GABE DIXON

Your musical inspirations?  
Favorite CD's, songs, or musicians?  
Has music helped you thru a difficult time in your life?


With each passing day these questions become more difficult to answer.  I am always listening to and searching for new music.  There have been some musicians who have affected me in subtle ways and others who have profoundly shaped the way I approach music.  I wish I could credit them all here, but it would take way too long.  The best place to start is at my formative influences.  Jerry Lee Lewis, Paul McCartney, and Elton John were big influences on me as a piano player and singer when I was in my early teens.  I was drawn immediately to the raw energy of Elton's voice on his recordings from the early 1970s.  The albums Tumbleweed Connection and Madman Across The Water were two of my favorites.  The power of his rhythmic piano playing was, and still is a force to be reckoned with.  


As I got older I became obsessed with blues and funk and soul.  B.B. King, Buddy Guy, Albert KIng, Freddie King, The Fabulous Thunderbirds, Derek and The Dominoes, The Allman Brothers Band, Dr. John, Gladys Knight, Stevie Wonder, Bonnie Raitt, The Meters, Bob Marley, James Brown, Jimi Hendrix, Aretha Franklin, Marvin Gaye, Ray Charles, and especially Stevie Ray Vaughan showed me how to put everything that I feel into the music when I play.  These artists weren't just entertainers, they understood how to let go of themselves and be channels for the Divine.  They showed me that music can be transcendent and spiritual.  This was an important lesson.  These artists and their music helped me through times of heartbreak, depression, and loss, and it wasn't because of clever lyrics or flashy technical playing, it was because of the emotion in their music.  THAT is where the connection was made.  Being a classical pianist I also learned a similar lesson from playing the music of composers like Beethoven and Brahms and Debussy.


Later on I became more interested in bands like Medeski, Martin, and Wood, Phish, Dave Matthews Band, Radiohead, and Jeff Buckley.  The distinctiveness of Dave Matthews' poetic lyrics, the beauty of his melodies, and the excitement that his band could create on stage were all very influential on me.  


It was after that that I truly delved into jazz.  Although I don't consider myself a jazz artist, jazz has seeped so far into me as a player that I cannot separate myself from it.  The band I play with, drummer Jano Rix and bassist Winston Harrison both have backgrounds in jazz and the three of us share the philosophy that often times the best moments in music are spontaneous and improvised.  I continue to learn by listening to jazz pianists of the bop tradition like Keith Jarrett, Bill Evans, Brad Mehldau, and Ray Charles.  But as a keyboard player my style was probably most influenced by more blues leaning players like Reese Wynans, Dr. John, Ray Charles, John Medeski, Chuck Levell, Matt Rollings, and Jimmy Smith.


Some of my songwriting influences include Lyle Lovett, Bob Dylan, Paul Simon, James Taylor, The Beatles, Soundgarden, Jackson Browne, Elton John/Bernie Taupin, and Jimi Hendrix.

As a singer I have many influences, but one moment that changed my life was when I was sixteen years old and a friend loaned me his copy of the Allman Brothers album, Eat A Peach.  I took it to a listening station at the Blair School Of Music library because I had some time to kill before my classical piano lesson.  When I first heard Greg Allman sing "Ain't Wastin' Time No More," my life as a singer was changed.  I wanted to sing like that.


I guess the main point of this aimless rambling is that the artists listed above are some of the ones that made me realize I wanted to be a musician, but I continue to enjoy new music as it comes out.  Some people I like to listen to currently are Jessi Harris, The Brazilian Girls, David Gray, Jack Johnson, Coldplay, The Bees (US), Jaco Pastorius, Soulive, and Damian Marley. 

My musical inspirations? There they are, ask me again tomorrow and the answer will probably change.

