Into Another’s music was not easily categorized. At once hard rock, grunge, alternative, and post-punk, the band’s arresting melodies collided with their stop-and-go rhythms. They added to that a guitar wizardry steeped more deeply in classic heavy metal bands like Iron Maiden than the New York City hardcore scene that nurtured half of the band’s membership early on, and an esoteric, far-reaching lyrical scope delivered skillfully by Richie Birkenhead’s silky banshee wail.
Through several indie albums and one major-label offering, fans and critics got to know Into Another as an intriguing, soulful quartet capable of transporting listeners with their adventurous soundscapes and other-worldly approach to guitar-based rock & roll.

Into Another came together in 1990. Birkenhead, one-time guitar player for seminal straightedge flag bearers Youth of Today and vocalist for the reggae-tinged Bad Brains-inspired Underdog (who released an incredible album through Caroline), hooked up with drummer Drew Thomas, who he had known for years through the New York City scene. Thomas - himself a hardcore alumni who spent time bashing the drums for Revelation Records recording artists Bold - shared Birkenhead’s desire to abandon the limiting conventions of the hardcore music style and explore other types of songwriting. The pair found exactly what they were looking for in Lower East Side musician Peter Moses, a longhaired guitar player who had never performed in a band before. His wild and uninhibited playing style greatly impressed Thomas and Birkenhead, who next recruited bassist Tony Bono. Bono had done a tour of duty in proto-thrash act Whiplash - a band about as unlike Bold as one could imagine.

Into Another performed their first show at New York’s Pyramid, sharing the stage with a budding White Zombie. They were soon after offered a recording contract by Revelation. The following year, they released their debut, a self-titled album displaying Into Another’s sharp musical chops and tripped-out spiritual vision, encapsulated by the band’s multi-pointed star logo which adorned the album’s cover artwork. In 1992, Into Another released the playfully titled Creepy Eepy EP - four songs that reflected their increasing range. One of them was a lamenting ballad for a fallen friend laced with beautiful acoustic playing and heart wrenchingly honest and poetic lyrical prose.

The band grew in popularity, with the press, fans and major labels taking an interest in this odd band comprised of a shorthaired hardcore singer with a high-pitched range, a mod-looking drummer, and two longhaired guys in bell-bottom pants. 1994 saw the release of what many consider to be their masterstroke - the epic Ignaurus opus, filled to the brim with spectacular songs that venture into deep, dark, and progressive rock territory while still being firmly anchored in melody, groove, and abrasive angst. This album catapulted Into Another into the ranks of much-heralded “buzz” bands. Many proclaimed them to be the proverbial “next big thing” to arise out of the hardcore scene alongside one-time labelmates Orange 9mm, Quicksand, and Civ - all of whom went on to sign with major labels.

Into Another left the indie world in 1995, signing a deal with Disney-owned Hollywood Records, who at that time was best known for releasing the Crow soundtrack. They gave Revelation one last EP, a benefit release for People for the Ethical Treatment of Animals, as the band was made up of three vegans and one vegetarian. Into Another entered Seattle’s London Bridge Studios with producer Rick Parashar, a man who had previously worked with Alice in Chains and Pearl Jam, to mix their next full-length album. They emerged with Seemless, an album that reigned in the excesses of previous works in favor of shorter compositions and more direct, straightforward lyrics, without sacrificing Into Another’s unique and well-established musical identity. They supported the album’s release with several dates on the Warped Tour alongside L7, labelmates Seaweed, New York hardcore veterans Sick of It All and, more yet, the public never quite warmed up to the band. They released one more record through Hollywood, the T.A.I.L. single (featuring incredible non-album B-sides).

