Rapper APH started his music journey under his initials A.P.H., he was easily identifiable when releasing his work. APH is primarily a rap recording artist and self-taught music producer. With a modern, yet original style of Vegas rap music, APH was able to bring hype to crowds when taking his first tour. After opening for Eric Bellinger, Lil’ Debbie, Caskey & Trae Tha Truth he was able to attract fans all over the west coast and beyond, landing himself a spot on Vevo, MTV, Pandora and one of Las Vegas’ top hip-hop radio station 98.5 KLUC. APH’s most recent hits include many influential rappers including Grammy Award winning artist, Layzie Bone, from Bone Thugs and Harmony and 3 time platinum recording artist Ben J from the New Boyz. Expect more to come from the Las Vegas native going into the new year. APH music is available on all digital platforms.

Website: www.APHofficial.com
Social Media: @APHOFFICIAL

David Zanellati makes his first international DJ experience in 2006 while working at Bliss Corporation (Gabry Ponte, Eiffel65, Djs From Mars), touring in Germany with the band 'Karmah' who was chartered on MTV with the R&B hit 'Just Be Good To Me'. In October 2017 he decides to start his adventure as producer while in summer 2021 he publishes 'Last Night a D.J. Saved My Life' on Smash Records. His official releases and bootlegs/mashups have been supported by Tomorrowland official radio and artists like Dimitri Vegas & Like Mike, Timmy Trumpet, MOTi, Quintino, Maurice West, Piero Pirupa, Leandro Da Silva and many others.

DJ booking: david@zanellati.com

This post-punk keyboard and guitar combo originated from Mansfield, England. They were often falsely linked with the early 80s fad of New Romanticism. Graham Boffey (drums) and Paul Statham (guitar) were one-time members of punk band the Aborted, formed, like so many others, in the wake of the first Clash album. The duo invited Steve Hovington (vocals/bass) along to rehearsals, changing their name to Studio 10 before settling on B-Movie. Studio manager Andy Dransfield sent a demo tape of the band to Lincoln-based independent record label Dead Good. The result was two tracks on the compilation East. Soon afterwards, Rick Holliday joined as keyboard player. Their Take Three EP was warmly received by critics, ensuring several local radio sessions and a six-track 12-inch single, headed by ‘Nowhere Girl’. Eccentric entrepreneur Stevo noticed the band and became their manager. Moving to Deram Records, ‘Remembrance Day’ became the second single to attract strong support in the press. Unfortunately, Stevo’s connection saw the band categorized as part of the New Romantic movement, a perception that would act as a major constraint in their future. After ‘Marilyn Dreams’ only scraped the charts, the band set out on a major European tour, during which they acquired the services of Luciano Codemo on bass, allowing Hovington to concentrate on his vocals. In turn, he was replaced by Mike Peden (ex-Everest The Hard Way), and soon Boffey also departed, joining Soft As Ghosts. Martin Smedley aka Winter and Andy Johnson were the new recruits, but they arrived just in time to see the departure of a frustrated Holliday. He joined Six Sed Red then MCX while the reduced B-Movie line-up of Hovington, Statham & Winter signed with Sire Records. A highly commercial but disappointing single, ‘A Letter From Afar’, was remixed by John Jellybean Benitez. An album, 'Forever Running' eventually followed, but by this time the band had effectively fallen apart. Statham went on to work with Peter Murphy and Then Jerico, Peden formed the Chimes, Hovington formed One before returning to work with Holliday, and Boffey played in Slaughterhouse 5.
The original four piece has now reformed, plays live and has recorded a new EP and album due in summer 2013.

Megatronic stepped out at the end of 2022 already armed with an album worth of tunes to impress most dance floors.

For all booking enquiries 
Erica@succoagency.com 

Anything music related
info@megatronicuk.com

Promo 
megatron.london@gmail.com

“It took life for us to get to this point – Everybody was so free.
From the first notes, it sounded like an explosion of sound; we went where the songs took us with a singularity of purpose.
We came in to make music as grown-ups, to make music as men.”
– Raul Malo, lead singer of The Mavericks

The Mavericks are back. The country-steeped garage band with a Cuban American lead singer that had emerged from Miami in 1989 with their sultry debut that was equal parts innocence, intensity, and vintage influences has reunited in 2012 after an eight-year hiatus.  Time has a way of melting when you’re busy living life – and two decades have passed since their polyrhythmic brand of post-modern country has given the world “All You Ever Do Is Bring Me Down,” “Here Comes The Rain,” and “Dance The Night Away.”

With their new album, time melts once again, and the band that defied definitions, blurred genres, and made everybody feel good is back. The “most interesting band in the world” has captured the infectious energy and robust sound from their live shows on their new Valory Music release In Time. Songs like “Dance In The Moonlight,” the Orbison-esque “Born To Be Blue,” the horn-punctuated retro noir “Back In Your Arms Again,” and the Tejano-esque “All Over Again” show that the Mavericks have once again found the way to make genre-defying soul music.

