Lana Palmer was born in Saskatoon, Saskatchewan, and her earliest musical influences include fretting over the fate of the Nowhere Man, a ‘Graceland’ tape that was stuck in the family car’s cassette player for three years, and far too many viewings of the movie Labrynth. Neil Young, Joni Mitchell and Wilco are on constant playlist rotation, and her songs reflect both her early influences and current infatuations. While she primarily considers herself a lyricist she also plays piano, guitar and harmonica. Now living in Banff, Alberta, Lana is writing and recording new songs.

There is a New Kid in Town...And he's Smokin' Ray Burnt. He is a Smokin' young guitarist from the highest peaks of the Smokey Mountains. He is a real throwback to the good ol' days of the Instrumental Blues. Is he the next crazy Hendrix or the younger soul of a B.B. King? Maybe.. Go on, Find Out for yourselfAnd So it Begins...Smokin' Ray was born on June 1, 1977, high on top of Smokey Mountain. His Mother and Father were both musicians ( His father played the fiddle, his mother played the accordion.) They had a decent life, poor but not without. As the story goes, Ray was struck by lightning and burnt nothing but his soul. Something came inside of him and now he is what he is. He wasn't hurt...He was just destined for something... He was destined to play the guitar. So from high upon the tree tops the first song he ever heard was the soft/heavy tone of B.B. King's, 'The Thrill is Gone'. That was like magic to his ears. The next? Jimi Hendrix, 'Red House'. 'WOW! He thought to himself, 'I have to do that'. And so he did. He studied all the greats, even as far back as the great Robert Johnson. He learned from John Lee Hooker, SRV, Leadbelly, Chuck Berry, and many others. Lightning Hopkins, 'Lonesome Dog Blues' scared him to shivers. Tucked away in a little studio he recorded by himself. No one could ever guess what would come out of there next. His tone could fall a mountain, his playing could hypnotise you. His brain...insane.Over his short span of playing I think that he really developed his own style. Is he Chicago? Maybe more Texas Style? Perhaps Modern Electric Blues? I don't know, Whatever it is, He calls it the 'Smokey Mountain Style'. Whether SRB is playing clean or dirty you can tell it's him. As you can tell from his acoustic picture and the way he plays, he likes Heavy Metal, Rock and Punk. He is very much influenced by such bands as Metallica, Megadeth, Nirvana, Green Day, AC/DC, Guns & Roses and more. But his true calling is the blues. All you have to do is hear his songs and you will be shown.Where does all this lead up to? I don't know. Maybe something new or maybe just a blip on the radar. We will have to see.Some day his Guitar will quit burning,But until then... Keep on Smokin' Ray Burnt.Available music is Awesome

Composer, Sound Design, Filmmaker, Songwriting and General Mayhem.

Born in San Diego, California in 1980, Devin Anderson has studied classical piano, composition with Prix de Rome winner Jim Heinke, film music with composer Hummie Mann and attended The Seattle Film Institutes 40 week Total Immersion program. Twice. He also plays bass with former PCP Berzerker members, Eric Hunter and Rod Bailey, in a currently unnamed rock group, and frequently collaborates with his wife, singer and saxophonist J. Marie Anderson.

As a composer, in addition to scoring his own directorial debut, a short entitled ‘Folie à Deux’, he has composed music for several independent pictures, including but not limited to Wisconsin born filmmaker Jack Bennett’s surrealist film ‘Synthetik’ (which received it’s award-winning World Premiere at The Beloit International Film Festival in January of 2008) and Tim Boyd’s film ‘Uniforms’ which starred members of popular group Death Cab for Cutie.

He has provided music for two promotional films produced by The Northwest Film Forum, the regions first and only non-profit organization for the film arts. He has composed concert works in various genres, including solo instrumental works, vocal works, and chamber ensemble, and recently was commissioned to compose for an Art Exhibition of egg tempura painter Nathan DiPietro.

