Cass McCombs was born in 1977 and raised in Northern California. He is of the generation that grew up hearing the stories still fresh on people’s minds: Zodiac killings, Zebra killings, Manson, Black Panthers, SLA, riots, People’s Park, LSD, etc. These were the local legends and became the basis for McCombs’ imagination. He is a child of the 70s. Since leaving the area, he lived many years drifting the U.S. until ever attempting to make music seriously. He has said that from this experience he learned to listen to people’s stories from many walks of life. Instead of university, this was his education. McCombs worked as a janitor, in a horse stable, a book shop; he was a soda jerk, a truck driver, and a movie projectionist. He worked construction in New Jersey and at a midtown NYC delicatessen. McCombs developed his narrative songwriting style, and since has always expressed himself through the use of characters. He writes stories for his friends using their humour, their language, with detail and color, relating their drug use to classical literary themes, for instance. Rather than fulfilling the stereotype of the confessional singer-songwriter, he describes the lifestyles and feelings of those that surround him, with more love than judgment. McCombs is a mirror.

Deeply distrustful of the Business, McCombs has stayed relatively underground, supported by a devoted fan base and his label/publisher. In 2010, Domino Records hired a photo-surveillance private investigator to follow McCombs and take what would be become the publicity shots for Wit’s End . Examples such as this suggest that he and mainstream acceptance are in a state of perpetual stalemate. However, in contrast to his persona, McCombs’ music is generous, the melodies always infectious, the production and musicianship first-rate. And at the forefront of his craft are always the lyrics, which more than any songwriter today propels the avant-garde. He presents morally ambiguous situations for the listener, allowing them to interpret however they choose. McCombs has always refused to speak his influences, except for American folk music and The Beatles. He is a folk artist, telling the stories of his native land in a modern tongue.

Humor Risk is his sixth-and-a-half record, and second to be released in 2011, following Wit’s End , which featured the tragic song “County Line”. Musically, it is more rhythm-based, and with a heavier lyricism, than its sparse predecessor. Both were compiled from recordings made over the course of three years, in various places such as New York City, New Jersey, Chicago, San Francisco, and Los Angeles and mixed in a single session and divided into albums. This follows the way McCombs works, he writes continuously, not for any album in mind, and then puts them into themed groups. Humor Risk is an attempt at laughter instead of confusion, chaos instead of morality, or, as fellow Northern Californian Jack London said, “I would rather be ashes than dust!”

Powered by the strikingly soulful vocals of Xandra Corpora, San Francisco’s Con Brio ("with vigor" or "spirit") blends old-school grit with new-school sophistication for a sound that’s wholly their own. The instrumentation is timeless: saxophone and trumpet roll over thick organ grooves while electric guitar, upright bass and drums keep heads nodding and the dance floor moving. A lesser singer could be forgiven for getting lost in the mix, but Corpora stands out. Her rich and powerful voice is the first thing to grab you, but it is the raw honesty and sincerity of the lyrics that stay with you long after the club goes dark or the record stops spinning.

Not surprisingly, there’s a loyal (and constantly growing) legion of fans who turn up to get down at every Con Brio show, and the sextet doesn’t disappoint; each performance is hot, heavy and different from the last. Combining raw talent, a dynamic stage presence and spontaneous style with a professional polish usually seen in much more veteran ensembles, the band is tight and energetic – and when it comes to spirit, they’ve got it in spades.

Ex-Screaming Trees vocalist Lanegan has collaborated with the likes of Isobel Campbell, Greg Dulli and Soulsavers in recent years. But he appears to have been hoarding his best material for his first solo album since 2004′s Bubblegum, because Blues Funeral has quality to spare, from the bruising rock of "Riot in My House" to the brooding blues of "Bleeding Muddy Water". "Quiver Syndrome", meanwhile, fuses Xtrmntr-era Primal Scream with the Dandy Warhols’ "Bohemian Like You" to fine effect, and the combination of Lanegan’s inimitable baritone and the guitar sound of early U2 on "Harborview Hospital" is enough to send shivers down spines. Masterful.

