About Tim Medrek / timsrock
Rock, Blues, Jazz fusion Instrumental music...100% new and original...created, recorded, produced and published by Tim - 
The music is unmistakably Tim; it rocks but it has depth & variety within it. It is instrumental music that is mainly Rock/Progressive Rock/Classic Rock, though there are a few with Country blends and a few more that are really Smooth Jazz and/or Jazzrock Fusion (did I mention the Hip Hop beats?). . .and then some that are downright bluesy.
I am just getting started in the biz for real, since January 2012.  I have had 3 very positive press reviews of my music, and also benefit from airplay on worldwide Internet radio channels.
 
Here is a professional reference from a distinguished MIP(Music Industry Professional):
Top qualities: Great Results, Expert, Creative
“I have used Tim's music to demonstrate to students the concept of 21st Century Progressive Experimental Rock of which Tim's music is an excellent example. Tim's music is also been used for warm up activities during rehearsals for the performing ceremonies of the London 2012 Olympics. I also enjoy listening to Tim's music simply because it's intriguing, exciting and yet reflective at the same time. It takes you to places you didn't know you could get to without the use of illegal drugs! I thoroughly recommend Tim and his music.” May 29, 2012
June Bonfield-Brown BA(Mus), MEd, BA(Hons) LMusEd ASMC(Hons) HonFNMSM, CT,FVCM
(client)
June hired Tim for Music Education in 2012
She is Dean of Woodwind at Victoria College and Performer at London 2012, as well as A&R Exec, teacher, tutor, and more

Background:
I was very tempted to go into the music biz as a teenager-lead guitarist, but Dad persuaded me to get a useful college degree first...so I did that, and wound up having a LIFE. Ffwd, now the music calls again and I am working as a solo artist/writer. I created, wrote, performed, recorded & produced every one of my songs. The result is a 100% original, creative blend of guitar and synthesizers/other instrumentation over a bass and drum rhythm section that truly rocks!
I have had a great time doing this, and I hope you like the music as much as I do...
Now enough about me -- it's time to crank up the music & close your eyes...
Yours In Rock,
Tim

[No lyrics. These are all instrumentals, though they could easily be adapted for lyrics.]


Fireworks Magazine Review (London)
Spring 2012

Tim Medrek - AfterThoughts

'After Thoughts' is the hugely enjoyable bizarre new nine track album from US solo artist Tim Medrek. This album has all the fundamentals I like about albums of this genre which explores progressive rock and all its sub genre's that strikes that chord with me for its rich diversity and fun energy, and passionate delivery.

A lot of care and attention has gone into the creation of the album, it is an independent release and Tim has taken care of the recordings and productions etc himself and he has done a fine job, and it baffles me as to why artists like Tim are not more well known. ''After Thoughts' has all the hallmarks that fans of experimental prog will fully enjoy. There is whole stream of diversity and ideas running through this record, you need to time to digest the sounds and let it lull you in, then the album shows it's true nature, it's bloody good.

'Finding Yes II (The Galloping Basses)' is a electronic groove based prog ditty, somewhere between Tangerine Dream, Zappa and Satriani. I really love the feel of this track, there is a lot of floaty guitar atmospheres and stomping bass work going down. 'Finding Yes III' is even more freaky and weird, I hear a lot of Marty Friedman, Jason Becker and Steve Vai circa 'Flexable' on this track. It's very experimental and Tim, just lets the music flow taking on a range of guitar styles, pretty cool. 'Small Fry' is very good, laid back melodic and fuzzy, simple and uncomplicated.

There is so much to enjoy from this album. I'm really excited about Tim's music, musically it's all here, there is something for everyone to enjoy throughout the CD with an open mind, we couldn't ask for more really. Watch out for Tim Medrek, one to look out for in the future and a band who perform with feeling and style, and that’s a rare thing.

