Based out of Albany, NY, The Getdown have developed a reputation as one of the area’s most engaging original bands. Working from their eclectic take on funk, soul, rock, and R&B music, The Getdown deliver imaginative, groove-heavy songs with lush vocal hooks and dynamic band arrangements.

With the independent release of their debut album, “Don’t Stop,” The Getdown are poised to reach an even wider audience than ever. Funded completely by a fan-supported Kickstarter campaign, the 11-song album took just over a year to complete and contains songs written over the course of the band’s 3-year history.

Featured tracks like “Rays of Sunshine” and “Keep Waiting” are fueled by big vocal harmonies and percolating, neo-disco bass/drum grooves, but the band also shines on subtler, more spacious tracks, like the atmospheric and surprising “Now It’s Gone,” an urban relationship ghost story. In the smoky, syncopated R&B of “Yours Tonight,” warm, wah-wah drenched guitar chords are punctuated by sharp, teasing horn stabs, the soundtrack to a seduction. The album’s closer, “Only a Son” is perhaps the most emotionally charged on the album. Building from a lilting, soul-inflected 6/8 verse to an explosive chorus and bridge, the song’s lyrics peel away increasingly raw truths about loss and estrangement. Tracks like “Bodylove” and “Legendary” show off a wry sense of humor; both feature slick, playful grooves, ambitious musical interludes, and lyrics from the perspective of charming, but unscrupulous protagonists.

The Getdown continues to carve out a unique niche in the Capital Region of New York. Music fans connect with their memorable hooks and meaningful songs, while musicians appreciate the band’s collective talents and creative interplay. Catch the next live show by The Getdown and find out what it’s all about!

Art of My Words Entertainment Presents

Antonio "Tone Lou" Aguilar

Tone Lou is a musician out of Kansas City with a vast educational background in music. Through junior high, high school, and beyond, he studied music and how it worked. also, learning 11 instruments on the way, 10 of them being self-taught. 
it started with playing the saxophone and incorporating it into swing, latin, jazz blues, ballad, etc., then branching off to learn the piano, guitar, bass, trumpet, clarinet, french horn, baritone, ukelele, and voice. Upon completing high school, he had received a vocal scholarship to perform and extend his studies through college. Today, he performs locally in Kansas City often with a guitar and his voice. He also is the co-founder and C.E.O of Art of My Words Entertainment, an independent label out of Kansas City, KS. Known for his acoustic sets singing, rapping, and playing guitar, Tone Lou hopes to revive the music scene in the mid-west and give it a new identity of culture, personality, and the freedom of expression. 
Stay Tuned..

Art Of My Words Entertainment roster:

Guitar/Piano/Voice/Production - Antonio "Tone Lou" Aguilar
Voice - Josh "Ghost" Valentine
Guitar/Piano/Bass/Production - Eddie "Midwest Musician" Garcia
Drums - Juan Guzman
Voice/Artwork - Jose "Mello" Quinones

We are currently in preparation to expand our lineup for a bigger, better sound.

For BOOKING & COLLABS:
AMWentertainment@yahoo.com

For STUDIO RECORDING, MUSIC VIDEO PRODUCTION, & CUSTOM ARTWORK:
AMWcreations@yahoo.com

for FEEDBACK, QUESTIONS, & SEND YOUR DEMOS:
AMWfanbase@yahoo.com

................"Bad as they may be, BAD STATISTICS are a fanatical bunch of drone improv rockers, veering between prog kraut minimalism and scandinavian doom (not to mention russian trancecore), framing the inimitable civil-servant-on-acid vocals of Thebis Mutante with a semi-coordinated / semi-spastic bed of repetitive riffing, pulsing texture and motoring rhythm."============================================================================================================================================================================================

......BAD STATISTICS' second album 'Lucky Town Gone' released by PSEUDOARCANA...ORDER YOUR COPY AT http://www.pseudoarcana.com/current.htm..

