Contact Info
Phone	+91 98 14 688788
Email	bookings@harjitharman.com

About
Punjabi Folk & Pop Singer | Actor | Artist.
WhatsApp & Direct Call: +91 98146 88788
For Booking Only: +91 98729 07800

Biography
Notable Albums of Harjit Harman:

•	JHANJAR
•	SHAAN-E-QAUM
•	HOOR
•	MUNDRI
•	SINGH SOORME
•	PANJEBAAN
•	TERE PAIN BHULEKHE
•	ZANJEERI
•	KURI CHIRAN TO VICHHARI

Description

Harjit Harman is a Punjabi Folk & Pop Singer, who in just a few years has become one of today’s premier singers. He’s done it the bit different way, on the merits of his creative abilities, perseverance and a healthy, home grown perspective, establishing himself as a magnetic, new voice in Punjabi Music. Harjit Harman adds a new milestone to his musical journey with every new album.

Harjit Harman broke through in 1999, with the release of his debut album “Kuri Chiraan Ton Vichhari”, followed by, “Zanjeeri” and “Tere Pain Bhulekhe” in 2002. In 2004 “PANJEBAAN” album was released which awakened Punjabi Music fans across the globe to a charismatic, vibrant young artist who connected with audiences in a way other contemporary singers did not. Selling record number of copies and earning international recognition as Punjabi Pop and Folk Singer, Harman sat a trendy combination of traditional Folk and Pop music with thoughtful lyrics by S. Pargat Singh who is his producer and writer since day one.

Harjit Harman was born in village Doda near Nabha, Distt. Patiala, Punjab in INDIA. He studied at Akaal Degree Collage Mastuana Sahib (Sangrur) in Punjab, INDIA. There he met S. Pargat Singh. Meeting Pargat Singh was a turning point of Harjit Harman’s life as S. Pargat Singh found the artist in Harjit Harman when he heard Harjit Harman’s melodious voice at college functions. He decided to launch Harjit Harman in professional manner and in 1999 Harjit Harman’ first Album “Kuri Chiraan Ton Vichhari” was released.

Hence Harjit Harman’s first album got average response from audience, his first hit song was “302 Banju” But it wasn’t just the numbers that confirmed Harman’s popularity. The song, “Surma Na Payi Mutiare, Ve Mein Kattadi Trinjhana Ch Charkha, Tere Pain Bhulekhe and many more songs were big hit. The album Panjebaan (2004) brought huge success to Harjit Harman’s musical career. Songs from Panjebaan Album has become Folk of Punjab. The song “Mittran Da Naa Chalde” created a storm in punjabi music industry. All the songs from Panjebaan album were chartbusters. The songs from Panjebaan album were played in every celebration / party. Even today also “Mittraan Da Naa Chalde” song is a must play in every DJ and marriage party.

Whatever the influence, it has translated into much success for Harjit Harman, who began his singing career populated mostly by people he knew from near his hometown and local friends. Harjit Harman has toured all over the world including America, England, Australia, Italy, Poland, Norway, New Zealand, France etc. tirelessly, selling out to bigger and bigger audiences every time around.

Harjit Harman has a collection of impassioned, emotionally resonant songs about the joys and rigors of love and life to his credit. The temptation for anyone who has experienced early success is to mimic that formula for success. But in recording his every next album, Harjit Harman resisted. Instead, he made the bold creative choice to give the album a decidedly more different from his past album, which was rendered with the help of famed producer-writer, Pargat Singh.

•	JHANJAR
•	SHAAN-E-QAUM
•	HOOR
•	MUNDRI
•	SINGH SOORME
•	PANJEBAAN
•	TERE PAIN BHULEKHE
•	ZANJEERI
•	KURI CHIRAN TO VICHHARI

Since his first release Harjit Harman has received many recognition and awards for his contribution to Punjabi Music Industry including ETC Channel Punjabi Music Awards, PTC Punjabi Music Awards and many more awards from different organizations. Harjit Harman’s SHAAN-E-QAUM - Pride Of The Nation was nominated for IGMA Awards in 2011.

I have lived in New York for most of my life and have been performing for most of my life.Music is a way of expressing yourself and interacting with the world,which most people today do not realize and I would like to bring that positive message back.