Nicky Baldrian
Fireworks Magazine

I'm just a tall awkward kid that loves EDM. Turn UP

Clint Michigan offers a contemplative meditation on love, struggle, and life’s baffling beauty with their second album, Coeur d’Alene. Featuring the singular songwriting talent and style of frontman Clint Asay, as well as appearances by many great Downtown NYC musicians including long time collaborator and vocalist Amy Bezunartea(Kiam Records). Coeur d’Alene is a nine-track marvel destined to touch all those with heads full of memories and hearts familiar with ache. Clint Michigan has be heralded as “delicate and devastating” (Paste), “plaintive and at times haunting” (Time Out New York), and “magical stuff” (Detour) announced the band to be a powerful presence in the world of alt-folk music, both for Asay’s affecting lyrics and the rhapsodic, reflective harmonies woven throughout its tracks.  Clint Michigan's music has been featured on ABC's Grey's Anatomy and this year at the Sundance Film Festival's  premiere of Liz Garcia's "The Lifeguard".   

Debut albums, more often than not, are a collection of songs over which the hip, young songwriter has very little control; such is the urgency for the artist to bare his soul. However, when you release your debut album some 30-odd years later than originally planned, the above rules, it seems, no longer apply.

Mick Terry’s album, The Grown Ups, displays all the charm of a debut record, but, with the classic hallmarks of a mature songwriter who is comfortable in his own skin. The nine songs are, very much, of a reflective nature and loosely based on/inspired by a diary that Terry kept, religiously, every day back in 1982. The songs all have their roots planted firmly in the field of Pop and it doesn’t take a musical scholar to spot the obvious nods to the Beatles and the Beach Boys. This is not a pastiche record, by any stretch of imagination, moreover the influences are used to evoke a feeling or a moment lost in time. In the same way as a photographer uses light and shade to create a mood, these musical snapshots form a sort of audio palette colour generator for a process Terry likes to refer to as “painting with audio”. 

The lyrical themes of love, loss, faith and hope that run through the LP are those of a man looking back on his childhood and coming to terms with the man he has become. When he sings the line “What happened to the 60’s dream they pitched you? Turns out that it was just on loan to you” in “Tinseltown”, it is reminiscent of the great wave of “pie in the sky” optimism that coursed through the 1960’s, only to see it crash onto the desolate shores of the grim, early years of the 1970’s. This is counter balanced on "Comets" with him stripping away all of the bloated components of modern day, 9-5 existence to uncover the hidden beauty of a city “bathed in a pool of light” on “a summer, star filled night”. There is no doubt that the lyrics here are as much a part of the musical fabric as the melodies themselves.

The album opens and closes with the “Hoxton Song”, a tale of growing up and, ultimately, looking back as a grown up. There’s a real “Itchycoo Park” feel to this track that, albeit slightly bittersweet, provides the perfect accompaniment to looking through your old school photos and spending an afternoon back in the 1970’s. The juxtaposition of the older, wiser author narrating the 1983 New Year’s Day thoughts of his teenage self lend considerable weight to the carefully crafted “Safe From Sound” and you may find yourself searching out that dusty vinyl copy of Colin Bluntstone’s “Say You Don’t Mind”. The vocal arrangements are the standout feature on this record and with Philadelphia power pop legend, Jim Boggia, guesting on both “Hoxton Song” and “Tinseltown”, it’s clear that Terry has an eye (and ear) for the finer things when it comes to producing classy and intelligent melodic pop music. 

The years following the aforementioned diary have obviously helped shape Terry’s well travelled, insightful view of the world, and even if he no longer subscribes to “the teenage pathos and poetry” of his younger days, there’s no getting away from the fact that, above all, lyrically, he is still an optimist and, a romantic one, at that. John Lennon once said “Life is what happens to you while you’re busy making other plans”. So, even though he may now be classed as one of “The Grown Ups”, let’s hope that Mick Terry continues growing up in public.