======================================================================================================================================================= On the follow-up to last year's debut "Static" LP ((Kr-aa-k)3), Bad Statistics have set about laying waste to the New Zealand suburban dream with this album, a much darker and heavier affair than their debut. If "Static" were to be regarded as the Mission Statement of Bad Statistics Great Annual Report in the Sky, "Lucky Town Gone" is not the Business Highlights chapter to be expected next, but a sideways lurch straight to Appendix 17: Corrupted Data. Recorded onto degraded old cassette tape, "Lucky Town Gone" is a collection of mean-spirited practice room jams that sees the core four-piece of BAD STATISTICS further embracing the stoner doom drone rock that already defined large parts of "Static". The seven tracks of "Lucky Town Gone" are again spearheaded by the abrasive, sense-eluding vocal emissions of Thebis Mutante. Critical response to Mutante’s contributions on "Static" was deeply divided, and the new album is expected to further polarise opinions. Mutante is backed by Mark Williams (Marineville, Idle Suite, Cookie Brooklyn) on guitar, Justin Barr (Raskolnikovs, Users, Wrongdoings, Delaney Ghost Orchestra) on bass, and Johannes Contag (Jay Clarkson, Cloudboy, Sleepytime) on drums and production. Torben Tilly (Minit, Organ Eye, Full Fckng Moon, The Garbage & The Flowers) was absent due to extended interhemispherical field work.

=================================================================================================================================================================================================================================

Edwin Pouncey, The Wire, April 2009, "Lucky Town Gone" review:

If the memory of hearing Pere Ubu's The Modern Dance for the first time still sends a shudder of excitement down your spine, then hearing Bad Statistics vocalist and clarinet player Thebis Mutante (the alter ego of New Zealand improvisor Jeff Henderson) try something similar on opening track “Balloon Outbreak” might have a similar epiphanic effect. In the style of David Thomas's Crocus Behemoth persona, Mutante's vocalising becomes an alien language, where words become noises and repeated sentences become operatic howls and Beefheart-style yelps. Recorded on a frazzled cassette machine, the altered rock, free-jazz sprawl and glossolalian vocal rants that rage through Lucky Town Gone are a genuine revelation.

.. Aquarius Records review:

...... Awesome! We'd been waiting and wanting more from New Zealand's bizarre Bad Statistics ever since we got their vinyl-only debut, Static, last year. In addition to thinking they had a really excellent band name, we loved the doomic, droning weirdness of their propulsive krauty NZ noiserock, made even weirder by the utter outsider vocal garble that arose over their ritualistic music, like spirits or specters seemingly summoned from the other side. Now, huzzah, there's this new full-length, an actual cd on the Pseudo-Arcana label, and it pretty much picks up where the LP left off! 47 and a half minutes more of mysterious musical ceremony, Bad Statistics style, on these seven tracks. Again, the vocals (produced from the throat of one Thebis Mutante) are really strange, unhinged alien hippy rant-chant, like Ya Ho Wah's Father Yod speaking in tongues, sometimes looped and layered. Together with the throbbing drum beats, distorted electronic textures from guitar and bass, and hollow horn bleat and twitter on a track or two, you have the basic tempel-vibrating template for Bad Statistics' repetitive, rumbling, mesmerizing murk. Best listened to from a yogic position of spiritual openness, legs crossed, mind clear, third eye unblinking. Though, at their loudest, most intense chugging psychrock peaks, some vigorous rocking back and forth will be called for, maybe even full-on writhing on the floor. Let's take the 13-minute title track as an example... it's moaningly eased into, the percussive plod slow and sparse, but after a short while Thebis cries out quite like Can's Damo Suzuki, and the pace picks up, cymbals crashing... before another long droning lull with whistling and mumbling drifting over the slo-mo chug of the guitars and drums... then towards the very end, the singer suddenly seems possessed, his voice dropping into a guttural exhortations, the din of the instruments rising into a psychedelic swirling howl... welcome to the reverse exorcism!! Imagine the kosmic-kraut-primitivism of early Amon Duul, Tangerine Dream, or Siloah, with Circle's Mika Ratto as voice coach, encouraging Yod x Yoko vocal vibrations. Or the linear lo-fi insanity of a secret Dead C meets Reynols monster jam, if directed towards the worship of some ancient god, recorded on cheap cassette only as an afterthought. Yeah. It's pretty much awesome..... ..

