Nihilism and jaded optimism converge as Ewan Grant (guitar, vocals) and Owen Wicksted (drums, bass, synths) met resulting in angst driven, melodic hook-heavy pop songs with garage sensibilities. 

The post-punk duo reside in Glasgow, Scotland and since their inception in 2015 have released their debut 7” through Damnably with singles recorded by Steve Albini at Electrical Audio in Chicago. 

A hunger to be creatively honest in a country so hell-bent on condemning original ideas and self expression has driven WOMPS from working supermarket jobs to playing big stages in the short time since their formation. The band have already toured Europe, UK and the east coast of the US including performances at CMJ, London Calling and Radio One’s big weekend festivals. Picking up support along the way from worldwide press including Consequence of Sound, The Guardian, Fred Perry and Brooklyn Vegan.


Their debut LP ‘Our Fertile Forever’ is set for release in summer 2016 on Displaced Records with plans of extensive US and UK tours, including appearances at SXSW and other summer festivals scheduled in support. 



A phenomenal blend of self-awareness, spirit and muscle.
--Relix 

Osborne’s music ranges from muddy backwater blues to upbeat country rock, and fills in many of the gaps in between. He’s a songwriter [with] astonishing range, and his vocals are expressive and pitch-perfect.
--NPR Music
 
Osborne’s an intense roots rock player, and he’s especially wicked when he whips out a slide. His greatest attribute is his ability to conjure intimate feelings from the darkest depths and the highest heights of his soul and share them through song. 
--Guitar Player

Between the potency of his incredibly deep songwriting, his soulful vocals and his subtle, expert guitar work, New Orleans’ Anders Osborne is a true musical treasure. He is among the most original and visionary musicians writing and performing today. OffBeat magazine recently named Osborne the Crescent City’s Best Roots Rock Artist and declared him the city’s Best Guitarist for the second straight year. Guitar Player calls him, “The poet laureate of Louisiana’s fertile roots music scene.” 

Since the release of his 2010 Alligator Records debut, American Patchwork and his 2012 follow-up. Black Eye Galaxy, Osborne has earned hordes of new fans. He has toured virtually non-stop, either with his road-tested trio, as a solo artist, or as a guest with his countless musical admirers, including Toots And The Maytals, Stanton Moore, Derek Trucks, Warren Haynes, Karl Denson’s Tiny Universe, Keb Mo, and The Grateful Dead’s Phil Lesh. He’s appeared on Galactic’s song Dark Water from their Ya-Ka-May album, and in 2011 produced and played on critically acclaimed albums by Tab Benoit, Johnny Sansone and Mike Zito. In late 2012, Osborne recorded his new six-song EP,  Three Free Amigos, a semi-acoustic collection cut in a relaxed, easygoing atmosphere, with friends joining him in various combinations, creating true musical magic. According to Osborne, the way this EP was recorded “is not what I usually do. I may never do it again. I wanted to keep it loose and give fans something different.”

Three Free Amigos, produced by Osborne and Warren Riker, features six Osborne originals, ranging from the road-diary reminiscence of the title track to the Bo Diddley-flavored Jealous Love to the reggae-rocking Marmalade to the warmly philosophical We Move On.  Osborne examines love’s healing power and strength on It’s Gonna Be OK (previously recorded by Theresa Andersson) and offers profoundly simple advice in Never Is A Real Long Time. He is backed on some tracks by his road band – bassist Carl Dufrene and drummer Eric Bolivar – and on others he’s joined by friends Michael Burkhart on Hammond B3 organ, Johnny Sansone on harmonica and accordion, Billy Iuso on acoustic guitar and Maggie Koerne on background vocals. A few songs from the improvisational recording sessions even feature Osborne playing bass and drums. 
 
Since his recording debut in 1989, Osborne has written virtually all of his own material and contributed memorable songs to a wide variety of artists. Two tunes co-written by Osborne appear on Keb Mo’s Grammy-winning 1999 release Slow Down. Country superstar Tim McGraw scored a #1 hit with Anders’ song Watch The Wind Blow By. Osborne’s compositions have been covered by artists as diverse as Brad Paisley, Tab Benoit, Jonny Lang and Kim Carnes. His song What’s Going On Here appeared in the 1996 feature film Fled, and Osborne, along with Ivan Neville, wrote and recorded the title track for the 2010 Kate Hudson film Earthbound. He can also be seen performing in a recent episode of HBO’s New Orleans-based drama Treme.

