Amsterdam based Beans&Fatback is a blues / rock outfit centered around singer/songwriter/producer Onno Smit.

Beans & Fatback released their debut album, Finger Lickin’ Good, in 2010. A radio friendly blend of country, soul and pop.

Returning with a bang in 2013. Their sophomore effort, With Skin Attached, was recorded in Amsterdam’s analog Electric Monkey studio, with lots of reverb, natural overdrive, and in glorious mono. The album received critical acclaim in their homecountry as well as producing (generating )numerous synchs in the US. The first single of the album ’Use Me’ opened the door for what was to become Beans&Fatback’s trade mark sound (eg. heavy on the drums with Link Wray style guitars and raw vocals).

Heroine Lovestruck is the band’s third and heaviest album to date.
The band was inspired by surf nuggets, obscure rockabilly, exotica, Ethio-Funk grooves and straight forward high energy rock & roll.

What started with a picture of Rita Hayworth in the role of Gilda painted on the first atomic bomb; detonated above the Bikini Atoll ended a year later with an album full of razor-sharp grooves, seething riffs and thundering rhythms.
Heroine Lovestruck is a tribute to classic Femme Fatales.
Women you fall for when you know it's not good for you.. The outcome is disastrous but your head turns itself off and the instinct takes over. 
Explosive, dazzling and destructive.
‚

In the spirit of artists like Jack White, Dan Auerbach and Menahan Street Band Beans&Fatback take lessons from the past and puts them into a new perspective. 

Flaming June will be releasing a new album - Hope in a Jar - in Autumn 2021. This follows 9 EPs. Previous releases, "Freedom's Fairytale for Girls"  won praise from Eve Ensler and  "Rumpelstiltskin" received air play on Tom Robinson's show on BBC6 Music and the FATEA Magazine award winning EP from 2011 'Nerves of Steel'.  Louise recorded, mixed and produced the album during the lockdowns on 2020/21 having enrolled in the Home Recording Academy to learn music production skills.

On January 1st 2011 , FATEA Magazine announced out of the blue that the EP ' Nerves of Steel ' was their EP of the year.
"Nerves Of Steel" is one heck of an EP over the course of five tracks it runs the gamut of folk, folk rock and acoustic pop, pausing briefly to dabble in the worlds of rockabilly/skiffle.Flaming June write strong songs that can go really deep addressing social issues and emotional blackmail and then switch to something that has a lighter almost jokier feel.. A glorious combination of shade and texture, delightful.

Maverick Magazine "This quartet led by singer-songwriter Louise Hamilton on vocals and guitar, bring a contemporary vibrancy to the somewhat staid traditional English folk music."
"Catchy...addictive and also rather dark....a truly brilliant band, I hope to hear more from them" Bliss Aquamarine (fanzine www.blissaquamarine.net)
"Next up were Flaming June who absolutely blew me away. Indie rock with a strong dash of folk plus angry female vocals, dark intelligent songs with plenty of punch....absolutely ace" Drowned in Sound
"during their half-hour set Flaming June did little less than completely command the Boat Race stage" Aboutthemusic.com

"We really enjoyed your set last night, Thanks. You're definitely all madder than a box of frogs, Thats a big plus in our book" -High Barn Folk Club - Oct 2010

Great British Life.com
“It’s hard to define Flaming June – the phrase indie/folk only begins to cover it. They are also rhythm-driven and full of energy, blending classical training with a rock attitude, and they were on fire at last night’s Hidden Rooms gig”
My dad rocks fanzine
“As usual from this Cambridge/Newmarket alternative folk band, the tracks evoke a passion and urgency which is missing in much of today's music. That's not to say their music is not commercial but it's obvious that the music comes from the heart rather than popular formulaic writing
The EP is astonishingly good with the promise of great things to come. Louise has been writing songs since a child and with her heartfelt lyrics and catchy choruses may she never stop"

Flaming June have supported Eliza Carthy, 6 Day Riot, Moulettes, Ed Sheeran, John Otway, The Men They Couldn't Hang, Ellen & The Escapades, TV Smith, Uk Subs, Blyth Power, My Drug Hell, Patricia Vonne and more.

Gigs in London and East Anglia include The Monarch & The Dublin Castle (Camden) Lodestar Festival, Ely Folk Festival, Cambridge Rock Festival, The Strawberry Fair Cambridge, The High Barn, Stowfest and Ipswich Music Day.

Louise has self-funded and released five EPs on her own record label Anchoress Records.

