One of New York CIty’s most beloved and talked-about bands, VickiKristinaBarcelona transforms the songs of Tom Waits, showing them in a new light, a genre unto themselves, while maintaining the original humor and pathos. Their repertoire explores the vast landscape of Waits’ styles, by turns danceable and philosophical, humorous, unsettling and heart-warming.
The beautiful song melodies are unearthed by breathtakingly gorgeous and inventive three-part harmonies and often surprising arrangements, via an array of instruments including accordion, guitar, percussion, harmonium, banjo, bottles and bells.
Rachelle Garniez, Amanda Homi and Terry Radigan are each seasoned singer-songwriters with distinctive differences. Rachelle’s genre-fluid Cabaret, Amanda’s Global rhythms and forms, and Terry’s traditional Americana Roots all combine to form a sound greater than the sum of its’ parts. While most of the songs are built around the signature ensemble vocals, each member of the band is also featured individually, organically choosing a Waits song that best fits their personality.
The name of the band is an adaptation of a Woody Allen movie title. As the film centers on the story of three strong women and their complicated dance around a male character, it is a reflection of the group’s dynamic and mission. There is a playfulness to the reference, a sly wink and a reclaiming of female power.
Their first CD, “Pawn Shop Radio” comes out on 29 May 2020.
After the sold out show last year in Cafe V lese Lauren Ruth Ward is coming back to Prague. She’ll bring her new album “Vol.II” which came on 13 March this year.
Everyone remembers the first time they see Lauren Ruth Ward sing. Not many singers has that effect. The thing is, youʼve never seen someone sing from every cell in their being and well, it changes your own chemistry for a moment. You think, if she can be bigger than her body, why canʼt I? And just like that, you are empowered. Whatʼs better, you never expected it would feel
Critics have declared Lauren Ruth Ward as a cross between Janis Joplin, Florence Welch and Courtney Barnett. debut album “Well, Hell” garnered accolades from NYLON, Noisey, Consequence of Sound, the Los Angeles Times, Indie Shuffle and more. Viral clips spread quickly of this new phenomʼs visceral live performance. Singing in the faces of fans, songs like “Blue Collar Sex Kitten”, “Make Love to Myself” and the soul crushing “Did I Offend You”. In no time, LRW was playing to sold out crowds in the US and overseas, sharing stages with artists as diverse as LP, the Yeah Yeah Yeahʼs, Shirley
Manson, Eddie Vedder, Shakey Graves, Liz Phair and even Keith Urban; with a growing reputation for stealing the show.
Rock nʼ Roll in 2020 really needs something. Thank the fucking Goddesses above and below for sending us Lauren Ruth Ward.
A delicate singer-songwriter with the soul of a rocker and a gentle rocker in a role of a singer-songwriter. A romantic, poet and melancholic in one package with songs about searching for what we’re all looking for. David Pomahač has started a solo career with his new solo album through Indies Scope label January 2020.
David Pomahač founded the project Bez peří, spent nine years in legendary Czech group Houpací koně, and enjoyed the party of the supporting band for Xavier Baumaxa. The year 2010 gave rise to the urban folk duo Kieslowski. The intimate testimonies based on the sound of a guitar, piano, two vocals and David’s lyrics gained a large fan base and full concerts both at home and abroad. Kieslowski released three full albums, several EPs, and got nominated for the Czech music Apollo Award.
“Kieslowksi era is over but the songs remain present at my shows. I like them and they are part of my story. My new album is intense, playful, entertaining, loud, I expect from myself to play the best gigs with it. I keep trying to do things better, perhaps even differently and more intensively than before,” adds David.
PRESS IN ENGLISH
During their visit in Poland last weekend (at Cieszanów Rock Festival) Dubioza kolektiv received the Złoty Bączek Award for the best performance of international artist at legendary Pol’and’Rock festival 2018 (previously Przystanek Woodstock). Congratulations!!![/trim]
With their original, hot mix of alternative rock, psychedelic, electronica and country the Nylon Jail were shining supernova of Czech music scene between 2012-2014 and like supernova with explosion disappeared in 2015. Luckily for all of us the core of the band has survived and now is back with new videos which announce a new album in the spring 2018 + beginning of live concert activity.
We are proud Nylon Jail to be a new member of our artist family and open booking for 2018.
The Wanton Bishops, though a band by every definition of the word, is actually the vision of one very eclectic man – Nader Mansour. A cultural anomaly, considering the fact that he was born and raised in Beirut, Lebanon, Nader as lead singer is the very epitome of a howling blues man, but as Muddy Waters once sang, “the blues had a baby and they named it rock ‘n’ roll.” Well, when that birth happens in Beirut, the baby comes out wailing a kind of rock the world has never heard. The Wanton Bishops’ successful debut album “Sleep With The Lights On” won the Beirut band accolades and opportunities, including opening for The Who, Guns N’ Roses, and Lana Del Rey, and paved the way to many major 2016 festival performances including Glastonbury, Solidays, and Nova Rock.
