“The woman I could be” is no longer a question for the English singer Ruth-Ann. Her first solo album “What about us” gives us a clear understanding about how it all began nearly ten years ago.

“It started off, just as my voice and a simple backing track, almost a cappella,” Ruth-Ann describes, of the first creative meeting she had with the ex-Simply Red keyboarder Tim Kellett in 1994. She is referring to the song “You’re Not Alone”, which shortly after, became the first # 1 UK single for the newly founded band OLIVE. They signed with RCA Records and released their debut album “Extra Virgin” in 1996, which was successful in many countries around the world. By chance some months later, Madonna listened to a concert of OLIVE and was so enthusiastic that she asked them to contribute on the Next Best Thing-Soundtrack, which resulted in a second contract, this time, with the Madonna record label “Maverick”.

During the production of their second album “Trickle” Ruth-Ann met Michael Cretu, head of ENIGMA, who had heard one of her songs and he invited her to participate on his fourth album. “Her voice was so natural and appeared to float over the ground in keeping with the ENIGMA sound”, he said. She sang the lead vocals on two tracks on the ENIGMA album “Screen Behind The Mirror” in 1999 and also performed vocals for the “Voyageur” album in 2003.

Because of their great success they both decided to work on a solo album, which was then produced in the A.R.T. Studio on Ibiza. “From the very beginning Ruth-Ann influenced the creative process with her strong, but uncomplicated personality. For me she is a ‘Silent Fighter’,” Michael Cretu explains.

And this is what the songs are about. “What about us” wants to be heard as a silent fight against emotional misunderstandings and for the dream of deep, memorable feelings. Ruth-Ann sings “Life will be beautiful”, in one track, then completes with “It’s not the end of anything, this is the start of everything. Believe in me.”, in another. It seems to be easy to believe her, as the songs are telling personal stories from a feminine perspective, with an angel’s voice. In “Dancing to Hell” she warns of the mortal power of drugs and in “Letter to Heaven”, which she dedicated to her dead father, she sends him a message.

Ultimately this is someone presenting her first solo album stating: “That is my life to live and not surrender.” She is no longer a woman who could be. Ruth-Ann is …

Check out Ruth Ann’s latest album, released only on iTunes:
What About Us

For more info on Ruth Ann visit:
www.ruthann-music.com
myspace.com/ruthannfans

The Tallahassee, FL, dream pop quartet Mira formed in 1996 with singer/songwriter Regina Sosinski, guitarist Tom Parker, bassist Sam Riles, and drummer Alan Donaldson as its founding members. The group released the Something Ventured EP on Tesseract Records soon after they began playing. After Riles departed, Mira went through several bassists and guitarists before settling on guitarist Mark Davidson. All the while, the group continued recording and released the Dry EP, which featured an early version of the song “Cayman” that ended up on the Projekt compilation A Cat-Shaped Hole in My Heart. Next was 1999’s limited-edtion Cowhausexclusive EP, which Mira released to celebrate their first show in nearly a year. Soon after the release of Dry, Projekt signed the group and they began working on their self-titled debut album, which the label released in early 2000. Apart followed in the fall of 2001.

For 2005, Mira returns with their most focused, mature, and fully realized release to date. There I go daydreamer is a testament documenting the band’s attention to detail, ear for texture, and desire to capture the intensity of their live shows. From the unnerving guitars of the album opener “Say When,” Regina immediately sets the tone: “I’ve drawn the line, walked it too many times.” Thus begins the daydreamer journey, taking the listener through fear, hope, and catharsis as Regina poses and plays with the questions plaguing her. Never before has she been so open and candid in her lyrics. The album shifts from danceable hits such as the shoegazey and spacey “Highs in the Lows,” and the brief, but brilliant, drive of “Heavenly Slumber” to grand epics like the heavy folk stylings of “Long Division” and the bombastic “Nearest Exit” from which the album is named. In the midst of all of this are the most crystalline and brilliant songs Mira has written, from the jazzy feel of “No Other Way,” to one of the album’s greatest songs, the sparse and ghostly beautiful “Adrift.” “Hinterland,” the album’s closer, is a return to the tension out of which the album began, returning Regina to her questions, searching for a brave face. The lines “inside a cave I will hibernate / when the seasons change I will not even wake” are some of the most painful, as the album builds, explodes, and collapses under its own weight. This latest album from Mira, more than any other, establishes the band at the forefront of the current darkwave/shoegaze/post-punk revival, and cements their place in the annals as one of the best of the bunch, not only on Projekt records, but also across the whole of music today. Absolutely brilliant, an instant classic.