He has just completed musical duties on a short film, again for director Jack Bennett, entitled ‘The Neu Transients’. The picture runs 5 minutes and is a memorial to the City of old now over-run by condos and commercial construction, and uses the Seattle cityscape, the music, and the film’s two lead actors (Benjamin Moody and Astrid Benet) to explore ideas of reflection, space, rhythm and transformation. The work premiered at the Northwest Film Forum as part of their City Symphony program on November 19th.

His score to ‘Folie à Deux’ was awarded the Gold Medal for Excellence at the 2008 Park City Film Music Festival under the catagory Best Original Music - Short Film.

His particular type of electronic-rock (?) songs are strange, somewhat crude, and personal - rough first-take all-to-human vocals, with consistantly surreal lyrics, laid over intricately crafted, orchestral-like backing music and boiled to a simmer.

He hopes to continue being involved in film and music until his death.

Aeroplanet is the Debut independant release from Australian artist Mildsparrow.

Mildsparrow is the moniker of Melbourne Singer/Songwriter Matt Davidson. Aeroplanet is a selection of tracks showing a diverse range of sonic occurences selected from then last 3 years of self recording and producing.

Never restrained by genre and always reflective of emotion, Mildsparrows music is a personal journey waiting to resonate with your own perception. From acoustic ballads through to glitchy explorations, Mildsparrow defines himself by allowing emotions and expressions to come forth in any style to colour the sonic canvas of the moment.

Plunkett: an English boy and an Italian girl.
Both Ian and Lara had a love for music from a very early age.
After studying music at Rome, writing and recording with the ambient project Ex Machina and alternative electro pop group Otero, Lara became a partner and A&R of the Dune Records, an independent italian label based in Florence.
Ian had always played in bands and after finally finding like minded musicians the electro pop/rock band ‘Pukromo' was born. In late 1999 Pukromo signed to Dune Records recording their debut album ‘Promise Me Kill Me' during 2000.
Life’s funny sometimes and although the label and band folded, Ian and Lara got together.
Frustrated by the mechanisms and ties of the music biz and tired of their ‘electronic’ past, they focused on their emotions, on themselves. Without any thought or the pressure of trying be anything other than that. Themselves.
In 2006 their debut album ’14 Days’ was released. An acoustic orientated, intimate album of alternative contemporary folk rock. The album received an unexpected critic and listener's acclaim through the internet leading them to being featured artists on some of the most important independent music sites throughout the world. Many of the songs have also since been used in two American independent films: Dave's Date (Forbidden Foot) by Natasha Guruleva (Accent Works) and A Hell Shared by Karl Rose (Current Production).
2008 sees the release of Plunkett’s second album ‘Folk Songs’. Contrasting its predecessor, although still remaining alternative contemporary folk rock, the sound and feeling of the album is much more direct with as much emphasis on the lyrics as on the music.

With a desire to only write songs and move people, Plunkett choose to remain independent artists and work outside of the mainstream music business.

Plunkett make Independent music for independent minds.

To know more about Plunkett and their upcoming releases visit their website www.plunkett-music.com.

•  Short and Sweet.
•  Simon and Garfunkle Like
• cool river

Ryan McMahon grew up in Ladysmith, Vancouver Island, British Columbia, Canada, where he began playing in local bars on Vancouver Island at the age of 17, under the moniker “Citizen Strange.”

There, he befriended several promoters that allowed him opening support slots for bands coming through town such as Nickelback and Wide Mouth Mason, allowing him the opportunity to hone his craft alongside those already established.

In 2003, Ryan moved to Vancouver and began playing with two musicians who would become his best friends, Mike Rogerson (who produces all of Ryan’s material) and Dustin Young, both of whom still play guitars for him to this day. Together they formed the band, “Ryan McMahon & the Dirty Five,” along with drummer Jesse Smith and bassist Thomas Dowding, and the band toured throughout British Columbia and Alberta, but was never really afforded the opportunity to take it further.

