A POP STAR’S DISCOVERY
INFECTIOUS
THE RESONANCE OF RHETT
KAROLINE RHETT
HEARTBEAT &
THESOAPGIRLS
HEART-THROBS IN
THE WORLD OF MUSIC
THESOAPGIRLS
KAROLINE RHETT
JULY 2014 Vol 17#1 Variety Magazine - A Worldwide Puclication
OVER A DECADES WORTH OF EXPERIENCE AND KNOWLEDGE
2 • BWD Magazine • www.bwdmagazine.com
FEATURES
04 Jermaine SmithEverything From Sports, Modelling To An Musician
06 No Loose Ends (Book Review)Author: Ramsey Venner
10 Blue Touch Paper Building Empire Of Sounds
16 Sons Of Kal-elLegendary On Their Way To Immortal
18 The Peckham Cowboys Song-slingers Armed With An Absolution Of Music
20 Robot Space Love (Album Review)Artist: The Void
22 Karoline RhettA Pop Star’s Discovery To The Resonance Of Rhett
24 DJ Nino Graye Brilliance Behind The Mic, Confidence Of A Composer
26 PhilCastRadioEncouraging The Scene That’s Cultivated Their Growth
COVER STORY
12 The Soap GirlsInfectious Heartbeat Of Both Music And The World
LIFESTYLE
08 Put It On My TabAn Avenue Of Avarice With 3 Free App’s
14 5 Tips For Creating A ‘Wicked’ Set-listAffording The Pleasure Of Music To Your Audience
ENTERTAINMENT
7 Buffalo Bites (Monthly Feature) Over 20 Years’ Experience In The Creative
Audio And Music Production World
BWD Magazine • www.bwdmagazine.com • 3
Editor In Chief V Keach
Associate Editor
J Addams
Lead Contributing WriterJ Addams
Contributing WriterV Keach
Art DirectorV Keach
Graphic Artist(s)V Keach, BWD Graphics
Circulation/Sales Officer(s)V Keach/J Addams
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LAST ISSUE
In a world where a swipe across the virtual shelf has supplanted the
casual stroll down the aisle, content driven media has become the golden
chalice of promotion; fresh content delivered with the minimum of fuss
constantly throughout the day has become the key to ensnaring the public
interest, of reaching the plateau of fame and recognition you deserve to
be standing upon.
Without an audience to listen no-one can hear you talk. Without a pair of
eyes to observe no-one notices when you achieve greatness and without
a market waiting on pins to learn which direction their latest fascination
will be coming from no-one will be holding the banners of congratula-
tions when you finally step up to the limelight.
With an empire of insiders working tirelessly away to bring you the big-
gest, best, and breaking news across the entire landscape of the media
BWD Magazine has built a reputation as being one of the leading names
in the industry.
When we speak, others listen.
With a worldwide audience of subscribers downloading and learning
which name to look out for, which band they should be following, who the
next Big Thing is going to be, BWD Magazine speaks to millions of awaiting
ears each and every month.
With the world as an audience BWD Magazine puts you firmly in the
spotlight.
BWD Magazine- ‘Leading Whilst Others Follow’
FROM THE EDITOR
4 • BWD Magazine • www.bwdmagazine.com
Proving the adage of ‘brains and
beauty’ isn’t the sole preserve of
the female side of the species
Jermaine Smith is bringing the
chiseled good looks of a
Parisian exponent with an intellectual insight
those who meet with him consider company
worth investing in.
Though dig a little deeper behind the eyes and
we find another adage of books and their being
judged solely on their covers being equally
applicable; a Floridian native Jermaine’s outer
deportment of confidence and assurance hides
a less than enviable upbringing. Born to parents
who saw ‘family’ as something that had sides to
be taken Jermaine withstood the constant point
scoring and slurs each parent would speak of the
other as only the blessed ignorant of one who
knows no different could.
It speaks much of Jermaine’s inner strength,
however, as from this car-crash of emotional
mis-trust and embittered battling he was able
to discover the joy of music from his father, an
unintentional gifting mayhap but one that set
him on his path to adulthood with a steady-
ing hand. As he buried himself within his now
estranged father’s collection of over five hun-
dred LP’s and albums he discovered a tapestry
of textures that spoke to him, connected with
the inner artist and began a life-times obsession
that would see him become a magician in music.
Nourished by the sounds of Motown and the
stylings of Marvin Gaye his inherited collection
delivered a broadening perspective of sounds,
eventually leading him to exploring what other
genres and musical worlds hid within their digi-
tal worlds.
As he matured so too did his tastes, his focus
turning to the world of rap and the blank can-
vas it afforded its exponents; the cats-cradle
of emotional out-pouring and poetic license
inherent within the genre may have appeared
completely different to the artists he initially felt
drawn to, but it proved to be the bridge between
the sounds of his inspirations and the emotional
tsunami wrought from his experiences of life.
It was within the world of rap he found solace
as the promise of a ‘normal’ childhood was once
again denied him during his high-school years;
a step-father as unfortunate a human being as
his own father had been Jermaine now had the
A truly happy person
is too busy living in
the moment to dwell
on the past or worry
about the future.“
BWD Magazine • www.bwdmagazine.com • 5
JERMAINE SMITH
“TODAY IS
YESTERDAY’S MEMORY
AND TOMORROW’S
responsibility of enduring the untenable whilst being a positive
male role model for his sister Marissa.
Stepping-up to the challenge he became a star athlete at school,
the basketball court becoming his own land to rule. Knowing now
that he pitted his might against such current NBA stars as Louis
Williams of the 76ers and the LA Clippers forward Al Aminu and
the advanced placement and honors he received only add to his
legendary status within Meadowcreek High School’s history.
College saw him on the sporting field and extend his intellect
majoring in psychology, and it was shortly before this current leg
of his successful scholastic career was drawing to a close, the
dawning of a move to the University of Oregon lighting his path,
that his natural musical talents made themselves known. Diving
into the worlds within words Jermaine found an unending flow of
lyrical complexity pouring from his pen, the essence of emotion
as detailed as it was hypnotic when drawn from the well of his
experiences.
Charged with a renewed vigor there seemed no obstacle too big
nor challenge too large to stop the determined Jermaine, and to
that end he now stands as being not just an incredibly gifted musi-
cian, but also businessman, husband, and model contracted to the
notable Sports and Lifestyle Unlimited Agency.
‘Today is yesterday’s memory and tomorrow’s dream,’ he philosophi-
cally reveals to us when discussing his BWD Magazine feature win,
‘thus live one day at a time, as they are given. A truly happy person
is too busy living in the moment to dwell on the past or worry about
the future.’
For those who lay the blame of their present on the troubles of
their past Jermaine Smith offers us a chance to see a better future,
to hold perspective to the light, be encouraged by the view, and use
as the mantle to become the role ‘model’ Jermaine has proven to be.
Contact Information:
Website: myspace.com/isaiahmessiah
Twitter: @Jsmithatown26
Photo Credits: Jermaine Smith - All Rights Reserved
DREAM.”
6 • BWD Magazine • www.bwdmagazine.com
ritten from a first person perspective No Loose
Ends by author Ramsey Venner tells a millionaires
tale on a street hustlers budget; what begins as a
self-sacrificing act of voluntary incarceration for a
crime he didn’t commit soon sees lead character
Travis Smith - aka Contraband - refusing to fall like his contempo-
raries to the enticing clutches of drug addiction, but falling heavily
for the alluring charms of the cash that comes from introducing
‘product’ to ‘consumer’.
Set within a brightly lit backdrop of Reno, Nevada No Loose Ends
maps out the course of our leads mis-adventure with an engorge-
ment of detailed minutiae, placing you firmly behind the eyes and
within the emotions of Contraband as what begins as a two year
prison sentence undertaken on another’s behalf quickly turns into
a businessman’s understanding of supply and demand, revealing a
world where admiration becomes envy, respect become revenges,
and sin is available 24/7 and to suit your bill fold.
Though never offering excuses for actions undertaken nor apologies
for an avarice of indulgences Ramsey instead paints a picture of
simple open honesty; these are the things that happened and this is
why they happened, and it’s up to the individual to remonstrate or
rally against the injustice beset against our lead protagonist as he
chooses a side to stand on.
Like a confessional for what lies behind Hollywood’s plastic glam-
our there’s an attractiveness to Contraband’s character that ingrati-
ates with ease; the detailing of hours spent in the company of ladies
whose affections are negotiable and by-the-hour, the high level
meeting of fellow ‘business men’ in a low level strip club, and the
rush of adrenalin coursing through the writing on the page as we
descend into the madness and are forced to choose just whose side
we are on; ours or theirs.
A fastly flowing foray into the depth of humanity and the lengths it
must go to when pressed through the voice of a man clearly supe-
rior to those he must call his contemporaries, No Loose Ends is a rare
treat of a read; one that doesn’t glorify the ugliness and force us to
look, but instead allows us as much of a viewing as we think we can
manage, with open arms for when you come back for a second and
third helping.
5 Stars out of 5
Contact Information:
Website: www.ramseyvenner.com
Instagram: No_loose_ends
Facebook: Ramseyvennernolooseends
Photo Credits: Ramsey Venner -All Rights Reserved
W
Greetings Buffalo! This month I bring you the little adventure I call ‘Getting
a studio space’. It started a few months ago when I asked a friend of mine,
doing a similar home recording vibe, if he’d like to join forces as I was look-
ing for a partner to build a studio. To my utter astonishment Ross agreed!