A musician / composer, I play keyboards: classic and progressive rock, as well as originals and renaissance. I like to play real story-telling songs, resonant narratives from a time when music was music and had a positive message. Here are some of the other artists I would like to cover: CSNY, Simon & Garfunkel, Bob Dylan, James Taylor, Joni Mitchel, Janice Ean, Carly Simon. If this sounds like an interesting project that you would like to hear at a club or at your next event, drop me an email......... 

Here's how it all began..
In the October of 2002, composer and guitarist Craig Fortnam found himself walking through the City of London with a sackful of tunes slung over his shoulder; tied to a stick (Dick Whittington style). Now, as all music comes from the air, the sack was all that stopped Craig's tunes from escaping and following the Thames out to sea. Needing a substance with the weight of history behind it, Craig bent down and began to scoop up handfuls of London clay, folding and kneeding it into the melodies and chords from his sack. As this was such hard work, he got his wife, Sharron, to help. As she folded and kneeded, she began to sing, so her beautiful voice found it's way into the expanding mixture.
When the music was almost ready, Craig called together twenty musicians and singers from all over the Great Metropolis and they all ducked into St. Martin's-within-Ludgate where the North Sea Radio Orchestra was born. As the clay music was still wet, and therefore somewhat fragile, NSRO only performed in the City of London for the first while. So, their growing audience had to travel to the strange and magical streets of old Londinium to hear the beautiful sounds.
Eventually NSRO ventured forth into the wider world where they have attracted many glowing reviews for their live and recorded performances.
They like to play in churches like St Olaves Hart St or St Giles in the Fields. They enjoy the resonant acoustics and the lack of amplification. Art galleries suit them fine too, like the Fishmarket in Northampton or Whitechapel Art Gallery in East London. They like to play at around five o' clock at festivals like The Green Man, Frome Festival or the City of London Festival. They enjoy performing in rock venues and opera houses with amplification or classical stages like the Purcell Room. Likewise they are not adverse to performing live for BBC6 Music or Radio2. If you ask them they'll probably play just for you. 
They have released four albums for your pleasure and are already working on a fifth.

George Thomas & Ya: ‘INBOUND’ A Timeless Rollercoaster Ride!
BY RICK JAMM ON JULY 23, 2013 IN REVIEWS

Vote The Artist
Rating: 9.0/5 (289 votes cast)
George Thomas & Ya hail from Boston.  George and his band Ya, have written and recorded a prolific amount of material that has been likened to Roy Orbison singing withThe Moody Blues. The band has no less than 7 albums on Aurovine! The songs are a dynamic mix of acoustic and electric guitars, symphonic percussion and background singers. On the band’s latest album Inbound the songs range from the soul and RnB tingedAmazing, through to out and out rockers like Someone To Love.
The album is filled with wonderfully crafted and enjoyable songs and part of the beauty ofInbound is that it is so under-stated. It sounds like the band is having a total blast on these songs. I think that’s one of the reasons this music is so incredibly fun to listen to. It’s obvious that these guys just left their egos outside the doorway and set out to make great music and have a great time doing it; because this is exactly what transpires through the songs on offer here.
Due to George Thomas’ truly Roy Orbison-like voice, it’s very hard to escape from the retro rock n’ roll overtones that run throughout the album, no matter what genre the band tackle, and they do tackle a real load-full here!
However don’t be fooled into thinking that this has any negative effect on the music whatsoever, on the contrary it’s absolutely awe-inspiring to hear George’s ‘Orbison’ voice on a trendy urban-music track like, “Love Is All You Need To Know”. I for one was stopped in my tracks, and I think Roy and even Elvis Presley turned in their graves a couple of times too! George Thomas’ tender, deep and resonant style of singing, so reminiscent of the aforementioned two, perfectly contrasts the hip girlie-choruses under this sweltering and banging club beat. No doubt this song could easily be radio-ready hit material!
 
