Growing up in Memphis,
Stephen Gordon settled on a career early on. He planned on being a professional
basketball player, and at 6’4″, it seemed like a logical choice. Still, music
was always there, weaving itself into his life.
His parents bought him his
first guitar when he was eleven and he still looks back on those early days as
a burgeoning musician with fondness. “I was introduced to the music of Chuck
Berry, and I just lost my mind. His were the first songs I remember learning
and singing.” His passion continued to grow, and in his sophomore year, the
deal was sealed. “My first performance was in the tenth grade at the school
talent show. We put a band together and played a song that I wrote. I still to
this day cannot describe that exhilaration.”
Stephen began pursuing
music in earnest. His grown-up musical palette expanded beyond Chuck Berry,
with new favorites like Neil Young, Ryan Adams, and Josh Ritter.
Stephen’s first record was
I Have Seen Your Shining Spirit in 2009. Showing an intensity and maturity
beyond his 22 years, it established him as more than just another kid with a
guitar and a microphone. It was just a taste of things to come.
Stephen was building a
career in the brave new world of a post-iTunes music industry. The time was
ripe for artists to forego the traditional attachment to a record label, and
Stephen took advantage of that. Spreading the word of his unique musical
sensibilities via word of mouth and social media, Stephen quickly had a full
schedule of touring and making new music.
Still, he faced many of the
challenges unique to independent artists. “The tough thing is that every day
there are seemingly a thousand different things I could do… each of which could
potentially be beneficial or futile. Making all these little decisions and
following through with no one looking over my shoulder saying, ‘make this
happen,’ has taken a lot of practice. I’m still learning to keep a good pace.”
Stephen released the
four-song VA in 2010. The brevity seemed to add to the brilliance of songs like
“Letterboxes” rather than burying them amid a dozen mediocre tracks. It leaves
one wondering if things would have sounded the same under a record label
contract. “The great thing is that I have all the freedom in the world to make
art and to keep learning how it can best serve people—without the weight of the
bottom line. I am growing as an artist and musician well beyond just being a
singer/songwriter at this point, and I don’t know that that would have happened
had I not had the freedom to explore my gifts and passions on my own.”
His 2011 full-length album,
So Young Now, was another brave step, but this time, Stephen took his fans with
him. Joining the ranks of an increasing number of creative professionals, the
record was crowd-sourced through a Kickstarter campaign. This solidified the
connection between Stephen and his loyal fans, ensuring that his creativity
could continue to enrich their lives in new ways.
Would he trade it all in?
If he could go back to middle school Stephen, would he tell him to stick with
basketball and never listen to that first fateful Chuck Berry tune? “I make
music because I love it. I’ve seen the deep down good it can do for people and
relationships, community and comfort. I don’t presume to understand all of the
ways that it works and moves, but I’m dedicated to learning and using that to
bring folks something worth listening to.
The Dodos began playing music
together in 2005, when musician Meric Long, who had been gigging steadily in
San Francisco as a solo singer-songwriter, was introduced to Logan Kroeber through
a mutual friend (a college acquaintance of Long's that happened to be Kroeber's
cousin).
Meric Long self-released a solo
EP titled Dodo Bird in March 2006, in which Long played all the
instruments. While they performed the songs from this release, Long and Kroeber
met and started playing together. They worked to blend Long's training in West
African “Ewe drumming” and Kroeber's experience in metal bands to create music
in which "drumming could be a center role and help bring out the syncopated
rhythms coming out of the acoustic guitar."
The duo released the 2006 album Beware
of the Maniacs, which was self-released under the "Dodo Bird"
moniker. In support of the album, Long and Kroeber toured relentlessly for most
of 2007. The band began to receive critical attention and developed a growing
fan base. Fans began referring to Dodo Bird simply as "The Dodos",
and the band decided to change their name accordingly.
In December 2007, the Dodos were
signed by Frenchkiss Records and they released their
second album Visiter
in March 2008, to critical acclaim.
In an April 2008 interview in the
L.A.
Record, Long revealed the origin of the name of Visiter.