Gabe Dixon Band BIO

Gabe Dixon – vocals/keyboards
Winston Harrison – bass
Jano Rix – drums

In the three years since the acclaimed release of On A Rolling Ball, the major label debut album from The Gabe Dixon Band, the band's keyboardist/vocalist/ composer and namesake - Gabe Dixon - has kept busy spending time behind the keyboards for artists as varied as Paul McCartney, Alison Krauss, and Loggins & Messina; co-writing with Grammy ® Award nominee Dan Wilson (Semisonic) and Grammy® Award winner Wayne Kirkpatrick (Eric Clapton's "Change The World"); paring down his band to a muscular three piece; and refining a sound that embraces the directness of pop, the energy of rock and the sex of soul while staying true to a jazz-inspired improvisational spirit.

The experiences of the last few years have turned this already respected talent into one of the most original young artists on the scene today. A dazzling snapshot of Dixon 's ongoing evolution can be heard on Live At World Cafe, a six song EP recorded earlier this year that captures Dixon and his colleagues -- bassist Winston Harrison and drummer Jano Rix -- live before a concert audience and in-studio at Philadelphia 's World Cafe.

Live At World Cafe features live versions of four new Dixon originals, a fan favorite from their debut album ("More Than It Would Seem"), and a slow-burning, show-stopping rendition of the Hendrix classic "Hey Joe." Co-writing on the new originals was split equally between noted tunesmiths Wayne Kirkpatrick ("Ever After You" & "Shallow") and Dan Wilson ("Five More Hours" & "All Will Be Well") who also mixed the EP. Says Dixon of his co-writers: "Dan & Wayne both have such a great songwriting resume, and musical sensibility, that to just have them around was invaluable. They were great to bounce ideas off of, and to tap into to help focus the songs."

Formed while students at the University of Miami, word of The Gabe Dixon Band's live shows had spread up to New York City, where they had relocated after graduation, when the band were signed to Warner Bros./Reprise by famed producer David Kahne (Fishbone, Sublime, Sugar Ray). It was through Kahne that Paul McCartney first heard Dixon, and shortly thereafter Dixon was helming the keyboards on McCartney's Driving Rain album and in front of millions at the "Concert For New York" to raise funds for the victims of the 9/11 attack: "Having the chance to make music with great artists like Paul McCartney has been a tremendous education," enthuses Dixon. "From a performing aspect, you learn so much just watching how they interact with an audience, while in the studio you have that very rare privilege of being one-on-one with a master. The thing that struck me most about Paul was how effortless it seemed for him to make such beautiful music; doing what he does with such ease because he is so in touch with his own creative voice. For me, it reinforced that I need to follow my instincts and impulses in the moment; I've found that I can trust those instincts and those moments more than anything else when it comes to my music."

Before moving to New York, the band was trimmed to a four-piece, and since the release of On A Rolling Ball the band has again distilled its essence and its sound by bringing the line-up down to its current trio of piano, drums and bass: "Originally we had five members including guitar and sax, and as we got closer to the core of the group, it seemed like more space opened up in the sound. Going from five to four allowed a lot of room to stretch out and improvise while still performing songs, but I still didn't feel like we had peeled back all the layers to get to the core. I needed to get to the center of the music -- to the song and the groove."

It is ultimately that "center" that is represented on Live At World Cafe. In the great tradition of bands like The Police and Cream, The Gabe Dixon Band forges ahead as a trio with a sound that is greater than the sum of its parts. Live At World Cafe captures the energy and intimacy at the center of one of their renowned live shows, and gives us a glimpse at the center of a musical moving target - an artist who has never stopped exploring and expanding the expressive reach of his art. Live At World Cafe is the first opportunity for his legions of loyal fans to experience the next chapter in Gabe Dixon's lifelong passion for music. It won't be the last: The revamped Gabe Dixon Band will be touring extensively throughout the remainder of the year with plans for the next studio album currently taking shape.
www.gabedixonband.com
www.myspace.com/gabedixonband

WAY OUT WEST

Has music helped you through a difficult time in your life ?

