As a hobbyist musician I typically write for myself. Some of the music I write is worth sharing - the rest sits unfinished waiting to be looked at in the future.

Canadian dj and producer, living in Quebec city.

Charles started his musical career on the air, linking pre-programmed music selected by others. It just wasn’t what he was searching for. DJing came to be the right answer: Charles wanted to be able to create and select his own music, play it to a live crowd and get their reaction.

His music has been influenced mostly by other DJs and producers like the legendary Frankie Knuckles, Danny Tenaglia, Françsois K, Tedd Patterson, Masters at Work, Chus & Ceballos, Peter Rauhofer, and Alain Vinet (Cirque du Soleil). He must also confess his addiction to the works of Kraftwerk, Giorgio Moroder, Patrick Cowley, and Yello.

His eclectism led him to play in several different contexts and at renowned events or clubs in Canada, the US, Mexico and Europe, where he further developed his own brand of house music.

His incredible achievements earned him a coveted spot at the massive Black & Blue Party at the Montreal Olympic Stadium, a night he shared with prominent DJs Antoine Clamaran, Chus & Ceballos and Mark Anthony. He has also been invited to play at many special events such as BBCM’s Jock Ball and RED Party, as well as private parties such as the premiere night of Varekai and Corteo for Cirque du Soleil, DJ Paulette’s birthday bash in Paris, and the Red Bull Crashed Ice Party in Quebec City. 

These days, Charles is mostly active as the top DJ in Quebec City and Montreal, playing at such venues as Le Drague, Dagobert, La Cuisine, and Studio Afterhours. Charles is also active on the Montreal club scene, playing at Sky, Play, Orign, Circus, and the legendary Stereo Afterhours. He has also imported his sound to Palace in Miami, Rise in Boston, the Living Club in Mexico, the legendary London club The End, and to the exciting Paris club, The Mix. 

See you on the dance floor!

The Grimm Generation (www.thegrimmgeneration.com) began with Carmen Champagne and Jason P Krug who used a core level need to confess to create characters that spoke to larger emotional or cultural issues within the context of the 3:30 Pop length song. The Grimm Generation has released 4 EP's and one full length release, 2011's 'The Last Record Party' (http://grimmgeneration.bandcamp.com/releases), a well reviewed debut with international notices within UK, Spain and Sweden.

While touring throughout the Northeast, The Grimm Generation fell in with some like minded musicians who brought flesh to the bare bones style of Carmen and Jason. Eric Bloomquist's bass and Julie Kay's cello held the sound with steel and velvet as 'Killer' Kerry Miller drums drove and swerved on the curves. Multi instrumentalist Lys Guillorn brought a palette of her own unique shades with lap steel, banjo, glockenspiel and mandola. The  material they played over 2012 was brought into producer Tyler Bird's studio and started recording January 2013.

Cologne´s SORRY SHOES Label presents a unique collective of pioneering audio specialists from five continents traversing progressive, tech, house, trance, tribal, techno, deep house, and chill-out. We confess our taste is beyond niche limits.
The crew are both old-school and catalysts for vital developments in dance music - paying homage to the pioneers who truly believed that music matters. We present artists, and music for dancing. Sorry Shoes... 
Our releases are available on most good digital platforms. We recommend the good people at Junodownload.com, Beatport.com, Masterbeat.com and iTunes.

In our first 2 years, Sorry Shoes tunes made it into the box of: Axwell, Judge Jules, Chus, Seb Fontaine, Abel Ramos, Joachim Garraud, Fedde Le Grand, Dubfire, Daniel Portman, Hernan Cattaneo, Matt Darey, Tiesto, Andy Moor, Jaytech, Infusion, TyDi, Ivan Gough, The Flash Brothers, Tom Stephan, Thomas Penton, Sarah Main, Behrouz, Mike Hiratzka, Kasey Taylor, Lucien Foort, Ivan Pica, Grant Nelson, Peter Gelderblom, Hoxton Whores, Jerry Ropero, Jesse Voorn, Terry Lee Brown, Miss Nine and onto Ibiza Global Radio, as well as Ministry Of Sound Clubbers Guide Germany and Pascha Australia compilations.

