DePresleys is an
international meeting of minds among composer/programmer/sound
designer/guitarist Geir Weggersen in Norway; composer/vocalist/lyricist Jon
Ravneng, Norwegian in Utah; drummer/associate producer Rick Shlosser (featured
on some of the biggest albums and singles of all time, including Van Morrison’s
Tupelo Honey and Rod Stewart’s Tonight’s the Night, as well as work with Alice
Cooper, James Taylor, and many more) in San Miguel de Allende, Mexico; and
producer/engineer Paul D. Carlsen (whose multiplatinum and Grammy-winning
experience includes work with Nirvana, Neil Young, John Prine, Genghis Blues,
Zap Mama, and many more) in the San Francisco Bay Area.
***
Expert multi-woodwind player Richard Hardy (who has played and recorded with
Carol King, Stevie Ray Vaughan, Dave Matthews, and George Harrison) in L.A.;
and guitarists Torbjörn Andersson (of Roxette and other well-known Swedish
acts) in L.A. and Sweden, and Josh Sklair (two-time Grammy-winning
producer/guitarist formerly with Etta James), South African in L.A., also
regularly lend their extraordinary talents to the band.
*** Depresleys is more than
a band; it’s a project. No, it’s a lifestyle. A gravitational center, and if
you get sucked in, you will never escape. At least not unscathed.
The kind of black hole that
occupies the center of the Depresleys’ universe is a mystery. We, the dp’s,
have tried to figure it out for years without success. All we know is that
we’ve found some kind of source that keeps offering up inspiration and
creativity such that we’ve been able to get through the “less pleasurable”
periods of our careers. And, after all is said and done, what’s important, what
we will leave behind, are the songs. We have accumulated quite a number; last
time we counted, there were 322 of them, 322 original dp creations that live
and breathe and demand a life of their own. Perhaps that is the answer to the
mystery? What has a stronger gravitational pull than art itself? It’s a good
answer. We like it.
“The Depresleys” album “Leaking Blue” is a 12-track
masterpiece of soul grabbing music immersed with a brilliant fusion of modern
sound. The entire album is evolved and layered in atmospheric solitudes that
takes the listener away to a place within to experience “a connection”. Leaking
Blue, blew me away! ~ Stewart Brennan, World United Music
The
Commuters might hail from New York, but their kinetic, personally revealing
anthems capture an alt-rock essence that aspires toward worldwide appeal. Their
commercial debut (As I Make My Way – EP) was released at the end of August, and
is comprised of 4 songs — “As I Make My Way,” “Bombs Away,” “Fallen From
Grace,” and “You’ll Stay Right Here” — all from their upcoming album, Rescue,
due out in early 2012. Their video for “As I Make My Way” was added to mtvU’s
rotation in early October and they have received extensive airplay at college
radio stations throughout the US.
Right from
the outset of both releases (mastered by White Stripes/Ryan Adams collaborator
Fred Kevorkian), The Commuters’ signature attributes are front and center. Lead
single, “As I Make My Way,” has it all: an unforgettable hook, huge guitars
that ring and echo and a grounded rhythm section that anchors the track’s
precise tension. Elsewhere, you can hear traces of Peter Gabriel’s work with
Daniel Lanois nudge against the delicate bite of Automatic/Monster-era R.E.M.
The latter is particularly evident in the title track’s feedback thrust and
circa-Bends Radiohead gets channeled via the poised, melodic moodiness of album
standout “Fallen from Grace.” And what ties all this together are the
Commuters’ poignant lyrics, which eschew cryptic sermonizing, focusing instead
on transparently human experiences and emotions.
