TAYLOR DAYNE

My musical inspirations have ranges from Jaques Brell, Jules Stein, Joni Mitchell, Gladys Night, Al Green, Marvin Gaye, Chrissie, Hynde, Bad Company, Led Zepplin, Allman Broths, Neil Young, Melanie, Karen Carpenter, Carly Simon and Jimi Hendrix.

Love and light...
Taylor
www.taylordayne.com

COLOR THEORY

How has music inspired you?

I don't know. I honestly don't. And I think that's what draws me to music. I'm a very logical person with a scientific mind. Maybe music provides a chance for me to escape my linear thought processes and experience something spiritual or even magical. I discovered the piano at the relatively late age of 12, and didn't really do much with it until high school. When I told my parents I wanted to be a music major, they weren't initially supportive, because my grades were strong and they probably had "bigger things" in mind for me. Yet here I am at age 34 making a living from my music. It turns out that science and math are key elements of music - you learn that quickly when you run a recording studio. That fusion of art and science will always fascinate and inspire me.

Your musical inspirations?

I have a wide range of favorites, from my childhood idols (Depeche Mode, The Cure, The Smiths) to classical composers (Brahms, Beethoven) to semi-classical modern day songwriters (Sondheim). But one that stands out for me is David Sylvian. I became a fan of Sylvian's band Japan in college, during the height of the Duran Duran craze. He reinvents himself with every project. I try to do the same thing, by exploring a variety of different styles and sounds over the course of the six albums I've recorded thusfar. My seventh is already in the works, and it's different yet again from anything I've done in the past.

Any CDs or songs which are meaningful to you?

Not lately! Not to reveal myself as an audio snob, but the quest for maximum volume in the mastering process has all but ruined today's recordings. I am a mastering engineer as my "day job", so I can get away with it I suppose. Some exceptions, plus some oldies but goodies: David Sylvian - Secrets of the Beehive Frou Frou - Details The Postal Service - Give Up Depeche Mode - Violator The Cure - Disintegration Everything But The Girl - Walking Wounded The Smiths - The Queen is Dead ("There Is A Light That Never Goes Out") Jimmy Eat World - Clarity The Sundays - Reading, Writing, and Arithmetic B! Machine - Aftermath

Color Theory is the musical alter ego of Huntington Beach singer-keyboardist-songwriter Brian Hazard. Hazard creates piano-driven electronic pop with a romantic soul, combining the emotional intensity of Tori Amos with a spacious backdrop of luscious synths and dance floor beats to create a distinctly modern brand of pop sophistication. "Hazard writes songs that are intensely personal and uses technology to enhance material that is as emotive as the best folk." (Robert Kinsler, Orange County Register)

Color Theory has just released Color Theory presents Depeche Mode, a one-man tribute to Depeche Mode, complete with two new instrumental interludes. The album reinvents eleven of their most underappreciated songs, and also includes the track "Ponytail Girl", the Color Theory original that was mistakenly credited as a Depeche Mode track from their Exciter album. To this day, several European web sites sell alternate versions of Exciter with “Ponytail Girl” included as a so-called “bonus track”.

The Southern California based one-man band has been stirring emotions since the 1994 release of Sketches In Grey. The first pressing sold out quickly, due almost exclusively to word-of-mouth. Demand was high for a new album, and Color Theory responded with the 1997 release of Tuesday Song, which includes a daringly non-fiction song used for a real-life marriage proposal. 1999 heralded the release of Perfect Tears, which is so intimate that it was successfully promoted through a series of personal ads. The album was in regular rotation at over 40 European commercial radio stations. 2001’s Life’s Fairytale further explores Hazard’s electronic tendencies, while 2002’s Something Beautiful features only acoustic instruments. Twenty-six weekly demo recordings were posted on the web as part of the “Bad Song of the Week” project, which allowed fans to vote for their favorites and decide which songs would ultimately be included on the album.

With a fiercely loyal fanbase, persistence, and clear artistic vision, Color Theory is poised for long-term success.

www.colortheory.com
www.cdbaby.com/cd/colortheory

BONFIRE MADIGAN

* Your musical inspirations?

To contribute to and benefit from a cultural evolution in which the norm is innovative, expressive, and accessible everyday art by and for all. to spread this mad music that whispers: listen. lead. follow.
you are the art project. get creative
.

Bonfire Madigan is an avant-pop, chamber-rock experiment. A configuration of combustible collaborators orbiting the songs and spit of Madigan Shive. Madigan ignites the Bonfire with a shebeen of soul-art-string-sounds. Since her performing songwriting first appeared with Seattle's first generation Riot Grrrl band, the seminal acoustic songwriting duo, Tattle Tale, to her Mad art, advocacy and activism of today -- Madigan doesn't play for safety. As the new B.Mad live album declares -- she Plays for Change. It may take some folks awhile to catch up with this. But they're the ones who said Bob couldn't sing, Monk couldn't play and Patti wasn't rock and roll. Madigan is a new-music composer pulling from all that inspires her to create something often called ineffable. She repaints the sonic landscape with visceral interpretations of love, life, loss and liberation. Madigan is one of the globalization generations most potent cultural figures. SF Chronicle/EGate says "... Shive certainly sets the underground ablaze."

