Founded in 1999 by vocalist “san” and trackmaker “nerve.”  Blending elements/ influences from such inspirations as electronica, dub, jazz, trad etc. from their early days. After songs from the CD-R albums made no.1 in internet music charts in Japan, antennasia released their formal 1st album "Phased" from their label Double Life Records in 2002. Their sophisticated dub/club oriented sound caught interest of promoters in Europe where they toured in Belgium and Holland. 2nd album "Cinemice," characterized by the mixture of deep dub sounds and indistinct elements of jazz, was released in 2005. On the subsequent tour, antennasia supported Lemongrass from Germany, it brought them the opportunity for their songs and albums to appear on the Lemongrassmusic catalog. After "Cinemice," antennasia delved deeper into electronica. Their new songs were played on Ryuichi Sakamoto's radio show and drew attention of electronica/pop music listeners of Japan. Sakamoto made a comment for their 2006 album "23 Bluebird Street, Velo-City." DJ3000, Embee, D-Fried, Team Doyobi, Rob Smith etc. provided remixes for "Velo-city Remixed" album, which was released in Europe and Japan. In 2010, antennasia released "Qus-cus," a calm and introspective album constructed by a collage/cut-up method. Following "Re : Qus-cus" included remixes by D-Fried, Toshiyuki Yasuda etc. The next album "Howling" (2013), which is recognized as one of their highest masterpieces, showed a harsh and heavy side of antennasia still sprinkled with delicate feelings and sadness. The album was influenced by the tragedies of the 2011 Tohoku earthquakes, tsunami and subsequent nuclear disaster in the Sendai region, where they are based. Through "Dragonfly EP" and "Dragonfly Remixes" 2013 from Mezé in Detroit, antennasia completed their new album. The vocalist, san, takes the initiative this time composing, programming and producing most of the songs in the 2017 album "Alter-Egoist." In 2019, the 20th anniversary year of antennasia's forming, they completed the album titled "Error-Code : SFRN". In 2020 and 2021, they released two EP’s "Papier-Mâché" and “Hazy Pink” which show deeper influences from synth-pop of 80s. The long-awaited album "Warped Lucky" is released in July 2023 from Tabula Rasa Records in San Francisco and Double Life Records.
 

1999年、san(vo)とNerve(track)により結成。エレクトロニカ、ダブ、ポップなど様々な要素を内包した音楽性を展開。アルバム”Phased”(2002)がきっかけとなり欧州ツアーを行う。2005年、”Cinemice”発表。同年より坂本龍一氏の番組「RADIO SAKAMOTO」で楽曲が紹介され注目を集める。アルバム“23 Bluebird Street, Velo-City”(2006)には同氏がコメントを寄せている。2008年、Rob Smith、DJ3000、Embee (Looptroop Rockers)、D-Friedなどが参加したリミックス・アルバムを発表。メディアアート、ダンスなど、様々なフィールドのアーティストとのコラボレーションも行っている。2010年、アルバム”Qus-cus”をリリース。コンピレーション「ARTIST ACTION」(2011)、「坂本龍一トリビュート」 (2012)などにも参加。以降も、リミックスEP "Re : Qus-cus”(2012年)、”Howling”(2013年)、デトロイトのDJ3000が主催するレーベル Mezéからの”Dragonfly EP”(2013年)、”Alter-Egoist”(2017年)と、コンスタントに作品をリリース。2019年発表の”Error Code : SFRN”は9作目のオリジナル・アルバムとなる。
2020年、2021年にはstay homeの時期に制作された楽曲を収録した、80年代のシンセポップからの影響をより感じさせる『Papier-Mâché』『Hazy Pink』の2枚のEPをリリース。2023年7月、待望のニューアルバム""Warped Lucky"をサンフランシスコの新進レーベル、Tabula Rasa RecordsとDouble Life Recordsの共同でリリース。

Stacy King, also known as "Sucré," was born to sing. For proof of this, look no further than her debut solo record, "A Minor Bird." Produced by Darren King And Jeremy Larson, it is an enchanting blend of orchestral chamber-pop and the intimacy of '70s singer-songwriters. Stacy's voice flawlessly weaves across beautiful landscapes of strings, horns, and percussion on each of the album's 11 tracks. 

"As so often happens, I didn't set out to make a record. But rather was just collaborating with my husband and friend," Stacy says. "Jeremy and I would email musical ideas back and forth and then finalize them over holiday trips to Missouri. About three songs in I realized we had something special and that we had to make a record of it." AOL's Spinner called it "pop music of the highest order." 

