Kate Havnevik began her musical career wanting to be a classical- and jazz guitar player, but then at 14 she changed her mind took a u-turn and joined an all female punk band rehearsing and playing at Oslo’s illegally occupied punk HQ, Blitz.

Kate Havnevik has a unique voice, which explores both the very deep and high reaches of her extraordinary vocal range. Her music is melodic, occasionally dramatic, but always very cool. With a touch of programming mixed with conventionally recorded instruments she creates the perfect sound-scape to dress her songs and voice.

Kate is a skilled musician and plays the guitar and the piano as well as the melodica. She uses these instruments mostly for writing and recording purposes, but sometimes plays them at gigs to enhance the live experience.

Recently, Kate Havnevik has come out of the recording studio and has started playing live gigs. Last year she played a successful gig at LA’s famous Viper Room. She also recorded a live session at the independent LA Radio station, KCRW, a personal request of Nick Harcourt, for his renowned music program Morning Becomes Eclectic. This was a follow up to her success on KCRW last year when she reached no. 5 on the station’s charts, with her demo “Breathe Deeper”.

Kate Havnevik has recently been writing with artists such as Moby, Röyksopp, Noel Hogan (The Cranberries) & Tom Middleton.

Kate Havnevik has been working closely with writer/producer Guy Sigsworth and quite a few of her songs are a result of this excellent collaboration.

Other producers who have added to her sound are Yoad Nevo, Valgeir Sigurdsson, Paul Statham, Carmen Rizzo and Marius De Vries.

Check out Kate’s new release:
Melankton

For more info on Kate Havnevik visit:
www.katehavnevik.com
myspace.com/katehavnevik

Los Angeles born Anji Bee was drawn to music as a mere babe in diapers. Her earliest memory is hearing the Beatles’ Here Comes the Sun while crawling around the livingroom. From preschool on, she performed in school recitals. Competing with music for Anjis attention, though, was her love of drawing and painting. Still, like all good rock ‘n rollers, she eventually dropped out of art school to focus back on music.

Combining her interests, Anji founded, produced, and distributed a series of underground zines, focusing on the Southern California music scene, interviewing indie artists including Operation Ivy, Red Temple Spirits, and Ethyl Meatplow. She also did a 3-year stint with college radio, hosting shows and working in station management, including a run as Music Director, at KUCI 88.9 fm, in Irvine. When GameSpy launched their brief lived RadioSpy site, Anji contributed CD and mp3 reviews, as well as artist interviews with folks such as Adam Freeland and Wade Randolph Hampton.

Though Anji founded and contributed to a number of bands over the years, Lovespirals is far and away the most successful, not only in terms of popularity but also creative satisfaction. She considers her collaboration with bandmate, Ryan Lum, to be the most rewarding experience to date. Of course, with her endless curiosity and drive to create, sideprojects abound. Anji has contributed lyrics and vocals to several tracks with Bitstream Dream, Plastic Chair, and Dreamzone 51. Recent projects include collaborations with Beauty’s Confusion and Pain of Thought.

Anji began a streaming internet radio show, “The Lovely Ladies of Electronica” in 1999 during the beta phase of Live365. By 2004, she was ready for a more open musical format, so she changed the name to Chillcuts, and began adding male voiced bands and instrumental music, as well. 2006 finds Anji switching formats from streaming internet radio to podcasting, with the launch of The Chillcast, focusing on indie and podsafe artists with a chill vibe, be it electronica, jazz, blues, soul or rock.

In 2005, Anji and Lovespirals partner, Ryan Lum, began Chillcuts Records to release their newest album, Free & Easy, available via iTunes, CDBaby, Amazon, and many other online sources, as well as in stores via Metropolis Distribution in the US, Monitor in Hong Kong, and Noise Kontrol in Mexico.