Rejoice 1999
Bad Dreams 2002
Bright Shiny Things 2003
Under My Skin 2010 - available on iTunes/Amazon etc
Nerves of Steel 2011 - available on iTunes/Amazon etc

She is currently working on her 6th EP with sound engineer Rob Toulson, percussionist Paul Richards and guest musicians. The EP will be released in 2013.

Previous musicians Louise has worked with include :
Richard Hamilton, Brian Jones, Jayne O'Hara, Hannah White, Steve Scott, Jim, Fritz, Lorna Teifholz, Nicky, Helen Lake, Chris Wilson, David Tiplady, Andrew Dance, Franco Caprio, Diane Llewelyn, Ozzy Phil, Steve Calder, Clare Calder.

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Formed in early 2008, Cocos Lovers (pronounced Co-Koss), are an eight piece band from Deal on the Kent coast, who have the rather unique set-up of having husbands, wives, siblings and friends in the same group. 

Over the last two years they have gained a reputation for fantastic multi-instrumental performances combined with choir like harmonies. The music is heartfelt and pure combing traditional folk, African rhythms and strains of the Deep South.

They released their debut ‘Johannes’ last year too much critical acclaim and are currently in the studio producing their second album.  ‘Johannes’ was described by critics as ‘an album packed with traditional folk, off-kilter rhythms and glorious, widescreen melodies. It’s an album full of joyous curveballs that keeps you guessing, as banjos, violins, percussion, skin drums all work together beautifully against the group harmonies’.

Cocos Lovers have toured both the UK and Europe and supported a number  bands, as well as performing at their own sell-out shows. They are also a favourite on the festival circuit, with 2010’s roster including, amongst others Cambridge Folk Festival, Green Man Festival, Lounge on the Farm and Secret Garden Party. 2011 see's the band return to a number of these festivals, as well as appearances at Glastonbury, Kendall Calling, Sunrise and more.

“Cocos Lovers are children of the world, gentle travelers’ who seem to have had music strains stuck to their homespun jackets like pollen”
ROUGH TRADE RECORDS



George Evans: Happy Madness
LIve at the Laurie Beechman Theater
November, 2008   

With his excellent trio, Canadian jazz singer George Evans opened his show last night at the Laurie Beechman Theatre at West Bank Cafe on West 42nd Street with the sprightly title tune from Bock and Harnick's "She Loves Me." It was the bright opener to the first of two shows exploring the challenges, excitement, passion, thrills and obsessions we all experience with love. This particular show was entitled "Happy Madness," and featured songs on the brighter side of love and hypomania. Saturday night's show will be entitled "Glad to Be Unhappy" and will be devoted more to torchy songs, or as he put it "music to slit your wrists to." What fun!

Led by the magical fingers of John diMartino on piano who propelled the evening along majestically, Evans next seduced us with Cole Porter's infrequently heard "You're a Bad Influence on Me," originally sung by Ethel Merman in Red, Hot and Blue in 1936. Not sounding Mermanesque at all, Evans was simply perfect as he got under your skin. As a master ballad singer, he proved it with little doubt with a glorious "'Tis Autumn" (H. Nemo) wherein he wrapped his resonate baritone notes richly around this seasonal standard, in a fantastic arrangement. His Asian bassist and drummer's names unfortunately escape me and he could only pronounce their first names from the stage; however, they were excellent throughout, but especially here. Also fitting the seasonal theme was Jobim's "This Happy Madness" (lyric by Gene Lees) which describes spending October running through Central Park and carving your initials in the bark of every tree. The rhythm was hypnotic.

Returning to the theme of love and its challenges, Kenny Rankin's "Haven't We Met?" (w/ R. Batchelor) was a welcome addition to the set, and the band played a great interlude. Evans also occasionally displayed his talents as a scat singer, very judiciously I might add (so as to not frighten some of you!). A song he said that he has long yearned to sing but had to wait for the right moment, had that moment arrive as he intoned "I'm In Love Again" (Coleman/Lee), beautifully, smoothly and slowly with the drummer providing just a slight beat. Ballads are really Evans' forte, though he can certainly swing when he wants to, as he did when he whipped up "Love Is a Necessary Evil" (Fisher/Segal) to a frantic ending.

