Blog

You came into this genre, which had an idea of its own.

Because you are weak, and you can't tell the difference between appearance and reality, you started using it for your own ends. To make yourself seem cool, either blockheaded kvlt or obliviously "open-minded."

You thought things like Dethklok and brainless faux prog bands were really cool, in that ironic kind of hip way you like.

Everything you have done has not been about the music. It has not been about art or culture. It has been about you and your failing egos.

You want to make it a joke so you feel better about being the hopelessly normal and boring people you are. You want to hide how ordinary you are. We are not fooled.

We are taking this genre back. You, scenesters and hipsters and other people who do not understand the message behind this music and the spirit of its culture, are blight on a good thing. We are not interested in you or your failings.

Here is our official communication to you:

You came into this genre, which had an idea of its own.

Because you are weak, and you can't tell the difference between appearance and reality, you started using it for your own ends. To make yourself seem cool, either blockheaded kvlt or obliviously "open-minded."

You thought things like Dethklok and brainless faux prog bands were really cool, in that ironic kind of hip way you like.

Everything you have done has not been about the music. It has not been about art or culture. It has been about you and your failing egos.

You want to make it a joke so you feel better about being the hopelessly normal and boring people you are. You want to hide how ordinary you are. We are not fooled.

We are taking this genre back. You, scenesters and hipsters and other people who do not understand the message behind this music and the spirit of its culture, are blight on a good thing. We are not interested in you or your failings.

Here is our official communication to you:

Aṣa
Clap Your Hands Say Yeah
Detachments
Exlovers
Gomez
Heartless Bastards
Koko Von Napoo
Le Tetsuo
Marnie Stern
Marissa Nadler
The Raveonettes
Silje Nes
She Keeps Bees
The High wire
The White Stripes
warpaint
White Magic

want to see live again:

Datarock
Entertainment For The Braindead
Florence and The Machine
Friendly Fires
Lykke Li
Robocop Kraus
The Kills
Yeah Yeah Yeahs

A list of most of the bands I can remember seeing live since '96
Far too many.