..===========================================================================================================================================....BAD STATISTICS' debut LP 'Static' (KED03, only 500 copies!) is available from K-RAA-K.....TO ORDER YOUR COPY GO TO: http://www.kraak.net/en/releases.php....

CHECK
OUT THE POLARISED REVIEWS!:

........AQUARIUS RECORDS..One of our favorite new records of late, comes to us all the way from New Zealand, but via Belgium (where their label, long time AQ faves Kraak are based). A mysterious troupe called Bad Statistics, their debut a two song vinyl only EPIC. Equal parts droney noise rock, propulsive krautrock, and even some weird sort-of-doom. Drenched in swirls of chaotic FX and a blown out in-the-red recording, that manages to be fierce and murky at the same time...Each track takes up a whole side and is given plenty of time to change shape and direction, sound and spirit, transforming gradually, but managing to remain hypnotic and blissed out. The A side, begins as a doomy plod, but with clean guitars instead of downtuned distorted ones, the drums spare, and all manner of weird demon-y vocals, a sort of post rocky crawl. Eventually, synths join the fray, and along with the drums, they lock into a looped cyclical groove, over which, still more strange vocals croon and moan. And we're talking REALLY strange, mewling moaning howling weirdness. The music sounds like some spaced out Tangerine Dream, the drums a constant pound way down in the mix, the synths pulsing and throbbing, the vocals though turn it into some damaged outsider space jam. At one point the synths drop out and the vocals go crazy, sounding like they're speaking in tongues, before the band kick back in, launching into a fierce Hawkwind style FX drenched psychrock outro that goes on forever...
The second track is even better, and one of our favorite songs of the year hands down. A gorgeously blown out dirge, the guitars so hot they crumble with every downbeat, the recording super distorted and raw, but the melody and the main riff are super gorgeous, catchy and minor key, the track relaxes briefly, spreading out into a glitchy ambient murmur, over which guitars shimmer, little bits of electronics flutter, and the bass holds it all together with a simple dreamy groove. Very krautrocky, and a bit like a more lo-fi noiserock Necks. The track shifts constantly over the next ten minutes or so, to weird doomy twang, with gorgeous majestic riffing, thick bass chords, and some shapeless falsetto vocals, then to a super distorted psychdrone freakout, replete with chiming guitar harmonics, and a pulsing throbbing rhythm buried beneath a layer of crunchy buzz, then to a sunbaked space jam, all open chords, simple drumming, more shapeless vox, and finally to a washed out krautrock dirge, peppered with bits of backwards percussion, garbled voices, reverse guitar, and jagged chunks of crumbling distortion, until the whole thing slowly burns to black... Sorry to everyone without a turntable, but this just may be the blown out space psych doom kraut jam of the year!!.. http://aquariusrecords.org/cat/experimental8.html....

FOXY DIGITALIS.. This record is not as much bad as it is just terrible… Sorry, but this shouldn’t have been pressed. The band clearly has spent a good deal of time listening to some good music and probably pride themselves on as much, but the clear desire to emulate Finland’s inimitable Circle above having some krautrock/Hawkiwnd leanings is all too apparent and makes their music that much more unoriginal. As musicians, the band isn’t so bad and if they keep going I wouldn’t be surprised if they eventually found their own thing and started producing some exciting music… the potential is there… however, the vocals are just awful; uncalled for to say the least. An attempted weirdness that just doesn’t make it. Sometimes experimental means finding out what works and what doesn’t. To be fair, the b-side is far better and has a few golden moments, but I wouldn’t recommend wading through the swamp of bad taste to find those moments. Not to sound harsh, but honestly, this record would be better served if it were shelved, and the band would do better to go back to the rehearsal space and rework their sound a bit. Hopefully they’ll come back out though, because I genuinely believe there’s something worth salvaging, just not this effort... 1/10 -- Todd Brooks (29 January, 2008)....

