Kaiser brings you ominous and aggressive symphonic Black Metal. Kaiser also brings you melancholic Gothic metal with film score like pieces. If you are one of these people that loves one and hates the other then tough luck. Kaiser does not subscribe to a pre existing Ideology nor does he feel the need to fit in to a given genre. On the contrary Kaiser is the creator of his own genre and he loves and hates what he pleases. He does not feel the need to conform to anybody's opinion. Kaiser cares for the environment. You shall not be Polluting, do not litter, keep a compost and use it, be considerate to animals, wildlife and Plants. Be considerate to your fellow human beings. Do not be a money grubbing Capitalist whose willingness to destroy things and stamp others in to the ground for his own selfish gains.

A cello has found itself in my hands for eight years and apparently likes it there. They are (my hands) classically trained but also improvisational. I sing, play the guitar, and occasionally pick up whatever weird instrument I can including ukulele and erhu. The most interesting part of it is, I study Graphic Design. And I am part of a twinship, with my twin, Chloe. Anything else? Ah, music is a PASSION, not merely a hobby.

Bernhard Drax writes music for TV, commercials and feature film. His orchestral score for the  Disney romantic comedy "Sommer" gained critical acclaim in Germany as the film remained among the top ten for 4 consecutive months in 2008.

He played on numerous albums as a sideman, was member of German pop band "Samuel's Dream", recorded for Virgin, BMG and a whole lot of other labels, but his real pride are his three solo albums, the latest being "Bread & Butter".

In the virtual world “Second Life” he creates machinima reportages on social and political issues.  He recently started his own production company draxtor.com and delivered promotional machinima for clients such as Manpower Inc., CommerzBank and Nokia. His reportage on virtual Guantanamo won the 2008 Human Rights Media Awards from internews France. He has spoken on the future of storytelling at the Sundance Film Festival and will be a guest at the first-of-its-kind summit on virtual journalism at Washington State University in April.

Bernhard studied composition at the Richard-Strauss Conservatory in Munich Germany and audio engineering at the University of California at Los Angeles. He is currently in pre-production on the music for a comedy feature (release spring 2010) as well as a staff researcher on the virtual worlds documentary "Login2Life" (release winter 2009). 
Bernhard lives on the Central Coast of California with his wife and son.

Five years ago my mother left her guitar out. It was an innocuous infatuation at first; I had always loved tapping at piano keys, blowing harmonicas, and improvising percussion to whatever songs were in my head or ears. Like far too many children, I quit piano lessons after only two weeks, and was thus left with only my musically inclined ear to guide me in creative endeavors until I began to play the cello in fifth grade. I still play the cello today, though not nearly as well as I play guitar.

My mother left the guitar out and my sudden resolution, in the midst of rapping out random notes, was to learn its secrets through books and websites and such things. My grandfather helped me with chords and literature at first (I still have yet to absorb enough from books and experience to read treble clef, even though more complex cello music is also pushing me beyond Bass), as did my eighth grade social studies teacher. From the latter I learned my first complete song: "City of New Orleans". The "Dust in the Wind" intro followed and I began to delve into tabulature.

I began composing about two years ago, I believe, but my extemporaneous style of composition with rolling revisions as I sang left little space for a pen and my memory lost me too many good lyrics. In the early winter of 2008 I finally gave my memory a rest and transfered what songs and fragments were not yet lost during my year or so of dabbling to a sparkling new H2 Zoom Handy Recorder. This highly recommended piece of machinery cost me little and saved me much more than money can account for. Since then I have been recording practice sessions and epiphanies alike, and have made much faster progress in composition.

Falling in love in the fall of 2007 lit a kindling beneath my composition, even hindered by my foolish habits of keeping songs off paper. After that joyous November, a years worth of incessant, profound alterations and experiences flowed past with music flowing alongside. However both my music and my emotional existence were most transformed by the breaking and re-mending of my heart over the course of this past winter. Now, as spring and the year 2009 rise on me, I have gained much in spirit, in music and in life ... and I am at last taking my next step as an artist.