Check out Lovespirals latest release:
Free & Easy

For more info on Anji Bee visit:
www.anjibee.com
myspace.com/anjibee

For more info on Lovespirals visit:
www.lovespirals.com
myspace.com/lovespirals

Few would contest that Anneli Drecker is a truly passionate singer. Even fewer would disagree that her style and music usually has a strong element of “cool” – of something distant, detached, dreamy, somehow non-corporeal. Tina Turner, she decidedly ain’t.

“It’s a cool wind, it’s a cool world,” as she sings here on Frolic, her second solo album. It’s not completely metaphorical, either. Anneli hails from Tromsø in Norway, far above the Arctic circle at 70 degrees Northern latitude. This city, home to the northernmost university in the world, is a place where the sun is swallowed up by mythical beasts three months a year, while spectral northern lights ripple through the darkness. It is also the hometown of the most vital electronic music scene in Scandinavia, of which Anneli is the undisputed queen.

Anneli Drecker’s beautiful, haunting and unique voice is sometimes compared to Elizabeth Fraser of Cocteau Twins, though her range and vocal control is far superior. A more feminine Annie Lennox, is another fair comparison.

That voice was first heard in 1987, when Tromsø trio Bel Canto released their debut album White-Out Conditions on Brussels label Crammed Discs. The young, talented singer already, at fifteen, had held a leading part in a major Norwegian motion picture.

The way Anneli describes it, her musical awakening was tied to discovering the third Depeche Mode single, “Just Can’t Get Enough”, in her older brother’s record collection. Now, twenty years later, some of this debt is being repaid. Anneli, now an accomplished composer, arranger and computer programmer in her own right, has dug into the early-to-mid-eighties’ bag of tricks for the sounds and grooves of Frolic. That old mini-moog in her studio isn’t just a decoration detail. She describes Frolic as being a “back to my roots” or “full circle” album, and starts reminiscing about artists we thought were long forgotten: Fad Gadget, Blancmange, Lene Lovich, Yazoo … and Depeche Mode, of course, though hardly forgotten. Their long-time producer Gareth Jones is a collaborator on Frolic.

According to the Oxford Dictionary, Frolic means “cheerful play”, “prank”, “a merry party”, “an outburst of gaiety” … you get the point. It’s a fitting title for this album. Compared to the epic pop songs of Tundra (2000), her first solo offering, Frolic is more playful, more loose and relaxed, filled with an intriguing blend of knowledge and innocence that is very much Anneli’s own. All songs are in English.

Since Tundra, there have been two releases with Bel Canto (Retrospect and Dorothy’s Victory). Anneli has toured and recorded with Norwegian bands a-ha and Röyksopp, and she has spent time working on acting and “serious” music. She even managed a season on TV in the judging panel of “Norwegian Idol”. A long career performing on most continents has brought her in touch with a wealth of ethnic music styles, enriching her own musical vocabulary. In between, she’s learned to master her digital tools: Frolic is written, composed, arranged, programmed, produced and co-produced by Anneli M. Drecker, as well as playing keyboards, doing samples … and, of course, singing.

The gentlemen pay their respects, of course. The first single, the elegant “You Don’t Have To Change”, is co-produced with her hometown’s electronica world celebrities, Röyksopp. The two male guest singers are Nick Sillitoe of Illumination and William Hut of Poor Rich Ones. Major collaborators are Gaute Barlindhaug (programming, keyboards, co-production) who records as Kolar Goi, and Raymond Hansen (programming, keyboards, co-production), known as Syntax Erik. Both are from Tromsø. Also crucial were multi-instrumentalist Hans Peter Lindstrøm and Jonas Lie Theis (programming, keyboards, co-production).

Aslak Dørum of Dum Dum Boys plays the bass on “Strange Little Bird”, while Lauren Savoy supplies vocals on the creepy, surreal “Monkey Trap”, which Anneli wrote after being scared half to death by the bizarre David Lynch film Mulholland Drive.