Check out Regina on Mira’s latest release:
There I Go Daydreamer

For more info on Mira visit:
www.mira.nu
myspace.com/mira

Ryan met Rebecca in 1992 while running his father’s notorious independent record store in Santa Cruz, CA. Three years later, the pair ventured north to San Francisco to pursue the sound that would eventually become Halou.

Their debut album, We Only Love You, was released in 1998 on a small independent label. Featuring Rebecca’s powerfully honest vocals, the album meandered irreverently through abstract beats and sumptuously languid pop music. We Only Love You received over-whelming praise, was spun by highly-influential indie radio stations and was reviewed by virtually every noteworthy electronic music magazine.

Halou continued to craft their unique sound on their second release, Wiser. Wiser further defined Halou’s sound – both crushing and delicate, intense and soothing. While still embracing electronics, the addition of live cello, acoustic double bass and drums further pushed the band’s effective blend of the electronic and organic.

Released on Nettwerk Records in 2001, Wiser was entirely self-produced by Ryan and new member and studio engineer, Count. Count has established himself as an integral member of the band not only as an engineer and mixer, but also as drummer. His production skills have been finely-tuned through his work with Blackalicious, DJ Shadow, the Velvet Underground’s John Cale, Lyrics Born, New Order, No Doubt, and more.

Halou’s newest recording, Wholeness & Separation, has fully realized the delicate balance of organic and electronic. Luxurious strings, atmospheric textures from an array of instruments, infectious beats, and heartfelt vocals stretch this sonic collage across the spectrum of human emotion.

Ryan and Rebecca have also released albums under other project names such as Anymore, R/R Coseboom and Invisible Bellet (under the pseudonyms Lee Ryan and Lin Chen).

Check out the latest Halou and R/R Coseboom releases:
Wholeness & Separation
Beneath Trembling Lanterns

For more info on Halou visit:
www.halou.com
myspace.com/halou

For more info on R/R Coseboom visit:
www.dynamophone.com/rr
myspace.com/tremblinglanterns

For more info on Invisible Ballet visit:
www.invisibleballet.com
myspace.com/invisibleballet

Never one to follow convention, Ashley Tomberlin began her love affair with music early on but initially resisted the urge. Consoling herself with art, poetry and academia, she entered University only to rediscover her true passion for music. After receiving a classical guitar as a gift, she began to play, coaxing the fiery poetry she once wrote into song. Unsure of her own voice and talent, it took another unexpected event to finally push her from obscurity, directly into the path of listeners all accross the world.

After a chance encounter in the spring of 2002, this unknown vocalist and musician from the United states began a collaboration with UK producer Laurence Rapaccioli already known for his work under the artist name Arksun. After completing a few initial tracks, they eventually lost touch until the fall of 2003 when they began to take another look at what they had created the previous year. With a renewed sense of purpose, the musical partnership finally gelled, and Luminary was born.

It wasn’t long before their music began to garner the attention of established independent labels such as Lost Language and Ministry. Ashley’s first Luminary track “My World” was snapped up by Lost Language along with “Dark Eyes” in the fall of 2003 to be included on Ben Lost’s Exhibition II compilation. Since then, “My World” has grown into a full on 3 disc release including remixes by Andy Moor, Nikola Gala and Pesh. Played out early on by Armin Van Buuren, the track thrust Luminary to the forefront and My World was quickly picked up by Tiesto to be used on his In Search of Sunrise 4 compilation album.

The second release “Wasting” was burnt into Armin’s A State of Trance 2005 compilation practically before it had even been signed as a single and was swiftly released on Armada’s infamous Soundpiercing label.