Definitely.  A while ago, my mum suffered with bipolar depression.This
was very hard on the family, and personally i found the act of making
music very therapeutic.  Its almost a form of meditation.Something to lose
yourself in, and also express yourself at the same time

Way Out West Bio

… airport … pick-up … hotel …club… soundcheck … hotel … food … shower …

club … stage … hotel … bed … airport … plane … airport … pick-up … hotel …

club … soundcheck … hotel … food … shower … club … stage … hotel … bed … airport …

“Hiya, is it ok to speak now. Are you lot awake, it’s not too early is it?”
“Erm, no, everyone’s about.”
“Right then, can I speak to Nick?”
“ Nick isn’t actually about at the moment.”
“Ok, Can I speak to Jody then?”
“Yeah, I’ll pass him over.”
“Hello?”
“Hi, Jody?”
“Yeah, it’s Jody. How you doing?”
“I’m cool. How are you guys? How’s the tour going?”
“Yeah it’s great. We’ve been here for a week or so, we’ve had DJ gigs and live shows and about two hours sleep a night. The adrenalin kicks in and you get such a rush, we’re all probably gonna get home and drop but at the moment we’re pretty fuelled.”

Jody Wisternoff is one third of the Bristol based trio, Way Out West. Aged 30, he has been in the business for over half his life, having achieved both commercial and critical success as a producer, remixer and DJ. His story starts in the late 80s when Bristol scenesters Smith and Mighty opened their studio to two very young kids, Jody and his younger brother.

They were both self-taught hip-hoppers who had already produced a decent slab of tracks using the most basic of tools, and they were still young enough to sing falsetto, if they hadn’t been preoccupied with a modified belt driven deck and ZX Spectrum that is. They even broke through to the finals of one of the first ever DMC Championships whilst style and music bibles, The Face, i-D and Hip-Hop Connection looked on awestruck at two kids whose balls hadn’t even dropped.

“I was into music at a really early age. I was kinda brainwashed by psychedelic acid rock,” Jody ponders. “They’re probably some of the earliest musical memories I have, I think. My parents were into it and it probably stored some subliminal images in the recesses of my mind. The whole DIY aspect really interested me as well and I’ve got so much respect for John Peel. He was really out there, on a limb, not giving a fuck. Genius.”

During the early 90s, the massive rave scene kicked off and a teenage Jody dived in headfirst. “I was so into it all, the underground scene really took a hold of me. I even put out a few hardcore tunes,” he remembers. It was in 93 that Jody first met his Way Out West co-founder, “Nick and me used to chat whenever he came into the record shop that I worked in but it was actually my dad that suggested we hook up in the studio. Dad even ended up managing us for about 8 years, it was one of those parental things, they wanna take care of their kids. They just didn’t want me rushing into something blind.”

Music obsessed Nick Warren spent his teenage years rifling through record shops for punk, reggae and decent pop before the dance scene exploded into youth culture in the late eighties. He DJ’d around Bristol in the lead up to the 90s before opening the South West’s first balearic night, The Wiggle. His ‘anything goes’ approach to DJ’ing soon landed him a residency at the ground-breaking acid house mid-weeker Vision, where he’d slip in The Clash and Frank Sinatra over cutting edge house.

In 91 he teamed up with local musicians to set up the legendary night 98 Proof. It was around this time he caught the attention of a group of Bristolian lads. They were Massive Attack. Their admiration led to a long-standing and influential association, including a residency on their US tour and remix work. Two years later he met Jody and they collaborated on a couple of tracks under the Echo guise, the Way Out West remixes were most popular and the duo adopted it for what was to become their main act.

The first big track, ‘Ajare’ was released in 94 through deConstruction, its pop hooks, bizarre samples and epic Hindu swirls taking the record to number 62 in the UK singles chart. The harder ‘Domination’ followed, before ‘The Gift’ crashed in at number 15 and established Way Out West as one of the foremost house acts in the UK. Their self-titled first album received huge critical acclaim in 97 and saw them tour across Europe with live shows at Glastonbury, MTV parties and the MIDEM festival in France. Switching to Distinctive records in 2000, second album ‘Intensify’ followed, bringing with it singles ‘Intensify,’ ‘Stealth’ and ‘Mindcircus,’ another top 40 hit and dance chart number 1.

