It’s been said that everything musical has been done before, but Buster Blue has found a place inhabited only by their own off-kilter creation.  The six members utilize an arsenal of instruments that include horns, banjo, accordion, chains, and a well placed bucket.  Their intention to revisit the American musical roots tradition may have much to do with their upbringing in the small town of Gardnerville, Nevada. Buster Blue’s musical educations range from one member being drum major of the high school band to another being a screamer in a hardcore group.  Their diverse backgrounds and upbringings help give color to their music, as well as make it difficult to pigeonhole them to a genre.

 

Buster Blue brings more than music to the stage. Consummate performers, they bring theatrics to their live sets that meld seamlessly to the emotional arc of each of their songs. At times a raucous bar band and at other times a bit musical theater. Anyone attending a live show will surely be taken on one hell of a ride!

 

In January of 2010, Buster Blue set out to record their first full-length album, “When the Silver’s Gone” at Piper’s Opera House in Virginia City, Nevada.  The historic ghost town’s opera house once hosted performers such as John Barrymore, Harry Houdini, and Al Jolson. The Silver rush era Opera House seemed the ideal setting to capture the emotional depth of that particular set of songs. Produced by Zak Girdis and Kevin Bosley, “When the Silver’s Gone” may very well be one of the most ambitious records released in recent years.

 

Over the years, Kevin has shared an array of singles and EPs that resonate with his listeners and fans. “Her And A Hometown” is a favorite among the U.S. streaming crowd, while his recent covers EP, “Uncovered” is a hit with fans in Germany and Brazil. His self-titled EP, released in March 2018, saw a breakthrough in his notoriety among the local and national musician network. To date, Kevin has worked with a range of artists, including Charlie Millikin, John Marlin (Granger Smith), Kyle Whalum (Kelly Clarkson), Christian Henson (Spitfire Audio), Gregg Bolger, Andy Gibson, and Clint Wells (Matthew Mayfield). But for his latest release, it was just Kevin with around 3 weeks of free time on his hands.

“During the whole Covid lockdown, it was impossible to go anywhere. Stores were closed, work was cancelled, and I even had to go without pizza delivery! The hardest part about those weeks though was being away from my 5 year-old son, Matthew. His mom and I thought it was best to keep him in one place until things loosened up. So I just surrounded myself with music and next thing I know - I’ve got a brand new record ready to release.”

”Stories To Prove It” is a collection of songs that aims to focus on stories of life. The EP captures snapshots of  love lost and found, the special bond of family and friends, and a closer look at what it means to be human.

Kevin’s new EP is available now on all digital outlets.

CLANTON’S SPEAKEASY POP’ICANA SHOW IS A CELEBRATION OF THE UNEXPECTED.
 
Sarah Clanton is bringing people together and building a feel-good machine. The Nashville singer-songwriter, who has brought the classical and pop worlds together with her use of a cello, rather than a guitar, to front one of Music City’s most unique bands, has been on a feel-good mission since long before she plucked her way into town. But it’s never been more apparent than on her new album, Here We Are.

A classically-trained musician who began playing cello age 9, Clanton grew up in a conservative Southern Baptist household, where MTV and certain radio and tv shows were off-limits. Then, her life changed in college, when she discovered holistic alternatives to calm her life-long anxiety, and the new sounds of the Greenville, South Carolina open mic scene. “It opened up this whole world to me,” she said. It was a world which Clanton ultimately traveled to Bonaroo, where in 2008, she saw someone doing something unheard of: “I saw this guy plucking cello and playing Fiona Apple and Gnarles Barkley, and I was like, ‘Oh my God’… I’d never thought about singing and playing cello at the same time.”

Things moved quickly from there. She attended The Swannanoa Gathering, a folk music and songwriting workshop near Asheville, NC, where she was taught how to strum chords on a cello and hone her songwriting. She found herself performing more frequently, and even organizing a couple festivals of her own like Music in the Woods - a weekly solar powered festival at Paris Mountain State Park in Greenville, South Carolina.. And by the time she left Greenville for Music City in 2014, she had already recorded her first album, and was doing 200 dates a year, playing bars, weddings, “Anything I could do,” she says. 