•  Enjoyable!

“Won’t you come back home? Well, I don’t think so.” This telling exchange from “Run From Safety” epitomizes the ethos of Octoberman’s Marc Morrissette. In 2003, the itinerant songwriter abandoned his Vancouver home, took a break from his band, Kids These Days, and departed for travels through Asia and Europe. When Morrissette returned to North American shores, he arrived bearing a travel journal blackened with observations and reflections. These insights would soon become the basis of Octoberman’s critically-acclaimed 2005 debut, These Trails Are Old and New.

Embodying the sensibilities of Neil Young’s songcraft and Jack Kerouac’s travelogues, These Trails won widespread praise from Uncut, Maverick, The Globe and Mail and dozens of other publications. Just as Morrissette’s penchant for melancholic vocals and melodic guitar work caught the ears of critics, it won the hearts of audiences. The songwriter established Octoberman as a live institution in Vancouver, sometimes taking to the stage with a seven-piece backing band and on other occasions with nothing more than an acoustic guitar and harmonica. 2006’s seven-song, live-recorded Laguardia EP ideally encapsulated the intimacy and immediacy of these solo Octoberman performances.

However, employing a full band to expand upon his spare arrangements had opened Morrissette’s eyes to the possibilities for Octoberman’s second full-length album. Between March and August 2006, he retreated to three studios in Vancouver with co-producer and engineer James Henderson and captured his musical musings. Along for the ride were his regular backing band: Rob Josephson (drums), and Graham Christofferson (bass); as well as other common collaborators: Peter Doig (guitar), Leah Abramson (vocals), Shaun Brodie (trumpet), Kris Hooper (lap steel), Jason Starnes (keyboards), Mike Morrissette (vocals), Ryder Havdale (vocals) and C.L. McLaughlin (vocals).

Upon first listen, it’s evident that Run From Safety is not only an album title but also a bold statement of intent. It sublimely captures the sound of an artist abandoning the tried and true and striking out in unknown directions. While still fuelled by wanderlust, Octoberman’s music continues to remind us that not all journeys can be measured by distance alone. Run From Safety brims with inspired instrumentation, accomplished orchestration and newfound urgency. Furthermore, it sees Morrissette bringing the indie pop sensibility of his Kids These Days material back to the fore. Fans of Stephen Malkus’ wordplay, Bright Eyes’ earnestness and Elliott Smith’s tunefulness will find themselves readily enthralled with Octoberman’s latest offering.

“I need some inspiration in my life,” Morrissette confides in “By The Wayside.” Such motivation manifests itself with Calexico-like southwestern cinematics complete with brass flourishes. Such atmospherics resurface later with the tumbleweed menace of “Cisco Kid.” Meanwhile, a gift for clever turns of phrase is evidenced on “Run From Safety” which evokes lovelorn gypsy boys, grandmotherly gifts and jurisdictions that “bleed with conviction.” “No Qualms” attempts to offer assurances in the face of insecurities. “Elbow Room” provides an autobiographical account of helplessness. Elsewhere, the loping “Impossible Way” channels Bob Dylan while “Shit Just Falls Apart” offers astute indictments sugared by rousing pop. “Chasing Ambulances” brings proceedings to a heartfelt, whisper-quiet close.

Morrissette proves exceedingly skilled at conjuring both the wariness and weariness of a man who’s seen the world. Yet, despite intense explorations, he’s come away with little in the way of certainties or answers. Instead, every discovery begets further questions. It’s these quandaries and conflicts that continue to drive the man and his music. Once Octoberman made the decision to run from safety, turning back was not an option. Upon mastering his new album, Morrissette quit his job and embarked on a European tour that lead him through five countries in five weeks. He next crossed the Atlantic, climbed into his Volkswagen and toured the continental United States. One can only imagine the inspiring questions that were raised along the way.

•  Passionate folk song patriotism

•  melodic hypnotic
•  Lullaby on acid

•  sounds cool
•  Grunge?