When Osborne planted his roots in New Orleans almost 30 years ago, he could not have realized that he would become one of the city’s favorite sons. He was born in Uddevalla, Sweden in 1966. With a love of music, a knack for the guitar and a serious case of wanderlust, Anders began traveling on his own at 16. He wrote constantly, soaking up the life experience and honing his craft. In 1985, after landing in New York with only five dollars in his pocket, Osborne hitchhiked to New Orleans to meet up with a friend. “Once I got to New Orleans, everything I heard in my head — the music, the way people treated each other — was happening. I knew I was home.” He naturally absorbed the spirit of the Crescent City into his soul, as he was fully embraced by the city’s vibrant music community. “I just knew I was where I was supposed to be,” Osborne says.

Anders spent his first few years in New Orleans writing and developing his sound and style, all the while continuing to soak up the music of the city. He cut his first two albums for the independent New Orleans-based Rabadash Records in 1989 and 1993. The excitement surrounding those releases led to a major label deal with Sony’s Okeh imprint in 1995. Osborne released a series of successful albums for Shanachie and MC Records, all to wide critical and popular acclaim, before joining forces with Alligator Records.  

With the 2010 release of American Patchwork, Osborne’s fame suddenly reached a whole new level. Critics went wild, with OffBeat saying, “The record is a focused and tuneful triumph. Osborne’s gifts as a guitar player are significant. His voice is so emotionally intense it feels like an explosion. He writes with remarkable eloquence...this is the living definition of great art.” 2012’s Black Eye Galaxy raised the bar even higher. USA Today says, “Black Eye Galaxy contains fiery anthems and dark confessional songs punctuated with incessant, penetrating guitar runs. It sounds like a cry of thanks from a rescued man.”
 
With Three Free Amigos, Anders Osborne shares his passion for life with his friends and fans. The melodic, accessible songs are lyrically deep, instantly memorable, and soulfully satisfying. With further touring ahead and a full album expected later in 2013, Anders Osborne has no plans on slowing down.


     Anatomy  
                       Of Writing and Recording  
                                  ‘On That Day‘ 
                   Interview with NorthernBandit  
                                   January 2014 
                              By: Burt K. Arthur
*This interview was concocted solely in the mind of the writer…any similarity to interviews by other well know artists is completely inconsequential.

BKA: Let me start off by saying I have listen to your new track and I find it reminiscent to sounds I remember from my younger days, we seem to coming from the same age of Rock music that was shall I say ‘ground braking’ taking Blues and infusing it with a heavier element…what was your take on the idea?
NB: Well thanks for the correlation to my favorite era of Rock, yes I agree completely, I haven’t been able to let go of those days. Some might say I am stuck in a rut and then so be it, I learned a long time ago, if you forget the past you’ll will not understand your future, perhaps that is why I return there…there is no hidden meaning here just a reference to where I come from.
BKA: Interesting I must say, but what about this new song…can you start off by giving the reader some basis for the reasons behind recording such a aged idea in such a modern time?
NB: Yes definitely, some might know that 2013 was a sad year for a lot of us. So many great Performers and Songwriters passed on leaving the music world with a greater sense of how much each of them impacted our lives and because of their energy what some of us might consider to do to continue on. For me one individual in a Blue Rock Group that I will never forget was John Lord, Keyboard Wizard, and leader of the Hard Rock Band ‘DEEP PURPLE’.
BKA:  I agree with you, absolutely!
NB: So back to your question…I have never been one to sit still for very long and some just might say that I’m a little over excited when it comes to my Soul Hobby, and I mean Soul because music has always affected me so severely. John Lord’s style along with the other members of DP connected with me therefore the reason I produced this song. 
BKA: Can you lead us through a snippet of what you were thinking as you began this process?


NB: You bet…I love to play guitar, Bass guitar is what I started with back in 1973, Since then  I’ve learned to play by ear and by endeavor producing all of these things record… the Drums, Harmonica, Synthesizer, I could go on here for quite awhile but I more recently acquired an older Roland D5 Muli-voice Keyboard and that gave me the desire to create this idea though I have to admit I actually started out with the Les Paul.
BKA: What makes playing a guitar, draw you to the keyboard?
NB: Funny thing about that is it just didn’t go from guitar to keyboard…you’ll have to remember I said earlier I love to play guitar so in most cases that’s what happens, I just start jamming away which leads to other things…in this case it lead to the Bass at which in this point and time I started recognizing the undercurrent of emotion and a Heaviness to what I was jamming on which literally made me go get a pen and paper and strike the lyric.
BKA: I am starting to get a feel for where you were headed…obviously this takes some time…Months could go by I’m presuming, in this process, what was your time schedule?
NB: It might seem strange to some that you would ask that question but a good one to address…The total time in days from beginning to end was about three weeks, now I didn’t or could not have buried myself in this process continually…I don’t know if I mentioned this but I took the advice of my parents many years ago and “Kept my Day Job” so I have a regular job five days a week and my Family. With everything fitted in with no drama (laughs) at most I spent maybe three hours at any given point and as little as an hour over that three weeks in this process.
BKA: Wow, I was thinking there was lot more time involved?
NB: Really?…I suppose there is if you take in to account the hours I spend in my own head working out the details, being consumed but thoughts like ‘how is the song going to start…full on rockin or is it going to build slow like a simmering pot of mush? Mostly it comes down to reaction and my experience with the sounds I love. 
   So getting back to the Keyboard…I was reading and also listen to a great interview by “YES” Keyboard man Rick Wakeman with John Lord and one of the cool things I found out was that in those early days…he would have trouble hearing and being heard when they played live. Richie Blackmore always played threw a couple of Marshall stacks and that was the problem, he was always louder then everything else ( Ian Gillian many times would profess too )…so John had this brilliant idea to get his Tech to wire up his Hammond B3 to the new Marshall Amps that he got, things changed dramatically and for the better for him, the sound and the reputation of Deep Purple.