"The reason it’s misspelled is because it’s from a drawing this kid gave
us. We played a show for a bunch of kids in South Central L.A.—Dorsey High. A
friend’s sister [Barbara Lempel] is a special-ed teacher there, so we went down
there to her class and we played for the kids and it was super fun. Then it
came to the kids asking us questions and then one of the kids came up to us and
he gave us a drawing with that written on it. The drawing is the cover actually
of the album, and just—I dunno we liked it. Actually we used all of the
drawings that the kids made in the artwork on the album. It was definitely a
fun, interesting venture for us. We’d never played for kids before—we didn’t
know what to expect but they were clapping and dancing."
In 2009, the song
"Fools," also from the Visiter album, was featured in an advertisement
for Miller Chill.
After the release of Visiter, the
band included Joe Haener (formerly of The
Gris Gris and Battleship) in its touring line-up, playing xylophone, toy piano
and additional percussions.
Their album Time to Die
was released for digital download on July 27, 2009 in the UK and July 28, 2009
in the US. The physical LP release was on August 31, 2009 in the UK and
September 15, 2009 in the US. Joe Haener was replaced by Keaton Snyder during
live performances.
Copies of Time To Die were sold
at The Dodos' August 14 performance in Seattle, WA.
The Dodos' fourth album, No Color,
was released on March 15, 2011. It features vocal contributions from Neko Case.
Vibraphonist Keaton Snyder is featured on this record, but is not part of the
band. As of March 24, 2011 the album has peaked at No. 70 on the US charts. The
band was chosen by Les Savy Fav to perform at the ATP Nightmare Before Christmas
festival that they co-curated in December 2011 in Minehead, England.
The Dodos are known for using an
alternate instrumental approach. Logan Kroeber plays on a drum kit without a
bass drum, playing often on the rims of the drums, and also uses a tambourine
taped to his shoe. During live performances they have a third member playing a
vibraphone, a drum, and two cymbals placed on each other (like a hihat). Meric
Long plays mainly acoustic and semi-acoustic guitars during performances, but
he also owns a Springtime and a Tafelberg drum guitar
built by Yuri Landman. Long has been known to favor using his
fingertips instead of a guitar pick
In 1981 Adrian Iowa founded the band PROTOTYP and "prototyp" became the program for the band. With every concert, the four musicians presented new compositions, there were no repetitions!
Adrian Iowa began his musical career with his own band PROTOTYP and pleased his fans with melodious Artrock songs, selective melodies and stirring rhythms. Whoever saw and listened to this band before, knows why they succeed in filling the masses with enthusiasm straight away! The melodies go into the ear, the lyrics leave an imprint. The end product is merciless Entertainment, full of surprises and because they don't become tired, they show their qualities live on stage to proof it - the performance on stage is a must.
Adrian Iowa is composer and copywriter of the band, (Some of his poems appeared in magazines). Remarcable about the band was, that for 6 years(during 1981-1987), they renounced the bass guitar. However, this was compensated through the development of an individual guitar tuning and gave the Prototyp sound something really unique.... although lyrics existed only instrumental songs were played for years... Adrian Iowa wanted to draw the audiences attention to the special tuned guitar of his.
Adrian Iowa and his band called PROTOTYP has become new members and define themselves somewhere between a production team, studio musicians, family and band. They come together to realize this project, a unique Rock-Opera, a musical event of special kind called.
"Not better than the others - just other than the best - so, B OriGinaL -don't ImiTate!"
Adrian Iowa
PROTOTYP
Artrock Made in Germany
Contact:
PROTOTYP Music Productions
Bozener Str. 3
72379
Hechingen
Deutschland
Phone: 0049 (0) 7471 622943
Fax: 0049 (0) 7471 621641
E-Mail: kontakt@prototypmusic.de
Roddy Doyle wrote that “the Irish are the blacks of Europe and Dubliners are the blacks of Ireland and the Northside Dubliners are the blacks of Dublin”. Born in Donaghmede on Dublin’s Northside in 1975, Damien Dempsey is the voice of that underclass and the quintessential Irish singer songwriter.
An imposing six foot two, Dempsey is a former amateur boxer and a survivor of street gang culture. His youthful audience identify with a singer who has emerged from the rough working class streets with his powerful self belief intact. And his lyrics - “Stevie smashed the delf / ‘cause he can’t express himself / He’s consumed by rage / Like his father at his age” - speak of their shared childhood experiences.