"I'd Rather Leave While I'm in Love" (P. Allen/C.B. Sager) was sung with strong conviction after an introduction where he described it as one of the few love songs written with a gay man's perspective. This was his sole entry into pop ballads, but a very welcome one because it was done so very well. He ended his manifesto on hypomania with a song which describes the end of the binge: Sondheim's "With So Little to Be Sure Of." It proved to be an excellent wrap. With just piano as the opening accompaniment, you could hear a pin drop as he etched out this great theatre tune using simple dramatic gestures and inflections that to me brought to mind Anthony Newley. And I certainly mean that as a compliment. It was hauntingly beautiful.

The group hadn't planned an encore, (or so it seemed, as they couldn't decide what to play/sing), but the room simply would not let them stay off stage, so he finally returned to send us out with a brilliant reading of "More Than You Know" (Youmans/Eliscu/Rose) that was more than satisfying. We all left knowing a little more about that thing called love and its power over us.

~ Gregg Culling

A cosmetic is used to expel hair at the roots. Once hair is exhausted at the roots, it takes days or weeks to develop back, thus cosmetics shoppers have glorious, sans hair skin longer.

with a fixed gaze deep into the future, Feral Children come alive in the skin, they take hold and then break on through. shifting from solo project to full blown rock band Feral Children is a strange and intense take on pop music filtered through the glorious tunnels of psychedelia, noise and electronica characterized by samples, sliced beats, live kit, delay, oddles of reverb, over driven tubes and a strong belief in the thoughts that propel us.

That Amy Blaschke’s dreamy, airy, singular purr is perhaps the most affecting instrument in the mix is a testament to the sheer vitality of her recordings. 

--Nat Bourgon

On her sixth studio album Breaking the Blues, Seattle-born singer/songwriter Amy Blaschke brings her exquisitely nuanced sensibilities to a more expansive sound than she’s ever explored before. With her graceful sense of melody, Blaschke’s intricate and guitar-heavy take on folk-rock captures the subtlest of feelings, including—on the title track—the inherent push-and-pull between beauty and pain. “If you’re of a melancholy disposition, it takes a lifetime to figure out how to use that energy constructively and not turn it against yourself,” says Blaschke of the quietly triumphant “Breaking the Blues.” “Music’s such an incredible way to keep from getting downhearted, and to have somewhere meaningful to put that melancholy.”

The follow-up to her 2015 album Opaline, Breaking the Blues finds Blaschke again teaming up with producer Brian Whelan (a singer/songwriter/multi-instrumentalist known for his work with Dwight Yoakam and The Broken West) and engineer Mark Rains (Black Rebel Motorcycle Club, Waylon Jennings), as well as a host of local musicians who helped build the album’s more lavish arrangements. The result is a powerful yet warmly intimate selection of songs, including the album-opening lead single “Under My Skin” (a soulfully charged track recently featured on ABC’s Nashville), the harmony-laced and sublimely revelatory “Peace Keeping,” and the wistful but glorious “Across the Sky” (written in memory of Blaschke’s father and inspired by “that feeling of wanting to keep in contact with someone you’ve lost, and how that kind of pulls you into the greater mystery of what’s out there”).

Growing up in Washington, Blaschke learned to play guitar at 14 and began landing shows in local venues by the time she was 16. Inspired by the lo-fi and literate alt-rock of artists like Liz Phair, Elliott Smith, and Mary Lou Lord—along with a cassette copy of Joni Mitchell’s Blue, passed down by her mom—Blaschke steadily developed her voice as a songwriter, and in 1999 released her debut album Red Letter. And while prolific creativity has guided Blaschke’s path as a songwriter through the years, the making of Breaking the Blues marked an especially intense moment in her life as an artist. “The year I wrote this new material was one of my hardest ever, as far as my physical wellbeing,” says Blaschke, who struggles with Lyme disease. “I had to step away from a lot of things and be much less active, but at the same time my creativity felt really vibrant. Music was like a sanctuary, and it ended up being the fastest I’ve ever written a new body of work.”

As on her previous albums, Blaschke brought that body of work to life with a blend of solo songwriting and close collaboration. “I always write by myself,” she says. “I have a music room, kind of like my own little lady cave, and the songs tend to start there sometime late at night.” Noting that she thrives on the infinite possibilities in using melody to channel emotion, Blaschke says she’s also endlessly in thrall to the magic of creative chemistry. “Listening to a mix of something I’ve just recorded with all these great musicians fills me with so much joy—it’s pretty much unparalleled,” she says. “You make a song by yourself, and even though you can tell it has vitality, there’s nothing like sharing it with other people and seeing it crystallized into something new that you never could have anticipated. I’ll always be fascinated by that.”

--Liz Barker

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