BKA: I guess then what you are saying is that you were influenced by his Hammond sound?
NB: Most assuredly, so after messing around a few nights playing the Roland found the Leslie sound that I was looking for and in turn ran the keyboard threw my guitar amp with a Marshall Amp Sample sound to get the tone and texture I wanted.
BKA: This all seems quite complicated…how do you keep it all straight?
NB: …It all comes in bits and pieces I guess…I usually see and hear the whole sound…I’m fated that way and maybe it’s not a good thing for all creations in music, they used to say…”Close enough for Rock and Roll” so I’ll leave it at that, my problem is that I wouldn’t make a very good Jazz Musician…my mind doesn’t think or feel that flowing attribute but I can lock on to a beat and a rhythm with determination…
BKA: It has been said that Deep Purple was a Jam Band even though they produced some really great songs, this track is a little over three minutes long and most of their tracks are from five to seven minutes in length…that’s a big difference? 
NB: I understand what you are saying and yes you are correct…for my purposes in recording this song in a shorter time frame was mostly due to time management…what DP could afford was to elaborate the window of opportunity by reaching into solo’s for each of the members…me on the other hand need to be conservative due to the nature of the writing process….when you listened to the song, speaking of the last measure and ending, did you get a sense that the song could or would continue? I did that on purpose because the way the verses and the bridge changes it leaves an open end to continuing or stopping, fading out or with a finale. I think it would be a Great live song to perform!
BKA: Ian Paice, the world renowned Drummer for DP…this brings up the question of drive, the energy of the song…The Power. Seemed like there could have been more percussion…tell us about what you were attempting.
NB:…I will let you in on a little secret, I don’t own a Drum Kit…I have to improvise with things so in saying that I’m going to leave it at that. Percussion is one of the great thing in a Rock song…in remembering Ian all you have to do is remember Keith Moon, Tommy Aldridge, Ringo Starr. all a vital component in the history of a great song.
…I can’t say that what I do is great but it does excite me to create and produce original ideas that I hope others might like and if they don’t I am ok with that too!




BKA: I know you have other things to attend to but before you go I’d like to ask one final question.
NB: no problem, fire away…
BKA: If you had the chance to do what you do all over again and I don’t necessarily mean record this song but be where you are at in you musical life, would you want it any different?
NB: Wow…heavy though but easy to answer. My answer is no. My Karma has me going in the right direct, sometime I’m envious of what others have done and what toy’s they get to play with but you know it’s not about having the most of anything and in the end bragging about it…it’s about using what you have resourcefully and sharing what you can give to others. I can only hope that that is what I have done.

*Burt K. Arthur has a long time affiliation with NorthernBandit…dating back to their beginning in 1953, in 1964 things changed dramatically for both as a result of the influence of the British invasion and ‘THE BEATLES’ who played a positive and everlasting effect in their lives. You can listen to and check out all of NorthernBandits songs by visiting http://www.facebook.com/burtk.arthur    , and http://www.reverbnation.com/NorthernBandit
 


The mind of a child is at once fertile ground and a sea of possibilities. So much so, that natural inclinations and affinities in our formative years often leave clues to the person we’ll become. 

Such is the case with recording artiste/music producer, Evaflow, whose relationship with music began as a youth. In the 90’s, little Matthew Elliott was growing up in the bustling town of Santa Cruz, St. Elizabeth, in Jamaica, enchanted by stories woven into the musical works of Bob Marley and Michael Jackson— a fascination his father, an avid reggae, R & B/Soul vinyl collector, unwittingly sparked and nurtured.