But the optimism that he reaches for amidst Ireland’s industrial and social collapse - “I can see the evil, but I can feel the good, shining out to greet me” - is an inspiration to his burgeoning troubled audience. His concerts can be almost spiritual occasions – his fans sing along to every word and look to him as a leader for expressing such intense social and cultural concerns. Dempsey is reminiscent of Terry Malloy the prize fighter turned longshoreman in Elia Kazan’s On the Waterfront – a man whose conscience forces him to speak the truth, despite the consequences of his honesty.
The Times recently described Dempsey as “the Bob Marley of Ireland”; a comparison which holds true when one witnesses the devotion of his audience and his charismatic presence on stage. “Going to a Damien Dempsey show was like stumbling on a secret society” observed David Sinclair. “The audience greeted him like a superstar.”
His singular stage presence was nurtured by the legendary Irish Folk singer Christy Moore who in mentoring a shy, young Dempsey advised him, “if you’re nervous, tell the audience you’re nervous”. Dempsey concludes “the audience has always been with me. They feel what I feel.”
Since his first concerts in 1995 Dempsey has come to be regarded as the pre-eminent Irish singer songwriter. The Irish Examiner wrote that “he now stands as one of the most important and evocative Irish singers of all time.” Morrissey, who was deeply moved by Dempsey, declared that “to hear him sing is to realise the magnitude of his astounding voice and heart. The songs are true, and his is the best and often the saddest voice of this generation.” And it’s a generation that Dempsey is compelled to speak up for: “the kids have no religion now, nothing to look up to. I try to teach them about their history and lead them towards spirituality, give them some light and some purpose”
Yet Dempsey’s music and vision extend far beyond Ireland itself. He speaks to Africans, Aborigines, the dispossessed and underprivileged, never more poignantly that on his 2005 song “Colony” - “how many years and sure still we’re not free, and your mother cries and you ask God why. Greed is the knife and the scars run deep, how many races with much reason weep. And your children cry and you ask God why.” Dempsey has travelled on his with his guitar throughout Australia, and America and his empathy for the people he's seen is palpable. “Those people [the aborigines] have a spirit that we have almost lost. They have kept a spirituality that we’re not preserving.”
As a child Dempsey was influenced by Christy Moore, Luke Kelly, Shane MacGowan, Bob Marley and Elvis Presley. He attended a music school at Ballyfermot College of Further Education. When he graduated in 1995 the college released his debut EP, The Contender, on their own imprint. In 1997 he released a single “Dublin Town” on the tiny Treasure Island Discs. Although the song went to number 18 in the Irish charts, Dempsey didn’t release his debut album until three years later. In March 2000, They Don’t Teach This Shit In School, established Dempsey as an exciting new talent and attracted the attention of Sinéad O'Connor who took Dempsey out on tour and championed him as an important new talent . “I don't think there's ever been anyone like him. I think he represents the sort of voice in Ireland that is not allowed to be heard" she said.
His second album, Seize The Day, released in May 2003 featured contributions from Brian Eno and Sinéad O'Connor and began a successful artist producer relationship with John Reynolds. Seize The Day marked an artistic leap for Dempsey. He had matured as a writer and was garnering praise from some of the most prestigious publications in the world. “He writes about the street life of suburban Dublin, in all its glory and malice” observed The Sunday Times, “with an evocative and unsentimental affection rarely seen.” Morrissey became a passionate patron of Dempsey’s music, taking him on a full North American, British and Irish tour, releasing Seize the Day in the USA on his Attack imprint and championing him tirelessly in the press. The album won two Meteor Awards, the Irish equivalent of the Grammys.
But it was with Shots in 2005 that Dempsey delivered his masterpiece and his defining album. Backed by Eno, John Reynolds and Justin Adams, the music achieved a new finesse and songs like “Sing All Our Cares Away” and “Not on Your Own Tonight” were bracing views of Irish society that were both shocking and compassionate. On “Colony” he spoke of the bloody colonization of the world and identified his own countrymen with the indigenous people of Africa, Australia and America: “They raped, robbed, pillaged, enslaved and murdered / Jesus Christ was their God and they done it in his name / So he could take the blame if it's not all a game / With bible in one hand and a sword in the other / They came to purify my land of my Gaelic Irish mothers / And fathers, and sisters and brothers” The Times described it as “a powerful fierce polemic, sung with quivery emotion”. His mentor Christy Moore observed that “Damien uses his own language; he's not looking to Hollywood for his vernacular” and proudly added, “when Damien reaches where he is going to reach everyone will say 'we always knew he'd make it - we've always loved him from the very start'.” The album topped the Irish charts and went Platinum. He released his first live album, Live at the Olympia which captured the enthusiasm of a wild Dublin audience. He then toured the USA coast to coast and was honored as Best Irish Male at 2006's Meteor Awards.