For seven years now, Margot and the nuclear so and so’s – led by singer and songwriter Richard Edwards – have been creating music that swirls with fear and doubt and tension and beauty. Their music was born out of Indianapolis with the lushly melancholic The Dust of Retreat (2005), came of age with the bittersweet duo Animal/Not Animal (2008), and most recently arrived with the primal Buzzard (2010).

Edwards saw Buzzard as the beginning of a "panic pop" trilogy: albums filled with a gnarled version of the pop music of his childhood, loosely tied together by the concepts of aging and starting over. For the second installment, he took his notebook full of song fragments and went to the place that held some of his most vivid memories of calm, a mere five months after Buzzard’s release. Subsisting only on aloe vera extract and clam chowder, Edwards spent 26 days burying himself in sand, sleeping outdoors, and finishing a batch of songs inspired by childhood, fatherhood, and bad stomach pain. Calm evenings bore panicked music.

"Hailing from San Francisco, scrappy string band The Brothers Comatose are one of Americana’s most entertaining up-and-coming acts. Sophomore album Respect the Van is chock-full of infectious, high-energy songs, making it a perfect summer soundtrack for roadtrips and backyard barbecues." Engine 145

"Right off the bat, this is a ground-level, populist, good times, melodically infectious CD, bluegrass with very strong folk overtones…or perhaps folk with very strong bluegrass overtones, hard to tell where the lines are drawn (the band prefers the latter, and I’m certainly not inclined to argue ’cause the blend is letter perfect)" AcousticMusic.com

"Their latest and second full-length, Respect The Van, finds this exceptional quintet cruising with a full tank and thumping on all cylinders…This one is a winner" Awaiting The Flood & No Depression

"If you don’t get up off of that thing when you listen to this band, then you’re a zombie."
New Folk Radio

"It’s bluegrass, man; it’s folk, old-time, and country; it’s "A Damn Good Time with No BS!" Dirty Hippie Radio

"The Brothers Comatose play high-energy, traditional sounding string band / roots music in the same vein as the Avette Brothers, and with the same modern sensibility. They aren’t playing for the 1860′s. They are playing for today. Songs about modern temptations and modern decadence. Highlights for me are "Feels Like The Devil," "Modern Day Sinners," and "Pie For Breakfast." Taproot Radio

The Holdup formed in early 2008 when drummer Danny Flores and lead vocalist Mike Garmany recruited local bassist Kyle Christensen. They began writing songs and performing small local venues around town. It wasn’t long before a fanbase gathered and the request for an album began to spread. Not having any recorded material the band decided it was time to hit the studio to record their first EP. Later that Year, the band recruited Clev Stiles as DJ/Band Manager, the chemistry and fit were undeniable and The Holdup was finally complete.

The Holdup released their first EP in the summer of 2008, and instantly sold a thousand copies. The EP was a huge hit and got the attention of the local independent record label, Dub Rock Records. A few weeks later, The Holdup signed exclusively with Dub Rock and began recording their first full length album "Stay Gold". In March 2009 the long awaited album "Stay Gold" was finally released on Dub Rock, and debuted at an impressive number #34 on the Top 100 Reggae Albums on iTunes. The Album’s success on iTunes helped launch "Stay Gold" on to the iTunes “What’s Hot” List for 6 weeks and even made the top Reggae Albums on CD Baby.com. Since its release "Good Times" the Single off the "Stay Gold" album has seen been on rotation on multiple college radio stations such as KSCU 103.3FM and even landed on the Bay Area’s biggest Alternative mainstream Rock Station Live 105.3FM

The Holdup creates a new style by blending multi genre influenced production into each song. From Hip Hop, Reggae, Dub, Soul, Pop and Rock, you find each song different from the next with its own unique sound. With hit songs like, "Hunnies", "Sometimes" and the ever growing popular hit, “Good Times, The Holdup’s music is destined to be heard over airwaves and venues across the world. Combine a distinctive combination of music with ear catching melodic lyrics, and you get The Holdup: An energetic, hardworking group that defines a new unique style of music.