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SORRY SHOES releases:
Jean Philips & Mike Kelly - Tisgo (There Is Something Going Off)
SORRYSHOES001 (Mixes by: Jean Philips, Unik, Mike Hiratzka, D:Fuse & Hiratzka, Komm_Unity)

Exit Earth - The Sun
SORRYSHOES002 (Mixes by: Groove Phenomenon, Jean Philips & Mike Kelly)

Steven Redant & Jean Philips - Discotheque
SORRYSHOES003 (Mixes by: Unik, Komm_unity, Steven Redant, Filipa Rebelo) 

Rene Raabe - Me
SORRYSHOES004 (Mixes by: Jean Philips, Komm_unity, Mike Maran & Bedrouz)

Guy Scheiman - My Life
SORRYSHOES005 (Incl. Vocal, Summerlove Remix & Instrumental)

Rene Raabe - Me (Teo Moss & Ben Manson Remix)
SORRYSHOES006

Steven Redant & Jean Philips - Discotheque (Pagano 'Trade' Remix)
SORRYSHOES007

Ash Roy - Press X To Start EP
SORRYSHOES008 (Incl. Press X To Start, Very Strong ft Vasudha, Hackers + Mortlock mix Press X To Start)

Ivan Gomez - D-Pressed
SORRYSHOES009 (Mixes by: Fran Ramirez, Nacho Chapado, Guy Scheiman, Lusky DJ, Alex O Campo)

Exit Earth - The Sun (remixed) 
SORRYSHOES010 (Mixes by: Groove Phenomenon, Komm_unity, Mortlock, Carlos Mendez & Danni Matin, Idriss Chebak, Jean Philips & Mike Kelly) 

Oliver M & Jean Philips feat Sua Amoa - Strings Of Motion
SORRYSHOES011 (Mixes by: G-Martin & Alex Barroso, Guy Scheiman, Hifi Sean, and Ivan Gomez)

Nacho Chapado & Manuel Carranco - Eye Contact
SORRYSHOES012 (Mixes by: Ash Roy, Ivan Gomez, Bedrud, Nicolas Nucci)

Taylor Square feat Katarina - Something In The Air
SORRYSHOES013 (Mixes by: Jean Philips & Mike Kelly, Nic Frattaroli, Jammin' Unit, Winston & Yoddy)

Miguel Rendeiro - Journey
SORRYSHOES014 (Mixes by: Fragoso, Filipa Rebelo, Ash Roy, Jean Philips & Mike Kelly, Nicolas Nucci)

Natalie Gauci - Without You
SORRYSHOES015 (Mixes by: Thomas Penton, Medway, Nacho Chapado)

Oliver M & Jean Philips feat Sua Amoa - Strings Of Motion (Ivan Gomez Remix)
SORRYSHOES016

Nick Tcherniak & Steve Thomas - My People EP feat Wilmien
SORRYSHOES017 (Incl. My People, Deep Water)

Bedrud, Grolle & Giese - Pascha At Night
SORRYSHOES018 (Mixes by: Ash Roy, Flyntstoned & Matt Gav, Guy Scheiman, Komm_unity, Unik)

RONY feat Rachele Dione - Colour Of Love (sunshineheartbeat)
SORRYSHOES019 (Mixes by: Giese & Rony, Smycka, Nacho Chapado & Ivan Gomez, Chris Bekker, Leomeo, Komm_unity)

Various Artists - Sorry Shoes THE LONDON GLOBAL DANCE FESTIVAL 2010 Compilation - SORRYSHOES020 (Mixed by Mike Kelly)
Guy Scheiman - My Life (2010)

SORRYSHOES021 (Mixes by: Ivan Gomez, Javier Medina + Accapella)
Flavio Wariez & Clem B - Profusion

SORRYSHOES022 (Mixes by: Ben Manson & Olivier Malone, Aurel Devil)
Nick Tcherniak & Steve Thomas - Deep Water feat Wilmien (Remixed) 

SORRYSHOES023 (Mixes by: Matt Smallwood, Hifi Sean, Gee Moore, Lusky Dj)
Jason Chaser - Bravo Chicago EP

SORRYSHOES024 (Incl. Bravo, Chicago 1980)
Oliver M & Jean Philips feat Sua Amoa - Strings Of Motion (Guy Scheiman Dub)