Sometime after they recorded another album’s worth of material - weird, trippy songs steeped in electronica and drenched in effects that strayed far away from the band’s barn-storming guitar rock. But the recording was never released and the band broke up. Thomas went on to enjoy a short stint with New Rising Sons while Birkenhead reformed Underdog and embarked upon a reunion tour. - Ryan J. Downey

——————

After a decade-and-a-half in suspended animation, Into Another will emerge on June 7th to kick off Revelation Records’ four-night 25th anniversary celebration, headlining the inaugural night at the Glass House in Pomona, CA.

Following the tragic and untimely death of bassist Tony Bono in 2002, any faint hope of a band reunion seemed to vanish. The surviving members of the band drifted apart, figuratively and geographically, and the years rolled on. Richie did the occasional Underdog reunion or solo acoustic show. Drew played and recorded with several bands, including New Rising Sons, Walking Concert and many others. Peter vanished into rural upstate New York, withholding his otherworldly gift from the world’s ears.

From out of nowhere, guitarist Brian Balchack (Ignite) and bassist Reid Black (Innaway) reached out from thousands of miles away, in the form of flawless videotaped instrumental performances of several IA songs. Pure inspiration. These two men are the catalyst. The alchemy was spectacular. Now we are five, and the eleven-pointed star has risen again.

After a decade-and-a-half in suspended animation, Into Another will emerge on June 7th to kick off Revelation Records’ four-night 25th anniversary celebration, headlining the inaugural night at the Glass House in Pomona, CA.

Following the tragic and untimely death of bassist Tony Bono in 2002, any faint hope of a band reunion seemed to vanish. The surviving members of the band drifted apart, figuratively and geographically, and the years rolled on. Richie did the occasional Underdog reunion or solo acoustic show. Drew played and recorded with several bands, including New Rising Sons, Walking Concert and many others. Peter vanished into rural upstate New York, withholding his otherworldly gift from the world’s ears.

From out of nowhere, guitarist Brian Balchack (Ignite) and bassist Reid Black (Innaway) reached out from thousands of miles away, in the form of flawless videotaped instrumental performances of several IA songs. Pure inspiration. These two men are the catalyst. The alchemy was spectacular. Now we are five, and the eleven-pointed star has risen again.

To call Jeff Barkman’s road out of tiny Steinbach, Manitoba the one less traveled would not be doing justice to the incredible journey of this up-and-coming singer/songwriter. Music has always been the driving force in Jeff’s life and, like any lifelong relationship, it has seen its share of highs and lows. From performing on the street and selling his homemade EP out of his guitar case, to traveling across the country to pursue his passion, his struggles have shaped his lyrics and the emotion behind his unforgettable voice.

While Steinbach is a regional hub for numerous industries, Jeff knew that he would never be able to achieve his dream if he stayed in the small town where he was born. Jeff bought a ticket to London, England - home to a thriving indie music scene - where he spent six months honing his sound. While Jeff still counts grunge bands like Nirvana and Pearl Jam among his early influences, his time in the UK gave him exposure to many new artists and vocal styles such as David Gray, Black Crowes and Coldplay. This contributed greatly to the evolution in his own sound which has been described as the raspy wail of Kurt Cobain combined with the vocal agility of a 1950s soul singer.

Music is Jeff’s passion, his heart, and the title track of his new album Assembly Line Surgery, exposes the struggle that Jeff has experienced in order to do what he loves. After abandoning a successful career in corporate sales, Jeff risked it all and moved back to Winnipeg hoping that a friend would help him get the start that he needed in the music industry. But it was too good to be true; his friend couldn’t deliver and, left with no job and no place to live, Jeff moved back to Steinbach into his parents’ house. After falling headlong into a deep depression, panic turned to peace with the realization that his current situation didn’t define his whole existance and that the power to change was completely within his control.

Surviving the darkness and heartache of this period caused a transformation in his heart. He returned to Toronto with $50 in his pocket, not knowing where he would sleep for more than six days, with an even stronger resolve to pursue his music, no matter the sacrifices necessary.