We listed all the gear we had between us and except for a couple of mic’s
and a mixing desk we had more than enough to mic a band, one at a time,
for what I call ‘studio standard practice’, everyone taking their turn layering
tracks down to a click or some sort of guide. As fantastic as Foel Studio
have been over the last couple of years, it’s tricky trying to convince a band
to travel into mid-Wales to record especially the younger bands with limited
transport. (Something to consider when building your studio) As I’m based
in the midlands it’s a trek for me too but fortunately the studio is awesome!
So, back to the story…We found a few units up for rent and started to view
them in person. The first unit we found was huge. 2,500 square feet; one
very large room! It had formerly been a pole dancing club so had a definite
feel to it... Mainly due to the stage still being there, unfortunately the poles
had been removed! As wowed as we were the roof was 100 years old and
leaky, the access was limited being up narrow stairs, and we’d have had to
build a substantial amount of construction before even considering sound
and wiring. So we searched on. The next unit was in an old converted car
park. The man called it ‘the cave’ and holy crap it was grim. The previous
tenants had left plenty of evidence of their cannabis trading and distribu-
tion. They’d transported it out in refrigerators and freezers for anyone who’s
interested, most of them piled up in a wall of appliances still there. The
place wasn’t for us, darkness and damp, a homely studio does not make it!
The search continued and somehow the stars lined up when we found
what had previously been ‘Crown Nail Works’ a Wolverhampton nail making
company. There was a young couple still in there who’d started to convert
the 1,250 square foot unit into a studio and it was split into a large room,
a small room and a wide corridor. The smaller room had a window which is
great in the control room and the live room was 12.5 x 7 metres so plenty
of room there for bands and their gear. After a second visit with my partner
‘in studio crime’ we decided to go ahead! Time was ticking by and if you’ve
ever looked into building a commercial recording studio the amount of
research is phenomenal. Mind-bending. Now bear in mind that our budget
is quite low for a project of this scale. The build and equipment have to
come in under a certain cost and that is not very flexible, as it should be.
It’s all about planning. Or at least that’s what we thought. In the next two
weeks I spent a little time and money making some improvised acoustic
diffusers, speaker stands and amp risers, basically anything I could do that
I knew we’d need later but not really have time to build on site. It’s amaz-
ing what you can do with railway sleepers, decking, old speakers and a few
sheets of ply wood with a little google-searched inspiration.
By the way, I’ll make my apologies for the scatty-nature of this month’s Bite
now, my head as you can possibly imagine is brimmed full of electrical cur-
rent phases, floppy brick walls and basically inadequate infrastructure ie;
no running water or toilet! So there you go. Brain fried.
Eight days ago on Monday 16 June we collected the keys to what will be:
Crown Works Studio!! Aaaarrrrrgggghhhh!! Sleep? Nope, not on Sunday
night. It’s hard to put into words the feeling of being on the brink of build-
ing your first non-home studio, a dream I’ve held for years and scary. Scary
in a good, butterflies in tummy anxiety kind of way. I think?? In the last
week and a day we’ve sorted two wobbly walls, started soundproofing,
arranged electrical work, had steps built outside, bars over the window,
plans for a new and insurance friendly front door, a toilet has started to be
installed, planning for electrical and audio distribution, windows ordered
for the control room and live room for visual communication, cut a hole
in a wall for said window, materials ordered and delivered, studding for
plasterboard sheeting (including acoustic damping), rock wool installation
in places most desperate, met the neighbors in other units on site, met the
building owner, (who also happens to be one of the people involved in the
building of Trident Studios in London!), and prepared the floors for paint.
I’m tired, my body hurts and still we carry on! This is a labor of love and we
will not stop until we finish. Over the next couple of months I’ve limited
my recording sessions so I can be as involved in the build as possible (a
great way to reduce your labor costs) and get to know the place from the
ground up. So I’ll be trying to walk you guys through some of the joys and
some of the hurdles too (next month). When I started writing this column
I honestly had no idea if we’d be building a studio so soon. It just goes to
show that if you put the work in and are incredibly lucky, great things can
happen. Can’t wait to bring you all with me! For now I’m going to wrap it
up and get back to the third layer of plasterboard on the first wall. There’s
a few gaps to fill yet, I’m learning new skills every day, and not a single one
of them music related! Happy Tracking dear Buffalo! And remember: “I know
a song that’ll get on your nerves, get on your nerves, get on your nerves.....”
Buffalo Music Production - www.facebook.com/gazz.rogers
Foel Studio - http://www.foelstudio.co.uk/
Photo Credits: Buffalo Bites - All Rights Reserved
MONTHLY FEATURE
7 • BWD Magazine • www.bwdmagazine.com
BUFFALO BITES
8 • BWD Magazine • www.bwdmagazine.com
PUT IT ON MY TAB
BWD Magazine • www.bwdmagazine.com • 9
Known throughout the world as the single
most unbiased and reliable source of cur-
rent and breaking news the BBC is the
leader in its field of news-bringers to the
people; presented with a staid hand its
reputation for delivering the facts as they
are sans any religious or political bias the British Broadcasting
Corporation’s tiny app centers squarely on the information at hand,
minus speculation or finger-pointing or condescending overtones
of ‘if you’re not with us, you’re against us’ lesser news agencies are
famed for.
Covering all the crucial areas of interest - including but not limited
to world news, the latest top stories, sports, politics and business
developments - it also offers the probing prodder a chance to learn
what’s happening in the crucible bowl of science.
Delivering the facts and information from the four corners of the
globe as they happen and customizable enough for you to order
which area of interest takes precedent it is the Gossiping Google
of news-gatherers for those who fingers need to be kept firmly
on the pulse of what’s going on where and why and what-for and
whatnot; read as you wait in line for some shopping or download
for a quiet catch-up when dropping the kids off at the pool, it also
includes video clips of the top headline stories for those wishing
to witness the events ‘first-hand’.
With a generous 15GB of free storage and
the ability to access its bits-and-bytes
innards from any Android based doo-
hicky with an internet connection Google
Drive is the big back pocket for your life.
Allowing you to upload and view a range
of formats from across the wealth of Word/Office styled programs
there’s very little you can expect to chuck at Google Drive it can’t
handle. PDF’s or presentations, doodlings or .doc’s, jpeg’s of an
amusing cheese favoring feline or a scan of a receipt for your
proof-of-purchase when arguing with the money-monkey jockey-
ing the refunds till taken by your camera and instantly stored, it
takes the lot with a quiet reserve of humble usefulness and an
unspoken surety of retrieving your info of import when asked.
Share entire Drive’s or a single something simply with a swish or
delve into the Drive through your desktop if desired, as an app it
feels designed to fit your own personal demands, whether busy
hard-core cloud-connoisseur constantly on the move or occasional
puddy-piccy pusher collating a captioned kitty collection.
Keeping a handle on all the ins and outs
of modern life is as tricky as explaining
why any of the Kardashian’s are famous.
Fortunately, Google steps up to offer
assistance for the first part of that open-
ing sentence - as for the latter, even Google has its limits.
Hit by an inspirational thought or caught up in the most amazing
sun-set, write it down, take a snap, or verbally sing the praises of
the moment and have it saved as text for rumination anon before
saving the lot in this essential easy breezy app.
A digital secretary on your device Google Keep presents your files
and fancies in a nicely clean, evenly spaced and placed presenta-
tion of all your intellectual insights and Bailey-esque brilliance.
Add a splash of color to the file for defining what-whatnot-is-what
and sync the whole gosh-darn lot across all your digitally designed
devices for fulsome integral intuitiveness and all hour’s access to
your info. A picture taken to remind you what futon you want as
a wedding gift, a few lines informing your future self to get your
kids vaccinated, a short sentence of spoken wordy wonder that will
probably turn out to be the ramblings of an internet idiot once
revealed to the patrons of your preferred forum of choice, it’s your
pixelly pencil and paper pal and plug for your Swiss-cheese brain.
You can even make a memo to pick up some beans, vodka and
‘cigarette’ papers from the store, and set a location based reminder
to retrieve and display your shopping list of largess upon wobbly
footed arrival through the hallowed portal of that blissful marriage
of convenience and consumerism.
Write it on Keep, upload it to Drive, and be the first to say ‘I called
it! Here’s proof!’ when the BBC finally announce the Kardashians
were a science experiment to disprove God by making the most
self-entitled idol for society to worship.
BBC NEWS
GOOGLE KEEP
GOOGLE DRIVE
10 • BWD Magazine • www.bwdmagazine.com
fter the incredible awakening of sound and score
that was Blue Touch Paper’s debut album release
Stand Well Back the prospect of re-igniting the
flames anew with another crafting of composi-
tions would have seen lesser artists balking at
the thought.
Attempting to capture lightning in a bottle twice is often the down-
fall of many a group, the inevitable follow-up hoping to ride the
coat-tails of the furore from the first; pushed into production and
shoved onto shelves, most-times the album will be received with
an over-riding arch of initial euphoria that quickly gives way to
ambivalence and disappointment.
Written by a committee of
invested parties whose eyes
are firmly on the bottom-line
too many fall foul of cookie
cutter safe songs designed
purely for the quick-buck
cynicism of returning-to-the-
well of the first album whilst
offering enough mass appeal
on the new works to sell-
sell-sell before public inter-
est wanes and the well has
been wrung dry.
So with two years of their lives set to one side, over sixty demos laid
down and pulled apart and recorded and ruminated upon, with the
resulting tracks chosen to go on the album setting plaudits tongues
wagging and audiences clamoring Blue Touch Paper perfectly dem-
onstrates the old adage of ‘perfection takes time’.