But mainly, Frolic is just that, a playful and cheerful pop album with the occasional hint of deep mystery, presented in a distinct, often gritty electronic sound. Add to this some of the most beautiful, sexy, compelling – and yes, cool – singing you have heard in your entire life, and it will be like enjoying a meal of the tastiest morsels, the sweetest desserts, both deliciously icy and comfortingly warm. -Torgrim Eggen

Check out Anneli’s latest release:
Frolic

For more info on Anneli Drecker visit:
www.annelidrecker.com
myspace.com/annelidrecker

Nicola was born in Paddington, London and now lives in the Westcountry. She inherited her ear for music from her father, a natural musician “he could pick out a tune on any instrument”. Sitting beside him at the piano she learned how to improvise around a tune from an early age. His first job was working as a floor manager on “Ready Steady Go” so there were test pressings and white labels lying around the house and commercial radio constantly playing whenever he was around. Her parents divorced when she was very young and on the long car journeys between households she would make up stories and rhymes with her dad and sisters, instilling a love of words that continues to this day. On her 9th birthday she got her first guitar, taught herself a few chords and started making up songs.

Her formative years in the industry were spent working as a backing vocalist for a variety of bands – doubling up on harmonica, accordion, electric & acoustic guitar, keyboard & percussion, she paid her dues gigging around London’s live music circuit and got her first taste of working in studios. This experience led to writing and recording her own songs and becoming a regular solo performer on London’s folk/acoustic circuit including the Half Moon in Putney, Acoustic Room at the Mean Fiddler, Waterman’s Arts Centre & the legendary Bunjies folk clulb in the West End. She quickly secured a record contract with FBeat/Demon records and a publishing contract with Rough Trade Music and began performing at larger venues including the Guildford and Cambridge Folk Festivals and Phoenix Festival. Although on a very minimal budget and being relatively unknown, Nicola’s talent attracted guest musicians Danny Thompson on bass (Kate Bush, David Sylvian) & Neil Conti on drums (David Bowie, Prefab Sprout) to play on her debut album “A Bowl of Chalk”.

However, as is often the case, when the A&R man who signed Nicola left the label shortly after the album’s release, the label folded along with the promotional plans.

Inspired by the music of Portishead and Massive attack at this time, Nicola sought a collaborator in the pages of Melody Maker. Her response to an advert placed by Chrysalis Music led to a meeting with Saul Freeman (ex-Thieves/McAlmont) and the formation of Mandalay. On completion of Mandalay’s first demos they were fiercely courted by the majors but opted instead to sign to David Steele’s independent Organic Records. The first single release “Flowers Bloom” got single of the week in Melody Maker.

Shortly after this release, David Steele was asked to head up Richard Branson’s new label V2 Records and took Mandalay with him.

Mandalay’s debut album “Empathy” was released to critical acclaim. Co-produced with Guy Sigsworth (Bjork, Madonna, Bebel Gilberto) it featured drummer and percussionist Steve Jansen (Japan) and the beautiful ethereal sounds of Jon Hassell on trumpet (Brian Eno, Harold Budd).

Mandalay’s live lineup included Andy Gangadeen on drums (massive attack, faithless) and they became a regular favourite at The Big Chill festivals.

On hearing “Empathy”, Madonna sited Mandalay as her favourite band and chose the first single “This Life” to be featured on the film soundrack for her film. “The Next Best Thing”. “This Life” was also chosen to feature on the soundtrack to the hit British film “This Year’s Love”

Many other Mandalay songs were featured on cult TV series’ including “La Femme Nikita”, “Six Feet Under” and “CSI MIami”.

The third single “Beautiful” appeared on a number of chillout albums of the time including the world famous compilation series’ “cafe del mar (vol 6)” and Hedkandi’s “Serve Chilled”. As a result Mandalay were invited to headline at the Cafe del mar 2oth anniversary celebrations in Ibiza in 2000. A sunset remix of “Beautiful” was recorded and mixed by Lenny Ibizarre, the leading chillout DJ/musician on the island. The song “Beautiful” went on to win a major advertising campaign (Estee Lauder, featuring Liz Hurley) and was chosen for the title track of German film “Der Eisbar”. More recently “Beautiful” was covered by Sarah Brightman and released as the lead single for her hit album “Harem”.