Jeff’s perseverance and passion have begun to pay off. His first full-length album Assembly Line Surgery was released on iTunes in October 2011 and has received great acclaim from listeners and fans. Jeff has toured across Canada performing with talented artists, including Switchfoot and The Bachelor’s Michael Stagliano, and is mining the depths of his soul to create his second album, which will further evolve his unmistakable sound and his continued ascent towards the elite of the Canadian alternative music scene.

For more information or to arrange an interview with Jeff Barkman, please contact Jennifer Nagy at jenn@jlnpr.com or 1.647.867.0093.

While a few major acts are still managing to sell huge quantities of albums, the majority of independent acts are not. For whatever reason, whether it is the lack of quality albums these days or other economics issues; a great percentage of the buying public is going back to only buying single songs. The music business is shifting back to being a singles driven marketplace. For this reason, Gino Black will be releasing one new song per month leading up to the New Year’s Eve release of his debut EP “The Assassination of Gino Black”. 


On July 23rd, as a setup for the forthcoming EP, Powerblast Worldwide released the 1st single, “Liquor Flow”. Based on critical praise and positive fan response of his signature ‘Hip-Rock’ style, the aggressive hip-hop/nu-metal banger continues to perform well and has received a number of licensing offers. The official 2nd single; “Almost Famous”, which features the rapid-fire lyrical flow of friend and label-mate, [artist/producer] Takashi Akai, is expected to perform even better; while building on Gino Black’s winning formula and strategically establishing his brand.


“Almost Famous” [written and produced by Gino Black] is a slow riding scorcher! It is an ode to American pop culture’s obsession with celebrity, fame and fortune. The tempo is slow; yet the velocity and pulse of the drums are invigoratingly alive. The track is laced with melodic piano elements; which assists in making this a beautiful multi-layered composition. What will surely become memorable and highly infectious, is the chorus; which features the unrelenting wail of a psychedelic guitar solo raging forth. “Almost Famous” doesn’t let up! This perfect storm of production will ensure this song an anthem of the common man’s duality. Lyrically it takes the juxtaposition of someone who is enticed by glamour and elated with decadence, yet disgusted by the pitfalls of man’s race for the ever-elusive power and glory that comes along with being rich and famous. Fans of aggressive rock and hard rap will equally enjoy this song.

*Think: Black Sabbath meets Bone Thugs N Harmony or Korn meets Ice Cube. 

 
Gino Black is an independent producer/artist/songwriter whose best known for his recent work with the alternative/electronic/rock act, She Loves No One, but he is an O.G. in the independent music industry. Lately, not only has he been producing and co-writing songs for the highly anticipated full-length debut album with She Loves No One, but he has also been secretly working his solo project. He’s decided to step from behind the scenes to unleash his latest creations; and in doing so, he accomplishes what very few artists can do, which is to write, compose, produce, record, mix and master his all of his own material. As an accomplished producer, sound designer and studio engineer, his debut solo EP, “The Assassination of Gino Black” is entirely an in-house/self-contained endeavor. No other producers were hired to assist with musical duties. Gino Black programmed and/or played all instruments on the recording and recorded and mixed all elements himself, without the aide of additional engineers.

 
Gino Black has spent the last few years [based in Miami, FL] developing a signature sound of blending aggressive hip-hop beats with thrashing electric guitars, which is sure to blow the mainframe out of what contemporary hip-hop and/or rock are expected to sound like. He describes his signature style of music ‘Hip-Rock’.

The video for “Almost Famous” can be viewed at: 
http://www.youtube.com/GinoBlackMusic
 
“Almost Famous” can be downloaded for FREE at: http://GinoBlack.bandcamp.com/



"Almost Famous " will be released worldwide on iTunes on October 15th. 