Lead by noted composer and respected musician Colin Towns and
complimented by saxophonist Mark Lockheart, Stephen Maass on
percussion and electronics, Chris Montague taking duties on gui-
tar and Edward Maclean rounding the group out on bass, Drawing
Breath represents one of those rarer of releases; an album that
takes what you know from their previous work and builds empires
of sounds upon them.
Mixing their almost trademark style of being able to fuse jazz, rock,
and classical elements into cinematic soundscapes with the enthu-
siasm of an unbridled creative mind Blue Touch Paper is lead once
again through by the embarrassingly talented Towns through new
scores that sees the group expanding the landscape further than
their first release and more than any other.
Delivering textured emotion through the medium of sound as
moments of contrast pique your attentions and drive your desire
for more, and producing an
animated film to accom-
pany the track ‘Fair is Foul’
- animator Michael Tang
- ; BWD Magazine tracked
leader and composer and
creator extraordinaire Colin
Towns down to discuss Blue
Touch Paper and the album
Drawing Breath, his works
within the industry as both a
musician and composer, and
whether Hendrix licks beats
Beethoven.
EXCLUSIVE INTERVIEW
BWD: Hello, and thank you for this interview; if you would like to introduce
yourself..?
My name is Colin Towns of Blue Touch Paper and I’m a composer for film,
television and theatre. I also compose and arrange for several European big
bands such as Hamburg’s NDR Bigband and Frankfurt’s HR Bigband and have
written for artists such as Michael Brecker, Billy Cobham, Norma Winstone, Nils
Landgren, etc.
ABLUE TOUCH PAPER
BWD Magazine • www.bwdmagazine.com • 11
My philosophy is simple - I follow my heart. I have two bands, The Colin Towns
Mask Orchestra presenting some of the greatest and most important new and
established musicians today and Blue Touch Paper a six piece electric band that
explores everything so long as it grabs your ear and takes you on a journey!
Blue Touch Paper is Mark Lockheart (saxophones), Benny Greb (drums), Chris
Montague (guitars), Edward Maclean (bass), Stephan Maass (percussion/elec-
tronics) and myself Colin Towns (keyboards/sound design/composer).
BWD: Your first album Stand Well Back birthed almost an entirely new
genre in itself, receiving critical acclaim and really pushing the boundaries
of music.
The first Blue Touch Paper album was the result of my belief that Weather Report
was unfinished business and the writing approach by Joe Zawinul (compositions
not just a head and off we go!) was my starting point. Yes some influences show
their heads but my musical journey has been more extreme and I don’t carry
rules in my head so the music came out in all directions. I do not ‘fuse’ music
as this does nothing for me. I look upon today’s technology with joy, spreading
out all the possible sounds and colors, much like an artist would on a palette
and make new pictures. I composed and demoed about 30 pieces and finally
worked on 15, cutting it down to 13 for the album. The guys in the band were
chosen very carefully as I always look for ideas and vision (not copying). Whether
it pushes boundaries or not is not for me to say, but composition fascinates me
and we owe it to the musicians who have made a difference to explore - not
follow. All the guys see, play and explore this music in their own individual way.
BWD: After such a reception from your first album how did you approach the
recording of Drawing Breath?
The second album, Drawing Breath, was born out of 60 demos I created. Some
tracks we recorded together and others in small groups. For instance – Benny
(drums) Stephan (percussion) and Edward (bass) were recorded together. The
electric percussion we recorded with Stephan over 3 days. He has a great
understanding of ‘sound’ and came to the studio bursting with many great ideas
which we explored together. Chris’ guitars took about 4 days and I am always
excited and blown away by his incredible playing and ideas. Mark’s saxophone
was again overdubs and took about 4 days. Always respectful of the musicians
‘sound’, it’s great that he’s happy with exploring effects that my engineer Toby
Wood and I would experiment with. I’m also a lover of no effects and silence
when the moment is right.
Benny’s drums have a great ‘sound’ and it’s crucial to get this recorded right. He
will also experiment with his sound, colors, time etc. He is a master drummer of
course. Everything that happens during the mix is Ok’d by the guys.
Edward is our rock and never misses a beat, regardless of what chaos is happen-
ing around him. He has a natural melodic feel to his solos, which worked great
on ‘Juggling with Strangers’. The keyboards/samples/sounds are played in on the
original demos. As the track comes into shape I usually take a long hard look at
what I’ve done and alter/edit my sounds in order to make the composition work
and keep the surprises coming. I’m very rarely satisfied with my solos and usually
settle for spirit over technique.
On the album you will be taken on a journey from wild dance (Isadora) to wilder
tango (Suddenly a Tango), fun (The Joke) does music still make you smile? Well
it should, sound design and Shakespeare (Fair is Foul), middle east/electronic/
wild powerful heavy riffs (Drawing Breath), abstract and uplifting happy finale
(48 Prefabs and Forks No. 60) and many other roads - but never the same road
twice. The playing and solos also never repeat themselves and are played within
the world of the composition, not on a self-indulgent trip. Some reviewers have
said that there may be “too many ideas on one album” - is this possible? What
does this say about other albums?
BWD: Is the life of a musician enough to tempt you away from your life as
a composer..?
I started my working life as a shipping clerk working in bands every night and
weekends. I started composing when I was fourteen and always knew that this
was my goal. I played as a keyboard player in all kinds of situations but my com-
posing is where I feel I have ‘something to bring to the table’. It took 10 years to
get out of the shipping office and start to realize my dream of becoming a film
composer. I’m continually fascinated by composition and never tire of the long
days spent looking for ideas. I’ve been lucky. I wish I had the time to develop
my piano/keyboard playing but have to accept that falling asleep in front of the
computer or piano at two in the morning (or earlier) is a sign that the piano
development will come later.
My film credits include: Maybe Baby (starring Hugh Laurie), Vampire’s Kiss (star-
ring Nicolas Cage), Space Truckers (starring Dennis Hopper) and The Puppet
Masters (starring Donald Sutherland), My Angel (starring Vanessa Paradis) and
Crimson Rivers 2 (starring Jean Reno). I’m not a great fan of television drama
today although there’s still some great drama appearing in the States, UK and
Scandinavian that keeps the flame alight. I’ve been lucky to work on many
wonderful German television films over the past few years and I’m very happy to
work with certain adventurous directors in Germany that allow me to continue to
develop my scoring ideas. I always give 100% to every project I work on and I try
to balance the TV/film/theatre work alongside the concerts/gigs. Because of my
scoring work, it’s difficult to take Blue Touch Paper out on the road as much as
the critics and fans would like. So I feel that when we do play live, the concert is
always extremely special and something that we as a band will take home with
us – it’s not just another gig.
BWD: And finally; what does Blue Touch Paper have in store for us next?
Blue Touch Paper will slowly record their third album. It will need a strong and
clear vision. It will not be rushed so will arrive when it has something new to
say. Before that, there will be the film from our recent gig at Band On The Wall
in Manchester which will appear online. I’m currently up to my neck but I will
edit it soon - sorry to the fans but it is on its way. Tracks that we decided not to
include on the recent album will also become available. Check out the guys in
the band who all have great gigs/projects/albums coming out. Later this year I
will record a new Mask album which I’ve been working on for three years!
Contact Information:
Website: www.bluetouchpaper.com
Twitter: @BlueTouchPaper1
Facebook: BlueTouchPaper1
Photo Credits: Blue Touch Paper - All Rights Reserved
12 • BWD Magazine • www.bwdmagazine.com
THE SOAP GIRLS
he exotic heat-haze strewn landscape of gorgeous South
Africa leaves an indelible impression of nirvana on
Earth, a backdrop to a thousand beginnings and the
very birthplace of life itself.
A dreamscape almost, once bathed within its atmosphere of nothing
being impossible and problems as something rarely encountered,
there is a peerless sense of positivity throughout the continent;
casting visions of promises fulfilled, ambitions met, and challenges
conquered.
Mixing a visionary heritage with the very French air of confidence and
focus The Soap Girls are forerunners in bringing the infectious heart-
beat of both music and the world to your play-list in a harmonious
intensity and incomparable passion defined as the TSG Movement.
Running full throttle towards their destiny Mille and Mie - aka The Soap
Girls - are a brace of beauty and brains, bedecked in blonde, delivering a
primal and raw, powerfully emotional sound that is as genre-changing
as it is life-changing; affording the depth of pop to the energies of
rock The Soap Girls have birthed a universal language of musical treats
and entreaties.
Having forged a unique bond that sees both stars sharing and express-
ing the same sentiments and insights on a very-near psychic level The
Soap Girls have become more than just another act to acknowledge or
sound to sample some of; a dedicated hard-core fan base has seen the
girls’ ground-breaking music travel around the globe, their audience
now to be found upon every square inch of the atlas.
Sharpening the edge with an over-lull of punk draws attention to
the time spent crafting their compositions, the genres sensibilities of
music without emotion is a hollow joke to the soul endearing the listen-
ers ears to The Soap Girls’ honest delivery of complicated themes and
tones, written in a universal tongue and speaking to the happy gland
in coquettish whispered screams.
With our reputation for being number one in music BWD Magazine pol-
ished the brass plaque that proudly speaks of ‘...not just being ahead of
the curve but being the curve others follow!’ and set off and out into the
wide blue yonder, in search of The Soap Girls and the answer to such
questions as how they create the style witnessed across over thirty five
compositions, what keeps them so high in their fans and audiences
estimations, and other weighty musings.
BWD: To The Soap Girls we are very pleased to say; would you care to introduce
yourselves..?
