Label: AMAdea Records

Album: Nuggets Of Gold

Genre: Traditional Folk

Buy CD

ARTIST DESCRIPTION

Zhelyazko Zhekov is one of the famous producers in the field of the Bulgarian’s folklore. He is also musician, composer, arranger, teacher and as a whole – connoisseur of the Bulgarian traditional and national music.

During the years Zhelyazko Zhekov collaborate with many of the renowned musicians and performers of the traditional Bulgarian music. Despite of this he is always in search of young talents.

In his album collection “Nuggets of Gold”, there are compositions that represent the national creation of the South-eastern region of Bulgaria. This is a place with very specific colour of this genre of music.

Listen to the music and get into one different world.

In addition, Zhelyazko Zhekov has included a bonus tracks – 4 instrumentals from the performed music inside the album, which are FREE FOR USE, like home performing, karaoke or even available for remix with another style or instruments. NOW you can insert a blend from this marvelous music into yours.
MUSIC QUOTES

Bulgarian music has achieved special recognition for these odd-metered melodies and the unique vocalizations and once a person develops a taste for this style … it becomes addictive. One reaches dizzying heights of pleasure when savoring this musical experience — it lasts for hours and hours. You find yourself humming the melodies or tapping your toes or fingers to the odd meters unconcsiously even when the music stops. Bulgarian music is an acquired taste but once you develop it – you definitely want to experience it more often. This CD is a delightful smorgasboard for those who have had a bite of this style of music and want to expand their musical horizons.
- AMAdea Records, BULGARIA

AVAILABLE ALSO on iTunes

Beijing has been the world’s focus of attention for international events in 2008: the Olympic Games in August, and the Paralympic Games in September. From October 3rd to 8th, Beijing will host the 2008 World Folk Song Festival, featuring performers from 25 different countries and 13 Chinese provinces.

The six-day extravaganza will be held at Beijing’s colossal National Centre for the Performing Arts (NCPA), a 600,000 sq. ft. facility nicknamed “The Egg”. A reflective pool in front of the majestic dome gives the illusion of a gigantic egg suspended in mid air. For one week, the NCPA will echo with songs from around the world and will introduce Chinese audiences to some of the finest folk music and traditions from around the world. Sones de Mexico Ensemble will perform live in concert in the National Centre for the Performing Arts Theatre on Monday, October 6th at 2:00pm. The group will give a performance presentation in the NCPA Conference Hall on Tuesday, October 7th, at 3:00pm.

Sones de Mexico Ensemble, a Mexican independent folk group and arts organization from Chicago, whose 2007 album “Esta Tierra es Tuya (This Land Is Your Land)” garnered both GRAMMY and Latin GRAMMY nominations last year, received an unsolicited invitation from the Festival selection committee in late May.

Juan Dies, a co-founder of the group, said “I was just as surprised as anyone else that we would have been selected, especially when we discovered that we were the only group attending from the United States.”

Besides their “norteno” homage to Woody Guthrie’s “This Land Is Your Land”, the group is mainly known for preserving a tradition of folk songs collectively known as “son”, from Mexico’s diverse cultural regions, performing them with a preservationist’s care on a collection of over 70 acoustic instruments.

In an interview for China Radio International, Chen Ziming, an expert on folk music and also a professor in the Central Conservatory of Music, said that the festival is a good chance to broaden people’s understanding of world folk music and to change the long-time focus solely on European music.

When asked about his selection criteria, Ma Wenjie, the organizing committee’s liaison to the American continent, spoke of “Yuan Fen”, a “predestined affinity”. He explained, “We use this word to describe two people who never know each other, and once for a very coincident opportunity they meet each other, then they become very good friends and do great things together.” Mr. Ma Wenjie found Sones de Mexico Ensemble on the Internet, and he felt a connection.

In response, Juan Dies said “I think we may write a new song when we meet and call it ‘Yuan Fen’.”