!!!
29's Fell Shadow
65daysofstatic
A Camp
Adrian Crowley
Alexander Tucker
American Music Club
Amiina
Amy McGarrigle
And So I Watch You From Afar
...And You Will Know Us by the Trail of Dead
Andy McClenahan
AngelFall
Animal Collective
Aphex Twin
Arab Strap
Arlo Guthrie
Arvo Part
Ash
Asian Dub Foundation
A Silver Mt Zion
Autechre
Autolux
Bardo Pond
Barry's Electric Workshop
Bat for Lashes
Beastie Boys
Belle & Sebastian
Ben Folds
Beth Orton
Bill Callahan
Bjork
Black Bear Saloon
Blackstar
Boathouse
Bob Dylan
Boris
Born Ruffians
British Sea Power
Brokeback
Broken Social Scene
Bunkbed
Caribou
Cashier No 9
Cat Power
Cecil
Channel One
Chequerboard
Clem Snide
Clinic
Coda
Confessions Of A Critic
Crayonsmith
Crippled Black Phoenix
Cruz
Crystal Antlers
Cutaways
Damon & Naomi
Dave McNair
Dave Pajo
Death in Vegas
Death Vessel
Deerhoof
delorentos
De Staat
dEUS
Devastations
Dinosaur Jr
Dirty Three
DJ Format
DJ Shadow
Do Make Say Think
Domino State
don cabellaro
Earth
Edgeweather
Ed Zealous
Efterklang
Einstürzende Neubauten
Eluvium
Enablers
Errors
Escape Act
Eugene McGuinness
Evens
Explosions in the Sky
Fighting With Wire
Final Fantasy
Fly Pan Am
Four Tet
Frankie Sparo
Fennesz
Fuck Buttons
Fuzz Against Junk
Gary Moore
Geneva
Girls Names
Glenn Branca
God Is an Astronaut
Godspeed You Black Emperor
Grinderman
Guitar Dectet
GZA
Hands On Heads
In Case of Fire
Iron & Wine
James Lavelle
Jape
Jarvis Cocker
Jedi Jane
Jedi Jane and the Cocaine Collision
Jennifer Gentle
Joe Echo
Joe Volk
Johann Johannsson
Julian Cope
Julip
Jurassic 5
Just A Word
Kaplin
Katie and the Carnival
Kepler
Kid Koala
Kings Of Convienence
Kings of Leon
Kitty and the Can Openers
Kling Klang
Kristopher Åström
La Faro
Late Night Venture
LCD Soundsystem
Liars
LITE
LoFi Allstars
Low
M83
Madlib
Magnolia Electric Co
Malcolm Middleton
Manic Street Preachers
Mansun
Mark Mulchy
Massive Attack
Max Tundra
Meat Puppets
melt banana
Menschen
Mix Master Mike
Modest Mouse
Mogwai
Mono
Monotonix
Mr Scruff
Neil Halstead
Nick Cave & The Bad Seeds
Nina Nastasia
Nine Black Alps
NOFX
Northern State
Not Squares
of Montreal
Okkervil River
OM
Oneida
Open Jack
Oppenheimer
Out of Touch
Paddy Casey
Panda Kopanda
Papa M
Parhelia
Part Chimp
party weirdo
Paul Hartnoll
Pelican
Peter Broderick
Philip Glass
Pixies
Pixie Saytar
Portishead
Pour Habit
Public Enemy
Push Borders
Radiohead
Red Sirus
Red Sparowes
RL/VL
robyn g shiels
Rod Thomas
Rosy Red Rash
Russian Circles
saw doctors
Sebadoh
Selah
Serpentine Smile
Shannon Wright
Sigur Ros
Sketches
Skruff
SleaterKinny
Slint
Sonic Youth
Soul II Soul
Sparklehorse
Spiritualized
Stand Up Guy
st dudes
Strait Laces
Sunn O)))
Super Furry Animals
Tara Jane O'Neil
Team Brick
Teenage Fanclub
Tegan & Sara
The Aliens
The Benjamins
The Beta Band
The Black Supremos
The Butterfly Explosion
The Cave Singers
The Drones
The Evens
The Fall
The Flaming Lips
The Flatliners
The Frames
The Horrors
The Monroe Transfer
The National
The Only Ones
The Pastels
The Pipettes
The Polyphonic Spree
The Thermals
These Arms Are Snakes
The Sons of Robert Mitchum
The Summer Experiment
The Underscore Orkestra
The Verve
This Will Destroy You
Thread Pulls
Three Tales
Thurston Moore
Tinpot Operation
Tom McShane
Torche
Tortoise
Tracer AMC
Turn
Two Door Cinema Club
Unbelievable Truth
Underworld
Vetiver
Wavves
We Are Knives
Weezer
what squares
What What
When Pilots Eject
White Magic
Wintersleep
Yakuza
Yann Tiersen
yes cadets
Zu

Still need something for Q and X.
Wonder if Xui Xui are playing anywhere.

The Sunday Times guide to today's music scene : Part 1
The Sunday Times guide to today's music scene : Part 2
The Sunday Times guide to today's music scene : Part 3


Fourth and final part of the series, grabbed from the Sunday Times, linked up with Last.fm. Sorry for the slight delay.

(Typos corrected where caught. Please let me know if you find any more)

Watch tracks from Culture's definitive guide to modern music

1st February 2009


The Sunday Times Encyclopedia of Modern Music - Index:

Ambient I Alt-country I Americana I Anti-folk I Art rock I Blue-eyed soul I Conscious Rap I Electro I Emo I Fence Collective I Folk traditionalist I Folktronica I Freak Folk I Fridmann's Freaks I Gangsta rap I Garage I Grime I Hardcore I Heavy Metal I House I Hip-Pop I Indie rock I Manufactured pop I Montreal scene I Neo-Psychedelia I Nordic pop I Post-rock I Power-pop I Progressive rock I R&B I Second Childhood I Singer-songwriters I Slowcore I Synth pop I Techno