SORRYSHOES025
Nick Tcherniak & Steve Thomas – My People feat Wilmien (Remixed) SORRYSHOES026 (Mixes by: Alan X, Mike Hiratzka, Aurel Devil)

Natalie Gauci - Without You (Remixed)
SORRYSHOES027 (Mixes by: Ivan Gomez & Fran Ramirez, Chris Bekker, Maverickz)

Daniel Gregorio & Paul M - Aurora
SORRYSHOES028 (Mixes by: Laundry Service, Miguel Fernandes, Deejay Matt)

Mike Ivy & Ellroy Clerk ft. Joey Alvarado - Welcome To The Fiesta 
SORRYSHOES029 (Mixes by: Paolo Martins, Mike Kelly, Ben Manson & Olivier Malone, Daniel Gregorio & Deejay Matt)

Taylor Square feat Katarina - Something In The Air (2010)
SORRYSHOES030 (Mixes by: Luke-R, Komm_unity, Hifi Sean, Nacho Chapado)

C. SHIROCK is Chuck Shirock - founder, frontman and primary writer for internationally acclaimed band, SHIROCK.  The new music from C. SHIROCK is an evolution and a distillation of his previous work, cutting to the core of his identity, with a power and clarity not heard before.  Blending anthemic choruses, musical builds and releases with heartfelt and personal lyrics, the new music from C. SHIROCK delivers a vulnerability, urgency and an aching vocal that is uniquely his own. Driving rhythms and bass are anchors to the soaring melodies, layers of keyboards, and programming that call to mind the emotive, intelligent pop music of artists such as Peter Gabriel and David Bowie.

C. SHIROCK was born in the United States and has since lived in both the Philippines and Scotland, before relocating to Nashville, TN to further study music. Coming from a family of creatives and musicians, he grew up the oldest of four, playing piano, writing and composing from a very early age. His mother was a professional ballet dancer, his father an avid guitarist and his grandfather an accomplished jazz pianist. 

The cultural influences of C. SHIROCK’s upbringing, both musically and melodically, can be heard in his latest releases. Seamlessly blending his refined melodic and pop sensibility with years of classical training and hints of Phil Collins, Prince, and The Cure, C. SHIROCK has established a defined and modern sound. After going through major life changes and transitions, C. SHIROCK decided it was time for a change of identity and took the leap from playing in his band SHIROCK, to going it alone. “I viewed it as a continuation or an evolution or sorts. It’s been incredibly freeing and liberating to chase whatever turns me on...to create without inhibition”, reveals the musician.

Leading single “Confess Your Love” is a passionate love song about the first moments of connection and the bravery involved in taking a risk to be the first at initiating these feelings.  C. SHIROCK explains, "It tells the story of a couple meeting and their beginning…those little chance encounters that if we take them, can change the entire course of our lives”. The stunning visuals subtly play into this narrative. Shot in a beautiful colonial town near Tulum, Mexico the story starts and ends with the same scene, not revealing whether or not the love story actually happened or if it was a “what if” moment. Sonically “Confess Your Love” features heartfelt, emotional vocals with glistening synthscapes and powerful melodies reminiscent of early Madonna, George Michael and Prince.

Continuing to carve out his unique place with this new project, C. SHIROCK describes his songwriting as vulnerable and honest, "whether it’s capturing a feeling, or telling a specific story, it’s always based on my own life. If it doesn’t come out of my own emotional experience, it feels inauthentic and I don’t feel connected to it”.

C. SHIROCK has found success with his music featured in multiple TV networks including MTV, NBC and ABC, as well as working with brands such as American Eagle and Hollister. He has performed at major summer festivals in front of hundreds of thousands of people across the US and UK, alongside acts such as Twenty One Pilots, Cage The Elephant and Manchester Orchestra, to name a few. Outside of his music, the songwriter is also a professional model landing his face on campaigns across the globe. He has further involved himself in charity work, where he has partnered with various homeless and poverty-focused organizations. The new music from C. SHIROCK marks a new chapter for the prolific artist with “Confess Your Love” out Fall 2018, “Stand With Me Tonight“ our in December, and new music in January leading to the full length, Evidence Of Things Unseen, out mid 2019.