Here We Are may be a solo album, but Clanton says it could not have been made without others — from co-producer Eric Loomis, to a group of top Nashville session musicians and many more. But mostly, she says, the album was made for others. She jokes that the uplifting, “big and awesome” pop album is a “feel-good machine,” built to bring people together in these difficult and divisive times. “We’re not going to make any progress being divided,” she says. “If I can get some of that mindfulness out there to negate some of the hate, that would be so great.” 

With flashes of the classically-trained pop sensibility of Regina Spektor, and the sultry jazzitude of Amy Winehouse, Clanton finds herself in good company on Here We Are— while still “cello-brating,” she says, her one-of-a-kind musical approach. And this uniqueness hasn’t gone unnoticed. In the Spring of 2017, Sarah was selected as an Official Showcase Artist at the South Eastern Regional Folk Alliance in Montreat, North Carolina. Then, in late 2017, No Depression and Elmore Magazine premiered her single “Silver Lining” (co-written with Mary Bragg), the first single from Here We Are. 

Like “Silver Lining,” which Clanton says is about “championing constructive conversation,” all the songs on Here We Are were written with what she says is a certain “mindfulness” that they could make people’s lives better. “Slow it Down,” she says, is about “living in the moment.” “We Belong” delivers the message that, “Wherever you are, you’re ok… we’re all just here, and we’re all in it together.” (It’s a message similar to that of the #metoo movement, which Clanton was interviewed about by National Public Radio in March 2018.)

Clanton has even stepped outside of her own music to help others, teaching young women the craft of songwriting, as a mentor for Nashville’s Girls Write Nashville program. Because it wasn’t that long ago Clanton was a young musician herself, trying to find her way personally, and professionally. But now, she’s got a feel-good machine, and she’s going to use it. “I kinda have this theory that if we don’t feel good individually, we aren’t going to be good for everybody.”

I am a Mental Health Therapist, & Motivational Coach who like many others have been through some tough shit in life. I am here to normalize the Journie with Joy, by accessing your strengths to help you remember who you are!👊🏾

Belgian DJ and Producer in the early 1990's. Started with Funk and Soul in 1982. Played at the famous Café 'd Anvers club (1991-92) with Deep House innovating sounds and mixes . Later in the mid nineties he teamed up with the first female Dj in Europe . Known as duo " TRISH &amp; KASH", resident playing at the FUSE Techno club in Brussels for 7 years. They did the biggest gigs, Werchter 1999 main stage and Piramid, Action Beach Rock, I love Techno, Dour Festifal, Love parade, Tresor, The fabric, End Club, Rex Club... to name a few. Now solo and back to his roots, just as "KASH" . Bookings are very rare and difficult, as he don't want to perform like in the older days, but some party's still manage to book him ... crowds going mad...!!!! He was into production contracts for R&amp;S records and some sub-labels early nineties like Global Cuts - Generations - Wally's Groove World -Remixes of Ken Ishii etc. But for all...., he's a Dj.
releases: ECV's Groove Crew, Silver &amp; Kash, The Viridian this he did with his partner Hidde Haazen now known as : http://soundcloud.com/kissesfromoblivion

https://charlesericcharrier.bandcamp.com/

http://www.francemusique.fr/emission/tapage-nocturne/2013-2014/charles-eric-charrier-06-20-2014-00-00

 CHARLES-ERIC CHARRIER | Petite Soeur [07.04]
http://www.gizehrecords.com/

C6 GIG Monotype Rec - http://www.monotyperecords.com/en/mono059.html

Biography

Charles-Eric Charrier is one of those musicians for whom it is difficult to sum up the career process with just a few lines; there are curves, digressions, great jumps,doubts, daring… Since his beginnings with Dreta Lorelie, he has never ceased to explore new horizons, to open up to the world, to look behind the scenes, to question his music, and music in general -  and thanks to all this, he has drawn the map of his inner world. We will avoid talking about rock, jazz, ambient, contemporary music, post this and that, we would be worried to lack certain labels… ! Charles-Eric is not an instrumentalist in the strict sense of the term. Obviously, the bass is central in his music, but neither in terms of a display of technical skills, nor in terms of musical theory, or through notes in excessive quantities; he rather searches for the perfect line between improvisation and composed music; depending on the context.