CONSCIOUS RAP

Key names: Common, Lupe Fiasco, Talib Kweli

It’s no more ferrets-in-a-sack-like than jazz, yet rap — and conscious rap in particular — is synonymous with disagreement and name-calling. Albums that include conscious-rap moments (most recently, Kanye West’s) attract particular opprobrium — not least for getting the acts concerned (see Hip-pop) played on national radio: from the political-rap crowd for pandering to pop and from conscious-rap fans for opportunism. Both camps believe they are keepers of the true flame. Releases as seminal as Public Enemy’s It Takes A Nation Of Millions To Hold Us Back (1988) and Black Star’s self-titled 1998 album have long been bracketed separately, the first as hardcore and incendiary, the latter as considered and inclusive. This simplistic division continues: acts such as dead prez pursue an avowedly militant line (for instance, disowning Obama before he even took office); while the likes of Common and Lupe Fiasco produce more thoughtful but no less thought-provoking records. Staying out of the dispute and just sticking with the albums is the best option: as Grandmaster Flash demonstrated 27 years ago, the message (pun very much intended) is everything.

ESSENTIAL RECORDINGS

Recent: Common, Like Water for Chocolate (2000); Lupe Fiasco, Food & Liquor (2006); Q-Tip, The Renaissance (2008)

Classic: Boogie Down Productions, By All Means Necessary (1988); A Tribe Called Quest, The Low End Theory (1991); Nas, Illmatic (1994)

Key track: Grandmaster Flash & The Furious Five, The Message (1982)


FREAK FOLK

Key names: Joanna Newsom, Devendra Banhart, Espers, Bat for Lashes

The prefix could just as easily be “psych”, “acid” or plain “strange”, but “freak” it is for the broadly folk acts who revive and, at their best, reinvent the late-1960s sounds of The Pentangle, Trees, The Incredible String Band et al. Nobody is sure why — perhaps it has something to do with the old David Crosby line about letting your freak flag fly. These neo-hippies certainly sing and play with a straight face, and conviction casts spells. Espers indulge in such stately tempos, the Tudors could cop off to them. The guru lite Devendra Banhart is king of the scene, though his own music never quite justifies the crown. The impishly mannered Joanna Newsom — harpist, Rapunzel lookalike, mould-breaking marvel — is the real deal. Vetiver, led by the Banhart sideman Andy Cabic, are only freaks by association; theirs is a dreamier, Appalachian country vibe. With bands such as CocoRosie, White Magic and those on the Language of Stone label, the genre is seen (in an upgrade of the Greil Marcus phrase) as a manifestation of new weird america. This side of the pond, though, Bat for Lashes’ debut album, Fur And Gold, has its freakish charms, as does Goldfrapp’s latest album, Seventh Tree, while Voice of the Seven Woods show you can be a freaky folker in Manchester — but Bez-watchers knew that already.

ESSENTIAL RECORDINGS

Joanna Newsom, The Milk-Eyed Mender (2004); Espers, Espers II (2006); Bat for Lashes: Fur And Gold (2007)

Key track: Joanna Newsom, Bridges and Balloons (2004)


FRIDMANN'S FREAKS

Key names: The Flaming Lips, Mercury Rev, Sparklehorse, MGMT

Way over to the west of New York state, not far from Fredonia, you’ll find Tarbox Road Studios. It’s an out-of-the-way place, and in winter you could find yourself snowed in, but it’s worth the discomfort because you get to work with the producer Dave Fridmann. Over the past decade or so, he has been the secret weapon behind America’s weirdest and most wonderful bands: The Flaming Lips, Mercury Rev, Sparklehorse, MGMT. Sure, they’re all talented people, and could doubtless make good albums without Fridmann, but why would they want to when — as Mercury Rev’s Jonathan Donahue puts it — “what you end up with is almost always more than you could ever dream”. Fridmann has worked in many genres, from the post-rock of Mogwai to Weezer’s power-pop, but he is most clearly associated with the Americana-meets-psychedelia-meets-prog of the Lips and the Rev, crafting a sound that — while it clearly spends a lot of its time being warped and reworked on a laptop — remains refreshingly human. Fridmann’s latest high-profile project, MGMT’s Oracular Spectacular, typifies his work in its ability to combine clever invention with big, brash, joyous noises such as the unforgettable synth riff on Time to Pretend.