Indie rock band with a soul and attitude. 
Olya took a leap of faith when at twenty-one she left Moscow for New York City with just a backpack and a dream of making music. Landing on the Lower East Side, she immersed herself in the city’s music scene playing keyboard and touring with Jesse Malin, sharing the stage with Urge Overkill, Clem Burke (Blondie), Wayne Kramer. It was after a show at a rock club on the Bowery that Olya met drummer Brian Viglione (Dresden Dolls, Violent Femmes, Nine Inch Nails), a meeting that would prove to be fateful for both of them. 

Their chemistry was immediate with Brian bringing life to the songs that Olya had been writing. Before long, the two formed Scarlet Sails, rounding out the line up with guitarist Mark Kohut and bassist Dave Lowenthal. Centered around Olya’s sultry, power-house vocals, Scarlet Sails craft an elaborate blend of rock & pop, with uniquely catchy melodies, passionate and reflective lyrics and an undeniable swagger that has drawn comparisons to artists as diverse as David Bowie, Nico, Radiohead and Oasis. 

In April 2017 Scarlet Sails released their debut Future from the Past to critical acclaim, with Consequence of Sound premiering the album and Impose Magazine lauding the band’s “pure rock n’ roll vibes”. The band supported the release with three national tours and a New Year's Eve show in Moscow. 

January 2018 saw Scarlet Sails head back to the studio with producer, Ben Rice (Norah Jones, The Candles, Elliot & the Ghost) to begin work on a series of singles, with the first “Hideaway” set for an April 13th release.

REANIMATION is the vision of Michael Shanahan. This solo project took root in 2006, but seeds were planted much earlier, during Shanahan’s downtime between other music-world commitments. Since 1985, the music of REANIMATION and its forebears has resisted easy categorization by combining elements of psychedelia with progressive, experimental, alternative and pop rock.

Shanahan made a small ripple in the indie world in 2011 with the REANIMATION debut GIANTS HIDE AMONG US. The self-produced album owed much to its experimental ancestors, with sometimes-eerie progressions and cyclical percussion themes, garnering favorable reviews and modest airplay.

In 2014, Shanahan released the ambitious UNDER THE LAST TREE ON EARTH. Heavy and hypnotic, with expertly assembled textural grooves, the album was more focused, remaining true to the trademark REANIMATION use of thickly layered sounds and circular song structures.

THE GHOST OF THE MUSE was released in 2017 to positive reviews. The album was a more refined, progressive and atmospheric offering that pulled in elements of psychedelic rock, indie, shoegaze, trance, and even ambient touches.

Michael Shanahan returns in 2021 with the first REANIMATION release in nearly four years. A FEAR OF FALLING is the most powerful and purposeful result yet. Themes delve deep into loss, inner struggles, memories and regret, attempting to exorcise those demons. Shanahan delivers reflective, introspective lyrics with power and emotion, while heavy, dark, hypnotic, cyclical arrangements dance and build beneath the surface.

In past lives, Shanahan has collaborated on recordings with Washington, DC’s Blue Sausage Infant (Flight of the Solstice Queens, 2010; Negative Space, 2011) along with California-based Todd Parker and the Witches (Futuretripper, 2018).

Before REANIMATION, Shanahan co-founded the Chicago-based alt-rock trio Every Part of the Animal (EPOTA) in 1988, with bassist/vocalist Brad Allen and guitarist/vocalist Bob Bartodziej. EPOTA eventually became a duo (Shanahan/ Allen) and released two CDs, Life Imitates Art (1993) and Civilization [Spirit] (1999). Before EPOTA, Shanahan also co-founded Quixotic, with Mark Watson, in 1985. That partnership produced several cassette releases and one CD release, Leap of Faith (1996). With REANIMATION, Shanahan melds these influences into a unique experience based on groove, space, atmosphere and tension.