‘Don’t Look Now’ has been just over two years in the making. “We’ve worked on it pretty much every day, in between DJing, touring and the odd massive weekend bender. The last one was my 30th which started out as a low-key affair but then we went to a bar and stayed out for three days” Jody laughs. “With our music we take the approach that you should do your best, no matter how long it takes. Do your best or don’t bother at all. There’s been so many new things already done in terms of dance music, it’s difficult to move in new directions especially with the state of dance music in recent years. The enthusiasm gets knocked out of you by all the doom-mongers saying the scene’s dead. It’s not dead by any stretch of the imagination…it’s just a transitional period.”

And as dance music has evolved, so too have Way Out West. What originally began life as a producer based outfit has grown over the years. With ‘Intensify,’ vocalists included Kirsty Hawkshaw, Ally Keenan and Tricia Kelshall. It was this development that made Jody and Nick decide they wanted to become more of a band. “We wanted a bit more of a culture going on, now we’ve got our secret weapon there’s a lot more unity. It’s nice. Really nice,” reflects Jody. “Talking of our secret weapon, I’ll let her speak for herself. Here she is.”


“Oh, cool. Is Nick around as well?”
“Erm, I’m not sure where Nick is at the moment actually. I’ll go find him, here’s Omi anyway.”
“Hello?”
“Hi, how are you? I’ve been hearing some good stuff about you.”
“Aw, really? Good. I like people being nice about me,” laughs Omi, the third and most recent recruit to the Way Out West camp.

Omi, who married last July after meeting her husband on a Diamond White shoot dressed as a lollypop lady, has been around music all her life. “I’m a total Smiths freak, I’ve loved Morissey ever since I was a kid. My mum’s a painter and was exhibiting in a local theatre and gallery up in Scotland where we used to live. I had gone along with her for the day and was bored out of my mind so wandered off into the theatre to listen to the band that were soundchecking. It only turned out to be the bloody Smiths!” she laughs.

Singing since she was 16, Omi first auditioned for Way Out West about 7 or 8 years ago with what she describes as her ‘shouty rave diva incarnation.’ “I hadn’t really worked out my vocal style at that time,” she confides. In what seems to be a prerequisite with the Way Out Westers, she was managed by Jody’s dad in one band before opting to take a more experimental route, working with the likes of Starecase, Timo Maas, an all girl drum ‘n’ bass outfit, Eden and one Peter Gabriel. “The first time I saw him I was waiting to meet the guys when he popped his head round the door to say hi – and I didn’t recognise him,” she shrieks. “There’d been a power cut in the hall we were rehearsing in and he just got on the piano and started belting out all these songs whilst I sat in complete awe, watching him sing by candle light.”

Her influences range from Annie Lennox (“she’s the shit”) to Ella Fitzgerald, David Bowie and PJ Harvey. “I was waitressing in Bristol once and she came in, read a book about murder suspects and had a cup of herbal tea. I acted like a total stalker and just ran over and started gushing at her. She was really welcoming actually,” Omi remembers. “Although she was probably thinking ‘Smile and agree until this woman gets out of my face,’” she laughs.

The past two years have been a learning curve for Omi as well as Jody and Nick. “This whole US tour has been amazing, I’ve seen so many places. A lot of it has been airport, hotel, club, soundcheck, hotel, food, club, stage, hotel, sleep, airport, plane and so on, but the feeling of performing as a band in front of 1,000s of people…it’s just impossible to compare it. On Saturday we were at the Avalon club in LA and the crowd were going mental. It was totally sold-out, the sound system was brilliant and everyone was really going for it. So was Nick. We’ve not seen him since…”

“Aah, so that’s where Nick is?”
“Well, we’re not sure exactly where he is,” laughs Omi. “He was really happy with the gig on Saturday night though. Oh hang on a minute, I think Jody wants another quick word with you.”
“Hi Jody.”
“Hiya, I’m not sure where Nick is. Is there anything else you need to know?”
“Can you give me a quick run-down of the new album before you go?”
“Yeah course I can. It’s bloody brilliant, definitely our best yet. We didn’t want to alienate our existing fanbase but at the same time, it’s obvious that we’ve moved more towards song based tracks. I think we were stuck in a sampling loop before Omi came along and kicked us up the arse.”