ESSENTIAL RECORDINGS

The Flaming Lips, At War With The Mystics (2006); Mercury Rev, Snowflake Midnight (2008); Sparklehorse, It’s A Wonderful Life (2001)

Key track: MGMT, Time to Pretend (album version, 2007)


HEAVY METAL

Key names: AC/DC, Metallica, Iron Maiden, Lamb of God, Mastodon

Not many acts can sell 10m albums in a month, but towards the end of last year, the 35-year-old Anglo-Australian rock band AC/DC sold 5m copies of their new record and chucked in 5m units of back catalogue for good measure. Their success was emblematic of an era dominated by the old guard: the long-awaited returns of Metallica and Guns n’ Roses were the big stories in heavy metal, as well as Led Zeppelin’s one-off reunion at the end of 2007. The American thrash band Testament even won Metal Hammer magazine’s 2008 album-of-the-year award, after a quarter of a century in the business. Don’t think, though, that this is a heritage genre: the combination of old masters and a legion of younger bands means headbangers have never had it so good. And metal certainly is heavy these days: Metallica’s recent offering, for instance, had all the scorching intensity of their 1980s work. Perhaps even more notable is the rise of math metal, which combines ferocious noise levels with tricky time signatures and advanced technique, as if to expunge the memory of nu-metal’s dumb formulas.

ESSENTIAL RECORDINGS

Recent: Mastodon, Blood Mountain (2006); Metallica, Death Magnetic (2008); Meshuggah, obZen (2008)

Classic: Black Sabbath, Paranoid (1971); AC/DC, Back in Black (1980); Motörhead, No Sleep ‘til Hammersmith (1981)

Key track: Tool, Vicarious (2006)


HIP-POP

Key names: OutKast, Kanye West, Cee-Lo Green

In America, the term has come to mean artists such as Nelly, who are allowed on the radio because they make formulaic, unthreatening rap lite. Over here, it is used to describe hip-hop musicians whose love for, and sheer breadth of knowledge about, other genres has come to influence the music they themselves make. It’s not as simple as a hip-hop act cynically adopting some pop moves to score a hit, more a reflection of the frequency with which, when you encounter them, many acts steer talk away from their own genre and start dropping some unexpected and leftfield names into the conversation. OutKast are prime examples: with roots in southern rap, Andre 3000 and Big Boi proved too restless and inquisitive to be boxed in (characteristics that would bear glorious commercial and musical fruit with the hit single Hey Ya!). Kanye West has followed a similar line of inquiry, mashing up Daft Punk in 2007, with Stronger; and, last December, releasing an album of sepulchral electro, on which he sang, and from which rapping was entirely absent. Both acts, of course, are played on the radio — but with their integrity intact.

ESSENTIAL RECORDINGS

Goodie Mob, Soul Food (1995); OutKast, Speakerboxxx/The Love Below (2003); Kanye West, Graduation (2007)

Key track: OutKast, Hey Ya! (2003)


NEO-PSYCHEDELIA

Key names: The Aliens, Mars Volta, Super Furry Animals, The Tyde, Animal Collective

Psychedelic rock emerged, under the joint influence of hallucinogenic drugs and eastern musical scales, in the mid-1960s. American psychedelic bands, largely located in San Francisco, were emblems of the emerging counterculture, while British psychedelia tended to be low-key, inward-looking and prone to whimsy, as in the songs Syd Barrett wrote for the early Pink Floyd, or the work of The Small Faces. Psychedelia was one of the musical forms killed off by punk in the mid-1970s, but it re-emerged in the 1990s thanks to the bands of the elephant 6 collective (The Apples in Stereo, Neutral Milk Hotel), stoner rockers such as Kyuss and such inveterate experimentalists as The Beta Band and Super Furry Animals. Modern exponents include The Tyde, who offer a 1960s double whammy of psychedelia and surf music; The Aliens, an offshoot of the Beta Band with two excellent albums under their belt; Mars Volta, from Texas, who tread the fine line between psych and prog; and Animal Collective, from Baltimore, whose latest album, Merriweather Post Pavilion, is an early contender for album of the year.