ABOUT SONES DE MEXICO ENSEMBLE CHICAGO: Sones de Mexico Ensemble Chicago is a premier folk music ensemble specializing in Mexican “son”, including the regional styles of “huapango”, “gustos”, “chilenas”,”son jarocho”, and more. The group formed in 1994 to keep the tradition of Mexican “son” alive in its many regional forms. As a performer and recording artist, the ensemble has developed and popularized many original arrangements of Mexican traditional songs. Some of its original work has experimented cross-culturally with symphonic, Irish, folk, C&W, jazz, and rock music, though never abandoning its roots in Mexican “son”. The ensemble is also committed to teaching and has a 501(c)3 non-profit organization dedicated to music education. All band members reach out to young and old with award-winning educational programs nationwide.
http://www.sonesdemexico.com

Style: Acoustic Folk Pop
Hometown: Minneapolis, MN
Latest Release: The Shapes That Shift Us

About Brad Senne:

Music in the style of Elliott Smith, Nick Drake, Rogue Wave and Iron and Wine.

In early 2007, Senne bought a laptop computer and recorded the basic tracks for The Shapes That Shift Us. The album was mixed with additional instrumentation added at Crazy Beast Studios with Ben Durrant (Andrew Bird). The song “Caroline to Maine” is a catchy folk-rock gem that keeps listeners humming for days, while “Drift Gently” is reminiscent of the sparse finger-picking style found in Beck’s album Sea Change.

Brad frequently plays in Minneapolis as a solo musician and with the band Beight.

Members & Instruments

Brad Senne: Guitar, vocals, bass, piano, drums

Special guest performances by:

J Tyler O’Neill: Piano, synthesizer, vocals
Ben Durrant: Electric guitar, arp, accordion, banjo, vocals
Ryan Lovan: Drums
Channy Moon Casselle: Violin

Track List

1. Into the Moon
2. Caroline to Maine
3. Swim With the Sun
4. Dance ’til Dawn
5. Lullabies
6. Drift Gently
7. One Word Rescue
8. So Far
9. Open Sea
10. Boardroom Hearts
11. Searching for the Sun
12. Lost in Love
13. Opposite Sides
14. Sun Behind Me

Go To Tracks
Song #2 – Caroline to Maine
Song #5 – Lullabies
Song #6 – Drift Gently

The Shapes That Shift Us Quotes

“Senne is another unique voice in the indie pop scene.” – Omaha City Weekly

“…Senne could give Beck a run for his money.” – Illinois Entertainer

For more information, go to:

Brad Senne Official Website
MySpace

Ameila is Teisha Helgerson (vocals), Jesse Emerson (upright bass, electric bass, acoustic, piano, percussion, autoharp) and Scott Weddle (acoustic & electric guitars, electric bass, vocals, bass harmonica, glockenspiel, marxaphone, percussion, loops).

Teisha’s vocals are soft and expressive. That style compliments the music produced by her band mates. I was impressed by the overall musicianship and versatility of this band. Considering there are three people providing the music, it speaks volumes for their talents and aptitude for switching between instruments. The ebb and flow of this recording remains consistent throughout, as the vocalist does not waver from her style or tone. The band provides a lush backdrop for her to maintain that tempo and style, which is a mixture of folk, rock, and pop, with an emphasis on roots and a smidgen of country twang thrown in for some extra flavor.

“Dolores” is a nice toe tapping tune that I could imagine hearing on the radio and the lead off track “Enigmo” while delivered in a different language, could find its way to the Latin charts and end up being a cross over hit.“Thick As Thieves” is perhaps the most interesting with a nice lead off electric guitar lick. It has a contagious ring to it as the guitar reverberates and the acoustic is strumming along behind, it makes for a nice instrumental and actually the one song I could not see Tiesha singing to so it was a good choice for the only track without vocals. It is very short but I was very interested to hear more as it was quite a step away from the rest of the album. “Sugar Falls” would be another good choice for airplay. Interesting enough that familiar electric guitar weaves its way into this track as well. I have to say with authority that as much as I can appreciate the acoustic side of their work I would like to hear more of that electric guitar, it is very tasteful yet it makes a point with strong lines placed just right to enhance the lyrics. ‘Eyesore” ends up being the most pop injected tune and the most commercially viable, which I think would engage new listeners and push them to explore the rest of the album.

This is a strong release and I can see Amelia going places if they continue to develop.