For Raul Malo, the lead singer with the rich supple voice that’s second to only Roy Orbison in its ability to convey lonesomeness, desire, and vivre; drummer Paul Deakin and multi-instrumentalist Robert Reynolds; as well as longtime collaborator keyboardist Jerry Dale McFadden and seasoned guitarist Eddie Perez, life has become richer in terms of experience, playing acumen, and a sense of their own musicality. It has also deepened the connection between them in a way that heightens the singular chemistry that made the Grammy-winning band one of the most exciting live acts in any musical genre.

“Maybe the space has given us a sense not of how it can happen, but what can happen when we come together,” says Deakin, who has spent the years apart balancing master-level carpentry with touring with David Mead and Jason White. “Just being there, and experiencing it, you don’t think about it. But there is definitely something when you get Raul, Robert, Eddie, Jerry Dale, and I in a room together that’s magical."

“The way this record happened really fostered the passion, the urgency and the hyper-listening of being in tune with each other. It’s a way of being in tune we don’t have with anyone else.” 

This is ironic, since other than a disjointed album eight years ago, the Mavericks had gone their separate ways. Through happenstance, serendipity, and a collective convergence of the cosmos, the band members found themselves entertaining the notion of some live shows for major festivals; then the idea of recording emerged.

Eight years had passed; they’d barely spoken, hadn’t been in the same room, hadn’t given the band more than a passing thought.

But the Mavericks have never been conventional. Indeed, with the passage of time, their legend has grown – and wherever the individual members went, the question of reuniting seemed to grow exponentially.

“I’d always dismissed the people who asked (about The Mavericks) as just holding on to the past,” laughs Malo. “A moment in their lives, some notion that was more fantasy than fact. But the years passed, I kept making music and they never died – those questions.” Malo, the man who feared re-treading what had once been began to rethink whether there was more music to be made.

“It’s funny,” says Perez, who has made music with Chris Shiflett of the Foo Fighters, Dwight Yoakam, Miranda Lambert, George Straight, Lee Ann Womack, and Raul as a solo artist, “it was a maybe to some touring dates, and then what was a few shows turned into, ‘Hey, maybe let’s make a record.’ It just snow-balled, because I think everyone of us lives to make music, and together, we all know it’s like nothing else.”

The time apart has also strengthened everyone’s musicality.

“I expected everybody to play their asses off,” Malo confesses. “That they’d step in like men and make music. And they did. ”

What Malo doesn’t say is that the band did zero pre-production. He was on tour in Europe. Other band members had commitments. Everybody simply showed up and allowed things to happen.

Harvesting a sea of influences – from Dean Martin to the Sir Douglas Quintet, from Hank Williams and  Ray Price to tangos, polkas, and Ravel’s “Bolero” – this album  is as bold as it was exciting to record. Or, as Perez laughs, “It’s so many genres… if you had to call it something, I guess it would have to be ‘inclusive’.”

“I think it took 30 seconds,” Malo says of the band’s inherent chemistry. “We started playing, and it just happened. It was that explosion of sounds! There’s this beautiful simplicity to this, because when we play together, we know each other so well.”

“There was a sense anything could go wrong at any moment,” Deakin concurs. “So there was this immediacy – and this notion of really being ‘in’ it. Raul didn’t let us hear the songs on purpose, so we were all really listening, really paying attention because we didn’t know what was going to happen."

Paul Deakin outlines the band’s album history: “Crying Shame was our first real recording session in Nashville with major producers, but it remained the ‘raw us’,” said Deakin. “Music for All Occasions was recorded in the basement of Sony Publishing, and Trampoline was a massive live production.  In Time feels really, really good. Like when we were making music in the warehouse back in Hialeah (FL). In the end, we went all the way back: we’re like a garage band behind that voice.” 

For all the polish and sophistication, sold out shows at the UK’s Royal Albert Hall, cultural blurring and tours of South America and Europe, United States and Canada, The Mavericks are, indeed, a post-punk band with deep retro-fittings from Miami’s indie scene. That existing beyond the lines is why the lush ‘50s stroll of  “That’s Not My Name” is as comfortable as the jukin’ “As Long As There’s Lovin’ Tonight,” the stoic tenderness of “In Another’s Arms,” or the epic build-and-recede “Call Me When You Get To Heaven,” featuring the legendary McCrary Sisters, which went down in one take.

“I see this as a record everyone’s invited to,” Malo explains. “It’s a mix of different rhythms, different places and times. From rednecks to Cubans, Mexicans to gringos to WASPs – you can imagine this band pulling into a country festival and playing ‘Dance In The Moonlight’” – and everybody dances. It’s taking people to new places, but knowing it’s all one world.”