ADMI (Ensemble of Children Musical Instruments) - creative group of musicians and artists. As it follows of the name the participants play in the children's musical instruments. Songs are musical-noise landscapes filtered through the prism of post-apoplectic discourse and have an very strict internal drama. ADMI works have not only sound, but also the visual dimension. Striving to change in the first place the pragmatic language of creative expression. ADMI works sound in tune with reedy-made principles. In this case we are talking about the life of finished audio-visual and musical forms in an unfamiliar environment for them, which allows to approach some dramatic, and sometimes comic and grotesque effects.

One of the important aspects of the (((+.) ADMI is the creative collaboration not only among the permanent members of the band, but also with people and groups are usually involved in other activities. Moreover, it does not matter whether a person or a group of professionals, or on the contrary to normal life engaged in the creative process itself. Moreover, we confess the principles of "amateur", "pure" art, not encumbered professionalism, status, or other frameworks.


Splitting their time between South America and the Wynwood Art District, Fl, Prime Ministers - Ernesto (Lead vocals, Guitars and Piano), Alejandro Martin Carrau (Bass), Alejandro (Drums) and Shaggy (Guitars and Vocals) - are set to make their mark with the release of their new LP slated for April 13th, 2017: ASYMMETRIC.  Their last album "NOW" was produced and mixed by Max Heyes (Oasis, Paul Weller, Primal Scream, Jamiroquai). 
Their debut album Take a Ride was met with critical acclaim in Ecuador and throughout the region, garnering attention and invitations from South By South West, Austin (US) and Rock Al Parque (Colombia).
Their singles Smoking Monkeys and Under Your Spell from Take a Ride reached number one on Radios and the video of the song Far From Free took them to number 1 at MTV Latino.  They were also chosen as one of the Top 50 Best Bands that year.
Now, Prime Ministers are looking forward to introducing the world to their hard driving, melodic and well written rock. Combining an edgy swagger with their own personal influences they create a sound that is individually theirs. 
The first single Take It Back, balances robust instrumentation and a lithe, lush refrain. “It comes from the irresponsibility we have with words. When you say something, you can obviously say you’re sorry but what you’ve said is already out there in the universe. That drama and negativity lingers.”
The universal chorus of From Me reminds us that sensation of impotence caused by not knowing what that person really wants from you. Out of my mind, with their 60´s british sound arrangements is about one of those conversations we all have had once, where we confess that “we are out of our mind, we are at the other side”
“Never Leave Again” has a melody that cruises over a beat punctuated by vivid lyricism and tangible honesty. “It is a song about when you went through a different funky moment. It’s a song to find that center again.” 
Other songs represent their classic rock roots, such us Revolution and Against The Wall, some others most vanguard side of the band like Hole in The Sky or Now, song that names the album and they even play with psicodelia in titles like Technicolor Dreams or Bottomless High.
Ultimately though, the message resounds just as loudly as the riffs, drums, and vocals. “The material bullshit is overdone already. We hope people feel fulfilled and inspired when they hear our songs. We want every moment to mean something.” 
With Prime Ministers set to release their catchy, high energy album Asymmetric; 
'the inspiration' will finally be hitting the American markets on April 13th.

NOW has been presented in England at The Great Escape Festival (Brighton), London, Liverpool and Bristol, with great welcome from public and critic, same as Mexico where they launched the album past June 3rd.  And, Asymmetric has been presented all across the West Coast through LiveNation venues in 2016 and the band plans to perform at music festivals thought 2017.

Cream Pie hooked up in 2005 in the south of Italy playin' a hard rock, sleaze rock, street metal genre the way bands such as Guns N' Roses, Motley Crue, Skid Row & L.A. Guns used to hit the charts back in the days with a new fresh modern rock sound & brought the dangerous rock 'n' roll back to the people!

The band soon recorded a 4-song demo cd called "Live Crime" in 2007 and in 2008 and 2009 they toured twice the United States supporting their full-lenght album "Dirty Job" (2008).

After playin' more than 200 gigs between Italy & Usa the band went back to the studio in 2010 to record a new EP "Unsigned 2.0" which was released on june 20th 2013.

At the end of 2011 the band moved in Milan, Italy.
Meanwhile the band kept on tourin' and had the chance to share the stage with the legendary Vain and L.A. Guns.