Stacy explains her songwriting process: "For me, songwriting is like journaling. And something I have to do to stay healthy and happy. A lot of the time it's nothing special. But whenever it is, it's one of the greatest feelings I've ever known." 

Featuring the irresistible lead single "When We Were Young," and orchestral delights "Hiding Out" and "Troubled Waters," "A Minor Bird" will surely appeal to fans of forward-thinking pop. "Incredible music... Stacy's honeyed vocals are tough to ignore," gushed MTV.com about the album. 

"I had the time of my life making this record because I was only trying to make music that I loved and nothing else," Stacy says. "I just wanted to make something beautiful. Coincidentally, every single song on the record is about love and romance." 

Larson, true to form, appears as a one man philharmonic, seamlessly layering an orchestra's worth of instruments to sound as if they were played by 100 individuals, each with their own soul. 

Darren, following suit, would be better defined as a percussionist than a drummer on this one, creating layers that would require the precision of many limbs working together to replicate in real time. 

"A Minor Bird" is an instant classic, and proof that art for arts sake is the best kind.

Welcome to my SoundCloud page and a variety of audio recordings. Headphones or speakers are advantageous and recommended for listening. To continue reading, please click 'Show more' below:

Please note: click on any audio track for details about the music. 

A big thank you to all those listeners who have 'liked' tracks; most tracks have now been listened to many times. Statistics are not displayed publicly on this SoundCloud page as all tracks are then presented equally as pieces of music. My thanks to listeners who 'follow' me - thank you for enjoying my music performances and compositions. Thank you also for the messages/comments of appreciation. I hope to share more music with you on my SoundCloud page in the future.

My first piano lesson was on my tenth birthday and ever since, the piano has been a life-long study with a pursuit of classical music. By 18 years of age I was able enough to achieve Grade 8 piano with distinction from The Associated Board of The Royal Schools of Music as well as Grade 8 Theory of Music (Grade 8 being the final student Grade) and at the time, quite rapidly discovered that Grade 8 was not the end but just the beginning in terms of musical skill and musical development and knowledge.

Post Grade 8 and after further study I achieved two piano performance diplomas (ALCM) and (DipABRSM), I then went on to be successful with the highly demanding and prestigious Licentiate of The Royal Schools of Music Piano Performance Diploma Examination (LRSM) which is recognized the world over; the LRSM examination involved the performance of demanding repertoire, an extensive viva voce of verbal questioning and also, in my case for the 'Quick Study', a previously unseen baroque-style whole Gigue to prepare and perform with only 5 minutes preparation time; there are several examiners assessing live and the whole exam was audio recorded to ensure a rigour and standard appropriate to holding the LRSM. 

Also, I am twice piano performance Licentiate of Trinity College London (LTCL) with different repertoire, and twice piano performance Licentiate of The London College of Music at The University of West London (LLCM) with different repertoire; this along with other music successes including an academic FLCM (Fellow of The London College of Music) - some of my academic study in music being with the London College of Music at the then Thames Valley University. 

My qualifications in music are as follows:
LRSM (Piano Performance), LTCL (Piano Recital), LTCL (Piano Recital), LLCM (Piano Recital), LLCM (Piano Performance), DipABRSM (Piano Performance), ALCM (Piano Performance), LVCM(Hons) (Piano Performance), FLCM (Diploma in Music Literacy – Research Thesis (Music)), FVCM(Hons) (Musicology (by Thesis)), FVCM(Hons) (Composition), BA(Music), MMus, PhD(Music).

I am an experienced music tutor with advanced piano tuition specialty at higher education level as well as experience in teaching all levels of piano from absolute beginner to performance diploma standard with excellent learner results. One of my students of piano wrote: "Michael is calm, professional, patient, and exceptionally talented."