Such
richness and diversity on an inaugural release is no happenstance. As their
name suggests, the Commuters have traveled through a lifetime of musical
influences, but it’s their own personal global journeys that have guided the
foursome to something universal but prevailingly intimate. Before forming the
Commuters in 2010, Canadian-born, Philippines-raised frontman Zeeshan Zaidi
(whose parents were born in Pakistan and India) spent many years in the music
industry. His early accomplishments included producing and engineering
Grammy-nominated artist Ryan Leslie’s first demo, and he subsequently worked in
the marketing departments of major labels in New York helping to develop the
careers of other versatile artists, including OutKast and Cee Lo Green. During
this time, Zaidi was also honing his craft as a singer, songwriter and
musician, performing around New York’s open mic circuit. When the time arrived
to put his own abilities as a performer front and center, he immediately shared
a dozen demos of his songs with childhood friend, New York-based producer and
soon-to-be Commuters guitarist Uri Djemal, who was also raised in the
Philippines (by parents of Israeli and American descent). The two got to work
co-producing the album at Djemal’s Madpan Studios in Manhattan, where he had
produced many well-known artists in New York’s indie-rock scene. Says Zaidi:
“Uri’s studio was a few blocks from my apartment and he was telling me for
years to come work on my songs there. One day — when I knew it was time — I
just walked over and we started.”
Soon, they
were joined by Djemal’s previous collaborator, French-raised Ben Zwerin on bass
and Italian-American upstate New York native Paul Amorese behind the drums,
solidifying the current lineup. Zwerin, the son of an American trombonist and
rock critic based in Paris, had previously played and toured extensively with many
renowned world and jazz musicians. Amorese had been playing professionally
since the age of 14, performing in numerous bands throughout New York City and
state. The material that would become Rescue had firmly connected with its
improbable shepherds.
The band is
signed to Zaidi’s New York-based label, Communal Records. Having established
themselves at noted hometown venues in Manhattan and Brooklyn, including
Arlene’s Grocery, Lit Lounge and Spike Hill, and received blog acclaim in the
U.S. and abroad, the Commuters are eager to build their US presence and also
extend their experiences outward to an international audience. As Zaidi
explains, the already-dynamic tracks on Rescue “sound energetic and alive” on
stage. “We love creating songs in the studio but performing them for live
audiences is even more exciting,” he continues. “A lot of our online fans in
different countries ask when we’re going to play in their hometowns – and we
want to make it to all those places.”
And while
every band aims to last, the Commuters’ unique combination of its members’
personal histories and creative backgrounds leading up to this moment
foreshadows a longer and brighter future than most. “Our hope and our goal is
to be around for as long as possible,” says Zaidi. “We want to build this over
time — the first album is just the start.”
The Commuters are:
Zeeshan Zaidi – Vocals,
Guitar, Piano, Keyboards, Songwriter, Co-Producer
Uri Djemal – Guitar, Keyboards, Co-Producer
Ben Zwerin – Bass
Paul Amorese – Drums
Kane Miller, born March 20, 1990, is a Canadian singer/songwriter who
started writing and producing acoustic folk music in 2009. A lifelong musician,
Miller began with classical training in violin and piano at seven, and has
gained years of experience performing and working in live and studio
environments.
His newest EP, Hiding Place, features the rich sounds of violin orchestrations
and piano ballads that offer a deep and thoughtful tone. Nightmare, the first
single from Hiding Place, was released on March 4, 2012 with an accompanying
music video.
Hiding Place was released on March 8, 2012.
Kane’s work first came to life with the March 2011 release of his debut album
Dreamtime. Musical influences for this emerging artist include Damien Rice and
Sufjan Stevens. His music ranges from the calm, creepy and collected sounds of
Introduction to a New World to upbeat pop themes similar to The Alien and The
Protest.
Intimate and full of passion, Miller’s voice emits a thought-provoking melody,
while his classical training has shaped the depth of his music.
There is a noticeable and distinct difference in
styles between each generation of music. The 60’s were all about freedom, love
and tolerance. The 80’s bought us electronic cheese with a dash of hair metal
while the ‘noughties’ heralded the dance generation. However, much like
fashion, there is no longer a definite standard of music. Now more than ever,
there is something for everyone. So how will we define our generation of music?
We will be defined by the boundaries we explore,
the walls we break down and the beginning of the musical revolution. We will be
defined by our individuality, our diversity. But most of all, we will be
defined by our ability to adapt to the ever changing seas of flavour, while
keeping a sturdy grip on our roots. We will be defined by bands like ‘Howling
Dollhouse’.