 
For booking, licensing and/or additional information, email:
music@powerblastworldwide.net


im jack frost nice to meet you can talk to me if you whant i like to hear peoples problem and help them *likes art games and books shoot me a message we ca chat for a wail if i get it at the same time -~- my goal is to hit 500 followers
go see my good friend candy pills

Melt is your premier music choice for a rocking party. Whether you are in need of some soulful, funky grooves or alternative party classics - Melt is the answer. Melt are 5 piece band of musical heavy hitters and are ready to provide you with an unmatched atmosphere that will impress and WOW your guests whatever the event. The sound is built of drums, bass, guitar and keys. Phoebe D sings immaculately and effortlessly wows any audience. Enquiries to Chris at....... 

meltband@rocketmail.com

Moustache Ride germinated in the heaving belly of a hot summer night in Burlington, Vermont in 2005, when Andrew Wolf and Ethel Alcohol met and went skinnydipping with some leeches. Ethel ended up with a tattoo, and the stars above spelled out START A BAND.

Ethel moved away the next day to frolic in the fields with Bread and Puppet. When she returned from the West several years later, she went to go see a friend play music and was surprised to spot a familiar pair of blue eyes peering out from above a big fake beard and fiddle. The fake beard moved to utter, “I believe we went swimming together.” 
Being a proud hairy lady and heading up a drag ball fundraiser for a local youth shelter with a handful of genderqueer teens where she was developing an art program at the time (2008), Ethel asked Andrew and a few other friends to start a band called Moustache Ride with her to perform at the Drag Ball. The premise?

Original songs. Drag. Punk. Glitter. Hairy Situations.

A legend was born–albeit a legend that most people have still never heard of.

With Ethel’s demented diatribes and jazzy screeching, Andrew’s devilish fiddle playing and scandalous guitar licks, Eric Eickmann’s big, hard, throbbing bass line, Moldy Ringwald’s melodious wail and multi-instrumentalist skillz (which she still has even though she left us for Austin, Texas a couple of years ago, where she is in a kick-ass band called Demonstrative Girls), and Why Why’s driving drumbeat and trumpet tintinnabulations, Moustache Ride waxed on the Burlington music scene with hirsute fury. We don’t always wear drag anymore, but we do have our own peculiar aesthetic due to our diverse backgrounds in visual art and druidic magic.

Currently on hiatus due to Ethel’s picking up and moving to Cambodia, MR has decided it is time to share our big, big love with the world. 

All of our songs are copyrighted.
All lyrix by Ethel Alcohol aka Darshana Bolt, except our one cover song (“Strychnine” by the Sonics).
All music for instruments  written by the miraculous Andrew Wolf (vocals, guitar + violin), Eric Eickmann (guitar + bass), Moldy Ringwald aka Lucy DeWahl (guitar + bass), and Why Why aka Wyatt Beaudry (drums + trumpet).

All of our songs were recorded and produced by Wyatt. Thank you Wyatt!!

A massive thank you goes out to all of the awesome musicians who have played with us over the years: Adam Heckle (drums), Brian LaGasse (drums), Jeremy Gartner (drums), Dwight (drums), Tristan Henderson (drums), Tim Lang (accordion), and Meghan Burgess and Joanna Vinton on the synchronized dancing in crazy costumes.

MR 4eva! Haha. (Actually I'd like to change our name soon...)

Loyal Christian, Husband, Father, Friend and passionate musician. I'm quite happy but love to play the blues. Love to crank it up and wail. I'm a tone freak on a low budget.

I first saw my grandfathers acoustic when I was five or six. I was about eight when he showed me D major. I would listen to him recite poetry over mostly three chord gospel type stuff. It wasn't much after that he had passed on. I remember that guitar a Dixon. My mother kept that guitar after he passed. She was quite sentimental about it. I would sneak and play that thing whenever I could. If she caught me then she would become angry and I understood. There was something about that old Dixon. I loved it. It still sits in my mother's closet. I sometimes wonder if there was some kind of cosmic thing that drew me to it or if it was just something I really thought was cool. I've always loved those six string beauties. My brother brought home a guitar one day. It was some sort of Les Paul copy. I would wail on it when no one was around. Later on he had asked mom if he could buy this Stratocaster copy from a childhood friend. She agreed. I think that was one of the greatest things that has happened to me. I would sneak that thing whenever I could and hide it from everyone. I was working on my bends and blues scales everyday it seemed. One day my brother walks in on me I thought he'd be mad.; you know the way big brothers get sometime. I politely apologized and he says "Whoa! You're getting good dude." "You should have mom buy you one for your birthday." I took that as inspiration and now I've been playing for 20 years. It all seems trivial to some but if I hadn't fallen in love with grandpa's Dixon I would never be the person I am today. I will always remember my first D chord.