Mandalay’s 2nd album “Instinct” was co-produced with Andy Bradfield (Everything But the Girl, Future Sound of London, Bjork) and Yoad Nevo (Jem)

The first single from this album “Deep Love” was remixed by Nitin Sawhney and Mandalay went on to support Nitin on his UK/London dates. Performances at Ibza’s chillout festivals followed including “Las Dallias” and “Dreamdaze” culminating in a headline performance at The Big Chill UK, Sanctuary Stage.

A third album “Solace” followed, released exclusively in the US comprising a mix of tracks from Mandalay’s two existing albums (both previously unavailable in the US) together with an 11 track remix album with contributions from Wagon Christ, Alex Reece and Charlie May. This marked the beginning of a growing success in America where “Solace” Soundscanned over 44,000 copies.

By this time however problems were escalating within the Mandalay camp and disagreements on business rather than musical issues proved unresolvable. The duo split, sadly just as the US were becoming aware of them.

During Mandalay’s demise, Nicola’s songwiring and vocal talents were sought by DJ Tiesto who chose her song “In My Memory” for his forthcoming album. With a deft remix from him, it became the title track and lead single for the album, the success of which led to a live performance by Nicola at the Dutch Music Awards in 2002.

Sorting out all the post-Mandalay’s business took it’s toll and this, coupled with getting over a major house & location move, followed swiftly by a car accident whilst battling with Glandular Fever/Epstein Barr virus (!) all meant that Nicola’s energies for making music were seriously depleted. During this time however she continued to be sought by artists/musicians/dj’s contacting her via the internet and email with requests for possible collaborations and she found herself in the fortunate position of being able to choose who to work with … and how … and when …… she began working on tracks from avant garde composers Hector Zazou, Ryuichi Sakomoto, Lenny Ibizarre and the underground artist & DJ Chris Brann (Wamdue Project, P’taah etc). The resulting album “Passive Aggressive” stands a collection of her favourite collaborations from this time and is the first release on her own label Tempted.

Check out Nicola’s new release:
Passive Aggressive

For more info on Nicola Hitchcock visit:
www.nicolahitchcock.com
myspace.com/nicolahitchcock

Hafdis Huld started singing with GusGus when she was just 15 years old. She toured the world with the nine-piece Icelandic collective throughout the rest of her teens, loving the limelight and enjoying a number one single in Mexico, of all places, as well as widespread attention across Europe and America. When she was unceremoniously kicked out of the band, she started writing her own songs, and quickly collaborated with FC Kahuna, co-writing their singles ‘Hayling’ and ‘Machine Says Yes’. Elsewhere she bided her time singing with dance producers Ewan Pearson and Tom Middleton on their artist projects. ‘Dirty Paper Cup’ was written over a long-ish period of time with various song-writing collaborators, including Chris Corner from Sneaker Pimps, Pascal Gabriel, producer Jim ‘Arctic Monkeys’ Abbiss and others. These disparate elements were pulled into sharp focus by the twin talents of co-writer Boo Hewerdine and producer Neill MacColl, who in an amazing labour of love, teased Hafdis’s charming excursions into her own world of imagination into something approaching a unique album. Full of quirky pop songs with a twist, where sweet melodies and simple beats belie the dark undercurrents of the lyrics. ‘Dirty Paper Cup’ is Hafdis Huld: fresh, funny, odd, seductive, Icelandic and above all, great pop music.