The Present:
‘Howling Dollhouse’ is a five piece rock outfit who
are just about to release their second full length studio album. Produced by
David Carr (Antiskeptic, Sadhana) at Rangemaster Studios in South East
Melbourne, the bands next offering promises to be one of the best albums
released in 2012, and a key ingredient in the definition of this generation’s
musical journey. ‘Howling Dollhouse’ are all seasoned performers with musical
interests as varied as the songs they create. Yet even in with their assorted
tastes, they hold true to their strengths and find ways to push the boundaries
of their genre. ‘Howling Dollhouse’ consists of Azazel on the skins, BenJammin’
on the 6-string, Lee on the low 5-strings, Andy on keys and Trick on the vox.
Five guys with the passion and the drive necessary to secure a spot in the
soundtrack of the twenty-teens. Five guys who are prepared to take on the
world, so the world better be God damned ready.
The Past:
‘Howling Dollhouse’ started their journey under the
moniker ‘Into the Night’ in March, 2005. In 2007 they released their first
6-track EP titled ‘The Art of Honesty’, which served to classify the bands
overall style. However, by the time the band released their first self-titled
album in 2009, their sound was significantly different. The addition of Andy on
keys opened the band up to a new realm of possibilities and by now the band was
starting to feel far more comfortable with their place in the musical world.
Mixed by Sylvia Massy (Tool, Red Hot Chili Peppers, R.E.M, Cog) and Rich
Veltrop (System of a Down, Tom Petty) at Radiostar Studios in California and
mastered at Crystal Mastering in Victoria, their self-titled album was the
culmination of years of persistence and an unwavering thirst to release great
independent music. The band has spent the past several years playing in top
class venues such as ‘The Hi-Fi Bar’, ‘The Gershwin Room’ at the Esplanade,
‘Ruby’s’, ‘The Middle’ and ‘The Evelyn’, while sharing the stage with such high
class acts like ‘Ten Thousand’, ‘Dead Letter Circus’, ‘A Sound Mind’ and
‘Thousand Needles in Red’ to name just a few. Yet, even with the enthusiastic
response their album received, it was clear the band still needed to temper
their song writing and concentrate on making their music more accessible to a
wider audience. And in 2011, the band decided that to tie in with their new
outlook, new album and unified style, it was time to upgrade the band’s image.
After lengthy deliberation the band decided to abandon their long standing
title ‘Into the Night’ and adopt the new name ‘Howling Dollhouse’.
The Future:
As a band, the members of ‘Howling Dollhouse’
suffer under no illusions that to be successful in this industry takes more
than mere musical prowess, and having a watertight business strategy is just as
important as the product. They have spent the past many years not only learning
about themselves as musicians, but also tuning their marketing and networking
skills. They have the product, they have the skills, they have the drive. All
of these elements converge to communicate one clear message;
Howling Dollhouse will one day be classed as
Australian musical icons, they will be one of the defining bands of this
generation. It’s not a matter of ‘if’; it’s simply a matter of ‘when’.
Raised in the rural South, Wendell spent 7 years
in DC as a singer/songwriter, performer, and worship arts director. Wendell... and his wife Hahna now live in Daphne, AL,
where Wendell is Worship Arts Director and Artist-in-Residence at Church of the
Apostles.
After his 2009 debut, Find Your Way Home, Washington,
DC-based singer/songwriter Wendell Kimbrough dedicated 2 years to playing live
shows and developing his songcraft. The hard work bore fruit as Kimbrough’s
narrative folk/soul/jazz music found a fiercely loyal audience in DC. Those
fans demonstrated their enthusiasm for Kimbrough’s music in 2011 when they
rallied behind his new album and fully funded it on Kickstarter in just over 48
hours.
Thanks to their support, Things That Can't Be Taught, an
album of “heartbreaking melody” that “vibrates with intensity” (Aiding &
Abetting) released in November 2011. A 20+ city tour from Dallas to Boston
marked Kimbrough’s first steps toward expanding an enthusiastic DC following
into a national fan base. Along the journey, he has shared the stage with indie
artists Elizabeth and the Catapult and Damien Jurado.