In 2007 he released To Hell or Barbados, which debuted at number two in the Irish charts. It was a harder edged record that opened with the brutal “Maasai”; “When I die / I want to die / Not in a home built for the unknown / But by the hand of a Maasai / When I love / I want to love / Not like some swine with no semblance of spine / But like a flower loves sunshine.” The album’s title referred to the 50,000 Irish sent as slaves to Barbados by Oliver Cromwell in the 1600’s. The Guardian stated that “To Hell or Barbados confirms Dempsey’s position as one of Ireland’s great singer-songwriters”. The album debuted at number one in the Irish charts and won him the Best Irish Male award at the Meteors for a second year running (he has won six Meteor Awards to date).
In 2008 he recorded a set of traditional songs with the Dubliners for his fifth album, The Rocky Road. Mojo wrote that “listening to the ancient folk anthems like 'Kelly from Killan' and 'The Hot Asphalt' it’s like hearing a social history set to music, but the arrangements lend the performances a stirring mix of grit and grace”. Dempsey said that he recorded the album not for the old folk music guard but the teenagers who came to his shows; “I have a lot of very young fans, so naturally these kids are gonna hear all these timeless songs that they may not have heard otherwise. I want to give the young kids an alternative to the new MTV generation, gangster rap, Britney Spears and maybe get them interested in their own history through music”.
The live tour that followed demonstrated that Dempsey had equaled and surpassed most of his peers, The Guardian noting that Dempsey’s “musical heroes are now his admirers”. He had become the most vibrant and vital Irish live performer working today. Having played with Willie Nelson, Bob Dylan, U2 and The Pogues, Dempsey’s stage craft and voice had become so powerful that it prompted Bono to say “when he opens his mouth - it's like the end of the world."
After returning this summer from an extensive furlough in South East Asia and Australia, where he was invited by Brian Eno to perform a sell out concert at Sydney Opera House as part Eno’s inaugural Luminous Festival, Dempsey was asked by U2 to support them at the Croke Park concert in Ireland. He has begun recording his sixth album with John Reynolds. It promises to consolidate his position as one of Ireland’s greatest ever songwriters. As Shane MacGowan recently explained “It's great music and it’s great lyrics. It's angry and it's humorous. He sees the beauty that is Ireland and that is Ireland's past and that can be Ireland's future.”
"It (To Hell or Barbados) confirms Dempsey's position as one of Ireland's great singer-songwriters" - The Guardian (London)
"...one of the greatest songwriters of his generation" - Irish Abroad (USA)
"To Hell or Barbados is folk and roots rock with substance, with the sound of Ireland mixed in for good measure. A most intriguing cocktail." - Billboard
"It's clear from the first moment he sings a note that Damien Dempsey is one astonishingly gifted individual" -The Daily Express, London - 5* review of To Hell or Barbados
"...whip-smart lyrical tours de force...his songwriter's eye for detail astounds.." - HOT PRESS (Shots)
"A phenomenal voice..." - Sunday Times (Seize the Day)
"...Dempsey's arrow-true voice has a liquid quality...this is bold, compelling stuff" - Mojo (Shots)
"...not for the faint hearted...extraordinary" - Q (Shots )
"This is a hearty, fraternal embrace of an album" - Telegraph (Shots)
"If you need to be convinced, look no further; Damien Dempsey is the real thing" -Hotpress (Live at the Olympia)
"...the future of Irish songwriting is in good hands" -Irish American News (Shots)
"...America is about to hear a voice she will not want to forget" - Irish Voice(Shots)
Magnetic Cherry began life in Sunderland, North-East
England in early 2009 when local lass Emma joined forces with her brother Chris
to develop some long-standing ideas for ‘original’ music.