Their new EP Nowhere Everywhere is a creative musical leap forward, taking The Wanton Bishops’ blues induced rock and roll down an ethnic electronic highway. To quote Nader, “we’re finally getting to the core of the music we want to create, a scarily confused but oh so enticing musical concoction that is much like our own identity as Lebanese people living in Beirut, the cultural crossroad of the world.” Find a way to see them as the band takes their new sound and brazen attitude on the road in 2017. It’s an experience like no other.
THE WANTON BISHOPS /LBN
9.4. 2017 20:00
Café V lese, Krymská 12, Praha 10
Nive Nielsen and the Deer Children play original hummable folk melodies with a streak of vocal jazz or cowboy ballads with an elfin side. Nive is a Greenlandic artist who travels the world playing shows everywhere from Europe to Asia, and the Americas.
If you got a team of the greatest children’s book writers in the world together, they couldn’t invent Greenlandic folk pop singer Nive Nielsen. In her case at least, band bios are simply stranger than fiction. A few facts about her: The first concert she ever played was for the queen of Denmark on national television; she acted in the Hollywood movie The New World starring Colin Farrell; and she actually is Inuit — well, Inuk — an indigenous Greenlander. Also, it’s daylight all summer where she lives.
A few more facts: She plays a little red ukulele in her band called the Deer Children. She writes songs about love and reindeer and forgetting to make coffee. She won an IMA – Independent Music Award in the US, worked with Howe Gelb and John Parish and friends from such indie royalty outfits as The Black Keys and Wolf Parade. Really, I’m not making it up.
What’s even more surprising is that her fanciful back story is matched by her own ability to tell stories or sometimes just hint at them with her warm, reedy voice. Sometimes she sings out with and old-timey quaver; sometimes she sings in a soft, childlike murmur. The songs themselves are straight out of a storybook that never was. They could be from anywhere, and they are hard to place in time. They are hummable folk tunes on indie steroids with her international, very interesting group of musicians, to say the least. Her songs have a way of sticking in your mind — and not just because they were written by the only Greenlandic Inuit indie Band you can think of. Snow Songs? Inuit Indie? What ever it is, you have to check them out!
Nive and The Deer Children are:
Nive Nielsen – writes the songs, sings, plays guitar and ukulele,
Jan de Vroede – produces the songs and plays whatever lies around mostly things with keys and strings,
Charlie – guitar, banjo, saw and twang,
Jeppe Skovbakke – bass and low end,
Andrew Collberg – drums and such,
Salik Parbst + Nicolaj Brandt – horns and jangl’n things…
“Nieve Nielsen makes folk interesting with a hint of rock and grunge” Fresh Beats 365
“These songs are shape-shifting beasts that twist as soon as you think you’ve got them pinned down” Folk Radio UK
TERNE ČHAVE are considered as probably the oldest working and definitely one of the most famous Roma (Gypsy) bands in the Czech Republic. The band is renowned for their distinctive and personal sound blending Central European traditional gypsy music with rock, ska, klezmer, funk, blues and other influences. Many years ago these musicians have stood on their own feet and crossed borders of Roma ghetto. Bringing their gadjo friends as musicians among themselves they set out into the big world. Touring Europe from Czech Republic and Slovakia via Hungary, Italy, Spain, France, Germany, Benelux, England to Scotland, wherever they go people are dancing.
Today Terne Čhave are band without ethnic or genre limits but their gypsy roots give them a solid base for musical trips to destinations too distant for many others. The band doesn’t fuss about style too much and you will have no time to think about it too because much of their songs are played with devil’s tempo. But in case you wouldn’t sleep this off we can reveal that this is the real gypsy rock’n’roll or … It’s only Rom’n’Roll!!!
Once upon a time (2003) in a dubious corner of the world and a land called Bosnia and Herzegovina, a group of friends decided to form a band. But this was no ordinary band, and they did not form under ordinary circumstances. True, along with local Balkan flavors, musical influences came from all over the world: ska, punk, reggae, electronic, hiphop. Yet, there was no music industry, few concerts, no space for cultural or political expression among the new crop of plugged in youth. In fact, the entire region was reeling from deep moral and economic post-war stagnation. It was from this environment that DUBIOZA KOLEKTIV was born, and not quietly, but kicking and screaming, presenting no-go topics front and center, and demanding to be heard. In doing so, they created a phenomenon.