DUSTED MAGAZINE.. Sidelong psych/Kraut/groove explorations from this mostly tasteful avant-jam sesh quintet out of Wellington, New Zealand. I’ve given this one multiple listens and there’s parts of it I keep coming back to in awe, namely when the finally hit the stride 2/3rds of the way through “If I Were a Pint of Milk,” a 22 minute colossus of slow-burn fuckery that gives way to a crashing, crushing beat, a manipulated reanimation of said beat on top of itself, and layers of bass, synths, and sax that aim right towards the sun. Make no mistake: despite the label affiliation, this is rock music, and it rocks pretty goddamn hard at that. I could really, really do without the mongoloid vocals of Thebis Mutante flittering all around this otherwise godly heap; his presence brings only distraction and annoyance to what might otherwise be a Kiwi space rock take on Endless Boogie’s endless boogie. Rein this guy in and you might have something. Side B’s medley ebbs and flows a bit in a more erratic fashion, but the peaks are still there, and give notice of some unreal, glowing, enormous promise for future outings. Edition of 500 copies, and taken in its most direct chunks, as killer a time as you’re gonna find in this realm as of late... Doug Mosurock, Dusted Magazine, Vol 4, No. 1.. http://www.dustedmagazine.com/features/708..

PAST:
3/25 - Baltimore, MD Collab w/ Mitchell W Feldstein @ Normal's Books 
3/24 - Philadelphia, PA @ R&D Vinyl w/ Buck Gooter, Frank Hurricane, Sour Spirit, & more
3/16 - Brooklyn, NY @ The Glove w/ Sibling, Truck Stanley Night Dreams, LGHQ, Underwear
3/15 - Providence, RI @ Glo Dome w/ VOSP, Underwear, Neuter, Counterstrike
3/14 - Belchertown, MA @ Cold Spring Hollow w/ Crank Sturgeon, Underwear, Jen Gelineu, Donald Warner Shaw III 
3/13 - New Haven, CT @ Orchard Street w/ Underwear, Zach Rowden
3/19 - Philadelphia, PA @ Century Bar w/ Shit City
3/3 - Philadelphia, PA @ The Vat w/ Cop Funeral, Painted Faces, Cotton Ceiling, Jewel Eye, John Markow
3/1 - Philadelphia, PA @ Lacquer w/ Eve Essex, Kayla Guthrie, Extant, Control Point 
1/27/18 - Baltimore, PA @ EMP Collective MURDERED WORD III 
1/26/18 - Philadelphia, PA @ The Vat w/ Mezzanine Swimmers, Carrying Flowers, Naked Pyramid, Conduit
1/20/18 - Philadelphia, PA @ Ted & Chelsia’s 
1/9/18 - Philadelphia, PA @ Century Bar w/ Peter J Woods, Guillermo Pizzaro, Lead Pipe, Moyogash
1/6 - Philadelphia, PA @ The Sound Hole w/ Sediment Club, SSS 
12/1/17 - Philadelphia, PA @ R&D Vinyl w/ Patrick Gallagher, Negation, Kyle Keays
11/11/17 - Philadelphia, PA Collab w/ Mitchell W Feldstein R&D @ Vinyl w/ SSS, Spy in the Sky, Carrying Flowers
10/31/17 - Philadelphia, PA @ The Vat w/ Lacanthrope, Tater Fraterabo, Sharlyn Evertsz, Lady Shame, Golden Poussett
10/25/17 - Philadelphia, PA @ R&D Vinyl w/ Sunk Heaven, Golden Poussett 
9/29/17 - Philadelphia, PA @ R&D Vinyl w/ Otto Splotch, Jeweled Snakes 
9/17/17 - Philadelphia, PA @ KFN w/ Profligate, Lady Shame, Ryan Kerr (DJ)
8/24/17 - Philadelphia, PA @ The Vat w/ Spreaders, Martyr, Ursula Kennedy, Golden Poussett 
8/22/17 - Philadelphia, PA @ Mifflin Tavern w/ Tricky Youth, Jewel Eye, Jason Killinger
8/18/17 - Queens, NY @ Skinny Apartment w/ Spreaders, Martyr, Ursula Kennedy, Peopling
8/13/17 Philadelphia, PA @ R&D Vinyl w/ Shimmer, Wilt 
8/2/17 - TROLLFEST Philadelphia, PA @ Grays Ferry Bridge w/ Frank Hurricane, Matt Robidoux, Unguent, Mezzanine Swimmers, Ghost in Salad, Strawberry Hands, Staples, Josh Burkett, Jewel Eye, Anuseti 
7/27/17 - Brooklyn, NY @ Flowers for all Occasions w/ Pvssyheaven, Jess Ackerly, Shecky, Eugene the Jeep
7/26/17 - Worcester, MA @ The Distant Castle w/ Lean, Mike Piss, Instar
7/18/17 - Philadelphia, PA @ The Vat w/ Ada Babar, Dux, Unguent, Nows 
7/12/17 - Philadelphia, PA @ The Vat w/ Don Gero, Rust Promoter, Kevin Greenspon, Dugout Canoe
7/9/17 - Boston, MA @ Deep Thoughts JP w/ Ian Kovac Jr., Brookline Booksmith
6/20/17 - Philadelphia, PA @ The Vat w/ CC, Taphophile, Microsleep
5/28/17 - Springfield, MA @ Noise Rites of Spring w/ Frank Hurricane, Bromp Treb, Lily on Horn Horse and MORE
4/29/17 - Philadelphia, PA @ The Buffalo w/ Concept House, Snake Eats the Moon, Slur
4/26/17 - Philadelphia, PA @ R&D Vinyl w/ The Cradle, Unguent
4/7/17 - Philadelphia, PA @ The Soundhole w/ Show Me The Body, Dreamcrusher, Old Maybe
3/31/17 - Philadelphia, PA @ The Vat w/ The Cradle, Ghost in Salad, Minerals, Gilded Milk