I have also studied the organ and singing and I also enjoy conducting. In addition, I have composed many pieces of piano music. My own original piano compositions consist of the following which can all be heard on this SoundCloud page: 
- Opus 1, Reflections Series 13 piano pieces.
- Opus 2, 4 piano pieces dedicated to my wife, Mrs Sandra Spacie.
- Opus 3, 4 contemporary piano pieces.
- Opus 4, A set of 45 Mysteries which have something of an 'other-wordly' sound and ethereal feel. They can be used for general relaxed listening and enjoyment, meditation and spiritual life or to ponder the mysteries of the Universe.
- Opus 5, 4 piano pieces dedicated to my wife, Mrs Sandra Spacie.
- Opus 6, 4 Classical Preludes for Piano.
- Opus 7, O Tannenbaum [O Christmas Tree]: Variations and Faux Bourdon Composed by Dr Michael Spacie and Finlandia by Finnish Composer Jean Sibelius: Chorale Variations and Faux Bourdon Composed by Dr Michael Spacie.
- Piano Solo Arrangement: Cantique De Noël (O Holy Night) by French Composer Adolphe Adam.
- Opus 8, Funeral March in D minor followed by modulatory Interlude and Funeral March in C minor followed by concluding Interlude dedicated in memory of two musical associates.
- Opus 9, A set of 12 Rhapsodies for the piano.
- Opus 10, No. 1. Processional Wedding March in D major composed for friends.
- Opus 10, No. 2. Recessional Wedding March in E major composed for friends.
- Opus 11, A set of four pieces for piano 'Stillness in the Music'. A spiritual inspiration of the flowing energy in music. Composed for the piano with many subtle sounds, harmonics, overtones, and infused with delightful multiple colours and layers of musical sound with an ever present 'stillness'.
- Opus 12, A set of 4 Novelettes in various keys.
- Opus 13, A Musical Oasis - A Suite of 9 Pieces for Piano.
- Opus 14, Music From The Universe - 4 Pieces for Piano.

I was lucky enough to purchase a hand-crafted acoustic upright 'Welmar' piano manufactured by the piano factory Whelpdale, Maxwell and Codd, London. It has a delightful responsive touch and 'warm' sound and resides in my dedicated home music studio.

Each item digitally recorded by me was done without any technological tweaking per se.

COMPOSITION:-
I am an established composer of piano music having composed to date 98 original separate piano pieces - all of which are on this SoundCloud page. Essentially, composition is a lifetime's study and requires much practice to be musically satisfying. Imagination and creativity require quiet contemplation with experience and knowledge of technique in so much as how to play the notes composed in order to produce the best possible sound. My original compositions featured on this SoundCloud page portray self-expression and some insight into the world of harmony sometimes manifesting a musical colouration with mainly diatonicism peppered with some chromatic detail giving rise to various energy levels through dissonance and resolution: there are basic chord shapes which are altered; clusters giving beauty of sound; various tensions arising from chords and melody outside the key centre whether specific or vague and unusual combinations of chords and harmony with an effective intervallic structure. Some of the pieces are evocative and somewhat lyrical whilst others create a mood which is timeless and calming, yet other pieces are haunting, being restrained and subtle. The rhythm can vary from being completely free to measured with some 'rubato' flexibility. Any bar lines are not necessarily part of the mix with a natural accentuation in phrasing often indicating a surreptitious rise and fall of tone levels. The damper pedal gives at times an 'extra-wordly' feel and makes use of the harmonics and overtones which in some instances add atmosphere, mood and character, often giving rise to a combination of sophistication and simplicity of musical content with a feeling of an ebb and flow where nothing is static but an ever changing scene with space for individual freedom and emotion within a framework of appeal and accessibility for the listener.

A fellow musician known to me commented in an email:- 
"I have very much enjoyed listening to you perform, very inspiring. Your compositions show an undeniable skill for writing and an ability developed over many years of studying and teaching. The music flows effortlessly with wonderful tonal and key changes that keep the listener fully engaged; beautiful emotion provoking music. You have a wonderful gift and you should absolutely share it with people. Your works deserve a place on the highest of platforms. I will look forward to listening to more and also sharing it with friends, students and family."
 