Now joining forces with Anjunabeats, Ashley and Luminary have just released Amsterdam on Feburary 6, 2006. Overall, it has been well received, charting at no. 1 for Paul Van Dyk in the December issue of Mixmag and rated 5/5 by DJ Magazine. Additionally, Amsterdam has been played out everywhere from BBC Radio 1’s “Dave Pearce Dance Anthems” to TATW Above and Beyond’s Trance Around the World and ASOT Armin Van Buuren’s A State of Trance.

Her latest collaboration with Above and Beyond on their debut album Tri-State has just been released on March 04, 2006. Collaborating with Tony, Paavo and Jono on a stunning track titled Can’t Sleep, Ashley again demonstrates her trademark vocal style of combining breathless melodies with intense emotion. This in addition to her distinctive lyrical phrasing, has helped set her apart from so many other vocalists in the genre. You can expect great things from this up and coming artist, but most of all, expect the unexpected! It has been a strange journey, but a good one, and Ashley is definitely keeping her watchful eyes on the future and her ears open to new inspiration.

Check out Ashley on the Above & Beyond release:
Tri-State

For more info on Ashley Tomberlin visit:
www.luminarymusic.co.uk
myspace.com/ashleytomberlin

Ethereal gothic singer-songwriter, composer and fantasy illustrator born in the Canary Islands and now living in Barcelona (Spain). A world of fantasy: dark fairy tales, romantic ghost stories, and “other creatures” that dwell in the boundaries between dream and awareness inspired by her personal experience with sleep paralysis, night horrors and hypnagogia… old fears and passions… ancient shadows…

Her debut album, Ancient Shadows is a collection of 19 illustrated song-tales that take you to a ride through the haunting and spectral realm she creates with her sorrowful eerie but sensuous music, led by an angelic and silky voice that invites you to shed your own cultivated defences. Wistful, evocative, pure and meaningful.

Priscilla studied Molecular Biology but now her life is devoted to illustration and music. Her drawings and paintings, just like the songs, are inspired by old fairy books and gothic literature: haunted houses, mourning willows, nymphs, vengeful fairies, ghosts fluttering like moths around the living… A world of spectral romance and intense melancholia. Also, her personal experience with sleep paralysis, night horrors and hypnagogia is a constant influence in her lyrics.

With a remarkable success in internet, Priscilla’s dedicated fan base continues to multiply. After declining a wealth of record deals, including majors, just to remain true to the spirit of her music, Priscilla founded YIDNETH, her own record label and publishing company that takes name from her illustrated book project. She also created, along with the Spanish composer Héctor Corcín, Nuevas Músicas (nuevasmusicas.org), a platform for the promotion of independent artists in Spain in genres like hers. She has been aired in several Spanish national television channels, featured in countless specialized magazines and media and also played in radio stations all over the world. As a songwriter and vocalist she’s participated in several published cds and soundtracks and also have performed in some European emerging talent festivals.

Often compared to Tori Amos. Kate Bush and Enya, Priscilla claims to be nourished by Tears for Fears (Orzábal lyrics), Cocteau Twins and most importantly her fascination for film scores and soundtracks. Still she truly carves out an original image for herself and is more than the sum total of her music influences creating an unique and personal soundscape that is difficult to put a finger on or describe.

Check out Priscilla’s new release:
Ancient Shadows

For more info on Priscilla Hernandez visit:
www.yidneth.com
myspace.com/priscillahernandez

The voice of Zoe Johnston has travelled the world. From the beaches of Ibiza to the bars of Prague, from karaoke machines in Amsterdam to TV sets in Melbourne, it will almost certainly have found you along the way. You may not know her face, but you are bound to know her music.

Over a period of years she has written and recorded with trance, house and dance acts as well as featuring on numerous other acoustic and more downtempo tracks. Zoe has also performed live in numerous different countries including the UK, when among other appearances she sang to around 70,000 people from the main stage at Glastonbury 2002.

Zoe Johnston first featured on a number of tracks from house act Neon Heights album ‘A View from the Heights’ which – a few glowing reviews and a number of inspired remixes later – saw her voice become a regular favourite on the club circuit.