ESSENTIAL RECORDINGS

Recent: The Tyde, Three’s Co (2006); The Aliens, Astronomy For Dogs (2007); Super Furry Animals, Hey Venus! (2007)

Classic: Pink Floyd, Piper At The Gates Of Dawn (1967); The Beatles, Strawberry Fields Forever (1967); The Small Faces, Ogden's Nut Gone Flake (1968)

Key track: Animal Collective, My Girls (2009)


HOUSE

Key names: David Guetta, Eric Prydz, Swedish House Mafia, Deadmau5, Stimming, D Ramirez

It’s hard now to imagine a man earning more than £150,000 in one night for putting some records on, but the Manchester DJ Sasha was paid at least that much on Millennium Eve.

That night was the pinnacle of house music’s global reign — it had become a bloated and cynical money-making industry. When electronic music fell out of favour at the beginning of the new century, house, the biggest of all the dance styles, was hit hardest. After 15 years as the planet’s most fashionable music, it all but disappeared except in its spiritual home, Ibiza. Yet house is too versatile, too danceable, to die, and by late 2006 it was back at No 1 in the form of Fedde le Grand’s single Put Your Hands Up 4 Detroit. With a new, sharper sound, influenced by French electro producers such as Daft Punk, house has been retaking its old territory and can now boast superstars again — the Frenchman David Guetta has more than 50m YouTube views to his name. For the cognoscenti, the German deep-house sound has made the genre respectable once more.

ESSENTIAL RECORDINGS David Guetta, Pop Life (2007); Chloé, Live at Robert Johnson (2009), Various artists, Global Guide 09 (2009) (Amazon UK)

Key track: Eric Prydz, Pjanoo (2008)


SECOND CHILDHOOD

Key names: Bob Dylan, Leonard Cohen, Al Green, Emmylou Harris, Neil Diamond

For the first 20 years of its existence, rock music was deemed to be a young man’s (and woman’s) game. When musicians hit 30, it was widely assumed, they would get a proper job, buy some slippers and start listening to Des O’Connor records. But they didn’t — and, for the next 20 years, we rather wished they had done, as artists who had shone brightly in their twenties churned out a poor imitation of their best work in their thirties and forties.

Then something magical happened. Entering their fifties and sixties, and gazing rather closely at mortality, singers started to recapture their early form. The phenomenon began with the producer Rick Rubin’s at the time extraordinary, with hindsight inspired, decision to sit Johnny Cash down, tell him to forget about musical fads and fashions, then make him sing from the heart. Next, Bob Dylan rediscovered his muse, and re-established his reputation, on Time Out of Mind. The second-childhood effect is not limited by gender or genre: Emmylou Harris is on rare form these days, the soul legend Al Green is at his magical best and even the MOR mainstay Neil Diamond has benefited from Rubinisation. And the concert sensation of last year? None other than Leonard Cohen, peaking nicely at 74.

ESSENTIAL RECORDINGS

Emmylou Harris, All I Intended To Be (2008); Al Green, Lay It Down (2008); Johnny Cash, American IV: The Man Comes Around (2002)

Key track: Bob Dylan, Not Dark Yet (1997)


Watch tracks from Culture's definitive guide to modern music


Babs _{My Gang}



Unique Visitors
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With Thanksgiving coming up here in the states, its a humbling experience to put your head down for a moment and think about all the things you're thankful for.....

Me?

Oh, thats fucking easy.

The internet, bitch.

Withe the internet, my music collection grows almost daily. And this month alone, Ive come across lots of new music and its just been fucking fantastic, so heres some awesome fucking things I have come across in the last few weeks...Some old...Some new, some shit I loved back in the day and completely forgot how much I love...