Check out Hafdis’ new release:
Dirty Paper Cup

For more info on Hafdis Huld visit:
www.hafdishuld.com
myspace.com/hafdishuld

As a rule, group efforts are something that come before a solo career—not after a solo career is in full swing. First, the artist makes a name for himself/herself as part of a group, then the artist leaves the group to become a full-time solo artist. That’s usually how it works, but with Imogen Heap, it was the other way around; the British singer/songwriter (who is also a classically trained pianist) had been an established solo artist for a few years when she became half of the London-based duo Frou Frou. Although Heap now lives in London, she isn’t a native of England’s largest city. Born in the late ‘70s, Heap lived in Essex, England as a pre-teen—and it was in Essex that she first studied European classical piano. Heap didn’t really get into rock until she went off to boarding school as a teenager; eventually, she decided against being a full-time classical instrumentalist and realized that alternative pop-rock, Euro-pop and electronica would her main focus. In 1997—when Heap was in her late teens—she signed with Almo Sounds as a solo artist. I Megaphone, Heap’s debut album, was released by Almo in 1998; the album’s influences ranged from Kate Bush (a frequent comparison) to Annie Lennox and the Eurythmics to former Sugarcubes vocalist Björk. Some reviewers have compared Heap to PJ Harvey, although Heap has denied that Harvey is an influence. I Megaphone found Heap working with three different producers: David Kahne, Dave Stewart (of Eurythmics fame) and Guy Sigsworth (who has worked with major artists like Madonna, Björk and Seal). After I Megaphone, Heap and Sigsworth kept in touch—and in the early 2000s, they were reunited as the duo Frou Frou. Hearing the name Frou Frou, one might expect something bubble gum; one might expect some fun, frivolous Euro-pop along the lines of ABBA, Bananarama Fun Fun, Jemma & Elise or Aqua. But there is nothing bubble gum about Frou Frou, whose alternative pop-rock tends to be atmospheric, dreamy and ethereal. Frou Frou’s work is very European-sounding, although not in a cutesy, bubble gum way. As Frou Frou, Heap and Sigsworth signed with MCA/Universal in 2001, which didn’t mean that Heap was giving up her solo career—Frou Frou was meant to be a part-time project. Details, the British duo’s first album, was released in England and the United States in 2002. “Breath In” was released as the album’s first single. In 2005, Heap resumed her solo career with the release of Speak For Yourself. -AllMusic Guide

Check out Imogen’s new release:
Speak For Yourself

For more info on Imogen Heap visit:
www.imogenheap.co.uk
myspace.com/imogenheap

The idea that Harland had a future as an artist never occurred to her when she moved to New York from her hometown of London, UK.

With her musician boyfriend off on tour, in her Brooklyn apartment, she found herself alone with a four-track recorder, a beaten up acoustic guitar and cockroaches. So she began writing.

Upon hearing her sing, musicians and friends around her recognized a talent. With this encouragement, she saved up to fly herself to Australia for a month to collaborate with Andrew Wright, a burgeoning producer who was looking for a singer. Together, they created “Phoelar” and released a self-titled album. For Harland, the results were impressive as well as surprising for a first effort, and showcased an extraordinary voice and songwriter in the making.

Encouraged by the sessions in Australia, she bought herself a sampler and a keyboard and began experimenting back in New York City. Never trained on an instrument, she taught herself composition by ear and the technical side of recording by studying manuals.

Her first solo attempts were a collection of haunting and original songs which were later to be released as “Sinking Shade.” Shortly after these creations, Harland delivered the album “Salt Box Lane.” Through word of mouth, the songs quickly found their way around the world.

Her career has been gathering tempo since then she was signed to a publishing deal, collaborated as a highly sought after guest vocalist with seminal electronic artists Delerium, Rio Klein, Josh Ryan, Ferry Corsten, Junkie Xl, Pole Folder, DJ Rap, J-punch, and Josh Abraham, has toured theatres in Canada and America as a lead vocalist for Delerium, and has played her first solo live shows in New York.

Harland enjoys collaborating with artists and working in all types of musical genres, be it acoustic, electronic, hip-hop, new age, pop, trip-hop, rock, world, or classical.

Harland spends her time between New York, London and Australia producing, writing and performing. She is currently in the studio working on her new album and producing for other artists.

Check out Harland’s new release:
Sinking Shade

For more info on Shelley Harland visit:
www.harlandmusic.com
myspace.com/harland