CONTACT/BOOKINGS: singerdrummer @ outlook.com
More Info: https://linktr.ee/deanyoung
 
“To thine own self be true…” William Shakespeare 

Niagara Ontario musician | singer | songwriter Dean Young put these famous words to work in his life the day he left his 23 year factory job at Rich Products of Canada to fully pursue his true passion – music.
Shortly after making this decision, Dean’s young family dealt with the hard news that his wife and children battle a chronic illness with Lyme disease. Having lost his Mom to cancer when he was just 17 and then his older brother Marty a couple of years later, Dean is no stranger to difficult times. He pushed on and played full time in a tribute band to support his family while continuing to write his original music.

Drawing from his own family and the musical upbringing with his Dad and the bond of music they shared while dealing with the loss of his Mom and brother, the release of his self-funded debut album Makin' A Life is a culmination of Dean’s life, values, morals, and struggles. Encouraging people to stick with it, not give up and to work things out; whether in love, work or life in general. To embrace and be thankful for all the good things in life.  

Dean Young’s original country music work is described as a twist of modern with classic country sounds that carries meaningful messages to listeners about the important things in life.
A down to earth guy who loves family and friends, Dean is an avid outdoorsman and a Taxidermist! He loves to cook and share his wild game harvests with friends and family, while sharing relatable music about life and making the best out of it. If you have fallen in love, worked hard, had some hard times, had your heart broken, enjoyed the privilege of raising children, or just shared some great times with good friends and family - then you will understand why people are loving this new artist!

“To be yourself in a world that is constantly trying to make you something else, is the greatest accomplishment.”
Ralph Waldo Emerson

Albums D’n’R Unplugged (‘09), Young Country (‘11), Makin’ A Life (‘17), Dirty (Single 2018), Alibis (Single 2021), That Guitar (2021)

Everyone loves a good story. We've enjoyed telling them in words, pictures and music. 

Please follow MichaeldelAard here and on twitter @MichaeldelAard. We've long been moved by the rough cuts, bootlegs and demos by storied artists both past and present because they show pure emotion, high creativity unfettered by auto-tune and over-production. The elimination of anything that could remotely resemble anything but a perfect track is not part of this stream. This project is more about spontaneity. You'll find perfectly human imperfections and, spare (lean and mean)demo productions throughout. On occasion, though all tracks were recorded ultra-simply on an iPhone's voice memo app, we would pull a track into GarageBand to add a track or sound effects (as in several of the originals, herein)...but all in all these are low-fat productions that reflect our most basic love for music and storytelling. Nothing more than that. Should a track tickle your ear, we'd be most grateful to here about it. Thanks for the opportunity to share with you. Follows, comments and shares are welcome.

Burned out! The first official mixtape to be released later in 2015. The date is unknown at the moment but it is heard by source that it will later in the year, perhaps closer to his birthday. I mean if you heard a song by Spence, His virgo characteristics is commonly found in the way he voices his opinion to the public. A style thats lets his own faults reflect and trigger the audience. Listen to the Snippet from the upcoming mixtape "All I Know" at : http://www.reverbnation.com/q/5luz7z

if you aim for the stars you're probably gonna just hit someone's dad grillin weenies

Mojo Monkeys - A Labor Of Love

Mojo Monkeys are three highly respected Los Angeles musicians: singer/drummer David Raven, bassist Taras Prodaniuk and guitarist Billy Watts.

Collectively, they’ve logged time in the studio and onstage with such notable artists as: Lucinda Williams, Keith Richards, Norah Jones, Dwight Yoakum, Bonnie Raitt, June Carter Cash, Mike Ness,Steve Jones (Sex Pistols), Dixie Chicks, Geoff Muldaur, John Trudell, Richard Thompson, Jim Lauderdale, Peter Himmelman, Buck Owens, T-Bone Burnett, The Meat Puppets and many, many more.

Initially connecting with each other via the L.A. music scene, they were drawn together through mutual respect for each other as players and as people. Playing together in a band was the logical next step for combining their great musical and personal empathy.

“When we started, we immediately noticed our musical chemistry was the most natural thing” says David Raven. “We wrote 25 songs for the album” he continues, “recorded about 20. When we tried to make it into an album, the title, Blessings & Curses, seemed to be the only theme that ran through the whole project. These songs are all pure expressions of moments; some are so different, they didn't seem to belong on the same record. After wrestling with it for a few months we just said, ‘we like all these 13 songs’, so we put them in the order we liked listening to them.”

The Mojo Monkeys are stellar players, each with a personal style that lovingly collides in a unique musical gumbo deeply rooted in the Louisiana bayou. Eclectic and fearlessly adventurous, their songs are soulful and authentic, with funny provocative lyrics and grooves that make you want to jump up and do the boogaloo. This is a project that comes out of love for the music, and it shows.