Hello! I am Mille pleased to meet you. I’m the louder, bossy, bass playing, spontane-
ous Soap Girl!! I’m often described as the devil and my sister Mie as the angel haha-
hahaha! By the way: I’m the one who has to work hardest to get my hair straight!!
T
Website: www.TheSoapGirls.com
Twitter: @The_SoapGirls
Facebook: TheSoapGirls
Photo Credits: The Soap Girls - All Rights Reserved
EXCLUSIVE INTERVIEW
Hallo all! I’m Mie the prettier one hahahahaha (Just kidding)! I’m humorous,
moody, the reserved one and definitely the thinker, perfectionist and (flutter-
ing eyelids) the angelic one”!
BWD: All corners of the world have been wanting an answer so come on;
what can you reveal about your new album..?
Our new album is an eclectic fusion of many genres with a definite raw, street,
bold sound without corporate influence!! It’s an album reflective of who we
are as writers/performers and inspired by our journey in the industry!! We
wanted an album that sounds exactly as we do and with as little polish as
possible where the performance and energy emanates so that when people
come to a show they will get what they have fallen in love with!!
The album gives a peek into our lives as we write about things that happen
around us. There are some real angry songs that were a great release for us.
Some of the songs we wrote were actually as a result of a fight we had with
each other!! We usually write when we feel a strong sense of emotion, whether
it’s anger, frustration or disappointment. We also have a few we’ve written
about other people we know - like our jerk hole neighbor - and even one about
a “know it all” in the music scene here in SA!! We are extremely grateful to
have been brought up listening to the music our mom exposed us to; music
Cover Story
THE SOAP GIRLS
The
BWD Magazine • www.bwdmagazine.com • 13
from the 60’s all the way to the mid 90’s, it definitely has had an impact on our
musical tastes and direction!! The beauty of combining our diverse styles is that
we create our own sound!! It wasn’t something we consciously started doing… it
just sort of evolved into the way we write, and although we don’t write with the
thought in our mind of, will people like/relate to this?? We know from the crowd’s
reaction at our shows that people do indeed connect to the songs, they’re a bit
surprised at first but then they really get into it!!
BWD: There doesn’t seem to have been such a unique fusing of sounds and
styles in recent years, so you could say ‘The Soap Girls’ sit alone at the top of
the mountain..?
We believe it’s impossible not to be unique as long as you stay true to yourself
and your music. For us that means totally blocking off from anything and every-
thing that is out there music wise whilst we write. We are always careful of what
we allow ourselves to be exposed to!! We weren’t at all sure how people would
react to our music at first, but as we perform the music we can immediately see
and feel people reacting to it. We are often completely blown away by how much
people feel for our music, there is no better feeling than being as 1 with your au-
dience; it’s like being on a never ending high!! We write songs as soon as we feel
something, which is obviously very often. Life is like a game of snakes and ladders
because we love capturing our emotions through music!! We often go 3 days in
a row doing almost nothing else but writing until we’ve said what we needed
to say!! Sometimes when we felt like writing a song but weren’t getting it (Mie)
would try to provoke me into fighting with her, as we usually write our best songs
when we’re fighting!! (Girl Next Door, Hold on Tight) Most of the time though we’ll
be playing around and then from a riff we end up with a new song. It’s always
different and whatever we read also has an impact on our songs whether it’s a
Gothic Vampire novel or a horror story!! One of our songs Rolling Stones for ex-
ample we wrote after smoking our first “green” experience so it’s a rather mellow
take on life and what it takes to get where you’re going!! LOL
We have a different sound because we don’t look around us trying to see and
hear what everyone else is doing, we shut ourselves off, do our own thing and we
also have a very warped sense of humor so we’re pretty sure that affects how we
view life and people!!
We never consciously sit down and work out how we are going to write or go with
a sound in mind, we just write it’s as simple as that. We don’t write with radio/nor
people in mind and we cannot say we are fitting into any specific genre and
who or what we sound like which makes it rather difficult to explain our sound!!
Sometimes Mie will be playing around on the acoustic/electric and she gets mad
if she feels I’m hijacking a mellow song and I come in with hard aggression so
we will then marry the two (example: Voodoo Child. There is a song called Real
which I love and she hated for example) we fought over that song for weeks!!
Some music execs will say “jeez but those tempo changes need to make more
sense and we will laugh and say NO take it or leave it. Our music isn’t written
from “formula’s that are expected!!” What you see, what you hear, is what you get.
BWD: Do you feel the richness of your heritage helped draw inspiration and
strength during the beginning of The Soap Girls?
Definitely. As kids from ages 9 and 10 we were street performing to sell our
handmade soap for different charities; we did that 365 days a year for 8 years.
From that we learned total dedication. We always feel that if you’re going to do
something then put your heart and soul into it. It also prepared us for life and
how to deal with rejection and disappointment, and also that there are some
really amazing people in the world that’ll stand up for what you believe in and
they’ll be with you all the way!!
We first got into a recording studio when we were 12 and 13. A man we met
while street performing invited us to record a song. Looking back on that time we
cannot help but roll on the floor and laugh untill it feels like we’re going to die.
Our first trip to the studio was like some messed up modern day version of the
Addams family. The producer and his family were all a bit cooked, but we gained
some experience with a few mental scars and moved on to the next step finding a
better producer with a decent studio so eventually a few years later (aged 15/16
yrs. old) we were signed to a major label. We spent 4 years in the dance pop/
electro genre which the label pushed for and we had some hit songs that charted
however we couldn’t marry ourselves to neither the music nor our performances
to the music and so a battle eventually ended in us parting amicably with the
label (our favorite parting was the MD of the Universal Music SA telling us to
go home and burn our wardrobe and we were to wear/perform exactly how he
dictated…..enough said!!) We were outta there!!
(Continued......Page 25)
14 • BWD Magazine • www.bwdmagazine.com
So you’ve practiced and prepared, pushed it to the limit and sweated pure
effort in your rehearsals to the point of being able to identify every last
beep, boop, or bass solo from your musical catalog and having successfully
booked a gig or six to demonstrate your beepy-boopy-bass brilliance to your
adoring fans now comes the time to think about which songs you will afford
the pleasure to your audience - and, more importantly, in what order they
will be revealed.
With a view to delivering the best set on the night each and every night,
being the best performer on the list each and every time, this month we are
focusing our attentions on delivering a killer set.
No matter how many tracks make up your set-list
the first should be thought of as your introduction
to the audience, and thus needs to be an attention
grabbing slab of sound; impact and impressions
are required here, with a view to leaving both all
over the attentions of your audience.
Though rarely the very bests of best from your musical goldmine it
should nevertheless be a strong opening number that sets out your stall
as to what your music is ‘all about’ without question over genre, theme,
or overall tone. It should give a broad sense of what style/genre you are
purporting to represent, along with the sound that makes you unique to
all the other acts out there of a similar bent.
5 TIPS FOR CREATING A ‘WICKED’ SET-LIST
BUILD UP THE ENERGY
Think of it as a sample or taster for aural rumination, a track that
comes in just under the length of the others on the list to give
a quick dose of brilliance without over-dosing on indulgence. If
your style will allow go for a quick-paced, motivating number that
drives the listener along; you’re looking to hook as many ears as
possible as quickly as possible so keep long winded solo’s and
over-complicated middle eight breakdowns for later on in the list.
Once hooked it’s now time to reel those ears and attentions in,
so...
Now you’ve got the eyes and ears of the
crowd pointing in your direction it’s time
to build - momentum, that is!
Pick a track that follows the momentum
and flow of your opening number and
generates more; if you think of it like gears in a stick shift auto-
mobile we want to be going from First to Second without loss of
revs. Choose something that carries the feel and atmosphere the
first track created and adds a broader stroke of sound and depth.
If your first track got their attention the second should feed
their interest and add a little garnish to the offerings; perhaps
something that goes deeper in composition but not too deep
as to leave the audience wondering if someone else has started
playing.
START BIG
1. 2.
BWD Magazine • www.bwdmagazine.com • 15
Like the opening number it should be punchy and powerful, reeling
in those early ears and casting for those still standing on the cusp
of en-catchment.
You’re looking to underline the image/sound the first song set out
to establish, re-affirming the belief in your audience that what they
heard is what they’re hearing and settling them into the comfort-
able embrace of your sound.
Though tempting, keep those avant garde and grandiose numbers
for a little further into the set. Speaking of which...
Not really, of course - unless you’re playing at
a bizarre FolkFest For Tea Appreciators and it’s
your turn to ‘be mother’. This is the point in your
set where you can slow down apace, relax into
the groove of your performance, and bring out
the more laid back, less than mainstream sounds
of your set.
A lone song or sonnet are the traditional fillings in the set-sandwich; alter-
natively, if you have more than one genre within your mighty musical grasp,
here would be the opportune time to launch your kaleidoscope of sound
upon the captivated crowd.
The benefits of keeping the tracks less representative of your style/more
‘out there’ in scope are many, the least of which being able to showcase
the entire range of your sound with feedback from ears already listening to
what you are trying to communicate.
It doesn’t have to be limited to just the one number; if your time on stage
allows you can incorporate as many or few as you wish. A slow paced intro-
spective song followed by a decrying of your love for a lady of uncertain
past, a moody introspective missive that segues into a call for a joining of
arms and swaying together will keep the mood level whilst allowing you
to move into other areas of aural inspection.
Inevitably the silence of a collective heart sighing in unison will greet the
fading of the last few bars of song, gifting you the perfect opportunity to...