Introduction to Sizzla and Vybz Kartel led to deeper exploration of the artform as a teen. He would rewrite the lyrics of popular songs (keeping the original melodies) much to the enjoyment of his peers, whose reactions pushed him to continue. 

He then penned his first original song, Run Dis, at age 14, which was a school hit and became “an obsessive songwriter” since. And yet, much like the river of feelings marking childhood to adulthood, the journey through reconnecting with his soul’s truest expression was initially quite challenging.

Naturally artistic, highly intelligent youths like himself often found themselves conflicted by and frustrated with the fervent disapproval of their loved ones who encouraged corporate settings as the ultimate goal or reward for their gifts, believing creative professions weren’t potentially lucrative or fulfilling.

After much internal conflict he learned to undo himself from others’ expectations and claim the happiness he sought pursuing his own dream. Meandering through these emotions and drawing on his inner strength became the springboard that launched the tenacious, resilient, unrestrained creative he is today. 

Evaflow sees the sky—a space that, for him, represents preparedness, great health and sound mind— not as the limit, but as limitless. For him, “the sky is the start” (his personal motto). This philosophy means “one must be able to fly, being in a place of consistent, purposeful action”. It even inspired the name of his multimedia company, SkyStarter Creative. 

The start-up is an umbrella for his artistic endeavours and an empowerment tool for young creatives who feel misunderstood and unsupported by the world around them as he once did. It represents a resolve that anyone can become more self-aware, take the reins of their lives and make a difference, instead of trying to fit into a model that doesn’t resonate with their core being.

Fuelled by The Source, and all things encompassed, and having honed his skills studying his early influences, along with the likes of J. Cole, Vybz Kartel, Joey Badass, Black Uhuru, Outkast, Pharrell & UGK, he, too, is a master lyricist, skillfully caressing and firing up any beat he connects with. 

As Jamaica’s music evolves, he plays an instrumental role in pushing the boundaries of traditional expectations and refers to his eclectic blend of Reggae, Hip-Hop & Dancehall as Hip-Hall or Dub-Hop, described as “Bob Marley meets Jay-Z with a splash of Lauryn Hill”.

Since leaving his native Scotland, Alexander Graham Sinclair has spent time in London, Germany, Amsterdam and Los Angeles. He settled in Greater Manchester about 14 years ago but recently moved out of the urban sprawl to a village in rural Cheshire.

He came to painting not via the conventional route of formal academic training but through the pursuit of his own restless exploration of himself. His intellectual curiosity and fertile creative impulse have previously found expression in 'alternative' music making, song writing and poetry.

A free spirit, his work in these various media has been a voyage in self-discovery through self-expression. He has sought self-transcendence in his work by exploration of the supernatural, and self-discipline. At the same time, his art demonstrates a passion for integrity and justice, empathy with the natural world and a rejection of stereotyping, status and the conventions of orthodox respectability.

He has performed live in concert in Scotland, England, the Netherlands and California, has been profiled on the radio and in newspaper features in the UK and the Netherlands and has staged many exhibitions of his paintings in Amsterdam, Germany and the UK.

All of his paintings (more than 1000 to date) are oil on canvas. Many of them employ the use of transparent or luminous paint, and some of them are enhanced with built-in lighting. His early work explored organic and symbolic subjects and elemental, attenuated landscapes with intense focus and unexpected colour. His more recent work displays an increasing fascination with, and mastery of, pure colour and its interaction with light and translucency.


Hi there, Due to the popularity of this page and the mixes all reaching there download limits so quickly we have moved the Cultural Vibes mix page to culturalvibes.co.uk. Its almost identical to this page and offers the same service but with no limits. There are lots of mixes up already and over 100 hrs to go so check it out now !

