouettes, like fans attending their gigs, are immediately struck with the unique switch off between lead vocals from track to track. Their philosophy here is simple: If they start writing a song, and decide that a male vocal fits the song and gets the emotion across better, then Reed takes the lead – and vice versa for Jill if a female voice is more appropriate.
Their songs on Silhouettes range from thoughtful socially conscious tunes like “Where I Am,” which touches on the epidemic of prescription drug abuse that affects so many people in their region, to spirited country crowd pleasers like “Beer Bottle” (their “fan Favorite”) and “Get Up Crowd,” a whimsical anthem every musician seeking a receptive audience can relate to. Working in perfect vocal harmony, with Jill backing Reed, the duo presents a lighthearted counterpoint to the addiction theme with the power ballad “Good Habit,” about the upside to being addicted to a loved one. Jill taps into her rebellious teen years trying to escape bullying and find herself on the passionate narrative of “What’s Going On In Memphis.”

Big library of diverse music, perfect for enhancing any video project. With its wide range of genres and styles, it seamlessly adapts to various moods and themes, providing an ideal auditory backdrop for creators looking to elevate their visual storytelling with rich and harmonious sounds.

Success stories don’t usually come with a twist ending. But that’s exactly what happened to singer/songwriter Don Miggs: only when he stopped trying to force his life to follow the familiar “fame and fortune” narrative did he finally realize that the story he’d already written was far more compelling.
That story, as complicated and offbeat as life itself, is the focus of Miggs’ raw and confessional new project the Whole Damn Mess. The band’s debut album, The Queen and the Outcast (out in 2018), is at its core an unexpected love story. It’s a rock and roll fairy tale -on the surface the clichéd tale of two archetypes, the Rich Girl and the Bad Boy. In Miggs’ revealing, autobiographical songs, though, a more complex and richly detailed truth emerges.
“I want this music to be everything to someone, not something to everyone,” Miggs says. “I’d love to show people that no matter what you have, every day can still be the best day of your life." 
The Queen and the Outcast is the kind of album that can only come after the ripening of life experience, and not just because of the singular story that it tells. The music itself is a unique blend of rock abandon tempered by a knowing cleverness, with pop hooks that are not only able to worm their way into the ear but provide something to ponder for the brain inside. In a culture that seems increasingly skewed to the 14-year-old mentality, it’s refreshing to find an album not made for kids that can nonetheless still make you feel like one.

 vox gina, kye......ali omar R.I.P. 
 Discography:-England's Dreaming 12" Rob's records.Manchester. 
    Atonement (debut album). 
    Crucified,stiched up and then some.  
    Atone 3.             
    Pearshaped.  
    Brutalism.  
    Live and love your life.
 ATONE [ATONEMENT CD] was  included in the Ministry of Sound magazine 101 crucial albums of the past 20 years
  Reviews:
 ATONEMENT CD--------- deep electronic dub straight out of Sydney. Atonement is there debut release, and it will slide into your brain with ease. taking their cues from the thunder of dub, the infinity of ambience and trance, and the aural anarchy of sample culture, Atone at its core, is primal swampy funk. At one end," flyaway Afro"and "fuckwar" dabble with industrial noises amongst the jelly-beats; at the other,"hellhole" and "dublife" drift in echoes toward total sedation. Best is "never be free", where hip-hop is updated once again into brilliant and brutal Chemical New-beats..........4 STARS ****... CHRIS JOHNSTON.....ROLLINGSTONE.........

CRUCIFIED, STITCHED UP & THEN SOME CD.-------------- atone's remarkable debut album atonement sounds remarkably light and fluffy when compared to this follow up. two years full of live performances and solo work mark the period between "atonement' and "crucified" but atone have distilled the break perfectly. "crucified" exhibits a darker side to atone, full of slowed hip hop beats, monstrous dub bass lines, spooky cinematic loops, snippets of vocals, well selected samples, and masked analogue burbles. looped guitar lightens up the appropriately named "60s", subterranean bass drops merge into deep dgidub on "end the occupation" . All up 12 excellent tracks of the deepest darkest digidub and and outstanding follow-up to one of best albums of the last few yesrs........5 STARS *****..........YELLOW PERIL..........3D WORLD.

 ATONE3 CD------------ atone has made an album that is ahead of its time. listen to this in 10 years and I'll happily apologize if wrong. With the most progressive ( not as in progressive to trance) dub sounds around atone outdone themselves on this, their third release. The quiet but noisy introductions make way for aggressive percussive sounds which contrast to the relaxed dub beat they make. Vocals, including rhymes courtesy of Kye , add to a style and sound that it's hard to imagine melding with lyrics. Stand out tracks: all the tracks. Buy, it's good...........CLARK NOVA.........CAT..