“We constantly struggle with the definition of mainstream,” explains Reynolds. “There were moments obviously when we were ‘in’ it, but it’s more the mainstream embracing us from where we exist on the musical fringes. But rather than being something we’re not, we’ve always stayed true – and by being square pegs, we also probably reflect America, because America’s roots are a melting pot.”

Reynolds continues, “listen to Raul’s writing: that strength and passion! He paints a larger universe. Big love, big loss, big joy – and party, live! It’s exciting musically, but it’s tricky because it can feel joyous, but sometimes it’s actually this really big pain.”

“Raul’s ability to write a simple lyric,” Deakin states, “reflects the mass of humanity, even though it’s one man. When you add his voice, and that sense of melody, it moves people.”

On the new album, “Amsterdam Moon” celebrates the sensual jolt of being alive. Even the Spaghetti Western-inspired “Come Unto Me” ripples with drama, as Malo’s voice grows bolder and more epic in its bravado.

Keyboardist Jerry Dale McFadden, who started with the band in '93, says, “The new music results in a magic that happens when we play together. You don’t recognize that our work was labored over. No, instead, we make it look like it’s music that we just started playing.” McFadden believes In Time will be applauded by old fans and will likely attract a new audience as well. “We made a great record, and there are plenty of folks who will discover this music and vibe for the first time.”

“This is a very masculine record,” Malo says. “There’s a little bravado in there, I’ll say that. It’s the bullfighter with the flower in his mouth, but it’s also about men… and women… and how different we are, but how much we want and desire each other.”

Getting back to being what they are underscores everything about The Mavericks’ return to form – the ferocity of their playing, the singularity of their intent – and yes, the copious sense of exuberance that infuses every note of the album. 

“Our relentless pursuit of fun and our selfish notion of pleasing ourselves has always driven us,” Deakin concedes. “But pleasing ourselves creatively has also always worked for us, creating an immediacy that makes us true to the songs. We don’t create for a niche or a genre, but to capture the spirit – and that’s always been our strong point.”

“When we were the new kids, there was this excitement,” Reynolds continues. “Maybe even a naiveté that came off as brash, but we were always sincere. We were never trendy, because we weren’t chasing anything. Maybe we were rebels because we were different… But I think people realize now, this is who we are, what we do. It’s not hipster, it’s who we are.”

“The fans have always understood us,” says Raul.  “We made them feel good – and that was something then, as now I think, people wanted. Life is so serious; even for a moment, let’s forget and enjoy!”

“One of the best parts of our relationship with our new label Valory Music is that Scott (Borchetta, Big Machine Label Group CEO) understands what makes us what we are. He was there when we were happening, and he was very supportive! No one at the label wanted to put handcuffs on us. They just wanted a Mavericks record… and I think we gave them one.”


Midnight Wire are a five piece Indie/Rock band from Leicester with influences ranging from The Libertines, The Clash, Frank Turner and many more.

Their first worldwide release ‘Oh Lola’ received national radio play and was toured with Midnight Wire’s debut 35 date headline UK tour. 

Their second release ‘Not Just Selfish’ received worldwide radio play and was also toured extensively. The track has now racked up over 70,000 views which is an astonishing feat for any unsigned band.

Recent shows have seen them appear at Gary Numan, Chris McCormack and Carl Barat’s club night ‘Jubilee’ at the Camden Barfly, multiple O2 Academies as well as appearances at the likes of Summer Sundae Festival, Riverside Festival, Strawberry Fields Festival and a hometown show at De Monfort Hall in Leicester.

Other successes include headline appearances at Oxjam Islington and Oxjam Hackney and being crowned winners of the OBS 2012.

Midnight Wire’s most recent track ‘Never Gonna Leave LA’ was featured on Huw Stephens BBC Radio 1 track of the week and received over 27 plays in its first day on radio. The release saw the band attract the attention of a number of major record labels and the next release seems more than likely to be a success. 

In aid of charity, Midnight Wire agreed to feature at Soccer Six alongside Babyshambles, The Enemy, XFM and many more.

The second album is on the horizon after 3 years of recording and writing. 'Music of the Spheres' is due for release late 2019.

Check them out on:-
Facebook: http://www.facebook.com/midnightwire
Twitter: http://www.facebook.com/midnightwire
Youtube: http://www.youtube.com/midnightwireofficial

*****
NEW SINGLE OUT SEPTEMBER 17: TRAVELLING.
UPCOMING TOUR DATES:
VISBY (GOTLAND, SWEDEN): SEPTEMBER 27
KÖPENHAMN  – OPENING FOR THE FLESHTONES: OCTOBER 2
 *****

"Tighter than Willy DeVille´s crocodile boots"
(Anders Tapola, Smålandsposten)

THE PLASTIC PALS – twin guitar slinger psychedelic garage powerpop combo from Stockholm, Sweden – released their second album TURN THE TIDE - February 2013. Recorded at Studio The White Lodge in Ludwigsburg, Germany. Produced by Chris Cacavas (Green on Red/Giant Sand/Calexico) with Rainer Lolk as engineer. 