Learning about music at courses for electroacoustical & experimental music @ Mdw, Vienna

forthcoming playing music at:
12.09.25 Süppchen at The Greyhound, Peckham, London 
05.09.25 Unsafe Sounds, Vienna
16.08.25 Zmar Festival 
31.05.25 Sama Recordings pres: Schweben, Vienna
25.05.25 Non Sai at Celeste, Vienna
23.05.25 Café Stadtbahn, Vienna
30.04.25 Re_lat at Coco, Vienna
27.02.25 Cucurucu Bar - Munich

31.12.24 Nye at Celeste, Vienna
25.05.2024 Careless Air at Desi, Nürnberg
23.05.2024 Off Supply, Unterdeck, Munich
01.06.2024 Blechsonne Festival
29.01.2024 Radio80000
26.01.2024 Bader Café Munich
12.01.2024 Zur Legende Vienna

released music:
https://goldgelbrecords.bandcamp.com/track/luca-carlotta-sehnenscheiden-dub

Jazz legend Alaadeen was born in Kansas City, on July 24, 1934. Alaadeen began on the saxophone when he was in sixth grade, in time also mastering flute, clarinet and oboe. He studied at R.T. Coles High School under the tutelage of Leo H. Davis, a well-respected music instructor reported to have taught Charlie Parker. “The way he taught improvisation was to sing the melody in my ear when I soloed so I’d always keep the melody in mind.” Alaadeen debuted as a professional with Davis’ concert band playing e-flat horn when he was 14 and his first major job was playing baritone sax with the great pianist-bandleader Jay McShann. In later years he would rejoin McShann on tenor.
     Alaadeen spent time in Chicago, playing in a program led by pianist-composer Richard Abrams that was the beginning of the AACM (Association for the Advancement of Creative Musicians); other members included trumpeter Lester Bowie and bassist Malachi Favors. He picked up a lot of experience living and playing in such cities as New York, Chicago, Denver, Houston, San Antonio and St. Louis. In addition to McShann, he had opportunities to work in a countless number of settings including stints with Miles Davis, Billie Holiday, Ella Fitzgerald, the Count Basie Orchestra, The Glen Miller ghost band under the direction of Tex Beneke, Della Reese, Eddie “Cleanhead” Vinson, T-Bone Walker, Claude “Fiddler” Williams and with R&B stars, Rufus Thomas, Carla Thomas, Gladys Knight, Smokey Robinson, the Temptations, Four Tops and Sam Cooke. 
   After returning to Kansas City, Alaadeen not only played music locally but also became a very significant educator. “I always tell my students that playing Jazz is a hard life, that it is important to always study and be current, and that they should not be afraid to make mistakes.” His skills as a teacher were recognized when he was inducted into the R.T. Coles/Lincoln High School “Outstanding Alumni Hall Of Fame.” During 1990-91, he won songwriting competitions sponsored by Billboard for his songs Big Six, Wayne Himself and Blues For R.C. Along the way he recorded with Jay McShann, Crown Prince Waterford, the City Light Orchestra and countless others. He led the Deans of Swing in the 1990s, and the ensemble was picked in 1996 as Musician Magazine’s Best Unsigned Band. 