Artist: Amelia
Title: A Long, Lovely List of Repairs
Genre: Folk-Roots
Label: Adrenaline
Website
Source Link

Tracks:
01. Enimigo
02. Farewell
03. Tragedy
04. After You
05. Try
06. The End
07. Dolores
08. Thick As Thieves
09. Sugar Falls
10. The Great Escape
11. Eyesore
12. Cover the Leak
13. Needlework
14. Here We Are

© MuzikReviews.com

Keith “MuzikMan” Hannaleck

Polarity/1, the multi-genre artist best known for bold, honest, hard-hitting songs, is re-releasing his hit album, Yankin’ the Food Chain, now with re-mastered tracks. Polarity/1’s music has been incorporated by dance theaters and documentarists, including Danny Schechter’s feature-length film documentary ‘In Debt We Trust’ and Battery Dance Company’s 26th Annual Downtown Dance Festival last year.

Yankin’ the Food Chain fuses electronica, acid jazz, alternative and electro-folk to create a set of funky-fresh beats infused with crucial political messages to future generations. The serious issues covered on Yankin’ force listeners to reanalyze their own ethics, especially when cornered with their own self-images in “Look at Your Shoeshine”: “Can you see yourself in your shoeshine?/ Step back!”

From the excitingly chilly vocals of “Salesman,” to the persuasive political raps found in “News Goo,” to the astoundingly real lyrics of “Di Hard” (”The good die young/ and the bad get paid”), Yankin’ has something to offer every music-lover. Perhaps most notable, though, are the album’s funky, upbeat tracks, such as “Boomers Blues,” “Jam Inya Jimmies” and “Cincinnati Pink.” With lyrics like “She’s catchin’ the groove and won’t let go,” it’s obvious that once you put on this Polarity/1 record, you won’t be letting go of the groove either.

Buy Yankin’ The Food Chain:

But don’t take our word for it; here’s what others have to say:

“Polarity/1 is a musical force unleashing some of the hippest beats and timely lyric[s] on the scene” (MediaChannel.org).

“‘Di Hard’ is a medium tempo groove with rapped and sung vocals, everything done by Polar except for exquisite backing vocals by Scott Parker Allen and Sabina Sciubba. The song is a comment on Princess Di’s demise, the role of the media, and the times we live in, serious without becoming sentimentalized or preachy. An interesting exercise in a style that’s very hard to pull off” (Recording Magazine).

“Polar succeeds in his mission of forcing you to pay attention and not lull into the sounds you ‘expect’ to hear” (StarPolish.com).

The music of Polarity/1 is exactly what the name suggests—”conjoined opposites,” including the new (cutting-edge electronica, hip-hop and nu-jazz) and the old (roots music of America, including blues, funk, country and early jazz, Brazil (samba, pagode, etc.) and West African groove science).

After a few years of playing percussion in samba bands at S.O.B.’s and other venues. Polar landed in hip hop which combined his interests in grooves, samples and wordplay into one form. He and rapper D.A.V. became Medicine Crew. In the aftermath of 9/11, Polar was asked to do a remix of Nile Rodgers’ We Are Family Project released on a compilation by Tommy Boy Records. His experience of 9/11 which was perpetrated in his neighborhood led to a collaboration with multi-platinum Pakistan rock band Junoon resulting in their hit song ‘No More’. John Hollander has choreographed four Polarity/1 compositions for New York’s Battery Dance Company’s fall season opening in November 2006 and has been touring extensively with the piece. In 2008, he scored “The Other Side” for the Quorum Ballet from Lisbon Portugal. P/1’s new collaboration, Koko Dozo, released their first album Illegal Space Aliens in February 2008.

And you can check out Polarity/1 for yourself and learn how to purchase Yankin’ the Food Chain by heading to www.musicdish.net/polarity1/

Even though the band knew how people would interpret their name, the lead singer Teisha Helgerson commented, “We thought about how it sounded rolling off the tongue, how it looked on the page, and how it would represent our music.” That kind of go-for-it-anyway attitude typifies their musical approach and their ever-widening appeal with their audience.

A Long, Lovely List of Repairs features Tiesha’s dreamy vocals along with her contributions on drums and the rest of the musical montage is created by core members Jesse Emerson (upright bass, electric bass, acoustic, piano, percussion, autoharp) and Scott Weddle (acoustic & electric guitars, electric bass, vocals, bass harmonica, glockenspiel, marxaphone, percussion, loops). Noted are the many instruments that the three members combined play and how it enables their music to be just as complex and emotive because of their strong versatility. The music is a mature mixture of folk and roots with reflective lyrics and thoughtful expressions. Rather than lulling you to sleep, Amelia’s music will disarm you and pull you in like a magnet and will not let go.