From the very beginning, the goal was to draw on a zenith of experience and
musical knowledge that they shared.
With her powerful but melodic vocals, Emma had an immediate impact on the
north-east’s acoustic blues and folk circuit cementing her innate natural
ability as a songstress.
Her brother Chris established himself as a veritable ‘one-man-band’ by his
early teens but drums are where his talent really lies and it is this that
forms the solid foundation of the Magnetic Cherry sound.
Also recruited was self taught guitarist Mark Bushell who had been playing
along to electric blues and rock music since he first picked up a guitar aged
eight.
This brings us to the music itself which is difficult to ‘pigeon-hole’ but were
you to dissolve a core of folk-rock into a melting pot of blues and add a dash
of country you wouldn’t be a million miles away!
Band Members:
Emma Louise Callaghan
Mark Bushell Chris Callaghan Richard (Lionel)Johnson
Influences: Sarah MacLachlan, Ingrid
Michaelson, Sarah Bareilles, Joni Mitchell, Eagles, John Mayer, Leona Neiss
Every so often, a great band comes along
that sounds like nothing that is happening around them. Upon listening to
Cavalier Rose’s demos, it may come as a surprise that the band was brought to
life in Brooklyn.
Cavalier Rose formed during the winter of 2009. After getting together a
handful of times at each others’ apartments to exchange musical ideas, the
group gathered in the basement of Sarah’s house for its first full-band
rehearsal in late February. As it was immediately apparent that this
collaboration was yielding prolific musical creation, a recording session and
gig were scheduled. In late March – after just 7 full band rehearsals – the
band traveled to a 19th century sheep farm on the Connecticut River to record.
Three days later, they returned to New York, where they played their first gig
to a capacity crowd at Pianos. Two weeks later, The Deli Magazine named
Cavalier Rose “NYC Artist of the Month”.
In December, the band embarked on a tour to Rock Island, IL to record a
Daytrotter session, playing shows in Pittsburgh, Ann Arbor, Chicago and
Madison.
In these very early stages of Cavalier Rose’s existence, they are beginning to
hone in on their goal: to change the face of music.
Ocasionally an event occurs of such significance that it forever changes the way you perceive life itself. In November, 1993 such an event occurred for Paul LaRoche. Paul, adopted at birth off the Lower Brule Sioux Indian Reservation, discovered his heritage in 1993 after the death of both adoptive parents. He was reunited on Thanksgiving day 1993 with a brother, sister, aunts, uncles, nieces and nephews. The discovery of his true heritage has greatly affected Paul's life and those around him. The influence on his career has been monumental. Overwhelmed by the experience, Paul has turned his powerful feelings to humanitarian causes through music. In 1995, out of recognition for his tribe, Paul introduced his recording name as Brulé.
It is Paul's mission to be a cultural role model and use his music to make the world a better place for all relations upon the earth. Paul was selected as a musical ambassador and speaker for the 2000 UN Peace Conference held in The Hague Center for Peace. Brule s annual coast to coast tour has included performances at such venues as the Hollywood premier of Kevin Costner s movie Open Range; Indian Summer in Milwaukee; the Indian Arts Markets in Denver, CO and Arlington,TX; the world renowned Ordway Theater in St. Paul, various Tribal casinos and many additional outdoor festivals and events. Brule s tour also includes powerful full-stage concert productions of 'We the People' and 'Red Nativity' the Holiday show.
Brulé has become one of the top-selling Native American recording artists with more than a million CDs sold worldwide. " Over 1 million CDs sold worldwide " 1999 Outstanding Musical Achievement Award by The First Americans in the Arts " 2002 Group of the Year & Best Instrumental Recording Native American Music Awards (NAMMA) " 2003 Best Instrumental Recording for Night Tree By Nicole with Brule (NAMMA) " 2006 Group of the Year for Tatanka (NAMMA) " 2007 Group of the Year for Silent Star Night & Best New Age Recording for Kinship (NAMMA) " 2007 Hidden Heritage&the Story of Paul LaRoche and was recently named as an AWARD WINNING-FINALIST in the Biography category in the INDIE EXCELLENCE 2007 NATIONAL BOOK AWARDS. " 2008 Group of the Year for Lakota Piano II (NAMMA) " 2009 Group of the Year " 2010 Brulé selected to be featured on ONE NATION Float at the 2011 Pasadena Tournament of Roses Parade.