BRUTALISM: CD---Brutalism is by far one of the most interesting albums to come from local producer this year to date. Spanning from minimal House and Techno to RnB, from dub to deep textual beats that do not want for classification. The album represents something fresh from one of Sydney's premier underground producers atone, casting off the shackles of the bleep and squeak glitch genre that has ridden a lot of fresh ideas into the ground in a narrow minded scene. Sure there are some bleeps and squeaks and lots of glitches, but it's intuitive and inspiring. The album opens with a great break and then it delves into some specious soul inspired RnB vocals on the quiet minimal beats of "sometimes". Probably the only common thread that links the tracks of brutalism together is their spacious airy nature that has you floating through a diverse selection of quality tunes. it's a turn in production technique for local producers........... Benjamin Chinnock........ THE BRAG............

LIVE AND LOVE YOUR LIFE. CD
The legacy of Ali Omar lives on in this long awaited new album. Live And Love Your Life pays homage to a Sydney producer who just did what came natural to him, creating diverse, refreshing, soul empowering music, shifting from style and genre with ease, injecting everything from lavish moments of dub, post rave club soul, deep vocal house, abstract drum’n’bass experiments, and downtempo world music collage.
 
The varying vocal incarnations of Ali Omar, from toasting, and soulful reggae influences, to the gruff ranting and mumbling he became renowned for, I wonder if Spaceape has ever heard Ali Omar’s style, are interspersed with vocals from Gina Mitchell, Jes, Andy Fitzgerald, to name a few. I’ve always thought Atone could have more exposure, Omar and Andy Fitzgerald creating crafted, modern dub experiments as good as Massive Attack, with a similar genre hopping vibe, intensity, but soul enhancing energy.
 
Highlights are always the ones that touch on a dub aesthetic, “Live And Love Your Life” cruises through a 6a.m. fog, evoking the spirit of Vangelis. “Reason Why” shows a newer direction, post rave stabs ride a funky dubstep rhythm, with the soulful vocals of Gina Mitchell. “Look At The Stars” hits the dubstep mark again, pounding rhythms, skittering percussion and rapid fire bass. “Let The Light Come In” brings the reggae, but piles on the breaks to take the track somewhere completely different. “Caffeine” revisits the rapid fire bass, layers hip hop beats and dubbed out synth lines. 

For all those who lived through the heyday of Sydney party culture, and the rise of the festival, would fondly remember the vibe Ali Omar and Atone evoked, those sweaty clubs where he knew how to work the crowd, dark fields exposing the sonic possibilities of dance culture, and the 6 a.m. chill out sessions where his work played on many a soundtrack. A talented artist will always be missed, but his music lives on, and his spirit can still do its work through his music.
 
Wayne Stronell


 ATONE [ATONEMENT CD] was  included in the Ministry of Sound magazine 101 crucial albums of the past 20 years



A Bit On The Side are an acoustic trio, based in Grantham, Lincs, UK.
We play a wide range of music, but always with a focus on delivering a soulful sound with great harmonies.

Get in touch with us at www.facebook.com/abitontheside and come and see us play.

microcastle | est. 2009

microcastle is an electronic music imprint from the north, Canada. Releasing on vinyl, cassette and digital, the label is an outlet for borderless creation. The selective nature of the platform allows each artist to operate freely, where stylistic blueprints and conventional dance floor dynamics are lifted. A home for anyone who carves their own path, each microcastle project is unique unto itself, unmindful of trends, refreshingly organic and initiated with the intent of entering the unknown, from leftfield headphone listening to rebellious dance floors around the world. 

Label Artists: 16 Bit Lolitas, Spooky, Cornucopia, Guy J, Eagles & Butterflies, Echonomist, Upercent, Olaf Stuut, Ivory, Adrian Roman, MULYA, Ditian, Yubik, Radeckt, Solique, Presia, Auggie, Colossio, Shiffer, Speaking In Tongues, Kadosh & Nariz, Ruede Hagelstein, Santiago Garcia, Marvin & Guy, Chaim, Darlyn Vlys, Zombies In Miami, Mathias Schober, Love Over Entropy, Luca Bacchetti, Brian Cid, Khen, Chicola, Sahar Z, Cid Inc, Jamie Stevens, Henry Saiz, Monkey Safari, Third Son, Jeremy Olander, GROJ, Fairmont, Charlie May, Max Cooper, YokoO, Petar Dundov, Nhar, Clarian.

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