Madigan Shive - words, voice, cello, guitar, up front baring all

Bonfire cohorts include:

Jonathan Egg Hughes - drums, percussion, guitar, rise center

Aurisha Smolarski - violin, via Vermont-France-Boston-LA

Ashley Adams - bullfiddle, Bay Area treasure

Bonfire cohorts can include/have included:

Tara Barnes - sound engineer, filmmaker, road octopuss

Ralph Carney- acoustic theremin soundin' horn, trumpet, sax

Sheri Ozeki - contrabass, chesire grin, LA sound design

Christine Lehmann - violin, left leaning, swinging in London

Shelley Doty - electric guitar, hovering overhead in Oakland

Tomas Palermo - drums, beats, found sounds, turntables

Spazecrafte 1 - flute, thumb piano, beatbox

Lora MacFarland - drums, xylophone, at home in 99 + Australia

Sunshine Haire - drums, drinks at 12 Galaxies SF, one liners

Select Discography & Filmography:

Madigan i bleed: a decade of song

2004 intro/retrospective mix disc MoonPuss Music
Bonfire Madigan Plays for Change
2003 live disc Eglantine Records (France)/MoonPuss (USA)
Bonfire Madigan 88 EP
2002 MoonPuss/Little Echoes
Bonfire Madigan Saddle the Bridge
2000 Kill Rock Stars Records
"Scraps" featured in Better Luck Tomorrow (MTV Films April 2003)
"7 Mile Lane" performed live in the documentary, D.I.Y. or Die
"Mad Skywriting" performed in Don't Need You: A History of Riot Grrrl
Bonfire Madigan … From the Burnpile
1998 Kill Rock Stars
"Snowfell Summer" ends feature documentary film, Chain Camera
"Snowfell Summer" used in Better Luck Tomorrow (MTV Films 2003)
Madigan Rock Stop
1996 MoonPuss Music
"Pity Rock" used in short film, Sleeping Beauties
Tattle Tale Sew True
1995 St. Francis Records
"Glass Vase Cello Case" love theme to feature film, ...But I'm a Cheerleader

www.bonfiremadigan.com

LILY FROST

Musical performance has inspired me to overcome my
fear of being in the public eye. Listening to music
can alter my mood. Really sad music can usurp my own
and make me feel less alone knowing others feel it
too. Singing in a group feels like flying sometimes.
It makes me high. I had my first out of body
experience singing in a large group of people when I
was about 12. Writing songs is like giving birth. I am
just a vessel the song is chanelled through. I
sometimes don't remember the process because I fall
into a trance. I love dancing to music. I think it
brings people together and helps you loose yourself. I
think music has the power to unite people, free your
soul and cure your ailments. We are all artists. We
have to participate more in being human beings and
stop just being spectators.

LILY FROST
DEEP LOUNGE!


“Her romantic, dreamy tunes stir the imagination and evoke exotic locales with sexy Latin rhythms and lighthearted, Parisian-style synths. Frost plays acoustic gutiar and delivers her breathy vocals with a retro cool, a swingin' 60's chantuteuse with keen insights into modern life .”
-Liisa Ladouceur
-NOW-


Frosts whispery-far-off-in-the distance vocals can
capably melt the cerebrum.”
-Showtime-

“There are no weak tracks on this album and many small beauties.”
-Robert Everett Green-
-The Globe and Mail-

Deep Lounge characterizes Lily Frost's own unique combination of 60's French pop, bossa nova rhythms, jazzy chords, bohemian lyrics and breathy vocals. Taken in by a group of French and South American Minstrels at an early adult age Lily was inspired and encouraged to put her poetry to melody and music and start making records. Her touring has led her to Cairo, Paris, London, New York and Los Angeles. Frost has recorded and released 7 cds to date (solo and with her former bands, (The Colorifics and Mimosa.)

In 2000 Lily signed to Nettwerk Records who released "Lunamarium" in Germany, Japan, the U.S. and Canada with rave reviews. The single "Who Am I" was remixed by Chris Lord-Alge and the video was shot in Paris and Vancouver directed by William Morrison (who has done all the videos for The Matthew Good Band)
The buzz off "Who Am I" being played on heavy rotation on Much and Much More led to the song being picked up for the soundtrack of the feature film "Crazy Beautiful." In addition to her national press, television and radio coverage, lily has shared stage with the likes of Cold Play, The Dandy Warhols, Rufus Wainwright,Hawskly Workman, Jay Mascus(Dr.Jr) The Cowboy Junkies and sang "Fragile" with Jesse Cook at the Orpheum in place of Holly Cole. Lily left Vancouver in 2002 after winning the West Coast Female Vocalist of the Year award and since relocating to Toronto has released "Situation" a 6 song EP recorded and co-produced by Steven Drake(the Odds)and is half way finished co-producing her next cd in a private cherry beach studio. Live in concert, Lily sings in English, French and Spanish accompanying herself on guitar and a 70's rhythm ace beat box. For those of you raised on rock rock rock and want to discover a dreamy new alternative we introduce you to the warmth and joy of Canadian chateuse Lily Frost!

www.lilyfrost.com

WILD STRAWBERRIES

photo by Hill Peppard

CD’s or songs which are meaningful to you?
 