The Plastic Pals released their debut album GOOD KARMA CAFÉ in 2008. A collection of magic melodies with a dark edge. An americana-tinged affair, yet staying true to the twin guitar-paisley-garage-powerpop-New York rock-ideals as presented on the EP THE BAND THATS FUN TO BE WITH (2006).

The sound of The Plastic Pals continues to attract an increasing number of fans worldwide. A rootsy classic guitar-laden rock sound that takes you on a time capsule, draggin The Ghost of Tom Joad all the way into the present. The Plastic Pals have been compared to bands and artists like Echo&The Bunnymen, Television, The Dream Syndicate, The Velvet Underground, Green on Red, The Godfathers, Blue Oyster Cult, Bruce Springsteen and Elvis Costello. Perhaps too rootsy to be called garage, too poppy to be called rootsy, too garage rocking to be called americana or alt-country.

The album GOOD KARMA CAFÉ – with guest appearances by former Green on Red keyboard maestro Chris Cacavas – has received really good reviews, in Sweden as well as in the UK, The Netherlands, Belgium and Italy. Tunes from the album have received airplay and/or is receiving airplay in the USA (WFMU and WFNX), the UK (BBC6 and the House for Mercy show at Total Radio), Greece, Spain, Sweden, Germany, Holland, Belgium and France – with A-rotaion for 4 months on a radio station in Lyon.

The Plastic Pals have been support band to The Dream Syndicate (US), Chuck Prophet (US, The New Christs (Australia)- with members from Radio Birdman and Barracudas, Steve Wynn & The Miracle 3 (US), Chris Cacavas (US), The Nomads (Sweden).

In November 2008 The Plastic Pals were invited to London by Gurbir “Another Cowboy” Dhillon (who released albums with The Dream Syndicate and Band of Outsiders in the 1980:s) and Nick West (from the magazine Bucketfull of Brains) for a celebration of The Paisley Underground at the Windmill, Brixton. Besides playing a regular Plastic Pals-set the band backed ex-Long Ryder Sid Griffin on a set of tunes by The Long Ryders, and finished off the night with a set of songs by The Only Ones, The Dream Syndicate, Green on Red, The Velvet Undergound and Danny and Dusty. The same weekend The Plastic Pals played two more London dates at The Hope & Anchor and 12 Bar Club.

In November 2013 The Plastic Pals went on a mini-tour to New York/New Jersey to play with bands and artists like Band of Outsiders, The Cynz and Phil Gammage.

http://www.theplasticpals.se

Yisrayl Yahwah, a St.Louis Native, born and raised since August 27, 1997, received his name Yisrayl 13 years after he was named Jacob at birth.Though his name came in his later years, his attraction to dancing, rapping, and singing came early. He uses these same three things to attract his audience, putting his own spin on how he is approaching the game. In 2010, Yisrayl linked up with a group out of Las Vegas, NV. They traveled and performed at events like The Michael Jackson Tribute in Los Angeles where he danced on the same stage as Chris Brown and Prince, and hitting stages for shows, like Americas Got Talent in Houston, TX. 
 Growing up, Yisrayl looked at the world different and he expresses that through his music and performance. One thing those who know Yisrayl can testify to is "his rehearsals are full of the same passion as his performances", never missing a beat. He spends his time doing local shows such as the Black Expo, radio interviews, and traveling from city to city representing EMG, Ex'Clusive Music Group, sharing his music with the people. Yisrayl also starred in a Hip Hop Musical called Watching The Throne. When asked of his goals in this music game, Yisrayl said his short term goal was to be touring across the states and islands performing. He is taking no breaks reaching this goal, having shot music video for single "Laid Back" ft.V3 in April of 2014, getting booked for the American Gangsta Tour featuring Rick Ross (The Real Rick Ross), Big Mike, and Spice 1 this spring and summer of 2014 as well with performing at The HalleluYah Picnic/Field Day. Yisrayl has created a dance video called the Red Foxx Dance, created a documentary of his Promotional Tour traveling to Las Vegas,NV and Los Angeles,CA as he performed on the Las Vegas Strip, and near the Santa Monica Beach.
 Not stopping there, Yisrayl will be featured on Astar Journey TV, performing at The Put Down Your Guns Pick Up Your Sons Weekend Event, performing at the Webster Dance Hall in New York, performing in a Hip Hop fashion show called Rip The Runway in July, and performing along with other local and national artists this fall and winter of 2014 in a Reality TV Show called Making the Tour Bus. 
 As for Yisrayl's long term goal: to capture the peoples attention.
And keep it.

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