South West of England Club Promotion/Dj Collective CULTURAL VIBES came into being on Saturday 3rd October 1992 at the Quay Club in Plymouth Devon. Back then most of the S-West was Hardcore raving mad, with the speed of the music increasing in BPM almost by the week. The emerging Rave scene had found a true spiritual home down in the S-West of England and Plymouth seemed to “have it” particularly well with 2 huge world-class venues, The Academy & The Warehouse. However by mid 1992 the heady days of earlier Rave Promoters like Extreme, Wasp Factory & Alpha had been replaced by a much harder, faster and darker sound as S-West crews like Essence and later Revelation took the emerging Jungle/Hardcore sound to the masses with huge success. During the spring & summer of 92 Nottingham's renegade Free Party Collective DiY had made a big impression on local boy Dave Green. The full DiY crew played at a string of events in and around Exeter and Bath that summer culminating in the free party scenes finest hour, Castlemorton. The music the DiY  DJ’s played was still underground & trippy, but was slower, groovier and much more House Music orientated. Very similar to a born again moment Dave Green realised this was the future for him, and set about trying to get involved. After first dabbling in designing & producing Rave clothing he took the very first money from the clothing venture and headed off to the big Universe Rave on September 11th 1992. There the DiY team had their own separate tent for 12 hours and that night a very nervous & wasted Dave Green asked his favourite DJ, Simon DK if DiY would come to Plymouth and play for him. The answer was in the affirmative and 4 weeks later Cultural Vibes was born and a promising clothing venture was dead and buried.
 On the opening night @ the Quay Club 285 curious people crammed into a tiny forgotten little club on Plymouth's historic Old Quay and proceeded to tear the roof off. Timing was certainly one of the reasons for Cultural Vibes immediate success; it just seemed to be the right time for change. It also helped that the all-new British House explosion was just underway with labels like Guerrilla, Boys Own, Limbo and Cowboy all starting to release some top notch home grown records, gaining lots of valuable press. Add to this an incredibly healthy US House scene with labels such as Strictly Rhythm and Murk, and Italian labels like UMM and Creative plus a large measure of original House and Acid classics and the Vibes musical cocktail was complete. From the outset Cultural Vibes went off in a massive way. During the 8 crazy weeks @ the Quay club numbers went as high as 358 which was actually quite dangerous in a club licensed for 200. After all the great music it’s the intense heat that most people seem to remember. The free frozen fruit also sticks out along with the pretty young girls that shared it out at midnight. But it’s the photographs taken at the Quay Club that really show what an influential club it was.  Pictures from the nights show the dance-floor packed full of soon to be Dj's, Club Promoters, Musicians, Music Writers, Club Wear retailers, Record Shop owners, Video Game designers, Photographers, Film Directors, and future SW Scene leaders all wide eyed with broad their sweaty smiles. It really was a seminal time for everyone that went there. For sure something special and unique had happened in Plymouth, but no one could have predicted then, just how far it would all go!  (The original Quay Club Photo’s can be found @ “The Cultural Vibes Appreciation Society” page on Facebook)
During the Quay Club run Cultural Vibes was entertained by Dj Haze ( Joe Waterfield, played every week) and Dj’s Phil Jubb, Geoff Van Dyke, Ian Smith & Will & Johnnie from the Lazy House sound system, Mr Dee, Pad e & Barry from Happy Shopper, Scottie and Dan Rayner with the last tune @ the Quay played by Dave Green. Another full time resident for the run was Andrew Chinn who would remain the door picker/greeter/friendly face/man to know, forever. Eight weeks of absolute mayhem would sadly have to stop, as the numbers were way to big for the venue. Watching the ceiling drip sweat and condensation continuously onto the lighting system was scary as was the queue for the toilets.  Also a fractious relationship had developed with the Quay Club management over Cultural Vibes split of the door and this also helped spell the end of the Quay Club run. Once the decision was made there was only one place Dave Green wanted to take Cultural Vibes, and that was to his favorite club in the world, The Warehouse on Plymouth’s infamous Union St. 
Quite possibly one of the best club venues on Earth the Warehouse was a huge converted 1930's Art Deco cinema. (Once the largest cinema in the south of the UK) Pretty much a white elephant for years due to its immense size, it had been reborn as Rave venue in 1989 and for those that went there regularly it was truly hallowed ground. However due to a rising amount of drug related violence (then called taxing) the venue had seen better days as the masses that traveled from all over the S-West to Plymouth for the big raves had suddenly dwindled. By Dec 92 The Warehouse was completely up for grabs on Saturday's and thanks to some canny behind the scenes maneuvering with the help of Happy Shoppers Fleur and Plymouth dance legend Lee Reynolds Dave Green found himself about to run the club of his wildest dreams. One major hurdle remained though, how to put 300+ people in a venue that could hold 2500 and make it feel both comfortable and still look good. A great meeting of minds created the solution as Dave Green and Dan Thompson from Kaos Design trialed a few failures but came up with a total winner in the end. By stitching together a hoard of white army camouflage nets and utilising the 3ton-ceiling winch and later the underused Dj Egg/Booth they created the perfect indoors party venue. Finally just like their beloved free party scene, (which the Thatcher government had only just outlawed) Cultural Vibes had a giant legal tent of their own.  All they needed now was DiY.
The DiY crew really did put the icing on the Cultural Vibes cake as Jack, Pezz, Simon DK, Digs & Woosh, Emma and Pip made regular monthly missions to Plymouth throughout 93 to help create the Cultural Vibes ethos and sound. Unlimited help and support also came from Mark & Jess Darby who ran the highly influential Mighty Force Record Shop/Label in Exeter.  As well as supplying all the Resident Dj’s with their vinyl, Mark & Jess helped immensely with the early bookings, enabling Dave to find his feet as a fledgling promoter.  Phil Jubb was one of the staff at Mighty Force and the shop would go on to introduce Dave to a host of future Vibes Dj’s. One of these was Exeter resident, Mighty Force regular and future dance music superstar Tom Middleton.  As well as playing Tom designed a string of catchy Cultural Vibes flyers throughout 1993 and his quirky, humorous take on the flyer genre seemed to catch the zeitgeist. As the weekly numbers steadily grew, so the giant camouflage net was raised to yet another level, opening up more of the vast Warehouse venue up to the public. This continued regularly right up until the first Luv-Dup night when 750 people finally saw the whole venue opened up and Cultural Vibes shift into yet another gear. 
Resident Dj’s for 1993 @ The Warehouse were Dj Haze, Phil Jubb, Duncan Parks, and later Verdi (Dave Green) and Mr Dee. 
Guest Dj's that played throughout 1993 were: Jack, Pezz, Simon DK, Digs and Woosh, Pip, Emma, Shane and Jamie, Clinton, Choci, Ian lazy Smith, Will & Johnnie Lazy House, Mike Shawe, Mike C, Jon Dasilva, Nero, Andy Finnie, Danny Ayres, Mark & Adrian Luv-Dup, Froggy(RIP), Jay Baker, Tigger, Dj Rush, Richie Rundle, Tom Middleton, Mr Mullatto, Sonny, Steve Proctor, Phil Asher, Noel Watson, AJ, Charlie Hall, Hazel B, Geoff Van-Dyke, Gary Marson, Matt Perry, Bongo Pete Isaac, Roy The Roach, Judge Jules, Gordon Kaye, John Kelly, Lee Fisher, Pascals Bongo Massive(RIP), Girls on Top, Kelvin Andrews,  Justin Garrett, Andy Roberts, Patrick Smoove, Al McKenzie, Phil Gifford, Mc/Dj Ribbz, John Mcready, Chris and James, Ashley Beedle, and Iain McKenzie.
The Chillout Room - During the 2nd half of the year The Fruit Bowl played host to the newly formed Freestyle Collective (Bloodshot, Kooki, Pes) Bongo Pete Isaac, and Children Of Kaos Dj’s (Andy Compton, Ritchie Piggot, Dj Flex (Chris Hart) and Paul Honey)
to be continued ................