     To document his music, Alaadeen started the ‘ASR label. Each of his CDs, which include Blues For RC and Josephine Too, Time Through The Ages, New Africa Suite and And The Beauty Of It All, features him with some of Kansas City’s top young Jazz players. He also prepared many of his original compositions for performance by large Jazz ensemble through his publishing company, Fandeen Publishing Company, Inc. In 2009, Alaadeen authored The Rest of the Story: Jazz Improvization and History, a method manual in which he shares the secrets of how he learned the music as handed down to him by the masters.
     Alaadeen was recognized in his community and state as a master of the distinctive sound known as Kansas City Jazz with his receipt of numerous awards including Kansas City's Jazz Heritage Award, the Missouri Humanities Council's Community Heritage Award, the Missouri Arts Award and Kansas City’s Lifetime Achievement Award. In 2000 he was recognized in the United States House of Representatives for the contributions he has made to his community's understanding of its heritage and in 2002, Missouri Governor Bob Holden honored Alaadeen at an official dinner at the Governor's Mansion in Jefferson City. In an effort to acknowledge Alaadeen for making a significant impact in the history, development and performance of Jazz, and to applaud Alaadeen for his outstanding achievements in the art form of Jazz, Alaadeen was issued a Proclamation from the Office of the Governor, State of Missouri. The American Jazz Museum honored him with a Lifetime Achievement Award in 2010.  Cancer claimed Ahmad Alaadeen's life on August 15, 2010 at the age of 76.


Rapper - Cody Howard
Beat Maker - VFARR (Vincent Farris)
Ghost Rider - Ben Fithen
Made the name? - Alex Russel
Subreddit Professional/Marketing - Jimmy Horn
Manager - Slim Shady (Trevor Howard)

Stephen David  Ineson born in Sheffield UK, started playing his own songs in pub folk clubs aged 14 inspired by Dylan. While attending art school in Reading near London he started forming groups around his songs. Moving direct to London after college he eventually found himself joining The Jack Rubies rock band with former art school friends, this led to major label interest and a publishing deal with Time Warner, and eventually a record deal with NYC based label TVT (Nine Inch Nails/Trent Reznor). The band toured The US coast to coast supporting They Might Be Giants and Modern English (yes, I Melt with You!)
After releasing 2 albums and getting a major interview on MTV when they played the late great CBGB's club, Ineson left the group and went back to England, playing his material with various groups around London.
Nostalgia for the US brought him back to NYC where he formed folk rock band Milagro Saints which eventually signed with MoodFood Records in Raleigh NC, which had also released Ryan Adam's/Whiskeytown debut.
The Saints played all over the South East and up to Mass and beyond 
self releasing over 10 albums of Ineson's songs and being invited to play The Woody Guthrie Music fest in Okemah Oklahoma on several occasions 
The 2020 lockdown managed to help dissolve the Saints and consequently Ineson recorded a solo acoustic album in his Airstream Trailer with various collaborators flying in files to overdub on to his basic tracks. Many songs were completed and thje first batch is the 6 song EP "Emerald"

Osborn Mona is following