The album moves from the staccato kick-drum and yearning vocals of Omi on upcoming single, ‘Anything But You,’ to epic space age poignancy with ‘Everyday.’ “It started life as a bloody demo for Britney!” laughs Jody. “My god, if you whack it up to 120bpm it sounds like old skool house with some breaks thrown down on there. Not very Britney.” The album’s luscious soundscapes shift gracefully from the textured balearia of ‘Chasing Rainbows’ to the main room dirty odyssey of ‘Killa’ through to rollicking bongo twists and mangled basslines on ‘Fear.’ “It just came out of a mad jamming session we did with our drummer, Damon. He used to be in Echo and The Bunnymen and has a tendency to rock-out every now and again. But we don’t talk about that,” he laughs.

… airport … pick-up … England … Bristol … HOME … BED …

“Hi… is that Nick?”
“Yeah, hi.”
“How you lot feeling, you jet-lagged after the flight?”
“Nah, I’m not too bad, got back yesterday so had a decent night’s sleep last night. I’ve not seen the others since yesterday, God, we’ve been with each other for the last two and a half weeks. We’re all just taking a break for a few days.”
“So how was it?”
“Fantastic, mate, to be honest. It went really well. We’ve only had about 3 days off but it was great.”
“How was the gig at the Avalon?”
“Brilliant, I love LA. LA, Montreal and Boston, I had a lot of fun there.”
“You did a bit of a disappearing act after the LA gig, didn’t you?”
“Ha ha ha. Yeah, we had some time off so I just did my own thing.”
“So what have you guys got planned for the rest of the year, then?”
“Phuuh! What aren’t we doing.”

After a US tour that saw huge theatres sell-out and the LA movie-star wannabes lose their cool and get down to some dirty breaks, Nick, Jody and Omi are pretty much booked up for the rest of the year. Live shows and DJ gigs at Glastonbury, Creamfields and Homelands were confirmed earlier in the year plus they’ve got a European tour up their sleeve and of course, the release of their best album yet.

Way Out West’s third album, ‘Don’t Look Now,’ is released 31st August through Distinctive Records.

A single, ‘Anything But You’ will follow.
www.wayoutwest.uk.com

CRAIG NORTHEY

Craig Northey & Jesse Valenzuela

* Your musical inspirations?

Mostly my mom. She is a violinist who always made sure there was music playing in our house. She started me on violin at age 6 and I gave it up for an electric guitar at age 15. My friend across the street had Beatles and CCR records. All we had were classical records. I was inspired by my mom. I like the question because usually it is about “influences” rather than “inspirations”. I was inspired by the club musicians in cover bands that came to play my junior high school. They made playing look easy and they had cool platform boots, space age outfits and flash pots. They were the first bands I saw up close and making all the girls go nuts.

 * Favorite CD's, songs, or musicians?

Too tough to answer really. I get great joy out of the Stax Volt
catalog.

* Has music helped you thru a difficult time in your life?

Music has been my life. Its provided me with some of my greatest sorrows and triumphs. Some of the worst days in my life have been because of the business of being in a band. If some of them weren’t the best days then I would be insane to keep plugging away at it. Music is something you catch and can’t shake. I have to do this. I have no choice. When you’re a teenager you are more likely to feel like you have been saved by a single pop song.

Craig Northey Bio

Craig was a founding member and one of the principal singer/ songwriters of the band Odds. Odds wrote and recorded four albums; Neopolitan (1991, Zoo/ BMG); Bedbugs (1993, Zoo/ BMG); Good Weird Feeling (1995, Elektra/ Warner Canada), and Nest (1996, Elektra/ Warner Canada). All four received international critical favour, and made a significant impact at retail; Nest achieved Gold status in Canada, and Good Weird Feeling went Platinum.

