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Name: Cara Leanne Solly
Age: 17
South Australia

I've been playing guitar for a little over five years, both acoustic and electric, and singing for about five years as well. I've been songwriting for most of that time as well. I was in a band called Vertical Bliss earlier this year, but we parted due to issues with practice and general differences in... musical direction, I suppose. I have also been singing in Salisbury East High School Concert Band since 2005.

My musical influences include Nirvana, The Distillers, Silverchair, and Hole, but my actual sound is poppier than those influences would suggest. I'm currently recording songs on my laptop with just my voice and classical guitar, and I'm looking to start/join a band to play originals and covers early next year. Until then I'll just be promoting myself and my originals with the 'stripped back' acoustic sound.

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.

Tom Howie is a singer/songwriter from Vancouver, BC. After releasing his debut EP Stepping Stones to great reviews and eager audiences in September 2005, he has gone on to play many of the premier clubs in Vancouver while completing his final year of high school.

Now 18 and graduated, Tom is taking on music full time, including recording a full length album with producer/musician Ashwin Sood (Sarah McLachlan) and engineer Chris Potter (Bryan Adams, Sarah McLachlan). Also on board is Vancouver/San Francisco based composer/producer/musician Jason Nett (composer in residence, Vancouver Island Symphony Orchestra).

After being the lead singer and songwriter in many bands throughout high school, Tom decided to go out on his own and play the music that came most naturally to him. “I want to be able to write a band tune or a little soulful ballad, or whatever else, and just let it be what it is. I'm enjoying the freedom of experimentation."

With that thought in mind, Tom sat down with friend/producer Josh Bluman to record Stepping Stones at the studio of highly acclaimed producer Garth Richardson (Rage Against The Machine, Hedley, Red Hot Chili Peppers). The EP features stripped down versions of four soulful, satisfying songs. YouThink Magazine had this to say: “The ability to spin out four tracks that have yet to be boring, complete with lyrics that are startlingly affecting, isn’t just dumb luck. Howie’s observations about life and its joys and sorrows, combined with his acoustic, mellow sound, build a strong sample of what he has yet to give.”

Looking ahead, Tom is filled with great excitement about recording new material, which he says has lots more to offer; from simple, haunting, poetic songs, to full out rockers. “Things are just starting to work out for me, and there is nothing else I’d rather be doing. I love playing, singing and writing more than anything. Busy? Bring it on!”

Be sure to see Tom Howie live in concert, either with his band or on his own. Visit myspace.com/tomhowie for tour dates and streaming audio.

•  Awesome track
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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