In the last few weeks, we were in the top 5 added to americana radio. this week, number 60 on the roots music chart: http://www.rootsmusicreport.com/index.php?page=statechart&state=CA

Early reviews for blessings & curses:

   "From straight ahead rock 'n roll to demented and dirty country blues to what could almost pass as modern country but is too damn good to be called that. I mean, sheee-ittt! What rock did these guys crawl out from under?" --Rock and Reprise

   "The songs of Blessings and Curses are soulful and authentic but there’s also an element of fun and a groove to the songs that make you think these guys wouldn’t mind if you were dancing while they sing of unrequited love and misfortune. The Mojo Monkeys are stellar players, each with personal style that lovingly collides in a unique musical gumbo…This is a bloody great album which I'm thoroughly enjoying listening to and you should do yourselves a favour and purchase a copy" --Beast of Bourbon 

    "The 13 songs that comprise “Blessings & Curses” express a decade’s worth of political and personal frustrations over insistent rhythms throbbing with blues, rock, psychedelia, country rock and zydeco. The blessings include the evocative folk-blues of “Baton Rouge” and metaphorical ballad “The Mockingbird Song,” dedicated to “the sirens in the City of the Angels.” --Pasadena Weekly

   "If you like your rock 'n roll literate but greasy, and pegging the needle on the different meter, you need to check these guys out right now! It's been 10 years between CDs, but boy, it was worth the wait!" --Page Hite

    “Three roots session cats that have played with all the headliners know this is a busman's holiday and have fun jamming out on originals that reflect their gritty take on roots music.”--Midwest Record

Mojo monkey songs have been used on a variety of TV shows including: Sons of Anarchy, One Tree Hill, Alias, and Parks and Recreation. 


The debut LP 'Greenwich Mean Time' is available now on Hybridity Music and iTunes.

Thomas Cade is an emerging sound artist and electronic musician based out of London, UK and Toronto, Canada. With almost a decade of composition, production and performance work already under his belt, Thomas’ sound grew up on a slew of guitar-based effects processors in grimy back-room venues along the Montreal-Toronto corridor. A pupil of philosophy and insomnia, his genre-defying sonic style blends elements of cascading minimal-tech, tribal polyrhythm and experimental dark electro house to deliver gravitating bass-heavy grooves pierced with tightly complex electronics and his clear but timid vocals.

Thomas’ meticulous and highly nuanced focus in anti-traditional sound engineering finds its feet through an ever-evolving array of processors, synthesizers, loopers, midi-based controllers and progressive digital production techniques, blissfully exploring the dark and meditative fringes between technical, cerebral and somatic experience. Coupled with his fluid integration of abstract interactive visuals, Thomas’ live performances are nothing short of transcendental shows of force.

Recent work includes an interactive soundscape for A Place To Reflect (Nuit Blanche-Toronto), producing massive volumes of noise art at the Victoria and Albert Museum for the Moving Forest (Furtherfield-London) and a highly anticipated electronic A/V performance at New Forms Festival 11 (Vancouver). 

'Greenwich Mean Time' is available now on Hybridity Music and iTunes.

“…this record isn’t a pounder but a progression, or bridge, between acoustic and electronic. It feels more like a macabre experiment: peculiar melody lines swan through arrhythmic, textural atmospheres, backing Cade’s damaged vocals. It’s a songwriter’s approach to electronic music, mirroring the ethos of projects like Caribou or James Blake but with less austerity.” – Anupa Mistry, CBC Electronic


Andre Mistier’s journey through music has been an unconventional one. The New York musician, who has a foundation in theater, has explored the connection between electronic sounds and instrument-based rock since the inception of his first band Ism in 2004. In 2008, as his tenure with Ism was drawing to a close, Mistier began working on film soundtracks and theater scores, his first musical efforts done solo. The work was deeply compelling to the artist and he found himself moving into the sonic territory that became his new project, The Adversary. The music itself morphed, influenced by Mistier’s life and his personal experiences. “The Adversary’s music went through a whole bunch of iterations,” Mistier explains. “I was exploring a lot of things. I went to Burning Man last August and it affected my understanding of music, and the relationship between electronic stuff and live stuff and then—I got here.”

Here, which is being heralded by Chapter 1: The Ruins, the first in a series of releases that offer an ongoing narrative, is richly melodic and song-based and yet experimental and electronic. The series, recorded over a year and a half at Majestic Music in Williamsburg, was written and recorded almost entirely by Mistier, who brought in a few guest musicians to flesh out the songs. Throughout the process Mistier found himself interested in the spectrum of modern sound and what that can mean in the context of a song. 