At this time Zoe also wrote with old friends Bent on their critically acclaimed album ‘Programmed to Love’ which produced the timeless, beautiful ‘Private Road’ and ‘Swollen’, both of which have been borrowed for numerous different compilations, adverts and television programmes internationally.

It was the bruised, pensive vocals on ‘Swollen’ which, among thousands of others, touched Rollo Armstrong, Dido’s older brother and member of the highly successful dance band Faithless. He initially believed that Zoe’s voice was in fact a sample from age-old vinyl, so was stunned to discover that the singer was actually alive and well. It was this joyful discovery that led him to invite Zoe to feature on the multi-platinum selling album ‘Outrospective’, which saw her join Faithless for an eighteen-month-long world tour, playing to crowds of up to 90,000 and travelling to places as far flung as New Zealand and Malaysia as well as enjoying the home crowds of the UK.

Similarly, when Paul Heaton of the Beautiful South heard ‘Private Road’ he also reached Zoe to ask her to sing on his first solo album, released under the pseudonym ‘Biscuit Boy’. Their performance together on ‘Poems’ has frequently been acknowledged by reviewers as the standout track on the album.

Zoe Johnston has also written and recorded with million-selling Canadian band Delerium and UK trance champions Above and Beyond, among others.

Her first solo album ‘Happenstances’ is a collection of very private sounding home recordings made over the years she spent collaborating with other artists. These songs are understated, broken and roomy, with a gentle sincerity that is apparent from the offset, and full of both longing and rapture. The album contains the original version of the much celebrated Faithless song ‘Crazy English Summer’, and exudes the kind of rickety, accidental charm that will end up giving it a life that lasts forever.

Check out Zoe’s new release:
Happenstances

For more info on Zoe Johnston visit:
www.shivarecords.com
myspace.com/zoejohnstonsings

Born and raised in Indiana, vocalist Natalie Walker is an artist whose lilting, melodic voice and lyrical reveries reflect a life journey of determination and self-discovery. With musical influences ranging from Alison Krauss to Portishead, Jewel to Lauryn Hill, Beth Orton to Bjork, the former lead singer of downtempo electronic group Daughter Darling now delivers her own unique, haunting sonic landscape that is at once organic, ethereal, elegant and entrancing. “Creating music is my outlet,” says Natalie. “I was born to sing. When I don’t, I feel empty. When I do, I feel fulfilled. It’s that simple.”

Urban Angel, her solo album debut, was co-written by Natalie and two-man production team Stuhr. “I worked with two really great producers out of Brooklyn, Dan Chen and Nate Greenberg. They’d send me the rough copy of a song and the music would just evoke emotion,” she explains. “Its like fitting pieces of a puzzle together. When you’re in the studio recording its all very raw and real. I try to make a song new each time I sing it. I want it to be unforgettable. My producers are amazing. They forced me to develop my real voice. I’ve improved my vibrato and my tone. Stuhr delivered exactly what I asked of them. It couldn’t have happened more perfectly.”

Check out Natalie’s new release:
Urban Angel

For more info on Natalie Walker visit:
www.natalie-walker.com
myspace.com/nataliewalkermusic

For more info on Daughter Darling visit:
www.daughterdarling.com
myspace.com/daughterdarling

The sound of Autumn’s Grey Solace is defined by the beautifully appealing voice of Erin Welton and the lush, ethereal guitar work of Scott Ferrell. They combine their talents to create well-structured yet very unique compositions. Their sound is largely guitar oriented, with melodic bass and organic drum textures. The crystalline guitars are often layered to create a shoegazing wall of sound. Erin’s emotive voice and incredible lyric writing blends perfectly within this opulent arrangement to fulfill the sonic masterpieces with splendor.

Autumn’s Grey Solace was founded by instrumentalist/composer Scott Ferrell and vocalist/lyricist Erin Welton.

In early 2000, they started recording their 1st album, Within The Depths Of A Darkened Forest. This self-released debut featured a deep, ambient sound. Recording was completed in 2001, and the album was released in 2002.