Now we’ve done with the laconic and/or indul-
gent artistic expression it’s time to raise the
temperature again; and what better than swift a
return to form with a bombastic dropping of the
hammer and hailing the gods of all things loud
and celebratory!
Bring out the brilliance and back the banging beats, the chanting choruses
and riffs that get under the skin like a parasite requiring a healthy dose of
aural medication via the medium of your music.
Much like the opening number you should be mindful of ensnaring the
audience anew after the brief respite, generating that rush of adrenalin that
first signaled your appearance on stage and their radars.
Don’t go too full-on, however; after a lull the sudden shift in gears may be
a jarring juxtaposition for a crowd lost in the contemplation and lamenta-
tion of their very soul.
As the last song of your set it will be the one
people will be most likely to remember, so here
is where you get to pull out your biggest of big
guns.
Barring encore or similar the last song on your set should be the one that
gets the sweat flying and floors heaving with bodies.
If there’s a chanty bit that will get people interacting in a call-and-repeat
fashion then so much the better; you’re looking to be leaving with your
sound ringing in their ears and bouncing around in the forefront of their
mind, your name tripping off their tongues as they stand queuing up for a
double booked taxi or under cooked pizza.
Go big, go bold, but above all go bravely into that last song with all the
energy and enthusiasm of a thousand armies converging in the middle
of battle. You are the ring master in your own personal Cirque de Sound,
so crack that whip and send them home happy, high on adrenalin and in
absolutely no doubt which artist they’re going to be talking about tomor-
row when the sun has washed across the crust of alcohol sweat peppering
their brow and they’re wondering what happened to their left shoe and why
they have a half-eaten pizza in their pocket.
Addendum...
Above all, the most crucial point to remember is nothing is ‘set’ in stone;
build a virtual set list on your PC and listen to the songs in the order you
feel works. Move them about and re-listen to how it all hangs together; it
may be a bit of a chore or even seem superfluous - after all, you know what
your music sounds like; you created it. But therein lies the rub; once a gen-
eral running order has been established very few bands or musicians look
to changing up the order of their performance until a new song is written
and needs to be fitted into the current playlist. It doesn’t make you wrong
or somehow less of a musician if you choose not to; it’s just a lot easier to
hammer out these little details in the privacy of the rehearsal studio than
before a paying audience whose starting to lose interest, thin out, and
seem to be giving the impression of a crowd of people discreetly trying to
organize a mass exodus through the window in the toilets.
GET THE BLOOD PUMPING
TIME TO PUT THE KETTLE ONLEAVE THEM WANTING MORE, MORE, MORE!
3.
4.
5.
16 • BWD Magazine • www.bwdmagazine.com
o you know what makes the good bands great
and the legendary, immortal? It’s a difficult
question to broach when considering the subject
matter of what is music being one personal to
the tastes of the individual ear. What one con-
siders to be the very Bach of brutal metal others may balk at the
notion of proffering the word ‘music’ to when describing the dirge
that left them with a permanent ringing in their left ear.
So allow me to clear some confusion and let clarity rain down like
a refreshing tsunami to drench your ‘drums by introducing you to
the UK band Sons of Kal-el, a five strong group whose status as
legendary on their way to immortal looks set to be a small step
indeed. However, should we have expected any less from a band
comprised of members
who have toured the
stages of the world,
shared a spotlight
with guitar gods
like Steve Vai, and
earned the respect of
their contemporaries
through their critically
acclaimed previous
works?
By bringing their com-
bined talents together
as the formidable
uber-group Sons of
Kal-el, Chad Sunderland, Aaron Beeken, Lee Churchill, and Maciej
‘Magic’ Nawrocki reveal the band as musics’ very essence, an aural
embodiment of the spirit sent soaring into the air and onto your
playlist with their all new and unfeasibly awesome release Songs
From The Phantom Zone; officially released on May 17, 2014.
Deporting an extravagance of sound and understanding across a
meaty ten tracks Sons of Kal-el first step on the path to the top is
a mighty big one, for sure; so big, in fact, it was blocking out the
sun we usually hide from as it annoys its way through the win-
dows here at BWD Magazine. Checking the dates of the equinox
against the number of fish in the bay, divided by the number of
stalks that fell outside, the chalk circle we were standing in and,
certain Google was probably right about it not being time for a
solar eclipse just yet, we trotted off to ask Sons of Kal-el some
questions about them big boots of theirs, their latest release and
upcoming plans, and what it is about the British and their love for
tea...and chimps.
BWD: We kneel before the Sons of Kal-el and request you please; introduce yourselves..?Hi my name is Chad Sunderland and I’m the one wailing away over
the beautiful music. Alright, I’m Aaron - the one riffing my heart out
on guitar. Hi I’m Lee Churchill, I am the bass. Hi I’m Maciej (Magic) and I’m the man with the sticks.
BWD: From your individual works in bands such Red Cow Down and The More I See, how did the four of you bring your talents to form Sons of Kal-el..? Chad got married in 2011 and already knew Aaron and asked him
and Lee Churchill (former
The More I See) to be
part of his wedding band.
After three chords, his-
tory was made. Chad and
Aaron decided to take
everything from their past
musical loves and make
the idea into something
real. Looking at bands like
Foo Fighters, Pearl Jam,
Soundgarden and Ozzy
Osbourne, we then created
demos of early songs whilst
also drinking Aaron’s fine
selection of Oakham Ales.
When writing, Chad and Lee developed their thrash metal influ-
ences from the More I See’s ‘The Wolves are Hungry’ into more of a
‘hard rock’ style for Sons of Kal-el. Chad was also the main lyricist.
Aaron comes from a heavy rock and metal background with the
band Proto Inferno and has a Degree in Music from The Academy
of Contemporary Music. Aaron was invited to compose and arrange
the music and add his virtuosic guitar skills to the musical blender!
Magic helped us out on drums for a festival last year and after the
demise of Red Cow Down, he has recently joined the band full time.
BWD: With favorable comparisons to A7X and Audioslave how would the band define their quintessential sound to our readers..? Our sound on this album is very much influenced by bands of the
90’s alternative scene but with the guitar sound of the early 1980’s
(Rhandy Rhoads, Vai, Malmsteen era) and lyrically we come from a
very honest and personal point of view. The lyrics and music commu-
nicate social, political and emotional issues – things that a lot of true
D
SONS OF KAL-EL
EXCLUSIVE INTERVIEW
SONS OF KAL-EL
BWD Magazine • www.bwdmagazine.com • 17
rock fans can listen to and relate to. We are also very much fans of the
heavy riffs from bands such as Soundgarden, Metallica and the ‘own-
ers of the crown’ Black Sabbath! But quintessentially all our influences
have come together into one big mixing pot to create the sound of the
spawn of superman.
BWD: Appearances live throughout the UK seem set to take the band even further into the public’s consciousness..? We are going to do a UK tour in the late summer that will range from
the depths of Brighton to the peaks of John O’ Groats. This is going to
also coincide with a video release for our next single in the upcoming
months. For now, we will concentrate on hitting all the festivals we
have applied for – as seen on our website and a few shows that will
be organized in London.
BWD: From a world stage to a bar stage and everything in between, what’s been the most memorable appearance for the band (either in Sons of Kal-el or before)..? Chad and Lee – has to be appearing on top of a bar, in a bar at the
Reeperbahn in Hamburg for the More I See band where the Beatles
had allegedly performed before and also singing with Bones from
Stuck Mojo at a festival in Italy.
Aaron – has to be with Sons of Kal-el, a small town in Lincolnshire
called Bourne at The Corn Exchange. The whole crowd that night were
incredible, singing along to every song from our album! Also playing
with Steve Vai in Guildford and Portsmouth Guildhall were pretty
memorable experiences.
BWD: And finally! We all know Britain’s particular fancy of imbibing a full bodied leaf from the tree known as Tea is one of cultural as well as historical significance, but tell me; why do you have chimps pretending to be removal men moving pianos about in your tea adverts on television? Surely elephants would be better as not only could they lift more but could probably fit more in their trunk as well..?Simple. An elephant doesn’t look as good in a flat cap whilst drinking
PG tips.
Contact Information
Website: www.sonsofkal-el.com
Twitter: @Sons_of_Kal_el
Facebook: SonsofKalEl
Photo Credits: Sons of Kal-el - All Rights Reserved
18 • BWD Magazine • www.bwdmagazine.com
ooking out across the expanse of the charts from
our easy chair upon the porch at BWD Ranch it’s
with a tear-filled eye we find our gaze resting on an
Earth scorched with the fires of an industry intent
on trying to grow sustainable crops from cheap
corporate fertilizer.
Having ravaged the land like a plague of locust’s clutching the
handles of some mighty big forks the churning wheels of a real-
ity-show tractor gouges divots of determination from what’s left,
destroying the possibilities of anything new or substantial growing
in its place.
As more and more tearful
finalists turn the process of
song craft and appreciation
for the art into a ‘who-has-
the-worse-sob-story’ contest,
erupting like weeds across
store shelves and download
charts and fed on hype and
invasive advertising that
slowly suffocates the com-
petition and makes the dry,
stilted air of re-hash and
me-too music a seemingly
permanent fixture, deliverance has been found in a most unlikely
of Western lands.
The land of London, to be precise, in the jolly ‘-Isles’ of ‘British-’
itself; from wherein a quaint suburb town steps forth The Peckham
Cowboys, six strong jawed song-slingers armed with an aural abso-
lution of a track called The Debt Collector for our grateful mercies.
