Fanfarlo Music Band, UK

Fanfarlo Music Band, UK (ARCHIVED)

About Fanfarlo, UK

The passion, the obsession, the dissolution of intellectual rigour; heart and longing colliding with mind and matter, the recurrent theme of Fanfarlo.

As aging instruments are brought back to life with a creaking aching beauty, a bizarre collection of characters join our midst. Each an accidental Fanfarlo metaphor – the irrational pursuit of an otherwise intellectual mind.

Howard Hughes’ decent into madness “I’m A Pilot”; the delusion of Pellegrino Ernetti “The Walls Are Coming Down” and the absurd writing career of “Harold T. Wilkins”, all sweep from sweet murmuring melodia to orchestral pop.

Again and again the band find ways to mirror the impotent fury of the words. Cathy Lucas (violin, keyboard, vox), Justin Finch (bass) and Amos Memon (drums) and Leon Beckenham (trumpet, keyboard) all conspire to ensure that Fanfarlo eschew a defining format. Reaching for less than obvious conclusions to musical conundrums: saws, clarinets, cellos, mandolins, ukuleles, melodicas, hands clapping and feet stomping.

There is no doubt that all of Fanfarlo are clever, bookish coves, but when they come together to make music, they function on a gut level. For a band that comes from all over – frontman Simon Balthazar is himself from Gothenburg – there is that restless, furtive artistry. A keenness to avoid the constraints of home, battling with the longing of the heart, the distant locations of a burning house “Fire Escape”; a drowning village “Ghosts”; and the uneasy sensations of urban sprawl, “Luna.”

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Trapped and spiralling guitars, an insistently hammered piano chord, or an ominous stomp, the fervour with which they play is stirring and infectious… Fanfarlo Baudelaire’s fictional dancer, impossibly desirable, an inescapable object of obsession.

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Ash (Atomic Heart) – Musicians, Ireland

Ash (Atomic Heart) – Musicians, Ireland (ARCHIVED)

Ash will promote their mold-breaking A-Z Series with a 26-date A-Z UK tour.

Working alphabetically through the towns and cities of the British Isles from Aldershot to Zennor, Ash will be dropping in on the UK’s lesser-visited concert venues.

Exotic locations like Ventnor (that’s on the Isle of Wight), The Havana Club (in Jersey), Upper Norwood (South London of course…) and the Devonshire seaside town of ‘eXmouth’, will be among those experiencing a rare visit from a major touring act.

The tour provides the launchpad for the band’s unique A-Z Series, kicking off with the electro-ballad “True Love 1980” on October 12th. The A-Z series will see a collection of 26 limited edition 7” and digital download singles, released every two weeks over the coming year.

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OCT 19 – ALDERSHOT @ West End Centre
OCT 20 – BRADFORD @ The Gasworks
OCT 21 – CARLISLE @ The Brickyard
OCT 23 – DUNDEE @ Fat Sam’s
OCT 24 – EAST GRANGE @ The Loft
OCT 25 – FALKIRK @ Behind The Wall
OCT 27 – GLOUCESTER @ Guildhall
OCT 28 – HASTINGS @ Crypt
OCT 30 – IPSWICH @ Corn Exchange
OCT 31- JERSEY @ St.Helier Havana Club
NOV 2 – KINGSTON @ The Peel
NOV 3 – LOUGHBOROUGH @ University
NOV 7- OLDHAM @ Castle
NOV 8 – PLYMOUTH @ Hippo
NOV 10 – QUEENS PARK @ Corrib Rest
NOV 11 – ROTHERHAM @ The Vault
NOV 12 – SWANSEA @ Sin City
NOV 16- UPPER NORWOOD @ Gipsy Hill Tavern
NOV 17 – VENTNOR @ Winter Gardens
NOV 19 – WORCESTER @ Dive Bar
NOV 21 – EXMOUTH @ Pavilion
NOV 22 – YEOVIL @ Orange Box
NOV 23 – ZENNOR @ Village Hall

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The Cobbs – Artist Bio

 The Cobbs (Philadelphia based Group) – ARCHIVED

The Cobbs Sing the Deathcapades (Self-Released)

The Cobbs – Philadelphia-based group began as Ty Cobb, named after its band members Ryan Cobb and Paul Cobb. It comes as no surprise that the estate of the legendary baseball player from which the band’s name was taken took legal action against our indie musicians, forcing the band to change their moniker to Mad Action.

After two releases under the Ty Cobb name and several as Mad Action, they took a couple of years off to complete their latest collection of rock greatness, Sing The Deathcapades.

Just to add another new direction on the band’s map, they changed names once again, this time to The Cobbs. Their current incarnation includes Ryan and Paul Cobb, along with Chris Coello, Maxwell Lee and Ryan Smith.

Following “Trophies,” in 2002, the pair released a follow-up ep entitled 7y Co66, on Black Rebel Motorcycle Clubs Abstract Dragon imprint. The limited pressing of only a few hundred copies gained critical aclaim with the British press. Unfortunitly, the name was now out there and the Ty Cobb estate came a knockin’. The moniker Mad Action was born.

