Vate began to make music in 1988. In 1999, after having gathered some music made for private use, he found Internet as a media to show his work. Since then, he has been participating in the Mexican electronic scene, sometimes along many collectives, and sometimes as a stranger.

Vate works with very different genres inside electronic music, among them are ambient, big beat, drum and bass, nortec, sound experimentations, and electro. His remixes and collaborations include artists and groups such as Discos Konfort, Sango Music (Neztic), Binaria, Filtro, Nortec Collective (Fussible), Deus ex Machina , and Minuit Delacroix. Most part of his production (several Albums and EPs) is availale trough a Creative Commons license.

Vate has played live in many events in Mexico City, including Parador Análogo, Tecnogeist 2002 y Máximas texturas (Konfort), also in different Live acts in Mexico and Barcelona, Spain

Future Daze sole member is the brilliantly talented Ian Price, a creator and innovator of exciting high quality electronic music and eye-catching visuals. Originally from Liverpool (England UK) and now based in the heart of the UK.

iNNOVATION > iNSPIRATION > cREATIVITY > oRIGINALITY > lOGICIAN > iMAGINATION > eXPRESSION

UK Innovator of intelligent original electronica. Varied styles from ambient and filmic soundscapes to futuristic visions. My aim is to give you something a little different and interesting so buckle up and enjoy the ride let's leave the world behind.

Future Daze (Of MetalBeat) sole member is Ian Price, an experienced creator and innovator of exciting high quality electronic music and eye-catching visuals. Originally from Liverpool (England UK), I worked with a number of bands down the years. Most of these excursions were experimental low-fi electronic affairs.

I like to mix various styles of electronic music, from electro to ambient, industrial soundscapes and beyond. Like everyone we all have different moods, and so does my music.

Influences range from John Foxx, Jean Michel Jarre, to Eric Satie and beyond.

•  Relaxing

Trike is a duo, comprising of Stephen Taylor and Xania Keane. Stephen plays keyboard, digital guitar, trombone and sings. Xania plays fiddle, glockenspiel, keyboard, sings, dances (Irish/Quebecois style) and raps.

Trike's style is Synth-pop, New Wave, with various other elements. They are audience-interactive, teaching people dance moves they make up. Their songs are catchy pop songs, high energy and dancey. Onstage, there is a great deal of theatricality and performance.

Their influences are: Pulp, The Cure, Talking Heads, Devo, The Cars, Belle and Sebastian, old Public Enemy, Magnetic Fields and Joy Division.

There is a lot of humour in the music, and the songs are pretty bouncy/happy, although there are also a lot of bittersweet emotions in the lyrics.

Addicted to performing, Trike has played almost forty shows since the beginning of September in Vancouver and Victoria, BC, Canada.

Trike also won $20,000 on "The Gong Show" (a contest which was on radio and television) with their instructive-dance song, The Trikey, which enabled them to go on tour to Europe in the Spring of 2008.

Their album, "The New Album" was number six on the charts of Kootenay Coop radio for three months.

Terra Mortim. Dead world. This world is a joke, and so is modern society. Terra Mortim was created in late 2005 by vocalist December, and song writer/unProducer Lucian, as an exploration in heavy electronic based mayhem. Terra Mortim is a mish-mash of genres and textures and sounds, with one goal: The society that we are forced into must be destroyed at all costs! Since the birthing of the band, this society has continued on it's swift elevator ride right to hell, and we have been more than happy to provide the soundtrack.

Move along folks, nothing to see here.

•  Interesting

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