Delivering a nourishing dose of blues based rock tempered with
the talent of a band whose members have previously worked with
such artists as Guns N’ Roses, Primal Scream and Hanoi Rocks the
cross pollenating of such powerfully adept performers passions has
taken the band from its inception in 2010 to the worlds attentions in
2014 - even prompting most notable of guitarists in the field Slash to
commend vocalist Mark Eden as being ‘...one of the world’s best rock
and roll singers.’
After a storm of successful single releases the recent unveiling of
the bands second album 10 Tales From The Gin Palace means The
Peckham Cowboys have yet again shown the world that whilst the
Devil has the reputation for owning the best riffs, ol’ Red clearly
needs to beef up the
security guarding
them from the dex-
trous hands of the
dedicated artist.
Hearing talk of a tour
schedule in 2014
that will see them
winding things up in
August with a head-
lining slot in the
world famous and
widely revered 100
Club in London BWD
Magazine fortified ourselves with three shots of finest sippin’ whis-
key, tipped our Stetson in thanks to the serving wench, and mozied
our way along to The Peckham Cowboys homestead to discuss the
bands deeply rooted musical history, the future for the growth
of new talent in the musical field, and find out more about their
eagerly anticipated latest single and Cargo Records release ‘The
Debt Collector’.. .and possibly some things about steak.
L
EXCLUSIVE INTERVIEW
THE PECKHAM COWBOYSTHE PECKHAM COWBOYS
BWD Magazine • www.bwdmagazine.com • 19
BWD: To you we say ‘howdy’ along with ‘please; introduce the band..?
Well, there’s myself (Dale Hodgkinson – guitar), Marc Eden – vocals, Timo Kaltio
– guitar, Ryan McCormick – drums, Duncan Mackay – keys and trumpet and last
but certainly not least Nigel Mogg – bass.
BWD: From working with some of rocks biggest names individually to
releasing your own compositions as a collective, a band; how did it all come
about..?
The band began as an impromptu jam at Guy Bailey’s house which we happened
to record. Over the next few months when me, Marc and Guy would collide we’d
jam and record for the heck of it – an excuse really to get loaded, have a laugh
and make some music together – no-one had any thought of forming a band at
that time. The recordings continued and Marc nick-named the recording venture
“The Peckham Cowboys” because it all happened in Peckham just off The Old
Kent Road, and later on the members of the first incarnation of the live band
were all living in that area. This recording venture resulted in the debut album
“Flog It!” which garnered critical praise and baffled a lot of people with its mind
blowing recording levels and resulting distortion.... to the point where the record
company asked: “Is it meant to sound like that?” The line-up we have now has
simply evolved... Guy left to do other things (he’s been writing material for Chris
Kimsey’s artists and playing guitar for Tyla amongst other stuff ) and Marc and
myself wanted to carry on so we got in touch with musicians that we knew and
whom we thought would be up for this travesty – and they were, so here we are
at! All the lads have “done a bit of previous” – the collective CV includes work
with Guns n Roses, Hanoi Rocks, Primal Scream, The Quireboys, Slash and Duff,
Mott The Hoople and about 86 billion others.... but that is generally something
that the press focuses on (and I understand why – it’s a hook to hang yer hat
on, as it were) but the fans aren’t so bothered by all that and it means very little
to us as a band – we’re all about what we’re doing together and now. The new
album “10 Tales From The Gin Palace” came out on Valentine’s Day of this year
and has been lauded as “a masterpiece”, a “modern rock n roll classic”, “the best
album by any UK band in decades” and has been compared to The Stones’ best
work amongst other such lovely stuff. It’s out on Livewire/Cargo Records (like the
debut) and is available HMV, Amazon, iTunes, Spotify etc etc etc.
BWD: The latest single release The Debt Collector is like a breath of fresh
air in the tired old lungs of recent industry releases...?
Well I’m very proud of the whole “Gin Palace” – we all are – it’s been described
by a few reviewers as “all killer, no filler” and I’d have to agree with them. “The
Debt Collector” is a particular high point though (and predominantly down to
the genius of Marc Eden); very catchy whilst simultaneously being somewhat
off-the-wall, and with a witty lyric (as all his lyrics are) that I think most normal
people can relate to (politicians and bankers etc aside) – everyone is in debt and
has got these people knocking at your door. You haven’t paid your exorbitant
phone bill/rent/energy bill – so, oh look here comes some horrible wanker who’s
going to take food out of your kids’ mouths because you’ve owed some other
bunch of wankers 4 pence for the last 2 weeks. Shocking business and like the
rest of our material, there isn’t anyone currently in music that is addressing such
everyday stuff – no one else sounds like The Cowboys so I think that is why, as
you’ve said, the music is a breath of fresh air.
The critical acclaim that the band has got is obviously very nice and very encour-
aging. We’ve always known what we were doing was good simply because it was
different to what the herd is currently up to, but of course it is flattering to get
the level and the amount of positive reaction to it all that we have..... and it is
somewhat bemusing at times because you’re in the middle of it all and you don’t
really realize that it’s “happening” as much as it actually is.
BWD: Though a band still early into its career how does it feel to receive
accolades from established and respected musicians as well as the fans, and
how does it affect the band..?
None of this was done by design.... the band was formed by accident and we’ve
just pushed on in that same vein.... as soon as we saw that people liked what we
were doing we knew it would be foolish and selfish to stop, so we’ve ploughed
on despite the hard road it has been to crawl along on your knees with no
money. It has cost Marc and myself the larger part of our souls and more money,
time, energy, effort, blood, sweat and tears than we can ever truly justify to our
loved ones who’ve had to deal with the fall-out. But there you go..... Accolades
from established musicians are nice but the band is all seasoned veterans so
that is only really acknowledgement from peers rather than a grand blessing
from “the grown-ups”.... far more important is the wonderful reaction from the
ever-growing fan base.
I think the “inclusive” attitude of the band is what appeals to the fans – they
come along and laugh and enjoy themselves with us and know they’re going to
be entertained by a band that gives it their all but at the same time has left
rockstar-type pretensions at the door.... too many bands of recent years have
been so far up their own arses and so self-important and serious (despite uni-
versally wearing crappy clothes!) that it is unbelievable..... I mean this is rock n
roll for cripes sake – not cancer research (as in the science and the shop...) get
some perspective here, y’know?
BWD: From the looks of 2014 it seems to have The Peckham Cowboys writ-
ten large and deep across it..?
Yes, this coming year and I imagine even more so next year will be The Year(s)
of The Cowboy.... it’s all very encouraging to be getting somewhere after the
Herculaneum amount of graft that we’ve put in – just desserts and all that.
The single is out and there should be a promo video for it very soon. We’ve just
completed a tour and we’ll be doing a string of one-off dates over the summer
and then we’ll tour the UK again at the back end of August, and hopefully get
out to Europe – fans on the mainland are screaming at us to get over there,
which we’d love to do – and the States as well – but all that takes planning and
money which should be in place after the summer. Next year – the big festivals,
a new album and...... Who knows what else? As long as we can earn enough to
put fuel in the tour bus, buy guitar strings, booze n food (and enough to stave off
The Debt Collector when he comes knocking) we’ll be at a venue near you soon!
Contact Information
Twitter: @_PeckhamCowboys
Facebook: Thepeckhamcowboys
Photo Credits: Beki Cowey - All Rights Reserved
BWD Magazine • www.bwdmagazine.com • 20
ock was officially declared dead the moment
Sharon Osbourne put her lot in with the Cowel-
cash-cow and became responsible for the homog-
enized dilution and decimation of all things one
could reasonably bang one’s hat-rack with devil
horns thrown high to.
Since then anything entering the charts has come across as cynical
high-street repro-rock, each band a check-list of clichéd cookie-
cutter clones referring to their How To instruction book to ensure
man-scara is correctly applied and the couldn’t-care-less slouch of
dis-interest is affected in the proper manner.
Now more commercial than an advert for Macey’s sponsored by
Coke, it is to the internet those who seek a fat-free slice of fried
gold spinning on the digital decks of their iPods, with a gladdening
of the heart and hopefulness of the soul we find the exponents of
rock’s soon-to-be greats in the substantial palatial offering of some
mighty meaty music by rockers and rulers of the riff The Void.
Having kicked the teeth out the mouth of moribund music with
solo offerings Play. Make. Believe and Acoustic/This Record Is Not
Blu-Ray ‘Void founder and vision maker Jon Vornbrock turned what
had been mere side-project musings into high-gear greatness, the
album Robot Space Love bringing Dean Wilson, Jonny Little and Rob
Cooper into the world of wonder; Vornbrock revealed and reveling
the freedom within. Filling each of the eleven tracks on offer with
enough hooks for a dozen amateur re-enactments of Peter Pan
‘Robot Space Love’ immediately draws you in with a curious sensa-
tion of insinuation-through-song, the drawing out of a single note
feeding back building to a crescendo that puts you firmly on the
edge of a desirable frustration.
Measured and drawn there’s a sense of The Void preparing you for
even greater things on album opener Wave Machine, a considered
pacing of rhythm and occasional explosions of vocals the perfect
toe-dipper song; it shows everything the band are about to drown
your senses with without overplaying their status as musicians nor
attempting to fit every good riff into the first number on the album.
Temptation assured and desire acquired the album then hits you
with Planets Will Fall, an exceptional slice of the old fried gold; for
those who favor the flavor of Aerosmith anthemic awesome sans
high-street cheese Planets Will Fall grabs the number one spot on
my personal playlist and refuses to let go.
