Gregori Chad Petree and Jeremy Dawson grew up in Oklahoma and were involved in previous music projects together, including the soundtrack for the videogame Grand Theft Auto III in 2000 and Cloud2Ground. After relocating to Los Angeles, California, in 2004, the two recruited vocalist Carah Faye Charnow and drummer Mikey Martin.

Their debut album, We Are Pilots was originally released in January 2005, though versions of the album featuring different cover art and tracklisting would be released later the following year. This album featured their UK debut single “You Are the One.” The band’s second studio album, Season of Poison, was released on 4th November 2008, with Treasure as vocalist.

Their most popular tracks from the first album are “Don’t Cry Out,” “You Are the One,” and “Le Disko.” The group has gained popularity since then and even appeared on David Letterman in late 2006. They have released two singles from their second album: “Ghost Town” and “Ricochet!”

The innovative genre is called New Crack Swing, a lively twist on an era they were genuinely influenced by, and perhaps only Dua Boakye has the vocals and presence to pull it off. He has that raw Soul that goes back to Sly and the Family Stone, a rare and unstoppable talent; uncanny, as well, when matched with his ability to sing as hard as any rocker today.

The best representation of their sound can be heard on the track, “Stick Up Kids,” which exhibits the vocals reminiscent of the Bobby Brown “My Prerogative” movement, a synth that conjures Morris Day and the Time, and a distinctive hard edge that any fan of high-energy, in-your-face music can enjoy.

As hip hop icon, Slick Rick’s current backup band, the group has developed a taste for extensive touring, and because of their years together in The Eclectic Collective, it’s no surprise they already have a large fan base. Any loyal fan of either group followed Bad Rabbits and appreciated their growth, from their first promos to their unveiling at a Brooklyn venue, as demonstrated by the large crowd that already knew all the words from only Myspace and no official release.

That band is Atomic Tom.

Atomic Tom’s journey really began back in 2007, when four guys met at a crossroads – a place they’d each arrived with their individual instruments and talents, seeking allies in pursuit of a bigger sound. Those four guys were Luke White (Vocals/Guitar), Eric Espiritu (Vocals/Lead Guitar), Phil Galitzine (Bass) and Tobias Smith (Drums). White, who has been the front man for AT, believes a mutual love and respect for music brought the band together, “If we had just wanted to make a name for ourselves and get famous, we wouldn’t have come together the way we did. What we’re pursuing is more like a musical legacy, and we’ve learned that with each other, that legacy is much stronger.”
To even call White a front man might be a misnomer – it’s much more tied to the attention he demands when he takes center stage. But the band speaks of themselves almost as a musical collective. Espiritu offers, “Writing is a collaborative process, and that often allows a sound to grow more organically. “ Listening to some of Atomic Tom’s veteran tracks like “Take Me Out” and “You Always Get What You Want” have orchestral sized sound with a deep pop rock footing. But early listenings to songs from their upcoming debut album like “We Were Never Meant to Be” and “The Moment”

have a level of lyrical and musical depth that suggest real growth from the band and offer the listener a new reason to listen again and again.

The awareness of audience in Atomic Tom’s new sound is fitting for a band that has taken so comfortably to the demands of touring. Though they call New York City home, Atomic Tom consider themselves a traveling act. “We like to think of ourselves as modern day rogue gypsies, “ jokes White, “The stage is our home but it’s constantly changing. We leave everything on each stage as if it were our first and last.”
For now, the future of Atomic Tom looks and sounds exceedingly promising. With songs already making their way on to shows like “The Hills”

and their new album garnering strong buzz through out the industry, it would be easy to understand if Atomic Tom went Hollywood on us.

Thankfully, AT is that rare glimpse of honest talent in a musical world overrun with too many ‘somebodies.’ “We know who we are,” explains White, “and because of that, our sound may change as we grow as a band, but we’ll always inherently be the same people. Four guys, four instruments, and one evolving sound.”

Listen to the evolution of Atomic Tom when their new album arrives early 2010.

Lucy was born in London, but was raised in Amsterdam and New York City. She has a very musical background: her British father is a composer and conductor and her New Yorker mother is a musicologist and an opera singer. Lucy attended a public high school in the Bronx. She started off singing in jazz cafes and singing for tips or dinner. “You sing with a piano player and a tip jar on top of the piano,” she said in an interview on NZGirl. With a unique sound, the artist contributes some of her influences to singers Etta James and Betty Hutton.