The Dusk were an
indie/electro rock band formed in Cheshire (UK) in 2010. After several
personnel changes the core group members of James Grierson (vocals, acoustic
guitar), Alastair Gunn (guitars, keyboards), Janssen Bostock (drums and
percussion) and Dave Jones (Bass) released their debut EP, entitled 'Falling',
on Crying Boy Records. This EP, produced by Simon Jones of seminal north-west
bands The Verve and Black Submarine, was released on 3rd December 2012 and is
available on all good digital music stores.
The Dusk weren’t
the next big thing. They weren't the new musical revolution. They weren't the
voice of angst-ridden youth. And they didn't aspire to ring in a new political
order. They were just four people who made sounds. Great sounds. The Dusk
disbanded in October 2012. For more information about The Dusk please PM
through the Facebook page:
The Dusk
disbanded in October 2012. Several members of the band went on to form
experimental indie band 'driftbox' which you can find at; www.facebook.com/driftboxmusic
Robert Len
Stallard a.k.a. RLSguitar, performs finger acrobatics and creates sonic
intricacies not typically seen or heard on acoustic guitar. His unique sound
and style incorporate standard and alternate (open) tunings along with
fingerstyle techniques such as two-hand tapping, harmonics and a few of his own
derivations. His instrumental music is a progressive fusion of rock, folk,
blues, jazz, new age, world music, among other influences.
He calls it
"alpha music" since he seeks to stimulate your alpha brainwaves,
transporting you to a dreamy, meditative state. It is music for soothing the
mind, relaxing the body and nurturing the spirit, while contemplating God and
Creation.
Being a Catholic,
his music expresses Christian values. However, he tries not to preach or force
any of his values and beliefs upon others. He just wishes to deliver his
instrumental guitar music to those who want to listen and hope it touches them
in some positive way.
Full Moon Rising is an International Music Project that
integrates Daniel Tyler Pohnke’s thought provoking and infectious style of song
writing into collaborations with local musicians to create a full color
spectrum of music.
Daniel was inspired to write his first song the day his
mother died in July 4th, 2000. Shortly after, the concept of Full Moon Rising
was born as an way to express the lessons learned through Daniel’s life
experiences. By 2003, Full Moon Rising quickly excelled in the Los Angeles and
surrounding areas performing at Internationally Acclaimed venues like The Viper
Room, Whisky and House of Blues.
In 2005 Daniel Recorded and Self-Produced the first 2
Albums: compiling more then 20 musicians to create the personally reflective
double-disc musical quest entitled “Release,” and the visionary single-band EP
entitled “Transition.” Both records were released on April 19th 2005.
Immediately following, Daniel embarked on a five and a half month United States
Tour creatively entitled “The Chameleon Tour,” building a following of over
10,000 active viewers that followed him via Photo blog as he performed
spontaneously at Festivals, frat parties, living rooms, bars and streets,
without any advanced bookings.
In 2007, after discovering Yoga, Meditation and the
spiritual philosophies of the East, a yearning for a deeper experience in life
led him to the Motherland of India. As he traveled the ancient land interacting
with the people, music began to come to him in a much different way.
In the winter of 2008, after trekking the Himalayas a vision
of an empowered Humanity came to Daniel as he was writing the lyrics of “Brave
New World.” From that day forth, a plan was set into action and the invaluable
partnership with the Mai Segev was born.
In 2009, they brought the music and message to Mumbai, began
working with local musicians and performed at colleges, major clubs and
festivals (i.e. Blue Frog, Khala Goda, celebrate Bandra), as well as intertwining
with various spiritual paths and facilitating workshops for the “so-called”
slum areas (i.e. Dharavi).
The recording of “Brave New World – The Time is NOW!” album
began with the intention of collaborating with a different producer and unique
set of culturally diverse musicians for each track. These recordings led them
to remarkable personal and business interactions throughout India to Israel,
Egypt, Germany, USA and back to India.