Skip to the next track, “Message In A Bottle”, and you’re really thrown into some authentic rock n’ roll nostalgia, even though the instrumentation remains totally contemporary in its sound.  The gift of George Thomas’ voice is that it can be both modern and a classic throwback to the past, in the blink of an eye.
If you are one of the lucky souls fortunate enough to get your dirty fingers on this album, then you are guaranteed a good time from the moment you place this in the player and hit “play”. “Amazing” sounds like it slipped off the Atlantic Records label during the 60’s, alongside such soul artists as Solomon Burke or Ben E King, while “Someone To Love”moves across the spectrum to the straight rock sound you would have expected from rockersSteppenwolf. In between George Thomas & Ya exchange licks and riffs with a bundle of genres, continually reassured and kept on track by George’s uniquely recognizable vocals.
From a song standpoint, this is one of the few albums where I don’t skip any songs at all. Each song is very well written, and the album flows seamlessly together from one song to the next. George Thomas & Ya is a pretty amazing group. Their talent goes without saying, and you’ll soon realize that the group really does sound like they are having a lot of fun while they’re working together. This is definitely an excellent album to purchase.


Singer-songwriter and multi-instrumentalist Amy Helm’s third album, What the Flood Leaves Behind, is her most autobiographical yet, both in content and creation. Due out June 18th via Renew Records/BMG, these 10 songs represent a gathering of ideas and experiences, friends and collaborators. Yet, the album also marks a landing — a pause for the traveling musician and mother of two young boys who was seeking clarity in her calling and career.

After making multiple albums and performing in far-flung places, Helm returned home to Woodstock’s Levon Helm Studios — casually known as The Barn — just before the pandemic to record What the Flood Leaves Behind and reclaim a sense of self. 

The Barn became what Helm calls “the tuning fork” for the record — an ethereal, elemental component that helped her and musicians Phil Cook (keys, harmonica), Michael Libramento (bass, organ, percussion), Tony Mason (drums), Daniel Littleton (guitar), Stuart Bogie (saxophone), Jordan McLean (trumpet), and her son Lee Collins (congas) summon courage and comfort. 

Additionally, musical polyglot Josh Kaufman (Taylor Swift, The National, Muzz, Bonny Light Horseman) produced and contributed on piano, guitar, and mandolin. Their immediate musical connection helped guide Helm’s powerful, emotive vocals to the forefront of the album. 

“We tried to make it about her voice and about the musicians responding to her and not the other way around,” explains Kaufman. “I wanted her to feel like she had that freedom to be herself on the recordings and she just filled up the whole room. Her singing was coming from this deeply rooted place of family and music and wanting to convey a beauty.”

In particular, “Verse 23,” the track from which the album title is derived, that encapsulates the themes of What the Flood Leaves Behind. Written by M.C. Taylor (Hiss Golden Messenger), the song serves as a sort of “reckoning,” says Helm, “of the good and the bad and everything in between.”

Throughout the record, Helm sings stories of life’s relentlessness. But like she extrapolates from “Verse 23,” the most productive, and often the most healing response, is to create. As a result, What the Flood Leaves Behind serves as a defiant form of self-expression, as Helm steps fully into her own light.

https://linktr.ee/tahabdra

Booking: bookings@tahabdra.com

Tahabdra is Wiggz Caro & Josh Weinberg, who met while attending Berklee College of Music. After graduating, with their mutual desire to bring music to new places, they started producing+performing music centered on the research-backed biologically beneficial frequency 528Hz, with the goal of getting people moving while providing positive physiological & psychological effects. 

Being driven by live performance more than anything, the duo has shared lineups with Richard Devine, Of The Trees, ill.Gates, & Zebbler Encanti Experience, just to name a few, and have played collaborative performances with Juno Reactor & Grouch In Dub. 

Tahabdra’s multi-dimensional sonic journeys have taken place at notable venues such as Convergence Station (Meow Wolf Denver), CoSM (Alex & Allyson Grey’s Chapel of Sacred Mirrors), The Black Box, and The Reliquarium as well as at such festivals as Fractalfest, Jetlag, Unifier, and The Psychedelic Sleepover.

Tahabdra has also released music via Wakaan, Gravitas Recordings, & Visionary Shamanic Records, along with having track premieres on The Untz, DNB Dojo, and Aspire Higher. 

More info can be found @ www.tahabdra.com

The Crux

Alt Rock 5 piece from Sheffield, UK, who write & perform their own unique brand of edgy Riff- Rock fusing together a massive yet melodic sound with clever lyrics & in your face vocals. Inspired by the 90's Rock era and drawing on a diverse set of influences including; Red Hot Chili Peppers, Audioslave, QOTSA, NIN, Tool, Faith No More & Rage Against the Machine.