* DEBUT ALBUM OUT SEPTEMBER 2013 – available now from CDbaby, iTunes, Spotify and more *
.
- LAUNCH DATES -
Friday 13th September 2013 – The Bakery, Northbridge, WA
Thursday 26th September 2013 – Mojos Bar, Fremantle, WA
Sunday 28th September 2013 – Rosemount Hotel, North Perth, WA (w. EMPRA)
Thursday 10th October 2013 – Annandale Hotel, Sydney, NSW (w. EMPRA)
Saturday 12th October 2013 – Revolver Upstairs, Prahran, Melbourne, VIC
Wednesday 23rd October 2013 – Rosemount Hotel, North Perth, WA
Wednesday 30th October 2013- Velvet Lounge (Flying Scotsman), North Perth, WA
.
THE LATEST:
In what is known as the latest boom-town, Perth, Western Australia, you will find four (semi) distinguished gentleman have recently formed a hard hitting riff rock band called Vida Cain.
“Its’s actually my grandmothers name,” laughs lead vocalist Josh Johnstone. “Spelt exactly that way, first name Vida, last name Cain. The funny thing is that she absolutely hated loud music, so I couldn’t picture her being our biggest fan, however her name does have a pretty good ring to it I must admit.”
Lead guitarist Chris Rowe describes the bands sound as “rifftastic” “The music is pretty much guitar driven with a few cheeky drum fills and harmonies thrown in for good measure.”
Vida Cain formed in early 2012. After spending their first six months writing, demoing and gigging throughout regional Western Australia, it was time for the band to hit the studio. The band’s debut EP was mixed at Debaser Studios by Andy Lawson (End of Fashion, Little Birdy and Eskimo Joe) and mastered at Studios 301 Byron Bay by Leon Zervos (Muse, Aerosmith, Maroon 5, Crowded House).
After noticing that recorded music had well and truly passed the point of overproduction and had become so flawless that it had no character, Vida Cain decided to track the EP live, with very minimal layering overdubs. “For our debut EP, we really wanted to give people an idea of what they should expect when they buy a ticket to the show” says Johnstone. “We dig those little quirks, textures and energy that you can only get from a live recording”.
“We loved working with Andy on our debut EP” says drummer JR. “After hearing his work on so many awesome Australian releases of late we had a pretty good feeling about how these tracks were going to come out.”
Following the EP release, the band went straight back into the studio with Andy and cut 2 new singles ‘Reloader’ and ‘Remote Controls’ which were released as a AA-side single to coincide with Vida Cain’s first national tour, and saw the bands music being played on countless national radio and TV networks.
And now, the time has come for the band to unleash their debut album ‘The Rule of Gravity’, with launch dates in WA, NSW and VIC, expect to hear allot more from this band in the coming months. Head to the tours page of www.vidacain.com for more info…
Although the existence of this band does depend completely on Josh’s Grandma continuing to let the guys trade under her name, he’d better be a good lad then.
.
Keep up to date via the bands social media pages.
.
.
WHAT THE IMPORTANT PEOPLE HAVE BEEN SAYING:
“powerful, punchy … it’s easy to imagine it raising the roof in venues across the country or turning festival mosh pits to mud … big riff guitar sounds that don’t sacrifice the vocals and impeccable tightness. These songs scream off the EP and know exactly how and when to stop”
 - Sabian Wilde, Xpress Magazine
.
“When you love those things that don’t love you!” Perth band Vida Cain’s new single Only Love Things adds irresistible humour to their brand of titan effervescent Rock. The band cranks it up, you smile as you bang your head, and the accompanying video is a real hoot.
- Christie Eliezer, The Music Network
.
“A debut single that speaks volumes in experience, Vida Cain’s Only Love Things takes the best bits of early Jet (when they were good) and combines them with a sense of humour, groove and a hard-on for hooks that demands serious head movement. It doesn’t hurt that the video kicks total arse either.”
- Aarom Wilson, Drum Media / WAM (The WAMI’s)
.
“Brought back memories of the fabulous Perth Power POP era of the 70′s/80′s, but with a 21st century twist, Rock On!”
- Alan Dawson, Radio Fremantle 107.9fm
.
“Vida Cain give us great guitar and song, the clip for ‘Only Love Things’ captures the spirit of the band perfectly.. rock lives here!”
- Nick Swainson, Radio Port Douglas
.
“Only Love Things has you groovin’ from start to finish, then you’ll push play again”
- Cat Unwrapped, Voice FM, Ballarat