Appearances: Regis and Kathie Lee * CNN Worldbeat * A&E Biography 2009 Thirteen episodes of the show, Hidden Heritage are introduced on the RFD-TV Network. 2010 Twenty six (26) new episodes of Hidden Heritage are scheduled to air on RFD-TV.
On July 13th & 14th, 2007 over 13,000 people gathered at Mt Rushmore National Park to watch a small Native American music group called Brule. Concert for Reconciliation of the Cultures became the largest musical performance ever at Mt. and an historical milestone in the healing of two cultures.
2007 to present, over 225 PBS affiliates have aired the Concert for Reconciliation of the Cultures.
Current band members include: Paul LaRoche on keyboards; Nicole LaRoche (Paul s daughter) on flute; Shane LaRoche (Paul s son) on guitars; Vlasis on percussion; Lowery Begay on traditional drum and Kurt Olson on drum kit. Paul, Nicole, and Shane are enrolled members of the Lower Brule Sioux Tribe of SD. Lowery is an enrolled member of the Diné Nation.
Current traditional dancers include: Lowery Begay, Garan Coons, Chris Estes, Douglas Scholfield, Linda Thompson & Josette Wahwasuck.
After spending many years in the South Florida music
scene the members of Marqui Adora finally found the musical formula that
worked…
Just as Joe Shockley and John Tooker had almost given up on finding a singer
who could create the sound they wanted they heard it through the walls at a
rehearsal studio in August of 2004. After a quick hello during a break Joe
learned that the voice they heard in the next studio was Danny Ashe and that
his band was called Marqui Adora.
At the time Joe said to John, “We’ve got to steal that guy!” Things worked
themselves out without any larceny when Joe noticed Marqui Adora was looking
for a drummer a few weeks later. Joe called Danny and proposed that they could
combine both of the bands and see if it worked. When that first practice
resulted in three new songs they knew that this was the right mix.
Things worked so well that the new Marqui Adora played a show in less then two
months to a very shocked audience. Members came and went during the next two
years but the core of the group stayed Danny, Joe, and John.
After nearly two years of false starts the first record White Buildings was
finished in June of 2006. It was a challenging mixture of rock and dance music
with layers of sound making for a easy repeat listen. A short time later the
band was contacted about using one of the songs from the record, Empty, in a
2007 Nissan Sentra campaign.
At the end of 2006 the band also found itself with an offer they couldn’t refuse.
When local rock group Fashionista fell apart their guitarist Howard Melnick
found himself without a band and offered his services.
The power trio version of Marqui Adora now found itself with it’s own guitar
god as a very solid four piece.
The Clumsy
Lovers have brought their mix of fiddle and banjo-fuelled, bluegrassified
Celtic rock to North American audiences for over a decade. With more than 2500
performances under their belts, their high-energy shows have worn out dance
floors and created a loyal following in 49 states and across their homeland of
Canada.
In addition to their live shows, The Clumsy Lovers have also released a series
of award-winning and critically acclaimed recordings. Early self-produced
recordings garnered the attention of venerated label Nettwerk Records, which
came on board to release “After The Flood” (2005) and “Smart Kid” (2006). Both
albums won a CD of the year nod from the Indie Acoustic Music awards, as well
as being nominated for numerous other honors (including multiple mentions from
The West Coast Music Awards, and the Canadian Folk Music Awards).
In 2010 the Clumsy Lovers released “Make Yourself Known”, a 13-song collection
showcasing the band’s penchant for mixing styles. From bluegrass rave-ups to
pop-rock sing-a-longs, this album brings the Lovers live show energy to your
living room.
But the Clumsy Lovers are still, first and foremost, a live band. Their
spontaneous forays into musical mayhem can only be experienced in person, and
after years of relentless touring the Lovers feel most at home on a stage.
