Spygirl plays lush, melodic, elegant, and dark pop/rock. If Spygirl were a martini, they’d be equal parts sonic assault, naked duets and lush harmonies with a dash of drum & bass, and garnished with a twist of Canadiana - shaken vigorously, of course. If Spygirl were an outfit, you’d look geek-slick, full in all the right places and your ass would look hot.

Spygirl recently completed their second full-length album, pieces of evidence, slated for national release March 2008.

Spygirl was overjoyed to work once again with favourite musical wizard Tom Rothrock, who mixed a few songs on their 2000 self-titled debut. This time he came on board as Producer in full. Mr. Rothrock (who has also created records with some of popular music’s great recent innovators such as Beck, Elliott Smith, Elbow, Sloan, Badly Drawn Boy and James Blunt) helped the band create a spontaneous, relaxed and raw recording, due in part to his laid back mix of confidence, spontaneity, knowledge and love of music, and in part to recording much of the album live off the floor. The result is a group of songs that belong together, sharing a landscape that is lush, melodic, elegant and dark.

This is the band’s 12th year. The Vancouver-based 6 piece group was born out of a musical bond between founders Koralee Tonack (lead vocals, guitar) and Jane Gowan (trumpet, keyboards). The two initially formed Time Waits - the acoustically charming mother of today’s luscious pop child. The group included Jon Roper (guitar), performing mostly original songs written by Gowan. Several recordings were released on cassette. Now those are hidden away in boxes...somewhere. Eventually James Ong (keyboards) and Eduardo Ottoni (drums) joined, and with a fuller sound developing, the band released their debut CD entitled This Thin Disguise.

A collective desire to streamline the sound resulted in a less acoustic, more pop/rock sound. The viola da gamba and accordion, previously played by Ong and Gowan respectively, were abandoned in favour of keyboards, fender rhodes and trumpet. By this time other band members had begun contributing to the songwriting, creating excitement and freshness. As the direction of the music changed, so did the name, and the band’s self-titled debut (informally known as The Yellow Album) was recorded just as the transformation to Spygirl took place. The disc was nominated for a West Coast Music Award and also gained much positive media attention.

In 2005 Al MacInnes (bass) joined the band to add substance to the style. Now with a full line-up to carry the tunes, Spygirl released a 5-song EP as a precursor to the full-length album in August, 2005. The songs on this disc are homages to the band’s constant quest for the perfect pop epic. All the tracks from this disc were re-recorded on pieces of evidence.

Spygirl has toured in Canada and the UK, and plans to be out on the road again in early 2008 to support the new album.

•  Powerful voice. Melancholic sounds.
•  Hauntingly powerful
•  honey and sugar

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

THE SHORT
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-the man cable- is the pseudonym that I use in my guise as a music producer and electronic music artist. For my drumming gigs, I usually just go by Robert Cummings.

In recent years, I’ve worked deeply with Steinberg Nuendo, my current favourite audio platform in the digital realm. My expertise includes mixing (digital/analog) and mastering, group and vocal tracking, live and studio drumming, drum programming, arranging and editing. I also have contacts to a wide range of pro musicians around the world. The music projects I’ve worked on or performed with have ranged from electronics to rock to jazz to everything in between ... even childrens’ CDs!

THE LONG
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Born and raised in winter-blasted Winnipeg in Manitoba, Canada, I began drumming in 1983. I studied privately there until 1986 when I moved to the mild coastal climes of Vancouver, BC. After studying with jazz drum instructors there (Jim Chivers), I gained initial playing experience with touring/recording acts such as People Playing Music and Juno award-winning Alpha Yaya Diallo from Guinea, Africa. After an intermediate stop in Paris, France, I moved to Berlin, Germany in 1992 where I continued working as a drummer/percussionist in several groups.
In Berlin, I recorded percussion on two CDs by Genetic Drugs (”Karma Club” in 1993 and “Karma Pharma” in 1996) and became interested in the possibilities of electronics in music through work with Janek Siegele (Jayrope, Hardman, Girls United, The Sighs, klikklak records). The two co-founded the half-live, half-electronic avant pop band Rope in 1996 and completed “Rope Hotel” in 1997 for Alec Empire’s Geist imprint. A follow-up CD, “It’s No Fun To Compute”, was released in 2000. In the meantime, he started his solo project as the man cable and released a debut CD entitled “derouting” in 2000. This project continues to this day and a new release is planned for 2005.
From 1999 to 2001, I performed and recorded as drummer/percussionist with the renowned Die Geschwister Pfister, a comedy and music act that played to full houses throughout Germany, Austria and Switzerland. “The Voice of Snow White” was released in 2000 on Traumton records. During this period, I also contributed live electronics to the well-known 17 Hippies on their project The Sexy Ambient Hippies. This culminated in the release “17 Hippies Play Sexy Ambient Hippies” (Hipster Records/ Soul Food) in 2003.
I joined Klaus Janek’s electro-acoustic jazz-dancefloor project DeeQ in 2001 and worked on the CD “Fresher Than Air” in 2002. Also in 2002, I started production on Alpendub—a wild mixture of German alpine sounds with dubbed-out grooves that has aroused interest throughout the world. Alpendub has two releases thus far: “the man cable presents Alpendub” in 2003 and “Jo-Delay” in 2004.
I perform live on a regular basis as a drummer/ percussionist in settings ranging from jazz trio (Matias König Trio) to cajun/zydeco (Colinda) to straight-of-the-saddle country (The Maplewood Boys) to live electronic collaborations (the man cable vs. NBI) to crooner swing jazz (The Swingin Bohemians). As of fall/winter 2006, I will be performing with Denis Fischer in Six Strings That Drew Blood.

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