Emmy nominated Film Composer Chuck Biel's Soundcloud play list is distinctive and wildly diverse. All pieces written and instruments performed and recorded by Chuck alone.
Chuck Biel was raised in a semi-pro musical family (Sister Classical Pianist and Father accomplished Violinists & Surgeon) until the age of ten when a family tragedy left Chuck to his own musical means, to pursue rock & roll, and the journeys that sprouted from his fertile beginnings. He saw Jimi Hendrix in 68 and Zepp a year later... the plan was launched! Chuck became a catalyst behind hundreds of musical adventures. He is a life-long full-time professional musician who holds a Bachelor of Science in Music Education/Performance and has been a musician since 1970. A multi-style performer with experience in Guitar, Bass, exotic instruments, and composition/arranging. He is also one of America's few HARPEJJI Artists and an Ableton Live Performer! 
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Chuck has trained musicians to work as sidemen in the worlds best bands and with world class artists including , Ray Charles, David Bowie, David Byrne (Talking Heads), Etta James, Olivia Newton-John, Eric Church, Martina McBride, Bryan White,  Missing Persons, and many more. One of Chuck's students was nominated for a Grammy and performed with David Byrne on a recent world tour.

Chuck has performed with Ann Magnuson, Rita Moreno, Marvin Hamlisch, Shirley Jones, Martha Reeves & The Vandellas, Maureen McGovern, Herb Ellis, Charley Musselwhite, Ann Baker, and many local and international artists. He has studied and performed with the guitarist for the Chick Corea Elektrik Band, Frank Gambale. Chuck performed with the West Virginia Symphony for 20 years and has performed a number of times on National Public Radio's "Mountain Stage" as well as multiple performances on Public Radio. Largest audience Chuck has performed in front of: 250.000!
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He has arranged, performed and composed for numerous recording sessions and concert performances and some of the films he has scored have won first place at major film festivals such as The Houston International Film Festival and the Chicago Film Festival, (to name a few). Chuck composed for award winning film maker Bill Richardson (American Pickers consultant) on "Mine Wars" which is now archived in the United States Library of Congress and the University of California Berkeley Labor History Library. Chuck's work has won Telly Awards for the Danny Boyd documentaries "Red Salt & Reynolds", “Ghosts Of Green Bottom” , and "Secrets Of The Valley" which led to Emmy nominations. As Music Director /Composer In Residence for the Charleston Stage Company he composed original scores for Sam Shepard's "The Tooth Of Crime", Shakespeare's "A Midsummer Night's Dream", "A Comedy Of Errors" (all of the Shakespeare Comedies) and many more. He has music directed a number of major musicals including Sondheim's Sweeney Todd, Townsend's Tommy, The Rocky Horror Show and The Secret Garden.
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He just finished composing for two films, a Shakespeare play, developing 3 new bands and is currently recording, teaching at Chuck Biel School Of Rock & Blues, riding his bicycle, PLAYING DRUMS & Harpejji and enjoying life with his wonderful wife, Angela! 
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Bio by Steve Ellerman
Nashville