For a quick rundown of the band’s history, their selfentitled first album “Dubioza kolektiv” was released in 2004, and was instantly met with an enthusiasm not seen on the Bosnian scene since pre-war times. Next came the EP “Open Wide”, this time featuring dub poet Benjamin Zephaniah and Mush Khan from Funda-mental. Then came their second full-length CD “Dubnamite” and this is when their popularity began tospread beyond Bosnian borders. By 2008, with the release of “Firma Illegal”, their bold and uncompromising stand against the nationalist establishment elevated them to fame across the entire Balkan region. In 2010, album number four titled “5 do 12” followed, and in an open snub to ultra-capitalist music labels and as an expression of commitment to their fans, Dubioza made the album available for free download at dubioza.org.
It was around this time that Faith No More’s Bill Gould discovered Dubioza Kolektiv, and his label Koolarrow Records, picked up their fifth album “Wild Wild East” and introduced the band to the international stage with worldwide distribution.
“Apsurdistan” was released in 2013, becoming a huge success with more than 300,000 downloads. Animated music video for the featured track “Kažu” was viewed 35 million times on YouTube and their Western Balkans tour sold-out arena-size venues. All of this, along with a relentless approach to touring, has brought Dubioza’s sounds to every corner of Europe.
In 2016, the band released their seventh LP album, “Happy Machine”with guest appearances by Manu Chao, Benji Webbe from Skindred, Punjabi singer BEE2, Catalan ska-rumba band La Pegatina and trumpet player Džambo Agušev from Macedonia. Inspiration developed over two years, largely inspired by events that unfolded over that time – from Istanbul’s Gezi park protests (“All Equal”) or the Syrian refugee crisis and Europe’s shameful response to it. The video for the album’s single “Free.mp3 (The Pirate Bay Song)” was featured on the homepage of the world’s most famous torrent site thepiratebay.org. Another highlight was the video and the song itself – “No Escape (from Balkan)”. Their first US-tour followed, with a debut at SXSW and concerts in several North American cities in venues such as 9:30 in Washington, D.C. They were selected as No.1 band at 2016 Eurosonic festival, per European festivals votes.
“Pjesmice za djecu i odrasle”, another album in their local language, was released in 2017, in combination with a feature documentary “Film za djecu i odrasle” that chronicled the band’s history and making of the album. “Himna generacije” and “Rijaliti” became instant hits with millions of views.
Following in the footsteps of their previous collaboration on the song “Red Carpet”, Dubioza kolektiv and Manu Chao teamed up for another power-house single “Cross the Line”, announcing their new album “#fakenews”, which will be available at the end of January 2020. The album features guest appearances by legendary dub-reggae artist Earl Sixteen from Dreadzone, Soviet Suprem, Mexican band Los de Abajo and an exclusive appearance by Robby Megabyte, soon-to-be-famous Internet superstar robot. Songs are in English, Spanish and Google-translated French.
Over the years, Dubioza Kolektiv became the biggest band in the Balkans, with sold out shows in venues with 12,000+ capacity in Zagreb, Belgrade, Ljubljana, Pula, Rijeka, Split, Sarajevo, Sofia, etc. Besides the Balkan region, they played sold out shows in USA, Canada and all across Europe: London, Amsterdam, Berlin, Dublin, Budapest, Oslo, Prague, Vienna, Madrid, etc. The band also performed at major European festivals, such are Glastonbury, Roskilde, Lollapalooza, Boomtown Fair, Sziget and so many more. They set the attendance record at Exit Festival’s Fusion stage and played in front of half a million people at Pol’and’Rock Festival, where they received Złoty Bączek award for the festival’s best international performance in 2018, voted by the audience.
They toured and continue touring tirelessly, having over 100 shows per year. Audiences across the world recognized them as a must see live act. Their history has shown: these guys don’t stop until they achieve their objectives. If you are looking for macho, money-and-ego driven posturing, you will not find it here – no MTV “rude boy” gangstas, no strippers or bling, no corporate endorsements from the international fashion industry. Rather, they take on traditional musical forms and enrich it with their unique perspective, which is delivered with a level of positivity that hits you like a blast of fresh air. If you are open to the experience, it could change your life too.
2004 Dubioza kolektiv / Gramofon Rec.
2004 EP Open Wide / Gramofon Rec.
2006 Dubnamite / Gramofon Rec.
2007 Unpopular Singles / Gramofon Rec.
2008 Firma Ilegal / EKIPA / Menart / PGPRTS
2010 5 do12 / Menart
2011 Wild Wild East / Koolarrow Rec.
2013 Apsurdistan / Password Prod.
2015 Happy Machine EP / Password Prod.
2016 Happy Machine / Koolarrow Rec.
2017 Pjesmice za djecu i odrasle
2020 #fakenews / Menart
“Savage sings like salvation depends on it – though not hers.” The Guardian
“Savage is a hypnotiser, she’s got me and she’ll get you.” 5/5 – The Herald Sun
Hypnotising audiences worldwide with their signature brand of country, blues and indie rock plus irresistible authenticity, Cash Savage and the Last Drinks are an award-winning six-piece with a live performance hailed among Australia’s best. Cash Savage’s heart-pumping live shows are backed by the devastating honesty of her lyrics and the raw talent of the band behind her.