The unique multi-genre journey “Brave New World – The Time
is NOW!” has grown beyond the album into the Brave New World Empowerment
Festival and currently, Full Moon Rising is performing in various cities around
the world.
Rumour has it
this band began in 2000 as a vehicle for the songs written by long-term
friends/bandmates Gilmore & Simms. They recorded these songs and released a
self-financed single ‘Under A Cloud’ in April 2001 to critical acclaim and
creditable sales given its self-financed status. This prompted the decision to
keep recording and by the end of 2001 an album was completed – ‘Melancholics
Anonymous’
If the band’s
name (taken from the Doors’ song ‘Crawling King Snake’) conjures up images of a
secret place where dark tales are told in furtive whispers, the album did
nothing to dispel this image. Indeed, the album title, ‘Melancholics Anonymous’
makes us think of a place where the lonely and alienated gather to give their
testimony and the 10 songs feel more like 10 confessionals. Gilmore’s
unashamedly dark lyrics mix fact with fiction, the real with the imagined. The
listener is never quite sure where the truth ends and the rumour begins, but
this is reality not fantasy, and every song touches a nerve and makes us think
of our own dark times. It is clearly personal and yet every tale has an
everyman quality.
Dark times? Yep,
they came and put a stop to proceedings in early 2002, just as RD were about to
start promoting ‘Melancholics..’. Both Simms and Gilmore had spanners put in
their works and though the break was meant to be temporary, it is only now, 10
years later, that both are able to pick up where they left off. They are not
going to dwell on the past, but want to make up for lost time and right a few
wrongs. They have put together a new band of experienced musicians in Boyd,
Causby & Lisk. They’re all fans of the album but rather than pretend they
can just pick up where they left off, the band is going to create their own
persona that may be slightly different to that of 2001. The songs from
‘Melancholics Anonymous’ will be the start but not the be all and end all.
The band
rehearsed through the Summer culminating with their debut performance at
AiirFest in late July. Since then the band have embarked on a series of gigs to
raise their profile. Already though it is clear the band is creating its own
identity musically with 3 new songs already making their live set.
It is very much a
case of the old Rumour Den is dead, long live Rumour Den.
Psychedelic, Alternative, New Wave, Dark Wave – (2000 to 2019)
Psychedelic, Alternative, New Wave, Dark Wave – (2020 to 2029)
Rock, Alternative - (2010 to 2019)
Rock, Alternative – (2020 to 2021)
Soft Rock, Lite Rock, Alternative – (2010 to 2019)
Soft Rock, Lite Rock, Alternative – (2020 to 2021)
Pop Rock – (2000 to 2019)
Pop Rock - (2020 to 2021)
Folk Rock, Acoustic – (2010 to 2019)
Folk Rock, Acoustic – (2020 to 2021)
Hard Rock, Heavy Metal – (2000 to 2019)
Punk Rock, High Energy Rock n Roll – (2000 to 2019)
Southern Rock, Alt Country – (2000 to 2019)
Classic, New Age Classic
New Age Alternative
Ambient, Electronic, Relaxation
Music for the Revolutionary Mind
Welcome!
World United Music (W.U.M.) is dedicated to promoting a variety of music by Independent, Signed, and Unsigned artists. The goal of this project is to help new artists gain recognition for their music by Fans across the World while also offering additional support to established artists that continue to create.
World United Music gathers the very best music right here in one place to help you the listener discover what you've been missing.
If you like what you hear, please share the music with friends and family because every share you make, brings an artist new fans...and that is what it's all about.
Music is the peoples voice, so the power to change the World is in your hands. "Catch the Wave"
~Stewart Brennan~
Trying to make sense of today’s insane world? Here's a prophetic book that answers your questions.
I don’t like what the deep state has to offer so I decided to build my own World where creativity, music, and truth prevail. Therefore I’m a photographer, Writer, Video Producer, News Reporter, Music Promoter, Radio DJ, Poet, Activist, Critical Thinker, and Problem Solver. Be sure to visit all my websites linked below for more of my world.