Download the Full Album Here :
https://craigscottslobotomy.bandcamp.com/album/war-is-a-racket

Craig Scott is in a class by himself when it comes to creating wildly inventive music of all sorts, you can't really pin it down and put a label on it-- a hallmark of all the best music"

Gary Lucas
(Captain Beefheart's Magic Band / Jeff Buckley)


"Your music is very intricate...can you tell us what's going on here with your range of instruments...and..why?...what are you doing Craig?"

BBC Jazz on 3 

Craig Scott's Lobotomy is the latest musical adventure to seep out of the fertile Leeds (UK) music scene where experimental
jazz rubs shoulders with Electronica and DIY alternative rock. As the self-proclaimed creator and leading exponent of the 'medio core' genre, the music of Craig Scott's Lobotomy is a bubbling cauldron of conventional and experimental sounds. Live improvisations are pulled apart, transformed by crudely home-made noise producing / altering paraphernalia and then intricately re-constructed with digital audio software . The result is a Fankenstein's monster scaling the 'uncanny valley'. Part human , part machine and revelling the glory   and error of both.

FR: Lobotomy Craig Scott est la dernière aventure musicale à s'échapper de la scène musicale fertile Leeds (Royaume-Uni) où le jazz expérimental côtoie Electronica et bricolage rock alternatif. En tant que créateur d'auto-proclamée et principal représentant du genre «médio-core», la musique de Lobotomy Craig Scott est un chaudron bouillonnant de sons classiques et expérimentales. Improvisations en direct sont écartées, transformé par crûment artisanale produisant du bruit / modifier attirail, puis finement re-construit avec le logiciel audio numérique. Le résultat est une mise à l'échelle monstre Fankenstein de la «vallée inquiétante étrangeté». Partie de l'homme, la machine et le cadre se délectant de la gloire et de
Erreur de fois.

SP: Lobotomy Craig Scott, es la última aventura musical que se filtre fuera de la escena musical fértil Leeds (Reino Unido), donde el jazz experimental se codea con Electrónica DIY y rock alternativo. Como creador autoproclamado y máximo exponente del género del "medio-core ', la música de Lobotomy Craig Scott es un caldero burbujeante de los sonidos convencionales y experimentales. Improvisaciones en vivo se separan, transformado por crudamente casera producir ruido / alterar parafernalia y luego intrincadamente reconstruido con software de audio digital. El resultado es una escala Fankenstein del monstruo del "valle extraño". Parte humana, parte máquina y disfrutando de la gloria y
error de ambos.


JP: クレイグ·スコットのロボトミーは実験的ジャズはエレクトロニカやDIYオルタナティブロックと肩をこすり肥沃リーズ（イギリス）の音楽シーンの外に浸透するために最新のミュージカル冒険です。自称クリエーターと "メディオ·コア"ジャンルの有力指数として、クレイグ·スコットのロボトミーの音楽は従来の実験的な音の泡立ち大釜です。ライブ即興は、引き離さぞんざい自家製ノイズ手回り品を生産/変更することとにより形質転換された後、複雑なデジタル·オーディオ·ソフトウェアを使用して再構築した。アール結果はFankensteinのモンスタースケーリング"不気味の谷"です。一部の人間、一部のマシンと栄光を大いに楽しむと
両方の誤差が生じます。

CH: 克雷格·斯科特的腦葉手術是最新的音樂冒險滲出的肥沃利茲（英國）音樂現場實驗Electronica和DIY另類搖滾爵士樂揉肩膀。作為自封的“內 - 核心”流派的創造者和領先指數，克雷格·斯科特的腦葉手術的音樂傳統和實驗性的聲音冒泡的大鍋。現場的即興被拉開，轉化粗糙的自製產生噪聲/修改工具及錯綜複雜的重新構建與數字音頻軟件。結果是一個Fankenstein的怪物縮放“不可思議的山谷”。部分人，一部分是機器和陶醉的榮耀，
兩者的誤差。

Jiro Julius is following