Wanting change, and a more diversified sound, Ryan, Mike, and Dustin stuck together and headed to Baker Street Studios in North Vancouver, to begin work on what would become Ryan’s first solo album, “Better Days Gone By.” They recruited several friends throughout the music industry, including Hamish Thomson (the Hermit), Jon Frederiksen (the Hermit), Doug Elliott (the Odds), Pat Steward (Bryan Adams, Matthew Good, the Odds), Jesse Smith (Jeff Johnson, the Dirty Five), Thomas Dowding (the Dirty Five), and Craig Northey (the Odds).

The result? A 12-song rock n’roll roots album that showcases Ryan’s love for playing rough, honest music, which people of all walks can easily relate to.

With themes ranging from infidelities (“Liar”) to the music industry itself (“Song Says So”), “Better Days Gone By” is a well-rounded honest album that will surely communicate well in both the rock and acoustic formats.

Rye’s dynamic, genuine personality, combined with his unique emotional style will definitely offer fans of roots rock a true kindred spirit.

For a better tomorrow, vote Ryan McMahon.

Contact Information:
Geoff Goddard @ Fronstide Promotions - 604-648-2782
Ryan McMahon - 778-892-6974

www.ryanmcmahon.com
www.myspace.com/mcmahonryan

•  Like it lots
•  just found it again
•  This scratches my musical itch
•  A wonderful song!
•  Catchy

Biography

Matt Harlan is a songwriter's songwriter. He composes scenic landscapes and pointed statements disguised as songs. Often non-linear, but always melodic, Harlan's works confront social norms, celebrate lives overlooked, or just wax poetic about coffee and bus stops. Whatever the inspiration, the music is always heartfelt and genuine.

Born and raised in Texas, Harlan soaked up the richness of the state and its song-smiths while bouncing between big cities and small towns. Always in love with music, he eventually learned to play and write it. From '60s pop in kindergarten to alt-country in college and all the angst in between, Harlan draws from a range of influences, interpreting a generation steeped in plastic and filtered through the Hill Country limestone.

After gigging in rock bands around San Antonio and Austin, Harlan dropped the pick and the power chords to develop his own unique fingerstyle guitar technique. Now back in Houston he is working to promote his earthy, socially conscious sound, which is continually evolving.

Accomplishments

In 2003 Matt Harlan won the Kerrville Folk Festival's Texas University Songwriters Competition based on the merit of his songs “Suitcase Blues,” “Warm November,” and “The Optimist.” Winning the competition allowed him to play on the Threadgill's Stage at the Festival along with other songwriters from Texas universities.

The Houston Fort Bend Songwriter's Association (HFBSA) has nominated Matt Harlan's “Heavy Steel and Spinning Wheels” for their 2006 Song of the Year award.

Matt Harlan was recently offered the chance to play at the legendary Anderson Fair for its songwriters showcase series. Details can be found on Matt Harlan's websites and at www.andersonfair.com.

•  Good Folk Story
•  Thoughful folk song

What do you say about a band that says, straight-faced, that it's two principal influences are the Beatles and the Sex Pistols?

Try: "It's about fucking time"?

Let's face it - the Pistols, for all their yobbo nihilism, were a brilliant pop band and Never Mind the Bollocks is less an album than a hit singles collection. The Fabs, as dear dead George called them, were not only the last century's most respected, creative and successful songsmiths, they were god-damned ferocious, paint-peeling noise merchants when the mood struck them; don't believe me? The rehearsal versions of Helter Skelter make the Velvet's Sister Ray sound positively tame.

So the Philharmonic are not only canny enough to recognize these little-uttered facts but adept enough to carry off the not-inconsiderable trick of marrying legit musical chops and frankly brilliant songwriting to savage musicianship and pure-punk stage delivery. Everything the pop-punk hybrid from XTC and the Pixies on down to the least of what the genre aspires to, the Philharmonic are, and more than that, somewhat frighteningly, still well short of their potential.

If these people had been around back in '77 for the first wave of punk the Eagles and their wretched brethren would have been sent packing for good and the world would today be a better place for all of us.

About fucking time? Damn straight, and better now than never.

-- Buck Cherry
Vancouver, summer '05