“There’s a certain honesty about acknowledging that the full range of sounds in our modern world includes everything from the human voice and birds chirping to the bleep of a cellphone and this mix is how we define our relationship to the world with sound,” the musician says. “In these Chapters, I was very interested in finding ways to deal with both this whole spectrum and to make sounds that were kind of hybrids. You can take a vocal, record it, run it through 45 filters, cut it up, run it through a bunch of filters again, and then it sounds like a drum or a synthesizer or whatever noise you like. That’s part of the basis for this.” 

Embedded in these sounds is a story, one that comes together both in the songs and in a series of accompanying videos. The first chapter takes the listener to a post-apocalyptic world, recounting a tale of two people dancing through the ruins of New York, [and the failing surveillance system, which tries to monitor them. The pair finds, through the course of the songs, that with all the structures of society gone, there are actually more freedoms to be found. It’s one piece of a larger whole that Mistier feels will slowly come together as the chapters are released. 

“It’s an exploration of our modern relationship to technology and human-ness,” Mistier says. “To me, it’s one of the big issues we’re all grappling with, or at some point have to grapple with. Does technology lose humanity? Does technology facilitate humanity? And clearly, it’s kind of doing both. I’m really interested in exploring that process and setting it in a not-present-day context makes it easy to extrapolate how far it can and can’t go.”

The accompanying videos and forthcoming live show will lend a visual aesthetic to this ongoing narrative, clearly inspired by Mistier’s work in theater over the years. Each chapter will feature one video that connects to a specific song – for Chapter 1: The Ruins, that track is “Maybelline.” The clips don’t just reflect the songs; they augment them, offering the audience a chance to fill in the pieces of the story left open in the Chapters. The live show, too, will extend the experience of the music, providing a visual spectacle related to the narrative. The music, melodic and relatable although experimental and exploratory in nature, reveals itself more fully through these visual elements. Those familiar with Mistier’s work, both musical and otherwise, may not be surprised that his journey has brought him here, to this place of solo, multimedia expression. 

“I feel like there’s two main experiences you’re getting out of music as a writer,” Mistier says. “One is this beautiful collaboration. And the other is sound painting. And the solo process to me is very much like painting, but like four-dimensional painting. Painting with time. At any given moment there’s all these different sounds going on and they function like colors. But also it moves through the duration of a song and changes and contours as it goes. I’ve found that process really rewarding and it’s taken me to where I am today.  And now I’m looking forward to bringing these two pieces of the musical experience together with the live version of The Adversary.” 


Many new artists try to side themselves with a particular scene or establish a new one of their own. But 21-year-old London based singer, songwriter, producer and fully-formed pop star Archeo is not the poster boy for this scene, or the breakout artist for that movement. “I’ve not crossed over from anything,” he says, “and I’m not coming from any niche. I make pop music. Pop to me is a constantly changing landscape, and I’m proud to be part of that tradition.”

The funny thing is, by not trying to fit in anywhere, he fits in everywhere. Listen to Archeo’s razor-sharp pop songs with one ear open, and they have the mainstream-friendly ring of those uber-produced radio hits teams of pros spend months crafting for whoever eventually takes them off the peg. Listen more closely and you hear common qualities between these songs; these well-defined, dynamic, vocally-driven songs are more sharply observed and cared-about than they might first have seemed, with lyrics about ambition and darkness and ups and downs. And you may question what exactly it’s all about. Open your eyes and there’s your answer: a 24-carat, 21st Century pop superstar in waiting. There are no puppet-masters here, just one man at the heart of everything.

This’ll be no surprise if you’ve picked up on the beautifully executed, pop funk of future anthem ‘The Payback’, the furiously bass-driven ‘Young N Reckless’ or enjoyed the romantic sheen of ‘Extra-Ordinary’, but Archeo has what he calls a “mish-mash philosophy”. Without hitting the listener round the head with clunky symbolism he’s keen that his songs reflect his heritage and globe-straddling life to date. His dad’s work saw Archeo, along with his Panama-born mum, move around a lot - born in Bombay, he moved to Hong Kong, studied at an American school in Nigeria then finally settled to London, “just listen to my accent, you know some air miles have been collected!” he laughs. 

And despite being a life-long student of pop, he seems brilliantly unselfconscious. “For a while I was nervous to admit that I wanted to be a star, because of all the cynicism that comes with it” Archeo explains. Nevertheless at 16 he quietly began making demos and posting them up onto MySpace, “I knew it would only take a click of a button and I would instantly be connected”. Though the hustle only just started for Archeo, at 17 he saved up and bought a plane ticket to Miami, finding himself meeting with label executives and ultimately leading to a few offers that he ultimately turned down, “I was unsure of what exactly lay ahead, and I was certain that moving too fast would have been a huge mistake”.