2002-2004: A period of songwriting and recording.

February 2004: Autumn’s Grey Solace is signed to Projekt Records.

Their 2nd album, Over The Ocean, was released by Projekt in mid 2004. It is a lush blend of electric and acoustic instruments with an ethereal shoegazing sound.

The song “Through The Snowy Trees” was recorded in mid 2004 for the Projekt Holiday Single #1. It was released in October of 2004.

Their 3rd album, Riverine, was released May 31st, 2005. It is a mesmerizing mixture of mystical vocals and dramatic guitar soundscapes.

In mid 2005, “Musica Eternal” was recorded for “Summoning Of The Muse – A Tribute To Dead Can Dance”. It was released in September of 2005.

The 4th album, Shades Of Grey, was released in September of 2006. This album takes the ethereal shoegazing genre into unexplored territory.

Autumn’s Grey Solace is currently writing and recording material for their 5th album.

Check out Autumn’s Grey Solace’s new release:
Shades Of Grey

For more info on Autumn’s Grey Solace visit:
www.autumnsgreysolace.com
myspace.com/autumnsgreysolace

Since Liv Kristine appeared in the music scene, she turned out to be one of the most extraordinary and creative female artists in Europe. She has left her footprints in various genres: with her gothic metal band Theatre of Tragedy she secured her position in the history of music. Moreover, as solo artists she has secured her position within the tops of the pop business.

Liv Kristine Espenaes was born 14th February, 1976, in Stavanger at the Norwegian west-coast, where she spends her childhood and years at school. Already as a little girl she discovers her fascination for music and singing. Pop-icon Madonna is the ultimate idol for the young Liv, who spends hours on studying the songs and poses of the material girl in front of her mirror.

At the age of ten, Liv and a friend of her found their first band “Twice”; later on she joins a church choir, singing a.o. the masterpieces of J. S. Bach. However, Liv is searching for creative freedom and thus decides to found the band Theatre of Tragedy together with some friends. Originally cast as background singer, she convinces her band mates with her singing qualities and turns into the equal duet partner with vocalist Raymond.

In 1994, Theatre of Tragedy record their first demo-cassette and sign a record deal. Half a year later, they produce their self-titled debut album in cooperation with Dan Swanö which is released summer ’95. But the record fails in the view of most press issues: Although German Break Out-Magazine calls them “Newcomer of the Month”, most of the other media do not exactly know how to “handle” this new combination of female vocals and harsh metal riffs. But it turns out to be exactly what the audience had been waiting for: within a short time the album sells the sensational number of 25.000 copies, which has tripled its numbers until today. No wonder that Theatre of Tragedy get into the focus of the media. And they easily figure out the reason for their surprising success – the soprano of Liv Kristine. With the distinct contrast to the dark male vocals, Theatre of Tragedy is the symbol and origin of the “Beauty and Beast”-phenomena of the late nineties. Even today they are still being followed by dozens of similar bands trying to reach the same success.

With the following album “Velvet Darkness They Fear” and the settling of the self-created style Theatre of Tragedy reach their final breakthrough with 125.000 sold copies. The single “Der Tanz der Schatten” is sold out within a few weeks. The German track will soon prove to be the official anthem for an entire scene. Along with their spectacular symbiosis of gothic/wave and metal-sounds the band easily crosses the formerly strict border between both styles and thus they unite fans of all of the genres.

Theatre of Tragedy, along with Atrocity, is the first metal band to play at the Wave Gotik Treffen in Leipzig, Germany. With their appearance they open the doors to dozens of other gothic acts to the most important festival of the scene. “Der Tanz der Schatten” resounds through all dark clubs throughout Europe and might be one the songs with the strongest appearance on samplers of gothic music.

Along with their success also the public interest in Theatre of Tragedy expands and fans and press soon find a media favourite in Liv Kristine. From now on, all relevant magazines feature the blonde girl with the extraordinary voice – Liv Kristine becomes the face of gothic metal. Fans vote for her and her band in a number of polls to become the definite newcomer of the year and the request for Liv and her voice raises.