The Story So Far

The band were formed after three old school friends; Taylor (Vox) Andy & Ollie (Guitars) were re-united with Jow (Bass) during a stag do in Prague in the summer of 2011. After years of idle talk about forming a band they eventually bit the bullet and hit the rehearsal room in April 2012. Starting out playing a few covers to find their musical feet but quickly moving on to writing their own songs, songs built around Andy & Ollie’s guitar riffs and Taylor’s back catalogue of lyrics. After adding friend of a friend Lee on drums to the equation, and an initial 10 months perfecting their crime in the rehearsal room,  they hit the Sheffield gig circuit in March 2013.

Filling in at short notice they made an unexpected debut gig at MAGNA centre in front of 4,500 revellers, supporting top Rolling Stones tribute band ‘The Stones’. After a number of other gigs around Sheffields live venues they went on to support city stalwarts, blues rock outfit ‘Fallen Tree’s’, in a near sell out gig at Sheffield’s much revered ‘Plug’ venue proving their big Riff-Rock sound suits the live performance as well as the recording studio.
Following on from Plug their music was played on BBC Radio as well as other local and international stations including ‘Rock Radio’ and their first magazine article quickly followed in the form of a double page spread in one of the cities favourite glossy read ‘City Magazine’.
The band went on to play their Cities own ‘Tramlines’ Festival (the biggest ‘City Centre’ music festival in Europe), Sheffield’s legendary ‘Leadmill’ venue along with ‘SOLD OUT’ dates at the O2 Academy and the Corporation. 2014 promises to be an important year in the bands development; they are currently planning their first physical & digital record release, a UK tour and a whole load of other stuff including their first pro music video. It's not suprising then that they have recently started to attract the attention of promoters and are being offered slots at festivals around the country.
Their music is best described as 90’s inspired alternative hard rock, though through their own admission each band member draws on quite a diverse set of influences. You’ll probably be able to pick out a few obvious ones; Red Hot Chilli Peppers, Audioslave,  Pearl Jam, Soundgarden, QOTSA, NIN, Tool, Faith No More and even Rage Against The Machine but there are more subtle ‘nods’ to other bands, artists & genres, including more recently the hip hop fraternity.

In just 10 months gigging they have created a formidable musical alliance, doing exactly what they set out to do; write and perform interesting, creative, edgy, ballsy rock music, music they themselves would want to listen to. Though having to juggle band commitments along with everyday priorities of work and family life has seen them meander through 2013 like some kind of one eyed musical yeti; with a magnificent, intricately detailed and polished winkle picker for the ‘Rock Muso’ on one foot, and ‘Joe Publics’ sodden steel toe cap on the other!!

It is clear this band are still evolving but they clearly have a style they can call their own – they are clearly on a journey together and even they don’t know what’s coming next.  If they continue to climb the upward trajectory of their own steep learning curve in 2014, then expect many heads to turn!!
Music

Amongst the catchy foot tapping psychedelic swirl & rhythmic thump of ‘Intravenous’, one of the bands earlier songs, the dark lyrics and mumbled vocals could easily draw comparison to Joy Division, whilst their more recent track ‘Cyanide Smiles’, aside from the QOTSA style chugging of guitars, the chorus showcases a Nirvana-esque twang reminiscent of ‘Heart Shaped Box’.

Unpredictability in a band can be a good thing; it keeps things interesting and you just know this 5 piece are going to throw a few musical curveballs into the mix, but you can also be confident they are going to be on the money musically as well. Be ready to experience a nose grinding mixture of explosive intro’s, tempo changes, cutting throw away riffs, drops outs, harmonies and catchy vocal lines, all held together with clever fills, a melodic groove and a finely tuned, balanced sound; their set is clearly rehearsed to within an inch of its life and when the time comes these guys deliver with real attitude & an un-erring confidence.

The band are conscious not be so leftfield that they actually damage the musical content of their songs for the sake of art or whatever, their songs remain melodic. They are quickly becoming a beast of an animal, constantly evolving, patiently waiting, absorbing their surroundings and environment, probing the local music scene and listening to feedback before finally unleashing their work on what is usually an unsuspecting audience. Their current set is to die for, It’s well thought out, it has balls (big hairy balls at that), attitude, rhythmic groove, eye watering solo’s and riffs galorous.