A Long, Lovely List of Repairs offers memorable tracks such as “Eyesore”, “The End” and the closer “Here We Are.” With their strong roots based in Portland Oregon, the band has realized tremendous success on the West Coast and with an impending tour this year is a sure bet to expand their fan base nationwide.

Visit the Amelia website for more information including album orders, pictures, media and more.

Contact: Chip Schutzman
Company: Miles High Productions
Address: 6622 Delongpre Ave. Los Angeles, CA 90028
Tel: 323-806-0400
Fax: 323-462-0829
Amelia Website
Source Link

PR Created and Distributed By MuzikReviews.com

On August 24, 2006, Wildflowers Records alternative-country artist Amy Speace stopped by Fort Collins’ KRFC 88.9 FM for a live in-studio interview and performance on the station’s Live@Lunch show. Now MusicDish is making 8 tracks available from that memorable show freely available in MP3 format through social networking site ReverbNation at http://www.reverbnation.com/amyspeace

Amy’s ReverbNation profile offers 8 live tracks from her third album “Songs for Bright Street,” recorded at the station, including “Double Wide Trailer,” “Dreamin,” “Make Me Lonely Again,” “The Real Thing,” “Row Row Row,” “Shed This Skin,” “Step Out of the Shade” and “Two.” KRFC 88.9 was voted Best Radio Station by Coloradan readers, as its Live@Lunch show has a listening base of thousands which grows daily toward FM range/demographics in Colorado of over 700,000 (without counting internet listeners). Live@Lunch has celebrated over 1,000 shows since launching in March 2003.

The promotional campaign is part of a larger effort to promote MusicDish’s latest downloadable MP3 album “Amy Speace – Live On Radio.” Gathering nine tracks Amy’s most memorable radio performances on Ft. Collins’ KRFC 88.9 FM, NY’s WFUV 90.7 FM and Boston’s WMBR 88.1 FM, as well as syndicated show The Art of Song, the full album is available for download at http://www.musicdish.net/amyspeace/mp3/

Amy Speace has already won a loyal grass-roots fan base, thanks in large part to live performances that merge warmth, humor and emotional immediacy, and to a tireless touring schedule that’s already taken her across the United States. She’s also won considerable critical acclaim, with The Village Voice observing that Speace is “taking her Americana away from twangy contemplation toward tangy confrontation” and noting that she’s “not another of those breathy would-be child poets, but a real singing writer of songs.” Time Out New York stated, “Amy Speace plays sweet, twangy folk music with a clear voice and an innocent vulnerability,” while The Nashville Scene noted that she “balances wry humor with open-hearted honesty.” And renowned Nashville critic Robert K. Oermann, writing in Music Row, dubbed her a “new star.”

MusicDish, LLC has been at the forefront of the digital music sector, publishing some of the industry’s leading music magazine, including MusicDish.com and Mi2N.com, as well as dynamic white label content solutions. MusicDish also offers artist development and label management support, combining saturated online marketing with business networking and consulting.
http://www.musicdish.net

Maybe you’ve noticed that America’s debt industry — based on legalized loan-sharking — has created an economic crisis that threatens to go global. On a more local level — millions of families are facing home foreclosures and bankruptcy. And the credit card offers just keep flowing into our mailboxes.

“The avalanche of propaganda from the US debt industry with offers of ‘cheap’ credit is downright immoral as millions of families see their homes foreclosed,” noted NY-based multi-instrumentalist/arranger/composer/producer Polarity/1. “Having long worked on the subject, I felt I had to do something in order to educate Americans and counter the propaganda”

Polarity/1, a multi-instrumentalist/arranger/composer/producer, was one of the early voices warning of the impending debt crisis, having composed most of the score and served as Music Supervisor for Danny Schechter’s feature-length documentary IN DEBT WE TRUST. Focused on America’s dangerous addiction to debt and the predatory nature of our credit and loan industry, the film predicted over two years ago the economic meltdown being experienced today. And he’s now making the message available to the public, offering all his tracks from the documentary – including “Free Money,” “Charge It,” “Free Money Blues,” and “I’m So Broke” – as free MP3 downloads at www.reverbnation.com/polarity1

The music of Polarity/1 is exactly what the name suggests: conjoined opposites — a mash up of new: cutting edge electronica/hip hop/nu-jazz and old; roots music of America (blues, funk, country, early jazz), Brazil (samba, pagoda, etc.) and West African groove science. Polarity also describes the dual streams of Polarity/1’s musical output: songs and instrumentals.