The German metal band Atrocity are the first ones who ask Liv to do a guest performance and thus she appears as guest singer for “Werk 80”. With excellent reviews concerning her participation on the interpretations of 80s-classics and a phenomenal chart entry in the top 30, Liv feels encouraged to realize the idea of an own project.

In 1997, Liv Kristine starts to work on her first solo-album. March 2nd 1998, is the release date for the result of the recordings and under the brand Liv Kristine she comes up with “Deus ex Machina”. Although Liv is expected to present dark gothic sounds in her solo project she surprises everybody with atmospheric and fragile pop songs and thus abandons every possible parallel to her former work. In the meantime Liv decides to move to Germany. Visually she represents her creative diversity and can hardly be re-recognized in her angelic white outfit in middle of the purity of doves. With fantastic melodies, soft ballads, fresh pop-hits and a great portion of individuality, Liv captures the listener on their way to her fairy world. Own lyrics and the Norwegian lullaby „Je har ei Tulle med Øyne Blå“ strengthen the measure of personality even more and the singer reflects her inner self through “Deus ex Machina”, wich reminds us of Enya or Loreena McKennitt. Another highlight is the duet “3am” with Paradise-Lost-singer Nick Holmes. It appears on a special single edition and soon become the hit track of the album. Without extravagant promotion activities, “Deus ex Machina” sells more than 30.000 copies within few months and Liv Kristine has established herself as a solo artist.

The first concerts with Liv Kristine take place at the Dark Storm Festivals, Christmas 1998. The shows prove to be an enormous success and the audience is again deeply impressed by the live qualities of the friendly singer. Because the rush on Liv is so unbelievably great at the premiere in Chemnitz, she will be booked right away after the concert for next years’s show on the main stage.

In 1998, Theatre of Tragedy and Liv release their concept masterpiece “Aégis“, as well. The record will be a milestone in the history of metal and hits the German billboards at a magnificent position of 40. Cover stories in all important magazines of the scene (a.o. Metal Hammer, Sonic Seducer) reflect the strong position of the band in the scene. Viva 2 TV broadcasts parts of Theatre of Tragedy’s live performance at Dynamo Open Air in Eindhoven, Netherlands. Moreover, they cheer up more than 8.000 people with their first concert in Greece, Athens. At the Zillo Festival they play in front of 20.000 people. “Aégis“ is one of the most successful releases of the scene.

Liv Kristine gets the honour to sing “3am” as the title song for Germany’s most popular TV crime series, “Tatort”. With the broadcasting of the episode “Dagoberts Enkel” her name is now well-known outside the gothic scene. Due to this success, the song “One Love” is composed only for her – a romantic ballad which is written to be the title song for the TV-thriller “Sehnsucht”, a series of the Schimanski-films. The episode receives some of the best rating results in the history of this show (ca. 9.92 mill. viewers). Right after the release November 7th the telephone lines of Westdeutscher Rundfunk, producer of “Schimanski, glow hot. Never before, there has been such an enormous request for one of the series’ title tracks. Liv Kristine has finally managed to establish herself as an estimated artist in both the alternative and the pop scene. With “One Love” she certainly enters this new genre without disappointing her long-year followers. European largest youth magazine “Bravo” honours the song with a participation on their “Bravo Hits – Best of 1999”-sampler, printed in an edition of more than 925.000 copies. At the age of 23, Liv Kristine has climbed the top to be the most successful female artist of the gothic scene.

By the new millennium many things change just like the music of Theatre of Tragedy. In 2000 they come up with their album “[`mju:zik]“ which leads to an outcry. In a new image and with major labels Eastwest and Nuclear Blast as label partners they present a hit-stuffed album with strong electronic attitudes. Although it takes some time to get used to their new sound it turns out to be the logical step for an outstanding group of the meanwhile overcrowded gothic genre. The chart entry at position 39, numerous cover stories (Orkus, Sonic Seducer…) and a week-long rotation of the video clip “Image” on Germany’s music channels says it all. The second single will be the substitute for “Der Tanz der Schatten” as dance floor hit and reaches a position 15 in the German Alternative Charts of 2000. And Liv Kristine surprises with even more unique and various singing that make this record becoming a masterpiece. She carries us away with soft and tender lines but also with rocky and deeper voices. And like her idol Madonna, she came through another metamorphoses and now appears in completely new looks with her legendary red leather suit. Sexy and modern like never before she shows her individuality and outstanding position among the singers in the gothic scene.