Throughout its life, Odds made regular top ten singles and videos. Songs like “Someone Who’s Cool”, “Make You Mad”, “Heterosexual Man”, “It Falls Apart”, “Eat My Brain”, and “Nothing Beautiful” were radio and music TV staples. Odds were continuously nominated for Junos (two for Best Songwriter) and a bunch of MuchMusic video awards.

A friendship with the comedy troupe Kids In The Hall offered Craig the opportunity to write the musical score for the 1995 feature film Brain Candy (1996, Paramount/Lakeshore). Then in 1999 he wrote and recorded the score for Bruce McCulloch's first feature film Dog Park (Lions Gate/Columbia/TriStar) starring Janeane Garafolo, Luke Wilson and Natasha Henstridge. Craig received a Genie nomination for the song “Somedays It’s Dark”. Most recently, Craig scored and starred as musical director on the “Kids In The Hall” North American Tour in 2002.

Craig continues to commission work for other artists. Some of his most recent work has been for artists like Colin James, the Who, David Gamson (Scritti Politti), Glen Phillips (Toad The Wet Sprocket), Wide Mouth Mason, Splendid, Damhnait Doyle, Paul Hyde, The Waltons, Chin Injeti (Bass is Base), Leah Andreone, and Jesse Valenzuela (Gin Blossoms). His writing collaboration with Colin James led to an extended stint in the Colin James Band, a credit as co-producer on the 2001 release Fuse and co-writer on 2003’s Traveler. Craig also wrote the song “Beautiful Pain” on Roseanne Cash’s Grammy nominated release Rules of Travel (2003).

At one point in 2001 Craig had 5 songs by three different artists all charting in the same two-week period.

Craig released the much-anticipated solo album Giddy Up on February 4th, 2003 and has toured across Canada with his Power Trio. He is currently finishing off a collaborative CD with Jesse Valenzuela of The Gin Blossoms, scheduled for release Summer 2004.
www.craignorthey.com
Maple Music

PETER ULRICH

Musical inspirations.

The first songs I wrote (when I was around 10 or 11 years old) were inspired
by groups/artists such as The Beatles, Beach Boys, The Move, Donovan and
Simon & Garfunkel.

My inspiration to take up playing the drums came largely from falling in
love with the instruments themselves - initially a pair of bongo drums which
my grandparents gave me, and latterly the big shiny kit in the window of the
local music store. Learning to play during my mid-teens, I was inspired by the
 likes of Genesis, Nektar, Man, Mahavishnu Orchestra and Caravan.

By the early 80s I was starting to discover the world music scene and was
amazed by the music of artists such as Nusrat Fateh Ali Khan and King Sunny
Ade.  I liked the way both David Byrne/Talking Heads and Peter Gabriel were
incorporating world music influences into mainstream rock, and I loved the
brooding intensity in the music of Joy Division.

In late '82 I met Brendan Perry and Lisa Gerrard and joined Dead Can Dance
as their drummer/percussionist.  Working with these two extraordinary
creative forces, whose work combined elements of all the musics I loved
most, was the most incredible stroke of good fortune and became by far the
biggest influence on my musical development.

Now, in my own solo projects, my inspirations come from a vast and diverse
range of sources - there are elements in tracks on my solo albums which I
can trace back to anything from Blondie or Velvet Underground, through
Algerian Rai, classical Persian forms and Indonesian Gamelan, to medieval
songs from the European pilgrim trails.

Favourite CDs.

Medieval - Pilgrimage to Santiago by Phillip Pickett & The New London
Consort.
West African Drumming - Drums of Passion by Babatunde Olatunji (the original
album under this title).
North African/Arabic - The Egyptian Music by Soliman Gamil.
Rock - OK Computer by Radiohead.

Has music helped me through a difficult time?

Music is essential in the good times as well as the bad.

Coping with my teenage years was hard going, and music was vital in helping
me to 'find' my identity and emerge as the person I wanted to be.

In 1990, I was about to leave for a major tour with Dead Can Dance when my
father had a very severe stroke.  My mother insisted I still went on tour.
I sent postcards to the hospital from nearly every place we played through
Europe and the States.  It helped both me and my mother cope with the
situation and, although he could never speak again and we couldn't be sure
about his levels of cognition, it seemed to cheer my father.  I think it was
a better focus for our family attention, than if I had been there sat beside
the hospital bed.  I am sorry he didn't live to see me release my solo
albums, but I was able to dedicate my first album to his memory.