Double-stops, incidental riffage, and cymbals the drummer isn’t
afraid to hit when the occasion demands, it’s songs such as this the
band will still be playing when embarking on their 20 year anniver-
sary world tour.
Everyone brings the emotion of a charging army and unjustly
spurned lover to deliver a soundtrack for the next revolution. The
drums rolling a beat seemingly designed to coincide with the rush-
ing feet of a mass body aimed at the bulls-eye of injustice, the
vocals perfectly timed to empower the force of the ruler’s fall at the
hands of his estranged subjects with each imaginary blow landing
square and true.
Robot Song From Robot Son calls for calm in the proceedings, a
laconic delivery hinting at brooks babbling on the edge of freshly
cut fields, reflection on the mind and consideration of the heart
soothing the troubles of the soul. Such troubles that soon become
apparent, the mood darkening and becoming a passionately electric
release, turning the babble into a swell and the fields into scarred
battle-grounds, the listener now a witness to all that has fallen and
been turned to waste.
Summer and Knife To The Heart are pure crowd moving manna, the
surge of the guitar building the mosh pit and screaming vocals
delivered with a commanders certainly almost guaranteed to get
the elbows and knees flying ‘midst the devil horns and hair.
R
BWD Magazine • www.bwdmagazine.com • 21
What begins as an apparent ode of solace to the songs namesake Lucy is to Robot Space Love what Don’t Cry was to UYI; a smorgasbord of
deeply emotional extravagance, nothing held back nor apologized as the band deliver what is simply captivating genius. Cries and chords
ring out and proud, a mushroom-cloud enveloping the audience and smothering the landscape with a saturation of sound. Self-indulgent?
Maybe; but I would wager you would be hard pressed to find a reason why that is such a bad thing for The Void to be accused of once
hearing the track for yourself.
Love and Distortion and Free are more melancholic musings, the former an acoustic driven dalliance decorated with electric punctuation, and
the latter a moodier tempering with a drawn out beat, a soupcon of Smashing Pumpkins, and a chance to hear the depth of range vocalist
Jon holds under his chordal control.
My Days Are Numbered has a more indie-rock feel, verging on grunge in places with punctuated vocals, raw guitars and cymbals breaking the
background down into a shoe-gazing gravitas, hints of Jimmy Page lurking around the edges of the guitar and controlling the whole nicely.
Ending on Love Trips sends us off with a encouraging farewell and an open invitation to return, a very Soul Asylum inferring sound that closes
the album with just the right level of charged emotion to leave us feeling satisfied and fulfilled yet replete enough to consider finding
room for another helping.
With the lyrics ‘I need you’ reminding us of the open-arms that await us upon our return Robot Space Love draws to a close, your ears already
missing the music and your thumb twitching toward the repeat button.
It’s sometimes hard to see what’s missing until someone takes the time to point it out, and for the rock genre we should be thankful of The
Void and Robot Space Love for being that much needed reminder.
5 Stars out of 5
Contact Information:
Website: myspace.com/musicisvoid
Twitter: @Musicisvoid
Facebook: Musicisvoid
Photo Credits: The Void - All Rights Reserved
BWD Magazine • www.bwdmagazine.com • 22
Encapsulating the altruism of an angel with the adroit air of
an artist some may see Karoline Rhett as a singing Svengali of
the Soul, a twenty first century Saint in song with an understated
altruism that, whilst widely acknowledged as being beyond the
efforts of any of her contemporaries, is never held by her or her
audience as reason for her shining example to be followed by all.
Rather than just delivering a captivating voice and enchanting
releases that deliver an intoxicating breadth of melody to cleanse
and redefine excellence upon your aural palette, her charitable
works and others-first approach has seen this Charleston, SC born
bringer of joy and melodic imperatives rise to be the cream of the
current crop of singer/songwriters.
Since aged three and the beginning of what is surely set to be a
fruitful and illustrious singing career Karoline has set fires under
the seats of the industry and worried wannabe’s alike, the pop star
‘Amy Grant’ being the first to discover the resonance of Rhett after
encouraging the young starlet on stage to perform and subse-
quently captivate her audience.
With a path to the top seemingly awaiting her tread Karoline took her
first step with an introduction to Joe Taylor, a veteran producer for
RCA Victor and Moonwatcher. The ensuring debut release Stirring
Rainbows featured a cavalcade of artists, writers and studio engi-
neers clamoring to perform with the starlet, her own self-penned
songs on the album shining as brightly as the voice behind them
.
Acclaim and audience adulation followed the release, and with it
an emboldening of the voice and character that lay behind such
stunning works.
That first tread having quickly raising her step to a pace Karoline
started work on her follow-up second full album release, Melody
finally giving a second helping of the sumptuous talent revealed
on her previous album of March 2013 and cementing the founda-
tions Stirring Rainbows had laid down.
Within a month of the release Karoline turned her sights to the
munificence her music could afford others, the Teen Nation Spring
Anti-Bully Tour seeing her volunteer her talent and passion for
charity towards others with the group as they took their anti-
bullying message finding of inner strength and speaking out into
schools and venues across the ‘States.
As the year was drawing to a close Reverbnation awarded Karoline
the honor of being one of their 5 Fresh Picks Featured Artists in
October 2013, with The Nashville Universe further adding to her
armor with a Female Artist of the Year nomination. Not for nothing
but her New Year Celebrations deserved to begin early, with the
single release Save Your Heart also receiving nominations as Song
of the Year.
With an invite to become a part of what is set to be the biggest
benefit concert series seen in history with the Festival of Hope
in 2015 which will see hundreds of global charities benefiting
directly BWD Magazine sat down with Karoline to discuss the
September 2015 event, her almost spiritual studio releases, and
which CSi do I see..?
BWD: To the star Karoline we say ‘hello, thank you’ and ‘please, introduce yourself..?Hi, I’m Karoline Rhett and I’m a singer/songwriter from Charleston,
South Carolina.
EXCLUSIVE INTERVIEW
KAROLINE RHETT
BWD Magazine • www.bwdmagazine.com • 23
BWD: Before we discuss your unbelievable music career thus far, tell us
a little about the 2015 benefit festival; how did you get involved in such
an outstanding event..?
I was contacted by the organizers of The Festival of Hope. They asked if I
would be interested in being a part of their Battle of the Artist Segment, and
if I was, send them all of my information to be considered. They contacted
me soon after and let me know that they would love for me to be a part of
the festival.
The Festival of Hope 2015 is a benefit concert that will be a lot like “Live
Aid” but LARGER. There will be over a dozen live concerts taking place over
one weekend and as I mentioned it is a benefit concert so many people will
benefit from this festival. As a matter of fact, 100 charities will benefit direct-
ly. As they put it, “Tens of Millions will get a Hand up not a Hand out”. The
festival will take place beginning Saturday, September 5, 2015 and will end
Monday, September 7, 2015. I will be singing in Dallas, however concerts
will take place in Doha, London, Johannesburg, and Rio de Janeiro. You can
find out everything about the festival at www.thefestivalofhope.org.
For me, being a part of this festival is one of the most exciting events I have
ever been a part of. Not only because I will have the opportunity to enter-
tain so many people, possibly make a ton of new fans, but the thought of
being part of an event that its purpose is to help others, makes me so happy
and I feel so incredibly blessed to be a part of it.
BWD: It isn’t often we hear of an artist as generous in her charity to oth-
ers as she is in her voice and song..?
I feel that when something is important to you and also affects others, as
an artist, you have a great avenue in getting your message out and bring-
ing awareness to an issue. Like my song Big World, off my album “Stirring
Rainbows”. The song is about not letting others get to you, to keep your
head up and stay strong. When I was recording this album, I experienced
bullying. Luckily I have such a strong support system around me that the
problem was taken care of pretty fast. Anything I can do to bring awareness
to bullying and put an end to it, I am all for.
My album “Stirring Rainbows” is more on the pop side, and my second album
“Melody” is more pop/country. I discovered that I really love both genres and
to be able to incorporate both in my music is awesome. You will notice that
on my album “Melody”, it definitely has a pop/country feel to it. I have found
that my fans really like the mixture of pop and country, so I am ecstatic that
they love it as much as I do and, by the way, I have the world’s best fans.
They are such an important part of my life. They are with me every day and
show so much love and support. I am so lucky to have each and every one
of them.
I am so proud of “Melody”. One of the songs off this album is “Save Your
Heart”. It was nominated for Song of the Year with The Nashville Universe.
As a matter of fact, I was also nominated Female Artist of the Year. Two
nominations I am really proud of.
The songs that I have written or co-wrote were about my life experiences or
experiences of my friends. I think it’s much easier to write about things that
you know about or you have experienced. The older I get, the more situa-
tions I will encounter, so who knows what I will be writing about next.
You can purchase both of my albums directly from my website or on iTunes.
BWD: Have you ever thought/been able to speak to Amy Grant about that
first ever impromptu performance..?
No I haven’t, however I would love to. I would love for her to know the posi-
tive influence she made in my life. I know my mother tried a few years ago,
to see if it would be possible to have a meet and greet with her. Her team
really tried so hard to make it work, but we weren’t able to make it to where
she was performing. Maybe one day I will get the chance to see her again
and let her know what impact she made in my life. I think she would like to
know, that inviting me on that stage changed my life.
BWD: What can you tell us about the Unstoppable Charity Album; from
what we hear it’s looking to be quite something..?
Oh it is going to be amazing. The album, which is titled “Unstoppable” will
consist of young unsigned artists from all over the world and all proceeds
from the sales of the album will go directly to anti-bullying charities. As
everyone knows, bullying is a global problem and too many lives have been
affected permanently by it.