Theatre of Tragedy continues in their new direction with the following album “Assembly” in 2002 and hit the billboards one more time. After two most successful tours through Europe and concerts in Mexico, London and Moscow they will be the first European band playing in Beirut, Lebanon, after the end of the civil war there.

2003 will bet he most eventful year in the life of the singer. After living together for seven years Alexander Krull (Atrocity) and Liv Kristine finally marry July 3rd, and in December Liv gives birth to son Leon Alexander. But at same time a sad message is announced: After ten years of cooperation and more than 500.000 sold records, Theatre of Tragedy all of a sudden decides to part ways with Liv Kristine without any detailed explanation. But what seems to be the end of a career turns out to be the personal deus ex machina (“divine dispensation”): Together with her friends of Atrocity Liv founds a new band where the experience of all the members come together and form a unique sound under the name Leaves’ Eyes. In spring of 2004, they release their debut “Lovelorn” with the Austrian label Napalm Records. The opus “Lovelorn” brings gothic metal in its most entertaining and strongest form. With her comeback album Liv shows her abilities as a lyrical writer and shows an enormous development of her voice. On this conceptual album she combines classical, poppy and even opera-like and opulent vocals in one – the press compares her with Kate Bush a.o.

The video clip for the single “Into Your Light” enters heavy rotation on Viva and the important music magazines feature the newcomer on their covers of the June-issues. And the fans are happy as well and celebrate Leaves’ Eyes at their live-premiere at Wave Gotik Treffen 2004. The album itself gets the most positive reviews, worldwide. Besides dozens of interviews with the international press, Liv and Alex even go for a promotional tour to Greece. On their six-week tour through Europe the band plays in 13 countries and Liv celebrates her powerful comeback. With their latest releases Leaves’ Eyes hit the German Charts in May and June of 2005: The single “Elegy” stays four weeks in the Single Charts (peak: #76) and “Vinland Saga” hits the Album Charts at #62. The vide oclip for “Elegy” is a regular guest on music TV. Being a mother and reaching new heights with Leaves’ Eyes there’s doubt about who really owns the title of the Gothic Queen.

Liv Kristine has established herself as a guest singer with Atrocity but also together with a number of other bands asking for cooperation with the talented and experienced artist. Like no other singer she easily convinces in a diversity of styles. With the gothic-icons Silke Bischoff she records the wave-number “Blue Moon”, with Weltenbrand she presents her first classic-metal song. On the album “Swallow” with the Portugesian gothic metal act Heavenwood you can find a duet with heavy metal-hero and ex-Helloween-/Gamma Ray-singer Kai Hansen. The Genius-project invites her and Eric Martin (ex-Mr. Big) a.o. for a heavy-rock track and her collaboration with Immortal Rites brings her into death metal. Her most successful and well-known guest appearance is the duet “Nymphetamine” with Dani Filth and the legendary Cradle of Filth. The baroque video clip is played by all important music channels around the world and Liv Kristine receives enormous interest from the media. The unbelievable success of “Nymphetamine” beats all expectations and Liv Kristine and Cradle of Filth are finally nominated for the most important award of the music world, the Grammy.

In the autumn 2004, Liv Kristine signs a world-wide solo contract with Roadrunner Records and is now in the good neighbourhood of Nickleback, Cradle of Filth and Slipknot. The singer is currently working for the follower of “Deus ex Machina”. The album is expected to be released in the autumn 2005. It can be labelled as a dark pop album where Liv Kristine once again enchants us with her personality and artistic knowledge. Together with the fashion photographer Kai Joachim she had her first a session for the promotional photos. The pictures represent the northern-cool but sensual-feminine sound image of the Norwegian lady. And of course, there will be a new Leaves’ Eyes long-player released in early 2005. Moreover, you will hear Liv Kristine on the new “Infinity”-record of the Argentinean artist Beto Vazquez with special guest vocals. In late 2004 she also recorded a duet with the legendary gothic-singer Mozart of Umbra et Imago. The last cooperation might turn out to be the follower to “Der Tanz der Schatten” as a club hit.