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In 2004, Ryan and Paul Cobb signed to LOOG/Polydor records and immediately released 2 ep’s entitled “Teac Attack” & “Just Like Fresh Air”. A total of 18 songs spread over half an hour, that manage to take in folk, rock, sea shanties, blues, country, and punk in a scattershot approach that is as exhilarating as it is eclectic. Again, the Cobb brothers gained rave reviews in the British music press. A full length record entitled “And Begin” followed.

After spending the past 2 years recording their new record, producing/engineering numerous acts, such as BRMC, Kasabian, Mainline, Bottom of the Hudson, Peasant, and Hugo Chakra Bong, and temporarily touring and taking care of drums and guitar duties in the band Mazarin (I&Ear/BellaUnion), Ryan and Paul have re-surfaced with a new band called The Cobbs, a fitting name for the musical duo. This home-grown, DIY rock & roll outfit just wrapped up a tour with Black Rebel Motorcycle Club supporting their self-released record “Sing the Deathcapades.”
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Metric, Singer Bio

Metric, Singer Bio (ARCHIVED)

Fantasies (Metric Music International)
Release Date: April 14, 2009

When you hand over your money for a concert ticket, what are you really paying for: some idea of the performer you’ve gleaned from gazing longingly at album covers and compulsively clicking YouTube videos, or the performer as they choose to express themselves on that given day? Is the consumer entitled to a certain expectation of the performance — a satisfaction-guaranteed procession of “the hits”— or should the artist interpret the fan’s investment as a vote of confidence, that the fan is willing to follow their every whim?

In other words, is the customer really king, relegating the artist to the role of a court jester whose sole purpose is to entertain on demand? Or does the artist, elevated up on the stage and paid for the privilege, still dictate the terms of the contract?

For Metric frontwoman Emily Haines, all these questions came to a head on the evening of March 30, 2008 at the Phoenix Concert Theatre in Toronto. She was all set to perform the somber piano-based ballads that comprised the two releases from her solo venture, The Soft Skeleton: Knives Don’t Have Your Back and What Is Free To a Good Home? — much of which were written following a time of great sadness and personal loss.

But having performed those songs so many times since Knives’ September 2006 release, Haines had an epiphany during that Phoenix show — she didn’t want to be sad anymore. And she didn’t want to play those songs. So, about 40 minutes into the show, she stopped “Dr. Blind” mid-verse and said just that: “I don’t want to play these songs anymore.” Instead, she spent the next half hour talking to her fans, encouraging them to join her at the piano on stage and, for the grand finale, pulling a kid from the audience for an impromptu duet on Metric’s “Live It Out.”

She was up for anything — except playing those songs. Some disappointed Soft Skeleton fans in the crowd probably thought the show was a trainwreck. But for Haines herself, it was about getting her mind back on track — to the business of completing Metric’s long-awaited fourth album, Fantasies.

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But in order to come together, Metric first had to drift apart. After touring non-stop between 2003’s breakthrough release Old World Underground, Where Are You Now? and 2005’s frenzied follow-up Live It Out, the four members of Metric sought sanctuary in sideline pursuits — Haines threw herself into the Soft Skeleton and took a soul-cleansing sojourn to Argentina; guitarist/co-founder Jimmy Shaw built a neighborhood recording facility, Giant Studio, on Toronto’s burgeoning Ossington Avenue strip with his neighbor Sebastian Grainger; while the Oakland, California-based rhythm section of bassist Joshua Winstead and drummer Joules Scott-Key toured their own garage-rock offshoot, Bang Lime.

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Audrye Sessions, Oakland

Artist in Focus – Audrye Sessions, Oakland (ARCHIVED)

Biography: Audrye Sessions are a new Oakland quartet who just finished recording with Andrew Scheps (U2, Red Hot Chili Peppers, Johnny Cash) and Matt Radosevich (The Hives, Taking Back Sunday) to create their remarkable self-titled debut album for Black Seal, available in early ’09.

Audrye Sessions arrived when bassist Alicia Marie Campbell met Karazija, who was gigging solo in coffee houses after his previous band split up.

His early musical loves included the Beatles, Metallica, Michael Jackson, Radiohead and Oasis. But Karazija’s true love has always been slow-churning melodies (“My heart beats slow,” he says), and when he hooked up with the Björk-adoring former model Campbell, it was time for a change. Looking for more players, Karazija hit Craigslist and stumbled upon Michael Knox, who answered a seeking-guitarist ad by announcing he didn’t have a guitar.

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The band’s current drummer, James Leste, has been part of the lineup since 2007 and Knox says they’re an eclectic little family now. The outfit picked up the moniker Audrye Sessions from a commercial for a CD burner that happened to be on the television when a venue called demanding a name.

Debut Album : Their self-titled debut on Black Seal — available early 2009— is packed with polished, propulsive rock songs and gentle, stripped-down tunes with the kind of ear-grabbing melodies that instantly hard-wire themselves into your brain. Recorded with Andrew Scheps (U2, Red Hot Chili Peppers, Johnny Cash) and Matt Radosevich (The Hives, Taking Back Sunday), the album is anchored by Ryan Karazija’s remarkable voice, which is whisper vulnerable one minute, roiling with emotion the next and easily slips into a smooth falsetto. For more information about Audrye Sessions, visit:

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