In 2005, Woodward proved there is life after labels when she won a BMI Pop Award for writing the hit single “(There’s Gotta Be) More to Life” featured on Stacie Orrico’s self titled album. She also recently appeared on the major motion picture soundtracks ‘What a Girl Wants’, ‘Ice Princess’ and collaborated with David Schommer on the soundtrack for ‘Accepted’.

Lucy’s most recent accomplishment is the release of her first independent album: “Lucy Woodward… is Hot and Bothered” which can be heard on iTunes. The single ‘Use What I Got’ has been featured on the 2007 Lifetime Television movie ‘Write and Wrong’ starring Kirstie Alley. The physical CD is exclusively available through Barnes & Noble stores and Barnes & Noble.com.

Influences

Although classically trained, Lucy cites Debbie Gibson as an early influence. “I was amazed that she sang and wrote, and that she had written and produced and played on everything herself. And I was blown away by that.”

One of her early musical influences was her grandmother who used to sing a Yiddish lullaby her kids and grandchildren. Lucy took this melody and made this lullaby into a love song about desire.

That band is Atomic Tom.

Atomic Tom’s journey really began back in 2007, when four guys met at a crossroads – a place they’d each arrived with their individual instruments and talents, seeking allies in pursuit of a bigger sound. Those four guys were Luke White (Vocals/Guitar), Eric Espiritu (Vocals/Lead Guitar), Phil Galitzine (Bass) and Tobias Smith (Drums). White, who has been the front man for AT, believes a mutual love and respect for music brought the band together, “If we had just wanted to make a name for ourselves and get famous, we wouldn’t have come together the way we did. What we’re pursuing is more like a musical legacy, and we’ve learned that with each other, that legacy is much stronger.”

To even call White a front man might be a misnomer – it’s much more tied to the attention he demands when he takes center stage. But the band speaks of themselves almost as a musical collective. Espiritu offers, “Writing is a collaborative process, and that often allows a sound to grow more organically. “ Listening to some of Atomic Tom’s veteran tracks like “Take Me Out” and “You Always Get What You Want” have orchestral sized sound with a deep pop rock footing. But early listenings to songs from their upcoming debut album like “We Were Never Meant to Be” and “The Moment” have a level of lyrical and musical depth that suggest real growth from the band and offer the listener a new reason to listen again and again.

The awareness of audience in Atomic Tom’s new sound is fitting for a band that has taken so comfortably to the demands of touring. Though they call New York City home, Atomic Tom consider themselves a traveling act. “We like to think of ourselves as modern day rogue gypsies, “ jokes White, “The stage is our home but it’s constantly changing. We leave everything on each stage as if it were our first and last.”

For now, the future of Atomic Tom looks and sounds exceedingly promising. With songs already making their way on to shows like “The Hills” and their new album garnering strong buzz through out the industry, it would be easy to understand if Atomic Tom went Hollywood on us.

Thankfully, AT is that rare glimpse of honest talent in a musical world overrun with too many ‘somebodies.’ “We know who we are,” explains White, “and because of that, our sound may change as we grow as a band, but we’ll always inherently be the same people. Four guys, four instruments, and one evolving sound.”

Listen to the evolution of Atomic Tom when their new album arrives early 2010.

Influenced by classic rock bands like The Police and the Rolling Stones, as well as modern rock bands like Head Automatica and Franz Ferdinand, Detox Retox plays catchy, danceable rock music. They have performed high-energy shows for enthusiastic crowds throughout the DC metro area as well as the broader mid-Atlantic region, opening for such notable national acts as Asobi Seksu, Tyvek, and Girl in a Coma, among others.

Sharpen your fangs, The Helsinki Vampires are back. And this time, they’re ‘Back In Blood’.

The 69 Eyes return with their ninth studio album, which has been hailed a latter-day ‘Appetite For Destruction’. With blood on their hands and AC/DC on their stereo, the bloodsuckers have combined their past to focus on the future. Turning their back on the comic book glam of ‘Angels’, The Eyes have opened a heavier chapter in their musical career. For the first time this decade, honorary sixth vampire Johnny Lee Michaels has been granted temporary leave from the batcave and Matt Hyde (Slayer/Monster Magnet) has been invited over the threshold.

“He’s cleaned the table and dusted the skeletons!” singer Jyrki 69 laughs. “It’s like when Rick Rubin helped The Cult discover them on ‘Electric’ – we made a similar spiritual journey with Matt.”