Ashley Laschelle Stevenson, born and raised in Chicago, IL, has been vocally expressing herself since the young age of four. As a youth, she listened to many of the soulful oldies played at home by her parents, which have come to largely define who she is as an artist today. Although her talent was presented at a very early stage in her life, it was at nine years old that Ashley began vocal training for jazz performance. Performing with the All City Youth Chorus lasted for six years and carried on through high school where she then performed with the All City High School Chorus. To enhance her talent and make continuous steps toward fulfilling her dream of becoming an internationally appreciated voice, she continued her education at Columbia College Chicago. It was there that Ashley truly found her voice and grew comfortable enough to push past boundaries

After releasing The Introduction in 2011, Ashley Laschelle continued to pad her resume by singing in theatrical productions and providing background vocals for several of Chicago's finest independent artists, including Natalie Oliveri, Sarah Marie Young, Nicole Garza, Pat Smillie, and Pennjamin Bannekar. She has also been recognized as the first African-American to sing a solo at the Burnaby Lyric Opera in British Columbia, Canada. After teaming up with Reflective Music, LLC, Ashley released her sophomore project Letting Go. Ashley hopes to reach supporters that can strongly relate to the message being delivered, as well as the passion she possesses for music and her desire to encourage and inspire the youth through the arts.

For bookings and features, email AshleyLaschelleBookings@gmail.com.

For interviews and other inquiries, email info@reflective-music.com with "Ashley Laschelle" in subject line.

About The Band
Phil is busy as both a solo artist and as frontman for the country band The Woolgatherers. During many years of playing in cover bands in pubs, clubs and small festivals, Phil developed his performance skills and was also writing his own songs. With the encouragement of friends and fellow musicians, Phil began performing his own material in the early "naughties".
The Woolgatherers who were first formed in 2009 when several musicians from a variety of bands playing in the Scarborough and York area got together to perform some of Phil's songs. Later that year they released their first album, entitled “Long Way To Indigo” recorded and produced by Simon Wright at the Imphut Studios in York. The album, was released in 2009 received impressive reviews from Sam Inglis in Sound On Sound, and also in The Link magazine. Sam Inglis describes Phil’s voice as “more Knopfler than Sinatra” and Phil’s own love of songwriters such as Guy Clark, Nick Lowe and Bob Dylan is also evident in the delivery. The songs range from Blues to Folk to Country, sometimes with a touch of Swing. Four of the songs from the album were commended as semi-finalists in the UK Songwriting Contest. 

The second album entitled “ I See” was released in July 2013, recorded by Sam Forrest (from Nine Black Alps and The Sorry Kisses) and produced by Dave Keegan, and is probably more reflective than the first, but still contains the same variety of styles, influences and energy. Three of Phil’s songs, Desperate To Dance, One More and The Till have been played on BBC Introducing. 

Due to lockdown, Phil recorded his third collection of songs as a solo album. Entitled "Songs From The Back Room", on this album Phil teamed up with producer Justin Johnson and some top class session musicians. Robert Vincent appears on Midasville, sharing the vocals and Andrea Zonn (twenty years in James Taylor's touring band) plays some lovely fiddle on a couple of the tracks.

Robert Rolfe Feddersen is a singer/songwriter from Chicago who currently resides in Crown Point, Indiana. Robert's songwriting style is very open, honest, reflective, humorous and topical. He has a well-crafted nine album catalog of songs, the last three of which were recorded all analog in Chicago by Steve Albini (Nirvana, Pixies, Cheap Trick). RRF was also named "Best of 2016" on Chicago's 93XRT’s Local Anesthetic.

Formerly the frontman of well-known mid-90’s Chicago band LOUDMOUTH, Robert earned a gold album from the soundtrack for the film Varsity Blues, penning the hit song "Fly." His songs have also appeared in numerous movies, movie trailers and TV shows. As a working and touring singer/songwriter, Robert performs in excess of 160 shows per year and his songwriting has been compared to early Springsteen/Steve Earle/Woody Guthrie. Robert’s style is Folk-Rock/Americana and his live shows are entertaining, engaging and audience-inclusive.  He has a unique style to his guitar playing -- taking a properly strung right-handed guitar and flipping it left handed so the strings are in reversed order. “I break a lot of high E strings playing this way, but it’s the only way I understand playing the guitar.”

Sharla Amos is following