  • Sufjan Stevens—Greetings from Michigan
  • Iron and Wine—Our Endless Numbered Days

    Cheers,

    Ken (Wild Strawberries)

    WILD STRAWBERRIES-Bio by Kerry Doole
  • Twist

    "Let’s Twist again." That is destined to be the mantra of lovers of pop music once they’re exposed to the new album from dynamic Toronto duo, Wild Strawberries.

    Over the past decade, Ken Harrison and partner Roberta Carter Harrison have delighted music fans with their now immediately identifiable brand of melodic and intelligent music. Their new CD, Twist, represents a healthy step back to the basics for Wild Strawberries, in both a musical and industry sense. Once again, they’re an independent, self-contained entity, choosing to release the album on their own label, with Universal Music as distributor.

    That’s how Ken and Roberta began their recording career. A 1990 indie cassette, Carving Wooden Spectacles, first alerted listeners to their fresh new sound. That was followed by 1992 debut CD Grace, 1993 EP Life Sized Marilyn Monroe, and 1994’s breakthrough CD, Bet You Think I’m Lonely. The latter two title tracks became major radio hits, and widespread video exposure plus a Juno nomination as Best New Band (1995) confirmed Wild Strawberries as a force to be reckoned with.

    Sensing clear commercial potential, Nettwerk then entered the picture. The label’s faith was rewarded when 1995 album Heroine went gold, thanks to more radio hits and extensive touring that included well-received dates on Lilith Fair.

    Never artists to rest on their laurels, Ken and Roberta then explored new sonic terrain on 1998’s Quiver. Musically dense and sometimes dark lyrically, this brave record scored impressive video and radio airplay in places as far afield as Germany and Australia as well as major critical acclaim...

    • "A band amongst the best in the pop arena."
    • CMJ
    • "With Quiver, Canada’s duo of Ken and Roberta Carter Harrison come into their own as purveyors of slinky and complex groove music."
    • Toronto Star
  • Now here’s the Twist in their tale. This artistically self-confident work marks a return to the more upbeat and accessible sound of early Wild Strawberries. "Our idea for Twist was to go for a less dense sound. On Quiver, we put in as many sounds as possible. This time, we were careful not to overwhelm the melody," explains Ken.
  • Mission accomplished. Roberta’s poised yet haunting vocals come through bright and clear, providing the perfect complement to Ken’s infectious melodies. As Roberta notes, "Ken can’t help but write melodic songs. Our big thing with Twist was to present a record that has a whole bunch of different types of pop music. We want to show we can rock out, yet also do beautiful romantic ballads and fun popular ditties. I hate buying a record that just sounds the same!"

    The new material ranges from the spirited rock of lead track "Lucky Day" through the irresistible gentle pop sounds of first single "Wish" and "Somersault" and summery sentiments of "Popsicle" and "Love Song 3000." The latter tune’s refrain of "I’ve got this love song going around in my head.. I hope this love song will never end" is one that’ll mirror the listener’s reaction to Twist.

    Add in the bonus cuts of a fun cover of synth-pop classic "Tainted Love" and a remix of the recent radio smash, "Wrong To Let You Go," (a collaboration with guitar virtuoso Robert Michaels that appeared on the Women And Song compilation) and you have one generous and well-balanced collection of smart pop music.

    Reason for the more upbeat feel of Twist is close to home for the Harrisons. Call it Georgia on their minds, in the charming form of their two year-old daughter. "This is our first post-kid record," says Ken. "I feel less cynical when I go to write now. It’s hard not to be joyful with a newborn in your arms." Roberta laughingly adds that "Georgia sings all the words now, so he has to be careful about what he writes!"

    Twist was entirely recorded and mixed at the Wild Strawberries Toronto home studio, an arrangement that’s both cost-efficient and creatively stimulating. "On every album we’ve tried to add a little more of the home studio to the project," explains Roberta. "This time, everything but the mastering was done here, and we had a blast."

    Ken Harrison is responsible for all the music and most of the lyrics of Wild Strawberries songs. He co-produced with Brian Minato, with Ed Tuton (Eagle-Eye Cherry, Alana Davis, Maxwell) mixing. The usual fine supporting cast of players this time featured Lenny Kravitz’s guitarist Craig Ross and cellist Matt Brubeck (Tom Waits, Sheryl Crow). Ken’s arsenal of keyboards and electronic instruments included the moog and doepfer, a modular synthesizer designed for Kraftwerk.

    The result is another fine addition to a consistently charming catalogue. So what are you waiting for? Time to add a Twist to your pop cocktail.
    www.wildstrawberries.com

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 2003-2005