With 11 CD’s now on the market, Kelli’s recording career began on Warner Bros. German label, Eagle Records with the release of a self-titled CD which topped charts at #4 in Belgium and #7 in Holland. It would be Mercury Rock-a-Billy artist, “Mr. Action” Roy Moss who would give her the thrown. After working several shows, Roy took notice of; not only her already award winning vocals, (Voice Scholarship) but also her unique and signature piano style taught to her by her Mother. He asked her along with guitar legend, Johnny Patterson to play on his next project for Eagle Records. In the album liner notes he would call her, “the Star of Texas”; however, he would soon change it to, “the Swingin’ Little Miss from Texas” and finally, “the Queen of Swing”. Kelli would later headline with R&B legend, Carl Perkins who would agree. Today she is known around the world as, The Queen of Swing™.

Her new release, “Swing-a-Billy” is adding to her legacy with fans coming in from all corners of the world. 4 STAR reviews with French critic, Bernard Boyat exclaiming it, “SUPERBES!” Set in the 50’s Jump, Swing & Rhythm & Blues style, this music graduate: Sings, Writes, Arranges and Plays all instruments except guitar. It is an amazing feat that very few artists would be able to accomplish and one the Queen of Swing™ says she is not likely to do again. From now own it will be her BAND OF FIVE, “The Swing Kings”. 4 Songs were placed by the Grammy® reviewing board for consideration in “Best Pop Vocal Performance” for the 2013 award ceremonies.

Her first recognition in the Blues came from Billboard when she received an “Honorable Mention” for her R&B original, 
“The Way Love Use to Be” from the cassette album, “Honky Tonk Rock” which would later be re-released as, “Honky Tonk Swing” receiving
 4 Star reviews in magazines around the world. She is a licensed BMI songwriter.

The CD, “Swing ‘n Blues” focused on the joining of her R&B / Blues accolades with her now Swing title and signature piano style. Her own blues tune, “Loose Woman Blues” captured the attention of the Grammy® Reviewing Board and was placed in contention for 
“Best R&B Performance by a Duo or Group with Vocals”. She included “Jump, Jive & Wail” from the great Louie Prima and covered 
“The Blues Brothers”, “All My Money Back.” She would incorporate this CD into an original musical review, “Swingin’ the Blues” with her performance fees subsidized by the National Endowment for the Arts. She began headlining in casinos across the country and performing art theatres. She would headline with some of the biggest names and appear in some of the biggest venues in the industry. Her new show "SWING" is a derivative of that show adding some of her new original material. Performing Art directors publicly declared Kelli, “an exceptional entertainer”. Because of her extensive research in writing her show, “Swingin’ the Blues” she  was a Table Top Speaker for the Texas Arts & Exchange Conference. 

The CD, “Blues to Me!” followed “Swing ‘n Blues” and would include several of her own blues tunes and would be considered by one of the largest organizations in the industry as a chronicle on the diverse styles of the blues; Swing, Jump, Country, Rhythm, Western and Kelli’s award winning style she calls, “Pure Blues.” 2 of those originals: “B-A-D, BAD” & “Strut My Stuff” would be placed on the Grammy® Voting list in consideration for “Best Traditional R&B Vocal Performance”.