Once again The 69 Eyes have their finger on the pulse of darkness with 12 goth ‘n’ roll anthems guaranteed to rock the crypt. “Unsurprisingly, the main inspiration for the album came from the vampire realm,” Jyrki explains. “We haven’t made a concept album but nearly all the songs have something to do with the undead or at least horror as a genre.” Delving into his movie collection, the singer focused on Jean Rollin’s erotic French flick ‘Lips Of Blood’, ‘The Hunger’ and the modern-day opus ‘Night Watch’. “It’s almost like vampires are taking over the world!” he muses referring to the current ‘Twilight’ mania.

The album opens with title track ‘Back In Blood’, which is a fast-paced wake-up call to the vampire king who’s been asleep for centuries and is now ready to rock. Blood is the new black and it’s never tasted this good: “2000 years – now, baby I’m back!” he sings, licking his lips. Jyrki describes the song as: “More Mötley than Mercy but with a Crüe made of Sisters.” The blood-thirsty swansong is an intimate piano and acoustic guitar-driven ballad called ‘Eternal’, performed as only a half-rotten Vampire Lestat could on a sultry southern night…

The first single will be the tongue-in-cheek ‘Dead Girls Are Easy’ – a nasty power anthem for sleazy pin-ups complete with a sing-a-long chorus aimed at those online chicks with the looks that kill! The video has been directed by MTV superstar and close friend Bam Margera, who was also responsible for the Eyes’ rock homage to ‘80s cult movie ‘The Lost Boys’.

Matt Hyde’s ultra-tight production has brought the danger back to The 69 Eyes’ sound. The producer reveals: “I’ve tried to feature the guitars, drums and vocals – the core sound of the band. I wanted them to rock and I wanted less emphasis on outside orchestration and keyboards with more real power and emotion through the performance itself.”

But it’s not just danger that Matt’s unleashed – he shares the same passion for horror and comics as Jyrki and the results of their marathon viewing sessions have seeped through onto disc. “We watched at least three movies every night while recording the vocals,” the frontman reveals. “We soon exhausted Matt’s DVD collection so we started renting everything we hadn’t seen from his local rental store. Once we’d got through everything they had there, we bought more and more and he’s now got a nice collection classic British Hammer films, cool 60s biker movies and vampire classics. After all, we couldn’t have made a record like this without Bela Lugosi or Christopher Lee watching over our shoulder!”

The artwork has been designed by Estevan Oriol, whose work has graced countless covers from Cypress Hill to The Transplants and Snoop Dogg. “I’ve been a fan of his iconic images for years – he’s like a present-day Andy Warhol. I’m so happy that he agreed to work with us because it’s given this record a real ‘made in LA’ stamp.”

Recording ‘Back in Blood’ in Hollywood also put The 69 Eyes in a prime location for well-known visitors. Brides Of Destruction’s London LeGrand and Care Failure from Die Mannequin are among the familiar names listed on the credits. But this isn’t just a party album; it’s a great rock record… and if you’re into vampires, you’ll enjoy it even more!

“We’ve worked so hard over the last two years since ‘Angels’ was released,” says Jyrki. “We played around 125 shows worldwide but all our sacrifices paved the way for the birth of this baby. ‘Back In Blood’ is a culmination of 20 years worth of hard work.”

If you want blood, you’ve got it!

An artist’s second album is often seen as the moment of truth. Released in spring 2007“Hope & Sorrow,” (50 000 copies sold just in France) has been plebiscited by public, press & radios (nominated to French music award & US Indie music awards). Wax Tailor confirms his musical identity. Often categorized as trip-hop or down tempo hip-hop, Wax Tailor breaks musical barriers using a sonic palette to demonstrate his life chronicles tainted in soul, jazz, and funk.

The tone of “Hope & Sorrow” is set from the introduction, where sounds unwind in a long one take and finally give way to Nate Harrison’s essay from “Can I Get An Amen.” Through the course of 12 tracks and 3 interludes, he tells us a new story, unravelling like a movie scenario with vocal guests as his actors who deliver their lines to the tune of a great director.