Much like her music, the path that led Ane Brun to "It All Starts With One" was peaceful, unhurried and full of unexpected, subtle surprises. It’s taken her from her small Norwegian hometown of Molde, to Barcelona where she was a street performer, and across the US last year supporting Peter Gabriel and singing on his "New Blood" album. The adventures culminated with the making of her new album "It All Starts with One," a platinum hit in Norway for which she just won their Grammy equivalent, the Spellemann award, for best female artist.

"Do You Remember" is a euphoric, almost tribal track characterized by three drummers and backing vocals from fellow Scandinavians First Aid Kit. Another album highlight is Jose Gonzalez’ wonderfully understated contribution to their duet "Worhsip." Ane’s inimitable voice makes fragile and beautiful tracks like "Oh Love" and "Life Line" spectacular. Album closer "Undertow" is a widescreen epic that brings the album to a heart-wrenching climax.

Ane Brun has created an album full of struggles and the strength it takes to move forward. It All Starts with One is a revelatory work by an uncompromising artist at the height of her powers.

"Arena-sized rock music, redolent of The Bends-era Radiohead and full of shimmering grace." -Q

"A true monolith of self-belief and talent." -The Fly

"Epic and impassioned. Songs of monumental quality." -Kerrang

"Songs clearly designed to reduce stadia to rubble." -Clash

"Dripping with achingly beautiful tunes." -Artrocker
"If you’re crying out for substance in music, The Boxer Rebellion are here to soothe your soul." -Kerrang

"Flawless melodic escapism that plunges so deep it should come equipped with a bungie rope." -The Fly Magazine

"Pathological noise-rush warfare. This band can alter your life." -NME

Emerging from Brooklyn via Florida in 2009, The Drums initially caught the ear of the indie world with their Summertime! EP. It was an escapist collection of beach pop fantasies; tracks suffused with a wistful, longing nostalgia that never pandered to cheap sentimentality. Their rise, particularly in the UK, was meteoric. Early buzz led to a prestigious spot on the BBC Sound of 2010 shortlist, followed in short succession by a slot on the Shockwaves NME Tour in 2009, and the publication’s Phillip Hall Radar Award in early 2010, well before the album’s release that summer.

Their terrific self-titled debut LP, released in June, was bifurcated into a first half dedicated to more upbeat pop songs, and a second half revealing a darker, more introspective side of the band. A resounding success, the album has sold 200,000 copies globally to date (90,000 in the UK alone) and found the band touring relentlessly, playing triumphant sold out gigs worldwide throughout 2010 and 2011, including a 6 week tour of the USA and shows in Japan, Hong Kong, Australia, Brazil, Chile, Germany, France, Korea, Singapore, Thailand, Mexico and Indonesia, as well as a sold out UK tour, culminating in two nights headlining the London Forum.

For the often difficult sophomore LP, the band sidestepped the pitfalls of a slump by recording it quickly, again self producing, often laying down tracks spontaneously in singer Jonny Pierce’s kitchen. Following the departure of guitarist Adam Kessler, drummer Connor Hanwick switched to guitar, and guitarist Jacob Graham picked up his more natural instrument of synthesizers. Titled Portamento, the new album, released just 14 months after their debut, reveals a band tugging lightly at the boundaries of their sound while still retaining their recognizable sonic signatures-sweet rushes of melody, winsome lyrics, and brittle synthesizer sheens colliding with wiry Spector-esque guitar and bass lines. Pierce’s lyrics have also assumed a more starkly intimate, personal tone.

SAVOY is a live electronic music hybrid. Consisting of DJs Ben Eberdt, Gray Smith and drummer Mike Kelly; the SAVOY experience can be described as a high energy dance party and laser spectacular that has been referred to as "mind blowing". With the combination of a inimitable live show and original repertoire, SAVOY has climbed their way up to national notoriety as well as established themselves as not only purveyor of one of the best parties around, but as world class song writers and producers.

Club hits, blog dominating remixes, and arena rock-ing swagger; SAVOY is bridging the gap from the dance world to the mainstream. Think Daft Punk meets Metallica and give it a bottle of gin.

In 2012, SAVOY will continue to rock mainstream festival, live venues, nightclubs and arenas around the world while they produce with and for many high profile artists.