PIANIST WITH ADVANCED PERFORMANCE SKILL:-
There is no sense of be-all and end-all of piano performance. Nowadays, the term ‘concert pianist’ is very much in vogue, has widespread usage, popular acceptance and is somewhat used mainly for elitist purposes, designation of level and has been since the mid to late 19th-century.
Although certainly not in every single case, the term ‘concert pianist’ somewhat generally carries something of the reality of egoism and showmanship and thus artificial performance which somewhat blights much of the modern-day field of piano-playing and has indeed done for a very long time since the mid to late 19th-century. For example: an unnecessary robust fortissimo followed by a dramatic pianissimo where a composer didn't require it and where it doesn't suit the music which causes a piece to sound rather brittle, artificial and false; for show, a much faster tempo than the composer intended; an engagement with physical complexity for the sake of complexity, a mechanical virtuosity, which is very often the direct antithesis of both emotional awareness and communication and spiritual awareness and communication in music and performance.
Whilst I hold the highly recognised LRSM qualification in piano performance, a qualification for whatever reason many concert pianists don’t hold, I nevertheless simply regard myself as a pianist, a servant of the composer and a servant of the music and it is always my wish that my performances speak to the listener in some profound way rather than simply to impress musically, and that they are primarily free from ‘egoism’, ‘showmanship’ and all things ‘artificial’, but instead to musically communicate and share is one’s desire rather than of show and promotion of the ego.
Playing from memory is something of perfectionism to promote an ingrained image of being the best. Prior to the mid to late 19th-century, even the greatest composers and performers performed keyboard works at concert-level by reading from the music and portraying the emotion and spirituality of that music with a very high degree of accuracy without many (if any) wrong notes as well as maturity of contemporary stylistic awareness. As I am a high achiever rather than a perfectionist, I have personally adopted this as my particular performance model (no matter which era of piano music I am performing). This I strive to do with utmost integrity of feeling, to immerse oneself in the wonderment of each subjective interpretation of feeling, of mood and character, atmosphere and new insight with a distinctive tone-quality somewhat unique to me and my playing. And, last but not least, how a subjective interpretation appears and disappears from the ether involving the player but without the player getting in the way!

I can be contacted by email using gmail.com preceded by pianistmusicianmikespacie@

Thank you for visiting my SoundCloud page.

Dr Mike Spacie

Taking its name from novelist Jack London’s 1904 seafaring adventure, Sea Wolf has evolved organically from its hermetic origins in Alex Brown Church’s living room into a muscular, full-bodied musical entity with passion to burn. After adopting the sobriquet, Church burst onto the music scene in two-fisted fashion with the EP, Get to the River Before It Runs Too Low, and the subsequent full-length debut album, Leaves in the River, about which Interview magazine observed, “His music is both erudite and unvarnished, a blend of swirling melodies, literary balladry and damaged art-rock composition.”

And now, Church’s singular vision has led to the creation of the eloquent and expansive new album White Water, White Bloom, which not only fulfills the immense promise of the initial musical diptych but conjures up its own cosmology. This is one of those rare and mysterious records wherein, the first time you hear it, you can’t shake the feeling that it’s always been part of the soundtrack of your life. You intimately know its ups and downs, its melodies and cadences, its settings and characters.

“I couldn’t have known beforehand what the next record would sound like,” says Church, “but I did know I wanted it to be bigger, with a band feel, rather than another series of intimate confessionals.”

A song cycle set against the changing of seasons, this timeless work unfolds like an epic poem, yet resonates with thematic elements that speak, elliptically yet unmistakably, to the world we live in. Pulsing with evocations of nature at its most elemental, Church’s songs are flooded with vivid imagery, carried along on torrents of sounds as majestic as a mountain stream swollen with the bracing, crystalline runoff of spring’s first warming breath. What’s more, he sings these songs with newfound power, the result of extensive roadwork behind Leaves in the River, while deepening the mesmerizing expressiveness with which he made his initial mark.

Opening track “Wicked Blood” begins with what sounds like an orchestra tuning up before surging to glorious life, the rhythm section shaping itself into a propulsive groove accented by delicate piano notes, carrying along the opening chapter of the saga: “We met in the East/ poured in like a flood,” Church begins, shadowed by the breathless wheeze of an air organ, “You’re the whispering kind/dark sapphire blood/A vision of veils/all shimmery white/like a backdrop of sails/all aglow from the light/of the wonder behind/at a starry night.” And with that, we’re off into an adventure of cinematic immediacy, as befits the sensibility of this onetime film student, who’s clearly found his natural medium of expression.

“Lyrically,” says Church, “I like to incorporate what one would construe as classic imagery, and even infuse the songs with elements of mythology, but also delve into more contemporary themes. I’m interested in the way words look and feel, not just when you hear them but also when you read them.”

Church’s verbal acuity is mated with bold, vibrant soundscapes set off with thundering drums, stabbing, reverb-soaked electric guitars and ghostly keyboards, resulting in such memorable pieces as the mythological tale “Orion & Dog,” ornamented with strings right out of a John Ford western; the folk-noir fable “O Maria!”; the surging title song, burning with Byronic heat; the fever-dreamscape “Spirit”; the muted, idyllic, “The Orchard”; the Dylanesque roundelay “The Traitor”; and the closing “Winter’s Heir,” with its life-embracing denouement.