Liv Kristine has had quite a successful time and both fans and media will be impressed for one more time by her talent and individuality in the following years. Her promising pop project will enter a new era and also the gothic scene can look forward to and be prepared for a unique Liv. But one thing is sure: With “Enter my Religion” Liv Kristine will again prove that an artist can have many faces and facets but still keeping the one and only personal note of her own. – Robert Suß

Check out Liv’s new release:
Enter My Religion

For more info on Liv Kristine visit:
www.livkristine.com
myspace.com/livkristinepage

For more info on Leaves Eyes visit:
www.leaveseyes.com
myspace.com/leaveseyesusa

As the voice of Morcheeba she sound-tracked our lives on albums such as Big Calm, sold five million records and graced stages all around the world. We knew her voice, but despite her success, we didn’t really know much about the real Skye – until now. Skye’s first solo album, Mind How You Go, is not so much a leap into the dark as a step into the light. Yet it was also a journey into the unknown and she didn’t know where it would take her.

Mind How You Go is her emphatic answer, a sublime album of vivid songs that present Skye in an entirely new light. Of course, there is much that is familiar. The beguiling quality of her voice. The potent melodies that bury themselves deep inside your brain. The cool elegance of her delivery. But this is also Skye as you have never her before. Mind How You Go finds Skye singing her songs, telling her stories and finding her own way on an album that is both personal credo and a realization of her inner strength.

“I never had any inspiration to be a solo artist,” says Skye. “2002 we recorded the 4th album Charango and other members of the band started talking about taking a long sabbatical. I thought ‘what am I going to do?’ Morcheeba was a huge part of my life. Parts Of The Process, ‘The Best Of’ was released 2003, we finished the tour and the other were doing their own projects, then decided they wanted to split-up the band and work with someone else. It wasn’t planned on my part and I don’t want anyone thinking I abandoned the band because I didn’t. But we all realized it was time for a change and an opportunity to move in new directions.”

2004, Skye found herself in Los Angeles with writer/producer Patrick Leonard. “He was so enthusiastic about writing and working with me” she says “and rather than just doing one or two tracks, he was keen to do an entire album.” Despire the folio of songs she already had, she promptly set about writing a dozen more with Pat. Somewhere in the process, a writing/recording session with Daniel Lonois at his home studio produced three more gems.

Skye returned to London with a near complete record. The final songs were written February 2005 with singer-song writer Gary Clark. “I was at the point where I thought I couldn’t write another song” says Skye. “Gary was laid back, played amazing acoustic guitar and shared my love of fine Scottish whiskey! We wrote three songs together.”

This summer Skye has been touring across Europe with her new material and has been received fantastically. Slovakia, Russia, Switzerland and the Czech Republic are some of the countries where Skye played to fans that attended in the thousands. One particular country where Skye has achieved particular success is Italy, where her first release Love Show maintained a top 20 position for over 8 weeks. Skye is looking forward to bringing Mind How You Go to other territories including the U.S. and through August 2006 Skye will embark on an American tour.

“With Morcheeba I had an input and I’m really proud of what I did. Paul was the lyricist and it was always understood that my role was to join up Paul’s words with Ross’ tunes through melody. I never felt fake singing someone else’s words, but this record is more personal. I haven’t had to learn the emotion behind the songs because it was already there. It’s my own journey.”

The album title has a family connection, “Mind How You Go is something my foster Mum’s been saying to me since I was a little girl. She still says it to this day. ‘Bye, take care mind how you go…’ I knew the album was going to be called that from day one. People ask what this record means to me, but that’s an alien question because I’ve been living and breathing it. It’s not a question of what it means to me. This record is me.”

Check out Skye’s new release:
Mind How You Go

For more info on Skye Edwards visit:
www.skyewebsite.com
myspace.com/myskyesite