Music has always contributed hugely to my appetite for life, and I'm sure
it will continue to do so.

Peter Ulrich Bio

Peter Ulrich was born in Perivale, west London in 1958. He struggled through a couple of years of formal piano tuition, and never showed any particular aptitude for music at school, but became inspired when his grandparents returned from a holiday in South America and presented him with a pair of clay and calfskin bongo drums when he was about 10 years old.

These bongoes remain a treasured possession to this day, and feature in the track 'Kakatak Tamai' on the 'Enter The Mysterium' album. They inspired an early interest in African tribal drumming, as well as leading Peter to take up playing a conventional rock drum kit. Through his teenage years, Peter taught himself to play drums as well as some elementary acoustic guitar, but early attempts to launch a group never made it beyond the rehearsal studios.

It was not until after graduating from college and settling in east London in 1981 that Peter answered an advertisement and joined an established soul/blues band which played the local pub and club circuit. The group rehearsed and gigged regularly which was great fun and valuable experience, but had no illusions of progressing beyond the local scene. At the same time, Peter was discovering Joy Division on the one hand, and the 'world music' scene through the birth of WOMAD on the other - and developing a deep love of both.

When Peter met Brendan Perry and Lisa Gerrard in late 1982 and first heard the music they were creating as Dead Can Dance he was thrilled to discover elements of both these areas contained in a very dynamic and exciting new sound. Initially his enthusiasm on being invited to join the group was tempered by a fear that he was out of his depth and technically inadequate, but Brendan and Lisa were happy to have discovered a kindred spirit and patiently initiated him into their set-up.

Peter played drums and percussion with Dead Can Dance until his second daughter was born in 1991 and this, coupled with other family and work commitments, made it impossible for him to continue touring. Nevertheless, in 1995 he was invited to Ireland to participate in preliminary percussion sessions for the 'Spiritchaser' album, during which period Brendan offered him the opportunity to record material for a solo album at the Quivvy Studio. Although it took over a year to organise, the recording sessions took place in early 1997 and the resulting six tracks were added to two tracks previously recorded in 1990 to complete Peter's debut solo album.

'Pathways and Dawns' was released on Projekt in August 1999, gathered a clutch of very good reviews, and began the process of establishing Peter's own audience. His second solo album, 'Enter The Mysterium' was released on City Canyons in March 2005 and includes a track called 'Through Those Eyes' which features both Peter's daughters for the first time - a momentous event.
www.themysterium.info/
City Canyons Records/Peter
CD Baby/Peter

TANYA TAGAQ

* Your musical inspirations?

The land of Nunavut. My culture, my experiences. Society and it's fluxuations.

* Favorite CD's, songs, or musicians?

Geoff Berner, Bjork, TOFU, The Doors, Motorhead, Digging Roots, Meridith Monk, DJ Atmosphere, Peaches.

* Has music helped you thru a difficult time in your life?

It has helped me through tough times and facilitated great ones.

* Your thoughts on the connection between music and healing--

They are one and the same.

BIO

Tanya Tagaq Gillis was born and raised in Cambridge Bay, Nunavut. She left when 15 to attend Sir John Franklin High School. Continuing her education, she attained her Bachelor of Fine Arts from the Nova Scotia College of Art and Design.      During her final year of school, weary then of “southern” culture and yearning for home, she began emulating tapes of throat singing her mother had sent her. Throat singing is a traditional vocal game between two women. Since Tagaq had no partner to sing with, this was the beginning of the development of her contemporary and emotional style of throat singing. She has since sang on festival stages, in opera houses and mosoleums throughout the world. She has collaborated with the likes of Bjork and Kronos Quartet.

     “ I guess if I was forced to describe what I am doing, I would have to say that I am interested in instinctual and emotional capacity.”- Tagaq
-
www.tanyatagaq.com

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