“When I write a song,” says Church, “for me it’s always associated with a specific place and time. For example, ‘Orion & Dog’ was written during the summer, and ‘Winter’s Heir’ is about coming out of the long Montreal winter and experiencing a sense of rebirth.”

The album has a back story: “I met and fell in love with a girl in Montreal while on tour with Irving, and just before signing with Dangerbird,” Church recalls. “And then, while touring behind the Sea Wolf record, I spent most of my time off in Montreal with her. Apart from ‘Wicked Blood’ and ‘O Maria!,’ which I wrote in Los Angles, everything on White Water was written in Montreal, holed up in our little apartment, a block away from the river. That was all of last fall, winter and spring, so I was very much influenced by that experience, and a lot of the record is set there in my immediate surroundings, along with remembrances of being home on the West Coast.”

White Water, White Bloom was recorded at the Omaha studio of Mike Mogis (Bright Eyes, M. Ward, Monsters of Folk), with Church handling vocals, acoustic and electric guitars, as well as some of the air organ and pump organ sounds that were such a big part of the sonic signature of the earlier records. Joining him were the three core members of the six-piece Sea Wolf touring lineup: keyboardist Lisa Fendelander, bassist Ted Liscinski and drummer Joey Ficken. The remaining slots were filled by Mogis on lead guitar and an assortment of other instruments, with his Bright Eyes cohort Nate Walcott filling the role of the cellist, arranging strings for a quartet, sometimes working from cello parts originally created by Catherine Odell, who’d been part of the initial Sea Wolf touring lineup, with Church’s input.

They arrived with a full set of song demos, providing a detailed blueprint for their subsequent expansion into widescreen anthems that reshape the classic aspects of traditional folk, folk rock and chamber pop—but these bucolic elements are intercut with aggressive bursts of raw emotion sharpened to a serrated edge—making for a rich, vibrant sound that is virtually unprecedented.

Church is working in the most personal of mediums, and that results in constant self-questioning. “Every time you make a record,” he says, “you invariably think, ‘Oh, I wish I’d done this differently,’ or ‘Next time I want to do this.’ But if you get to the point where you don’t think that, then it’s time to quit. In terms of aspirations, as long as I’m constantly having new ideas and finding new places to explore with the music, I’ll be satisfied.”

Morrocan, Rising Star ELMARS is one of the most successful upcoming DJ’s & Producers.

Supported by names like Roger Sanchez, Tiesto, Chuckie, Hardwell, Thomas Gold, Steve Aoki, R3hab, EDX, Mastiksoul, Promise land, Hardsoul, D.O.NS., among other big names in the industry, signed by labels like Cr2, 4kenzo, Revealed Recordings, Mixmash Records, Kontor Records.

It was October 10th, 1989 when  ElMars saw his first light of day. Born in Rabat And Raised In a Small City called Nador , ElMars developed an interest for music at a very young age. At the age of 13 he hit his first snare drum after joining a marching band and this is where it all kicked off for young ElMars. After saving up for a little while,Elmars obtained his first drum kit and started banging away at it like there was no tomorrow. For the next three years there was only one beat to be heard in the Soufian’s household, ElMars’s beat, practising the drums day and night.

It didn’t take long until he discovered his enthusiasm for synthesizers and drums, getting inspiration from artists such as Axwell , Daft Punk,Erick Morillo or Cassius. It is no surprise he followed suit, spending his pocket money on all the second-hand synths and drum machines he could find. Through his Holidays Of teenage years, ElMars spent his days DJing and editing his favourite tracks using small tape recorders and sampling what he could.

His tastes are quite eclectic, but he turned quickly to electronic music. At the age of 18 he decided to buy his own turntables, learned to mix self-taught and draws its groove in the landscape of the New Generation DJ’s .No one was unaware that one day he would be asked by the most exclusive and Hipped clubs.

In 2011, he will attend the Global Gathring in Kiev, where he will give us an explosive set!

His career has been in his image, a nebula that fires wherever she goes!