Following on from 2016’s hugely acclaimed album One Of Us, 2018’s Good Citizens raises the stakes and signals the ascent of Cash Savage and the Last Drinks as one of the heavy hitters of Australian music’s new era. An incandescent live band at the height of their powers, led by mighty frontwoman Cash Savage, whose potent lyrics and impassioned delivery articulate the personal-political issues of these times with all her heart, guts and grit. Having towered over festival audiences at Golden Plains, Boogie and Sydney Festival, selling out The Corner in her hometown of Melbourne, and earning rave reviews for her recent packed-out Sydney show: (“You’d be hard-pressed to find a more exhilarating and heart-swelling live band in this country”– The Music), Cash Savage and the Last Drinks are on a mighty roll. The band has also made serious inroads in Europe, playing to huge crowds at festivals such as Binic Festival (France), Colours of Ostrava or Rock For People (both in Czech Republic). Good Citizens begins and ends with a thought. “I’m thinking violence is the answer”, Cash Savage sings as the Last Drinks rally behind her.
Of course, it’s just a thought. And this is just a song. But the music Cash Savage is making is informed by real life — her own, and those of the people for whom violence, or the threat of violence, is inescapably real. The human beings who are called minorities and treated as though their lives matter less than others. The women and children on whom domestic violence is enacted, and those in the LGBTIQ+ community for whom violence is an implied or overt threat behind the rhetoric of “family values” and “good citizens”.
The album opens with “Human, I am”, ringing out with a phrase that resonates in the #NotAllMen era: “It’s okay, you’re not one of them”; a disclaimer that many minorities feel they need to use when articulating the oppression they experience. The lyrics that follow call “time’s up” on the need to apologise; “I know what I am, I’m not yours / Not a leader / Not a follower / Not brave / Not yours / I am human”. “We’re all humans,” Cash affirms, “which means we’re all part of the problem. And we’re all part of the solution.”
The first two singles released to date, “Better Than That” and “Pack Animals”, both bear witness to the damage that prejudice inflicts, in the form of hurtful scrutiny or mindless mansplaining. The title track was inspired by disbelief of the warped representations of “mainstream” Australia portrayed in the TV commercials screened during a sporting event. “You don’t need a job to be a good citizen,” Cash insists. “You don’t need to go to church to be a good citizen. You don’t need to be married to be a good citizen. But a little bit of empathy could go a long way.”
The album comes to a devastating conclusion with “Collapse”, a song Cash wrote for her daughter. “I hope she understands that the world is a violent place,” Cash explains. “She’s growing up in a world where there’s violence everywhere, but our privilege allows us to believe that violence is someone else’s problem. The wars that are fought are at a distance. A non-violent life is a privileged life, and fewer and fewer people are living that privilege.”
The politics of Good Citizens hit home all the harder for their juxtaposition amongst songs that are deeply, passionately, personal. The ache of missing a partner (‘February’), the heady highs of falling in love (‘Sunday’), and the triumph of knowing that love is indestructible (‘Found You’). Even as it peers into the abyss of the anger and brutality that rock our times, Good Citizens burns with a fierce flame of belief in the goodness that may yet prevail.
“…But it’s live that Savage and her Last Drinks come into their own. This was one hell of a powerful, confident and intense show.” FBi Radio, Sydney Festival
“…country punk’n’roll coming out of the blackness with more power than the wind.”
Rolling Stone Australia
“One of Us – Album of the week” Beat Magazine
“Savage comes at us with gruff, dirty-fingernails country-rock like her life depends on it” 4/5 Herald Sun
“There’s a pain that rattles the core of Cash Savage’s third album… full of blues grunt and country groove that holler badass one minute and banjo tinged mellow the next” 4,5/5 – The Age
“The Hypnotiser is as assured and as compelling as anything released by an Australian artist this year… you know you are hearing a major new talent.” 4/5 – The Courier Mail
“Savage and her band trade in spooky gothic folk blues, the cry of fiddle strings and bite of a banjo redolent of beer and smoke. It’s a tense, sultry sound, staring down the fear that lurks on dusty, bloody, delta back roads, proselytising the gospel of rock’s own truth, ripe with a sense of theatre and omens while embracing the simple pleasures of a little love song.” 4/5 – The Age / Sydney Morning Herald
“The Hypnotiser is a melancholy, frank recording by an artist who has the ability to stick to her guns, yet be as chameleonic as she needs to be to get the job done. No mean feat.” Mess + Noise