The album will be released on August 11, 2014. There will also be a huge
launch party that will be held in Nuneaton Warwickshire, UK on August 12,
2014. You will be able to purchase the album on all music download sites.
You can find out more about the album and the launch party by going to
www.bigpuretalent.com.
BWD: And finally! Which is better; CSI Las Vegas ...or...NCIS?
CSI Las Vegas or course!
Contact Information
Website: www.karolinemusic.com
Twitter: @KarolineMusic1
Facebook: Karolinemusic
Photo Credits: Karoline Rhett - All Rights Reserved
24 • BWD Magazine • www.bwdmagazine.com
Standing on the plateau and seemingly filling the space reserved
for the very cream of their kind DJ Nino Graye stands alone atop
the mantle of being the one opponent fellow battlers don’t wish to
come up against.
Brilliance behind the mic and carrying the confidence of a composer
before the crowd Nino dominates the world of hip-hop with an iron-
fist; countless invites to appear on tracks by such legends of the
lyric as the Wu Tang Clan’s Cappadonna and Wisemen’s Bronze Naz-
areth sit comfortably within his own repertoires of rhyme, a catalog
of a collection that delivers powerfully emotional music as defining
of its concepts as it is descriptive in its missives.
A constantly shifting aural landscape undulating within our ears
Nino captures the very essence of life’s experiences, distills them
to their most insightful, before firing them back out to a world un-
prepared for the sheer musical magnitude of force heading in their
direction.
With a mental might as fierce as his verbal one Nino has turned
talent into attention, infamy to furor and inevitable fame with an
entirely self-made career; lending his razor-sharp mind to the
business-side of ‘the business’ his acumen behind the mic has been
matched by his fearlessness in promotion, his efforts revealing four
solo releases alongside numerous collaborative ones, his reward
the aforementioned invites falling through his mail-box as he ce-
ments his reputation as being one of the greatest of greats.
Though undoubtedly a legend-in-his-own-lifetime Nino Gaye dis-
plays a surprising humility when discussing his BWD Magazine fea-
ture win; ‘I am always happy to connect with new outlets and grab
that audience to connect with you know?’ Nino tells us when press-
ing him on his feature win. ‘It feels good that in the digital age we
still have outlets willing to give indie the time it deserves in the
light. Excuse my hiphop!’
As requests for his time sees him appearing on releases all over the
globe there is little doubt in our mind that Nino Graye is settling
nicely into his future position as one of the best Emcee’s the world
of hip-hop has ever produced.
Contact Information:
Website: www.f4emusic.com
Twitter: @NinoGrayeF4E
Facebook: Nino.Graye
Instagram: Nino2TheGraye
Photo Credits: Justin Warner & EXI Media - All Rights Reserved
.
DJ NINO GRAYE
BWD Magazine • www.bwdmagazine.com • 25
(Continued From Page 12-13)
We then had a stint with a group from USA. Flew to NY, recorded, and new
singles were released; however, this too wasn’t the right fit and especially the
frustration of waiting for more than a year to even hear the mixes and finding
out the crookedness in the deal (hence the songs; Hard Road and Are You Happy).
We came back and realized that nobody was getting us so we put our heads
down and started writing fresh & found a producer who was prepared to record
raw and as we are while not interfering with our arrangements nor our songwrit-
ing/sound (Charlie Hamilton You rock!!)
We must admit that when we walk out of the studio with some songs just freshly
written and recorded that we’re at times super nervous as to what the reaction
would be once uploaded!! We were overwhelmed and almost shocked when our
song Girl Next Door started getting over 100k in plays and even more when it
hit the million mark; we almost fell out our underwear. We were sweating…..
Unsure of how to respond to the rather overwhelming response and it became
a little more difficult thereafter as we uploaded new music. We are never sure
of what the reaction will be!! We must say we love the positive and the hateful
responses. In fact, we have to give a shout out here also to all our haters; we
dig them because they keep the fires burning and we love the opportunity to
give as much back. We are humbled and driven by people like BWD Magazine
who through opportunities like this cover feature enable us to move forward.
We would also like to mention Swam Music Player a Canadian band who have
fallen in love with us (and vice versa) and find every opportunity to let us know!!
We are extremely fortunate in the team we have behind us notably PoshSam
our personal manager who has always led the fight in order for us to keep on
regardless of circumstances and who has a passion for everything we stand for
and who goes to the ends of the earth to keep us on our road!! Steve Harris (for-
mer MD of UM SA is our business manager and having traveled the journey with
us is as passionate and completely gets what we will or won’t do, as well as, an
amazing publisher John Fishlock who we think enjoys our quirkiness and stands
passionately and proudly behind our unwillingness to compromise who we are.
There are many people/artists/indie stations/journalists who we meet along the
way and we send a massive amount of thanks to them for their unwavering sup-
port!! The most important lessons we have learned is what we will or won’t do!!
The most important too was making sure that whatever song we write that we
never have to wait for a mix in order to perform so nobody can ever control our
music… we are our music.
BWD: From the heart of South Africa to the eyes and ears of the world;
what’s next on your uncompromising agenda..?
The SoapGirls ‘team’ are currently in negotiations with Major Independents
and Major Labels, both in SA and the UK, as the rollercoaster continues to
gather momentum. Whilst the “machine” to take The Soap Girls worldwide is
a necessary requirement, even in today’s technological world, we are also cog-
nizant, from past experience of Labels in SA and the USA, that whoever is to
be our partner from this perspective, has to be 100% in tune with who and
what The Soap Girls phenomena is all about. Until then the ‘team’ rolls on-
wards and upwards, ensuring that the fans continue to enjoy the journey we
are so enjoying ourselves on, i.e. Soundcloud, Twitter and Facebook. Addi-
tional avenues of The Soap Girls are going to be rolled-out over the coming
weeks and months, which includes the imminently available YouTube Show,
giving true insights to whom The Soap Girls really are. We are in the pro-
cess of finalizing live shows in SA, to then be extended to include a few Eu-
ropean dates and possibly the USA. All in all it is a journey, not to be missed.
A HUGE thanks to BWD Magazine for giving us an opportunity and the voice.
For The Soap Girls, it is these opportunities that are humbling and exhilarating,
helping strengthen our resolve ‘to be who & what we are’. THANK YOU!!
BWD: And finally, which is the heaviest;
A ton of feathers...
...or...
A ton of bricks..?
Well they’re both a Ton aren’t they? ;);) But we imagine it would be a hell of a lot
more difficult transporting the feathers!!
26 • BWD Magazine • www.bwdmagazine.com
Do you remember the moment you discovered that one band, that one artist
that made the world of music - something you had thus far been aware of but
not particularly interested in - and changed it forever?
Suddenly the dirge of distraction and detritus of warbling fools transformed
into an explosion of emotions; a landscape of musical metaphor solos and
similes, beats and break-neck bass battering down your ear-canal and kick-
ing you straight in the adrenalin.
The rush of excitement and unbridled passion for these new sensations
through sound that sent you off to the music-store, throwing money at the
till-monkey before sharing the haul of tuneful treasures with your contem-
poraries and friends, pouring over the playlists and gorging on even the
smallest tad-bit of tattle or info you could glean from the available media.
Nelson Beroin certainly remembers, and seems determined to keep that
initial injection of unearthing new musical manna in a constant state of
happening, spreading it to the pierced ears of the people around the world,
sharing the sensational feeling for all who wish to partake with as much - if
not more - enthusiasm than the ardent followers of said sounds. It is through
the self-same passionate drive of embracing the moment that PhilRadio-
Cast was built, a radio station dedicated to delivering the surge of unsigned
talent rising from the garages and gig-venues to the millions of ‘fans’ and
‘soon-to-be-fans-of-’ that collectively tune in to rock out.
With the awfully adequate mainstream content on homogenizing itself into
nothing it’s a stark contrast when compared to the riches afforded by the tal-
ent and diversity of bands the unsigned scene espouses. With a base to call
home and launch themselves from PhilRadioCast has become the de facto
station for acts looking to show their mettle and metal on a global stage.
Launched in August of 2012 PhilRadioCast began as a rather unassuming
webcast streaming songs onto the internet. It quickly caught the attentions
of an audience, and soon an increasing fan-base regularly tuning in helped
turn the station into a leviathan launching new bands into the ether and
across the world-wide-web’d.
With growth comes expansion, and now PhilRadioCast sees itself compet-
ing with streaming services fighting for their own slice of the audience ear-
’oles. However, like a perpetual motion machine the energy that fueled the
stations first steps have continued into a canter, their steadfast stance on
bringing a stage for all to step upon and deliver a line-or-two maintaining
the stations reputation as the first place to go when sourcing new sounds.
Encouraging the very scene that has helped cultivate their growth PhilRa-
dioCast enjoys a uniquely symbiotic-like partnership with the bands they
showcase, a huge audience on offer and awaiting the musician’s efforts to
turn them into fans of their singles and sound. Sharing and connecting by
way of social media encourages awareness through airtime, cross-promotion
perfection played past ‘11’. Though the likes of iTunes and Spotify have far
deeper pockets and much fatter wallets PhilRadioCast maintains itself as an
equal to those with financial excess, its position within the ears and minds of
true music discoverers solidified by its rock-hard reputation, its unequalled
emotion, and - of course - it’s unrivalled playlist. As they themselves advise;
“You have the right to remain silent but we don’t recommend it.”
Contact Information:
Website: www.philradiocast.com
Twitter: @philradiocast
Facebook: philradiocast
Photo Credits: Philradiocast - All Rights Reserved