“Their fusion of bluegrass and celtic with a rock attitude is the soundtrack
for a kinetic show that has helped the band become a favorite of the roots
music crowd” – San Antonio Express-News
“Buckle up for a ride on a crazed, banjo-driven folk rock bus, from the
fiddle-tastic band that release After The Flood comes a high-energy,
toe-tappin’ soiree that promises to please.” – Boulder Weekly
“Some people see this Vancouver combo as a messed-up bluegrass band. Others see
a messed-up Celtic group. Still others see a messed-up rock band. With a little
something for everybody, the one consistent element the Lovers bring to every
show is a riotous good time. Blending all the aforementioned influences into a
ripsnortin’ and rootsy performance, these guys (and girl) are absolute road
dogs and it shows in their powerful live shows.” — Orlando Weekly
Matthew Barber is a singer-songwriter from
Toronto who has released 7 albums over the past decade and toured extensively
across Canada with inroads into Europe, the US and Australia.
Equally at home as a solo performer or with
a band, Barber’s music is inspired largely by the great songwriters of the 20th
century North American folk/blues/rock’n’roll and country tradition.
After releasing his first album on the
independent label Paper Bag Records in 2003, Barber signed with Warner Music
Canada and subsequently released two albums on the label – the e.p. The Story of Your Life (2004)and Sweet
Nothing (2005). After both
sides decided to part ways amicably, Barber landed at the independent label
Outside Music – a label for which he used to work in the warehouse. Since then
he has released 4 critically acclaimed full-length albums –Ghost Notes (2008, nominated for a Juno award), True Believer (2010), a
self-titled home-recorded album Matthew Barber (2011, nominated for a
Canadian Folk Music Award) and Songs For The Haunted Hillbilly which
features 12 songs written for a theatrical production based on a book by Derek
McCormack and produced by Montreal’s Sidemart Theatrical Grocery.
Barber won a Montreal English Theatre
Critics award (MECCA) for his music in the show and the show itself won the
MECCA for Best Production in 2010.
2011:
The latest offering from Toronto-based
singer-songwriter Matthew Barber is a self-titled and self-produced collection
of songs that marks a winter’s worth of work in his ramshackle basement home
studio. By playing all the instruments as well as handling the recording and
mixing duties, Barber has made somewhat of a return to his roots on this, his
sixth release. “It’s the first time I’ve made a record by myself at home since
the record before my first official record, if that makes sense, “
jokes Barber.
Over a decade has passed between the early
4-track experiments as a philosophy student at Queen’s University and his
latest eponymous effort (available now on the Outside Music label). In the
meantime, Barber has become a seasoned songwriter and performer with five
albums, numerous tours across Canada and around the world, a handful of record
deals, a Juno nomination and an award-winning musical to his credit. “I’d like
to think my recording chops have improved a bit since then,” adds Barber, “and
I’ve collected a few more odds and ends to play with in the studio.”
However these odds and ends may have been
deployed, the result is a disarmingly honest record of charming simplicity.
Melodic instrumental hooks weave in and out of the tastefully spare
arrangements, providing an engaging musical setting for Barber’s signature
vocals and neatly-packaged lyrical turns about love, lust, longing,
disillusionment, injustice, hope and the modern experience.
Barber’s passion for the throwback sounds
of the late 60’s and early 70’s is again clearly evident on this record, which
was captured entirely on an analog 8-track machine. “ I read Keith Richards’
autobiography as I was beginning the recording process and I was excited by his
statement that 8-track was his preferred format for recording,” says Barber.
“It forces you to make choices as you go along and keep the arrangements lean,
which suited the sort of record I wanted to make. I also got an iPhone around
that time and the only album I had on it for months was Beggar’s Banquet, which
became a reference point sonically.”
Astute listeners will surely notice nods to
20th century masters like The Beatles, The Stones, Dylan, The Band and Paul
Simon – but the voice at the heart of each song – both as songwriter and singer
– is singularly Matthew Barber. “The heart of the record is about being in a
long-term relationship, trying to make sense of all that goes along with your
life becoming more deeply entwined with that of another person and how that
influences both your outlook on the world and your understanding of yourself.”
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.) was dedicated to promoting a variety of music by Independent, Signed, and Unsigned artists. The goal of this project was to help 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 gathered the very best music and put it right here in one place to help listeners discover new music.
If you like what you hear, please consider sharing the music with friends and family.
I'm not in phase with what mainstream mediums have to offer, nor do I like being lied to. 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.
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