After a few years of playing percussion in samba bands at S.O.B.’s and other venues. Polar landed in hip hop which combined his interests in grooves, samples and wordplay into one form. He and rapper D.A.V. became Medicine Crew. In the aftermath of 9/11, Polar was asked to do a remix of Nile Rodgers’ We Are Family Project released on a compilation by Tommy Boy Records. His experience of 9/11 which was perpetrated in his neighborhood led to a collaboration with multi-platinum Pakistan rock band Junoon resulting in their hit song ‘No More’. John Hollander has choreographed four Polarity/1 compositions for New York’s Battery Dance Company’s fall season opening in November 2006 and has been touring extensively with the piece. In 2008, he scored “The Other Side” for the Quorum Ballet from Lisbon, Portugal. P/1’s new collaboration, Koko Dozo, released their first album Illegal Space Aliens in February 2008.

Check out IN DEBT WE TRUST — the scariest movie of the century. www.indebtwetrust.com (Better hold the butter on the popcorn.)

To get more information on these issues, assistance with debt problems and ways you can fight back — go to www.stopthesqueeze.org

Since 1995, USA Songwriting Competition has been honoring songwriters from all over the world. Winners came from Australia, Japan, Canada, UK, Germany, Brazil, South Africa, USA, etc. Past winners have gotten recording contracts, getting their songs on film, TV as well as getting cuts with major artists. The 2005 Winner of the country category had his winning song cut by Faith Hill. The 2005 winner of the pop catgeory was signed by MySpace/Interscope records.

Entries must be entered by May 30, 2008 or earlier. The entry form can be found at: http://www.songwriting.net/tagit.html

This coincides with the release by MusicDish of Amy’s most memorable radio performances through a new downloadable MP3 album “Amy Speace – Live On Radio.” Gathering nine tracks from performances on Ft. Collins’ KRFC 88.9 FM, NY’s WFUV 90.7 FM and Boston’s WMBR 88.1 FM, as well as syndicated show The Art of Song, the album is available for download at http://www.musicdish.net/amyspeace/mp3/

John Platt’s three-hour tour of tunes strikes a balance between the “Joni Mitchells/Harry Chapins/Jackson Brownes” and “lesser-known but equally talented” singer/songwriters. Guests have ranged from icons like Pete Seeger, Joan Baez, Loudon Wainwright, and Judy Collins, to WFUV mainstays like Dar Williams, Bruce Cockburn, and Luka Bloom, to emerging artists like Richard Julian, Sonya Kitchell, and Ben Taylor. With his gentle probing John helps us to know more about the music – and who the artists are as people.

From the rustic rush of “Step Out of the Shade” to the bittersweet lilt of “Water Landing” to the gentle acoustic intimacy of “Two,” Songs for Bright Street’s 12 original compositions (plus a slyly countrified reading of the Blondie classic “Dreaming”) showcase Speace’s unique gifts, offering catchy Americana with indelible hooks, sharply observed lyrics and a gritty urban edge. Among those impressed by her sassy songcraft is legendary folk-pop songstress Judy Collins, who chose Songs for Bright Street to release on her new Wildflower label.

Amy Speace has already won a loyal grass-roots fan base, thanks in large part to live performances that merge warmth, humor and emotional immediacy, and to a tireless touring schedule that’s already taken her across the United States. She’s also won considerable critical acclaim, with The Village Voice observing that Speace is “taking her Americana away from twangy contemplation toward tangy confrontation” and noting that she’s “not another of those breathy would-be child poets, but a real singing writer of songs.” Time Out New York stated, “Amy Speace plays sweet, twangy folk music with a clear voice and an innocent vulnerability,” while The Nashville Scene noted that she “balances wry humor with open-hearted honesty.” And renowned Nashville critic Robert K. Oermann, writing in Music Row, dubbed her a “new star.”
http://www.amyspeace.com