In the spring of 2013 they released their first music video “Tiger” from the album “Unsigned 2.0” getting an impressive of 50.000 views on Youtube in the first month only.

In 2014 Cream Pie announced the "Unsigned European Tour - sleazy rock fest" a 2-leg 33-gig tour in 10 European countries including Belgium, Italy, Spain, Czech Republic, Slovakia, Austria, Lithuania, Latvia, Estonia, and Hungary.

In the beginning of 2015 Cream Pie signed a 2-year record deal with the Californian label Demon Doll Records (Vains of Jenna, Tuff, Alleycat Scratch, Shameless, Cats In Boots, Jetboy, Confess…) for the release of the cd “10 Years of Cream Pie 2005 - 2015” featuring a brand new song called “Fall To Rise Again”.

At the end of February 2015 the band released a new music video “No Love Remains”, the second single from the album “Unsigned 2.0”.

In june 2015 Cream Pie toured Europe for the third time for the "10th Anniversary European Tour" - 10 gigs in Czech Republic, Germany, Slovakia, and Hungary.

In the second half of 2015 they started working on the material for the new album and in December they got to play with Towers of London.

In may 2016 they took part at the "Sleazy R-Evolution over Germany" for 5 gigs where they released the new single "Downtown Pirates".

In the summer of 2016 they play again with L.A. Guns and also with Great White and W.A.S.P. mean man Chris Holmes.

In Febraury 2017 Cream Pie released the brand new video "Downtown Pirates" right before the release of the new album scheduled for March 11th 2017.

A collection of Christian Music and talk shows.

St. Augustine's Confession Book 10, Chapter 33
" I used to be much more fascinated by the pleasures of sound than the pleasures of smell. I was enthralled by them, but you broke my bonds and set me free. I admit that I still find some enjoyment in the music of hymns, which are alive with your praises, when I hear them sung by well-trained melodious voices. But I do not enjoy it so much that I cannot tear myself away. I can leave it when I wish. But if I am not to turn a deaf ear to music, which is the setting for the words which give it life, I must allow it a position of some honor in my heart, and I find it difficult to assign it to its proper place. For sometimes I feel that I treat it with more honor than it deserves. I realize that when they are sung these sacred words stir my mind to greater religious fervor and kindle in me a more ardent form of piety than they would if they were not sung; and I also know that there are particular modes in song and the voice, corresponding to my various emotions and able to stimulate them because of some mysterious relationship between the two. But I ought not to allow my mind to be paralysed by the gratification of my senses, which often leads it astray. For the senses are not content to take second place. Simply because I allow them their due, as adjuncts to reason, they attempt to take precedence and forge ahead of it, with the result that I sometimes sin in this way but am not aware of it until later.

Sometimes, too, from over-anxiety to avoid this particular trap I make the mistake of being too strict. When this happens, I have no wish but to exclude from my ears, and from the ears of the Church as well, all the melody of those lovely chants to which the Psalms of David are habitually sung; and it seems safer to me to follow the precepts which I remember often having heard ascribed to Athanasius, bishop of Alexandria, who used to oblige the lectors to recite the psalms with such slight modulation of the voice that they seemed to be speaking rather than chanting. But when I remember the tears that I shed on hearing the songs of the Church in the early days, soon after I had recovered my faith, and when I realize that nowadays it is not the singing that moves me but the meaning of the words when they are sung in a clear voice to the most appropriate tune, I again acknowledge the great value of this practice. So I waver between the danger that lies in gratifying the senses and the benefits which, as I know from experience, can accrue from singing. Without committing myself to an irrevocable opinion, I am inclined to approve of the custom of singing in church, in order that by indulging the ears weaker spirits may be inspired with feelings of devotion. Yet when I find the singing itself more moving than the truth which it conveys, I confess that this is a grievous sin, and at those times I would prefer not to hear the singer.

This, then is my present state. Let those of my readers whose hearts are filled with charity, from which good actions spring, weep with me and weep for me. Those who feel no charity in themselves will not be moved with my words. But I beg you, O Lord my God, to look upon me and listen to me. Have pity on me and heal me, for you see that I have become a problem to myself, and this is the ailment from which I suffer."

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