Behind the state-of-the-art production is a refreshingly old-fashioned passion. In an era of smart playlists and SendSpaced zip files - a world to which Archeo, who’s already picked up a strong online following, is no stranger - he still obsesses about the romantic notion of the radio and, with it, the radio hit. He says about his music, “I just want to shake things up a bit for all the cynical on-lookers of powdered pop, so they can delve in more closely…and see there’s more to it all than you might first think.” And when you say to him that his music, this explosive, space-age future funk pop he’s been brewing for the last five years, doesn’t really sound like anything on the radio at the moment, he fixes you with his penetrating eyes and says quite simply, “just because they haven’t heard it yet doesn’t mean they won’t like it”. So in clattering, space-age R&B workout ‘Glass Half Empty’ which has already garnered massive R1Xtra support, there’s a nod to A.R. Rahman for example, while Archeo’s sharp visual style throws in modern men’s tailoring, a slight rockabilly influence and, let’s not overlook this, a bit of a penchant for hair grease. “I suppose the point is that this mish-mash philosophy I have is one where little bits from here and there work so well together. Distancing myself from the fashion allows me to be the best that only I can be. There are no spin-offs here, it’s different but still relevant”, he grins.

Push Archeo to name specific influences and he’ll tell you about his passion for 90s pop songwriting, early-2000s R&B, and great performers such as arguably pop’s two greatest Browns, James and Bobby. Over the next twelve months you’ll hear far more from a largely self-A&Rd collection of songs, many of which are the result of Archeo deciding on producers whose work he likes, finding them on Twitter then, if it sounds interesting, getting in touch. “If I see that someone’s in the studio that day, I’ll check out who they’re in the studio with, what they’re doing and that’ll lead me to someone else,” he explains. “Sometimes I’ll end up contacting someone I never knew existed. It’s pretty exciting.” What might once have been a closed door is now wide open, and it’s a process that has led to Archeo working with a handful of producers like Mr. Waltmann (No Doubt, Madonna, Janet Jackson, Katy Perry) The White N3rd (Loick Essien), Fred Cox and MNEK, but with Archeo at the helm throughout.

Certainly, the rich seam he’s hit on in the last twelve months seems a lifetime ahead of Archeo’s earlier demos, even if the passion and energy - and of course that distinctive voice - are all still in check. And there’s a lot of Archeo in all these songs. By the time Archeo releases his album, he says, you’ll have a compilation album from an artist who’s followed his own path, and found out a lot about himself in the process. “In ‘Sun Don’t Shine’ for instance the song’s essentially about a twisted relationship where we only found anything out about each other when we were in our darkest moments,” he explains. “We were held together by those short flashes of darkness. We learned more about each other in those dark moments than we did when we were having a great time. It’s a song about learning from your mistakes.”

Archeo may be keen to learn from life mistakes, but this talented new artist who instinctively pushes himself from challenge to challenge is making precious few when it comes to his music. His opening shot at the tail end of 2011 was the self-released riotous anti-authority anthem ‘Mr. General’ - produced by Archeo alongside studio legend Steve Osbourne (Suede, New Order, Perfecto), he says “‘Mr. General’ was a quick blast of what is yet to come”. And rightfully so, with new single ‘The Payback’ in the pipeline, this newcomer better be ready for all the doors that are about to be opened for him. “Believe me, I won’t pause to walk through them”.

I ventured off into the music field in 2011, & doin music has grown to be a PASSION of mine.. I've always been a fan of music itself, but when I started making music of my own!!! Man.... It created a completely different feeling for me..

Coming up, I have always been a fan of music. I grew up in a small town by the name of Arcola, La. I came up with a lot of influences in the music world, many of which I wanted to be like. It wasn't til the winter of 2011 that I really took music seriously. Starting off as a poet, the transition was hard, but I work for what I want. I stayed up night and day working on my craft, and before I knew it, music was my life! Day in and day out I put my life story, piece by piece, in every single track. I don't have lot's and lots of money, so my music doesn't reflect that. What my music does reflect, is a man who has lived, and survived/surviving this thing we call " Life " No it's not your every day listening type of music, but it's music that will get you thru the day as well as a rough time because it's music you can relate to.

All I ask for is your ear....

It's hard to describe my style of music.. It's not the shoot em bang-gang type of music that you hear now a days.. My music is more so about my Life's Ups & Downs.. Ion mean any disrespect to those that make that brand of music, make ur music.. I consider my music to be something you can ride to without skipping a track.. It has meaning, as well as concept.. Each line is a piece of me & I look forward to letting you into my world..

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