Kelli went back to her roots for the CD, “Rock-a-Billy U.S.A.” which was done for the 10 year anniversary of her mentor and friend Mercury Rock-a-Billy artist, “Mr. Action” Roy Moss. Kelli recorded some R&B, Rock-a-Billy, 50’s Swing standards, added a LIVE cut of her husband, Johnny Patterson playing the guitar instrumental, “Honky Tonk” and took the 4 songs Roy had partially recorded editing the pieces to make a complete song. Wanting to honor her mentor and friend, the CD received 5 Star reviews. Roy had started a new album but unfortunately would never be able to finish the project. He passed away from lung cancer in September 1998. She did not realize it would also commemorate Johnny's career. He passed away 2010. 

Considering September 11th, 2001 to be one of the bluest day in America’s history she wrote “Stand Up for the U.S.A.” to honor; not only her father, Seaman 3rd Class Robert Johnson but all of our veterans and the families and victims of this horrible tragedy. In 2007 she wrote the recitation, “I Wouldn’t Go …” to honor her father with the song heard in the background. Both were heard on radio stations across the country for the 70th Anniversary of Pearl Harbor 2011 with local radio stations dedicating their program to her father who was critically ill. Unfortunately, her father passed away the night before. 

Being from Texas, The Queen of Swing™ and due to her husband’s influence the late Johnny Patterson who had worked with the King of Western Swing, Bob Wills, Kelli recorded a Texas Swing CD, “Swing Like That in 2000 which was the first time her title was documented but not registered as a Federal trademark until 2006. The CD topped charts at #6 and her own swing tune #2. Due to its popularity, she was inducted into the Western Swing Hall of Fame. A few years later, Kelli wrote / recorded “Don’t Mess With Texas” for the Texas Department of Transportation, which is the reason she registered the title as a trademark. She recorded Public Service Announcements for the states litter campaign and wrote her own slogan, ‘Bag It, Trash It”. In 2009, she won the Will Rogers Award Female Artist of the Year for her CD, “Swings & Sings” and with fan voting only she was the only female nominee for the RMA Artist of the Year.

As her name and notoriety continued to grow she was one of only 209 Texas artists selected to be on the Texas Touring Roster. The Texas Commission on the Arts solicited her help to stop funding cuts to the arts with Public Service Announcements. 

With required nomination and sponsorship, Kelli was included in the Mid-America Arts Alliance Touring roster with subsidized funding by the National Endowment for the Arts. With extensive research she wrote a musical revue, “Swingin’ the Blues”. The highly acclaimed original revue, designed as a clever way to showcase her CD’s, takes the audience down a musical highway of Blues, Jazz & Swing as the Swing Queen follows the BEAT from New Orleans to New York City, Chicago to Kansas City, Memphis to Vegas and to the GREAT state of Texas. Telling little known facts and funny anecdotes Kelli demonstrates “Swings” evolution into a musical revolution. (psst, don’t tell anyone but the show is very educational) 

As an Award winning Singer, she was inducted into World Who's Who Jazz Cabaret Singers, New York, NY - Federation of American Musicians and the Heritage Registry of Who’s Who - Library of Congress, Washington, D.C.  Her vocals are low and sultry and, almost mesmerizing. Her Pop CD, “Softer Side of Swing” was ONE of only 36 albums on the Grammy® voting list for “Best Traditional Pop Vocal Album” and her own pop single, “If You Were the One” in contention for “Best Traditional Pop Vocal Performance”. (Not Nominated) 

Endorsed by Jean Bennett, the responsible management for the success of “The Platters” & their 16 Gold records Jean declares Kelli “a consummate entertainer”, A TRIPLE THREAT: Singer, Songwriter and Musician and she is also very funny and, pretty.

Few artists are credited with creating their own musical style. Known for her signature piano style in which Kelli plays a walking 4/4 “swing” bass line in her left hand coupled with piano poundin’ rock-a-billy leads in the right. She combine the two styles to call her musical style, Swing-a-Billy™ which only the Queen of Swing™ can bring.


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