« I am trying to be simple, but not simplistic ». That bass is at the service of a musical creation, of a certain sound, of a whole, but it is, above all, the means to put forward music in which the musician is not on the forefront, like these Songhaï dancers of Holley who, once they have reached the state of trance, will become the “horses of the genies”, through them, despite of them, something bigger expresses itself over which they have no control. “Before, I made “intellectual music” -  I twisted and bent it to express something psychological, emotional. Since “Two Heads Bis Bis”, I am at the service of something that surpasses me (…). The challenge is to open oneself and to let the music come out.”

MAN, Charles C. Oldman, Oldman are the leftovers from the past, successive stages of metamorphosis, of change. Today, he signs his recordings in his own name, a sign that a new threshhold has been crossed. Is the story closed? No, the journey does not appear to have come to an end...


Collaborations

Sidi Touré "Koïma" and "Alafia" (Thrill Jockey), Lena & The Floating Root Orchestra (Plush, 2008), Rob Mazurek, The Clogs, Rhys Chatham, Jérôme Paressant "Under the House" (Oceanik Creations, 2009),...and more...


 playing TOO with : 

SIDI TOURE 

  www.myspace.com/siditoure  



- score for the DANILO COLONNA'S MOVIE 
20 avr. 2008 19:00 "Delivery, Prayers" - movie premiere @ Köln 


produced

 the first LOKKA's LP 

Thierry Lecoq "tete de gondole"

DISCOGRAPHY 

-"low nicotine aromatic addiction" Hinah 2003 

-"winter" merzbrau-label 2007 

-"mind ocean room" youngs girls records 2007 

-with SONJE DE GAMMA : DEADALA dogs eared records-july 2008-digital 

-"ton'da" dog-eared records-september 2008-digital 

-"two heads bis bis" low impedance 2008-october-cd 

-"son, father and son" arbouse recordings 2008-december-cd 

- with Jerome Paressant "under the house" Oceanik Creation-2009-cd 

-"stay gold" apollolaan records 2009-june-hand made cd (limited edition) 

-Delplanque/Oldman:"Chapelle de L'Oratoire". Public Eyesore March 2009. 

-"Slow" arbouse recordings 2009-june-box (limited edition) 

-"Wolfsheep" Hopen & Oldman-Colinjoh,co records-january 2010 

-"Accortiste" Charles Eric Charrier-Isolationism records-june 2010 

-"Fanfares" Charles Eric Charrier- Isolationism records-august 2010 

-"Silver" Charles Eric Charrier - Experimedia - January 2011

-Oldman" Charles Eric Charrier - Joint Venture records - April 2011

-Martin Bauer - Charles Eric Charrier - Cyril Secq –" Uklu Uklu"-somehow recordings-june 2012

-Jerome Paressant - Charles Eric Charrier "Earth"

-5 little elephants "I"-twin daisies records & haute magie records-october 2012

Rock/Experimental/Indie
London, GB

SYD KEMP is Syd Kemp (guitar and vocs), Harry Bohay (drums), John Linger (bass) and Iacopo Bertelli (guitar).

SYD KEMP is maintaining the perfect balance between smooth and loud and with influences being picked from all over the spectrum, can’t be pigeonholed into one single genre, in-fact it is difficult to label the sound at all. Touching on new wave, ambient, psychedelic sounds as well as classic indie rock SYD KEMP offers a genre-blurring sound. Vincent Gallo, Deerhunter, Mac DeMarco, Broadcast, and Television make the music a dreamy, gleaming, glassy and addictive event dripping in liquid silver.

Sophia Damon is following