Whilst most bands are busy looking for acceptance into a scene or genre and the subsequent ‘pigeon holing’ which ensues, these guys are desperate not to suffer such a fate and wish to be known simply as a ‘Rock’ band. This is kind of fortunate as each of the bands collective 10 legs could easily plant a size 9 in any number of rocks musical sub genres; Desert, Alt, Stoner, Garage, Groove, there are even elements of Funk and Metal being bounced around. Don’t get me wrong they aren’t re-inventing the art of Rock music, but what they are doing is slightly different from any other band on the local scene. Their sound is very much their own and to me the Soul Fire Saints are like a beacon of ambient light buzzing away beneath the cold steel skies of the Steel City. Few, other than those already exposed to their wares will know about them, though I’m pretty certain this won’t be the case for very much longer, if it’s true that the cream always rises to the top – then I would put my mortgage on these guys getting kudos and the recognition they deserve in 2014.
So, in summary, you have three choices; stick to what you know, grow more familiar with it, embrace it & learn to live with it; like you would a club foot, or, go out and find something else, something new, fuss over it, hope it grows testicles, try to love it like a long lost brother, before ultimately discovering it’s very mediocre, thus the fire in your belly dies, your new found friends slowly drift away and your life plunders helplessly into obscurity and self abuse.

Or take up the option of going to see these guys in action, become so cool you develop a swagger that would make John Wayne look like Louis Spence, decide you want to have their babies and enjoy the f*cking ride, yelling ‘hell yeah’ to passers-by - Soul Fire Saints styleeeeee!!

 Keep it real, keep it Soul Fire :) x

Hello 

First of all, all my Virus Ti sounds are entirely my own made from scratch, and if you hear a patch you like, you can have it for free.

I am a 33 year old guy from Copenhagen, Denmark.

Selected Equipment
-Clavia Nord Lead 2X (best virtual analog  in raw sound)
- Access Virus TI2 Desktop (best virtual analog in raw power)
- 1992 Japanese Ibanez S Series guitar with custom DiMarzio Pickups (recording guitar)
-TC Electronic Powercore PCI DSP Card (for effects)
-MOTU 896HD HD Recording Interface
-RME OctaMic Microphone Preamp



I have been playing music since I was around 14 years old. Starting simultaneously with acoustic and electronic musik by both getting a guitar and a computer with a soundcard with an onboard sample based "synthesizer" (like a simple rompler) with a simple sequencer program. I had no keyboard so for a long time I enter music with the mouse.

During the last 10 years I have painstakingly saved up and piece by piece bought the equipment of my current setup. It is nothing fancy but everything is professional grade equipmant like MOTU, RME, Clavia, Access, Yamaha and ADAM. I have deliberately chosen not to buy cheap equipment and in stead waited, saved up and bought quality gear that I would not get sick off and have to replace later.

Here is a picture of my current setup:
http://imgur.com/0kYroF8

When I make electronic music I play everything live on keyboard and then edit the MIDI data if required. That includes drums. I never enter notes with the mouse  Sometimes I only record af few bars at a time (and do some retakes) if the piece is very difficult and/or  very fast. I can't really play "normal" keyboard, like LIVE in a band, only every basic chord stuff, but I am sure I am not the worst keyboard player amongst electronic musicians, although surely not amongst the best either.

My older electronic stuff was made up on the fly and was mostly basslines with basic chords on top. Some liked it.

Now I write some music on guitar seperate from the recording process, and when I have something that I like I start adapting the guitar piece into synth riffs and record drums etc. The track "Resonant Reconquest" is the first example of this new process. I prefer working like this as the results are more musically interesting.

Because the electronic stuff started as moody guitar piece the result is a sort light/poppish trance mixed with some house elements. I would call it "Club Trance" of "Soft Trance".

My favorite euiptment is:

Clavia Nord Lead 2X (virtual analog synthesizer)

Native Instruments Maschine MKII (software sampler with dedicated MPC-style controller)

MOTU 896HD (rack-mount harddisk recording interface or "soundcard")

Powercore PCI MKII (DSP card for hardbare VST effect plugins)



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