So stay tuned, watch out, there is plenty more to come…

DJ JOSE - PIONEER IN DANCE MUSIC
Energizing, talented and able to continuously reinvent himself: Jos is a true crack in the field of dance music. A steady succession of hits, both solo and co-produced, brought him worldwide fame.
DJ José has become a familiar face in both the Dutch and international club scene, and a highly demanded profile / high in demand at major events. His signature sound a contemporary, non-commercial style derived from a smorgasbord of music genres, Jos is known for creating an accessible musical flow.
Privileged in experience, Jos is able to actually connect with his audience on a deeper level offering subtle tones, smooth vocals and energizing tracks. Jos will take his crowd on a journey, communicating from his booth, and by relentless self evaluation.

Formerly known as We Sell Seashells - Leeds based 5-piece Catscans unexpectedly evolved in 2008 from the bindings of an 18th Century Hegelian manuscript. Beginning their lives as little more than bizarre micro-organisms, data indicates that it was only by 2009 that their musical energies were succesfully consolidated into a debut EP.

Months of rigorous trials saw Catscans explode into dynamic and volatile waveforms, producing sonic phrases and frequencies which were at once discrete and sublime; sonorous and dissonant; melancholic and uplifting. Subsequent test results fused into a raucous live spectacle bearing with them a second recording. Their 2010 EP, 'Be Excellent', simultaneously showcased a spectrum of abrasive and delicate tones via the tenets of Buddhism and Bill & Ted. 

The organisms known as Catscans comprise the following shapes: Jonny on guitar, vocals and discord; Chrissie on violiola, nyckelharpa and wanderings; Mike on guitars and spookiness; Tom on boom; and Roy on drums and hoots. Their debut album 'Amnesty' will be released Spring 2011, perhaps to cries of delight or shudders of confusion.

'intense and tranquil music with varied and effective shifts in mood...an impressive sound' 
NoTitle Magazine 

'music that's emotive, punchy and, you know... a bit moreish.' 
Vibrations Magazine: Feb2011


Toronto based singer and Melissa Lauren has smoothly made the transition from veteran swing “crooness” to songwriter.  With a strong influence in jazz and blues, Melissa has developed an original style of her own melting together old school sounds with modern flare.   Melissa's latest album, "Your Mess" was released in October to immediate charting and radio play across Canada.
 
Melissa's debut album, “The Other Side”, was released in March 2012 to great review. A collection of original compositions, the music was produced by Eric St-Laurent, paying tribute to the jazz and swing sounds that shaped the singer’s musical style.  Quickly making a place for itself on Canadian charts, the album offers a variety of classic sounds, mixed with modern pop sensibilities.  
 
The singer’s love for swing and jazz music began when she started performing with the Toronto All-Star Big Band; she continued singing with them until 2004. She had the opportunity to work with and open for many wonderful musicians; Jeff Healey, Gordon Lightfoot, Renee Lee, Henry Questa, Tommy Ambrose, Peter Appleyard, Buddy DiFranco, Jackie Richardson, and Clark Terry to name a few.   She has performed as part of the Toronto Downtown Jazz Festival, Beaches International Jazz Festival, Markham Jazz Festival and Oakville International Jazz Festival as well as Canadian Music Week, and is looking forward to hitting the Canadian festival scene in 2015.  She has toured Western Canada and parts of Eastern several times,  and is heading across Western Canada for an album tour in November of 2015.
 
Melissa is eager to debut a slightly edgier and mature sound on the new project, “Your Mess.”  Taking on more of a polished form, the album and subsequent live sets weave together the songs in a way different from past albums and shows. Determined not to just be another singer simply calling standards, the tour and album will be presented as a cohesive story; transitions will feel more intuitive. She is hoping to bring a more personal touch to everything. With a central theme of the beauty and torment of a mess, the songs delve into the more extreme sides of emotions we feel when dealing with the fact that our lives can completely flip in the blink of an eye.   The first single I released in Canada, “Send Them Away,” was song of the week on CBC radio in Toronto, and has been nominated for a Toronto Independent Music Award.
 
For the upcoming album, Melissa collaborated songwriting and producing efforts with Toronto bassist Mark Cashion, and the outcome is a quirky, more playful sound that tests an interesting balance of darker harmonies and more theatrical grooves, coupled with the singer's signature delicate word inflections.
 
In addition to her own music, Melissa has recently been lending her voice to studio work in the electronic music scene. She has sung on five of producer/writer Hibernate’s recently released tracks, one of which was the opening track on seminal pioneer trance DJ Paul Oakenfold’s most recent compilation album, released under Perfecto Records. 

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