Like his debut, “Hope & Sorrow” showcases an array of talented guest musicians. Also featured on “Tales,” Charlotte Savary’s voice finds a gentle balance of sweetness and self-confidence on “The Man With No Soul,” “To Dry Up” and “Alien In My Belly.” This songstress reminds one of Bristolian cabaret pop where melancholy and melodies intertwine. Sharon Jones, the leading figure of the neo soul movement, lets her voice soar to heights far beyond that of modern R&B on “The Way We Lived.”Ursula Rucker is the priestess of Spoken Words. A familiar of The Roots, she offers her most exciting track to date, “We Be,” a poem that epitomizes the struggles of independence. LA based rapper, Voice, one of the true discoveries of this album, expresses a femininity in Rap on “The Games You Play” that is an all too rare occurrence. Marina Quaisse embraced the Wax Tailor project from the start and here again, She co-write a song and sprinkles softness through-out with her melancholic cello playing. The Others and A State Of Mind, no strangers to the underground hip-hop scene, drop their clever verses on the funky tracks “House of Wax” and “Positively Inclined.” “On my first album I had a lot of instrumental tracks,” explains JC, “I wanted to have more vocal guests on ‘Hope & Sorrow,’ which changed the way I approached song writing, giving the songs a more pop orientation.”

The four original members grew up in Basking Ridge, NJ and played in smaller bands during high school. Although they decided to forgo college, they also made the decision to move to a college town. New Brunswick, NJ, which is the home of Rutgers University, had a reputation for supporting underground music, and over the years had seen not only musical acts but actors enjoy professional success. The Bouncing Souls not only became a staple in the New Brunswick music scene, but also helped other bands gain an audience by opening up for them in the clubs around town, as well as parties and shows they put on themselves. The band’s name is a reference to Doc Martens shoes, which were a staple of punk dress. To this day, Doc Martens uses the advertising slogan “with Bouncing Soles” for their air-cushioned soles.

Their first full-length album, The Good, The Bad & The Argyle was released in 1994 on Chunksaah Records, their own label. The album was a compilation of several EPs the band had released previously. Two tracks of this record, “Candy” (popularized by The Strangeloves and covered by many other groups) and “What Boys Like” (originally by the Waitresses) served as homage to 1980s new wave while simultaneously striking a humorous jab at homophobia. Their next album, Maniacal Laughter was released in 1996. Half the album was written in a week. It led to a high profile tour with Youth Brigade that got the attention of Epitaph Records.

The Bouncing Souls signed with Epitaph in 1997 and released The Bouncing Souls later that year. While it contains some Bouncing Souls classics like “Cracked”, “Kate is Great”, and “East Coast Fuck You!”, certain tracks on the record are anticlimactic in comparison to their low-fi earlier recordings. Greg himself stated on Do You Remember? 15 Years of the Bouncing Souls that “It’s a CD of unfinished songs.” Hopeless Romantic followed in 1999. Hopeless Romantic has been heralded for admixing poignant lyrics with their melodic rapidly-paced punk style. Soon after the album’s release, personal problems arose between the band and long-time drummer Shal Khichi which resulted in his departure from the band. He was replaced by former Skinnerbox, Mephiskapheles, and Murphy’s Law drummer, Michael McDermott.

How I Spent My Summer Vacation was the first album released with the new line-up. By now, the band had become viewed as seminal to the modern punk sound, with a new generation of fans discovering their earlier releases as they toured with newer bands as well as larger punk acts such as Hot Water Music. 2002 brought a b-sides album, The Bad the Worse and the Out of Print and an acclaimed split with Anti-Flag as part of the BYO Split Series. In 2003, the band released their 6th album Anchors Aweigh, as well as their first DVD, Do You Remember? 15 Years of the Bouncing Souls. In 2004, their cover of “Better Things” by The Kinks was used in the film The Manchurian Candidate. In 2005, they had two live releases, a double CD album, simply titled Live, as well as a DVD, titled Live at the Glasshouse, which was the 19th entry in Kung Fu Films’ The Show Must Go Off! series. The band released their 7th album, titled The Gold Record on June 6th, 2006, or 6/6/06 which the band has called ‘The number of the release,’ in reference to 666, which is known as ‘The number of the beast.’ Also, due to their first full-length record being a collection of previous releases, many fans also consider this to in fact be their 6th studio album, and thus 666 is also partly in reference to this. They then headed out on the 2006 Warped Tour in support of the record, and again three years later, in 2009.

In 2009, the band is releasing 20th Anniversary Series in the form of 12 digital tracks (released at the beginning of each month) and 4 7″ vinyl singles (released once every three months).