The new shit to me, is the most fun, the first discovery being Maybeshewill which are kind of a huge departure from my normal music taste, but I cant get enough of these dudes. Not For Want Of Trying could easily be one of my favorite albums Ive come across in a long time. It took me a little while to get my hands on, but now I cant stop listening to it. Listening to these guys, led me to another band...

65daysofstatic. I dug a few of the tracks I listened to here on last.fm. I figured, "why the fuck not" and I picked up The Fall of Math and Hole and have really enjoyed both of them, though not nearly as much as Maybeshewill. I anticipate them getting more rotation in my playlists.

The next couple bands are some female fronted complete eargasms. The first being Cruel Black Dove. A friend of mine showed me the video for Love Song and I was instantly hypnotized. it was a vague throwback of Kidney Thieves just, not as elctronic influenced. I was able, after looking for a couple days, able to score the Full Power and while short, fucking blew my mind. Kind of rmeinds me of when I discovered White Magic. Her voice, is simply arousing. Seriously. we're talking gigantic boner.

The second is Brazilian Girls. I like them. A lot. theres no denying that. But theres just something about them...I don't know....They're truly unlike anything I think I've ever listened to in my entire life...

All the sudden im not feeling so ambitious...

Anyways, to keep plugging along with shit thats new to me, theres Scum of the Earth. Now, I've known about them for a little while, but the albums are hard to get a hold of. I finally, yesterday, was able to get Blah...Blah...Blah...Love Songs For The New Millenium. I love it. Fucking LOVE it. its the music that Rob Zombie SHOULD be making. I'm glad Riggs took the torch and fucking ran with it, because hes done near flawless. its fucking rocking and heavy and sleazy and I hope that they start to gain a bit more attention.

Ugh, you know what, fuck this. Id rather listen to my music then write about it.

Ill finish this another time.

thanks to this lovely fellow i discovered favtape. and it's miles & miles easier to use. it's not as pretty...but that's ok with me.

noisy.
noisy.
noisy.
love.
CLICK ME CLICK ME CLICK ME!!

1. Grouper-heavy water/i'd rather be sleeping
2. Inca Ore-lady days
3. Burning Star Core-beauty hunter
4. Sunburned Hand of the Man-what color is the sky in the world you live in?
5. Jana Hunter-dreamland
6. White Magic-song of solomon
7. Voice of the Seven Woods-silver morning branches
8. Badgerlore-goodnight, sweet rabbits
9. Barn Owl-she swims in clouds
10.Espers-hearts & daggers
11.TwinSisterMoon-demonized nature
12.U.S. Girls-come see lightly
13.Hala Strana-the loss of what we keep
14.Sun City Girls-tarmac
15.Hush Arbors-light
16.Islaja-haaveilija
17.Boduf Songs-light
18.Pocahaunted-roman noise
19.Six Organs of Admittance-awaken
20.Fursaxa-tuvalu
21.Charalambides-rehearsal



xox.
marie

Argentina
Pedro Aznar (Buenos Aires)

Australia
Abby Dobson of Leonardo's Bride (Sydney)
Emily Ulman (Melbourne)
Jessica Paige (Melbourne)
Jodi Martin (Sydney)
Melanie Horsnell (Sydney)
New Buffalo (Melbourne)
Tecoma

Austria
Agnes Milewski (Wiener Neustadt)

Belgium
cinnamone (Brussels)
Jacques Stotzem (Verviers)

Canada
Carly Thomas (Vancouver)
Detective Kalita
Generation of Failures
Hayley Sales (Vancouver Island)
Julie Doiron
Laura Barrett (Toronto)
Snowblink (Toronto)

Chile
Francisca Valenzuela (Santiago)
Gepe
Leo Quinteros (Santiago)

China
许飞 aka xu fei

Denmark
Annemarie Zimakoff (Copenhagen)

Germany
Blinds (Munich)
Christina Lux (Cologne)
Harald Sack Ziegler (Cologne)
Jasmina Maschina (Berlin)
Johanna Zeul
Uphill Racer (Ingolstadt)

Ireland
Adrian Crowley (Dublin)
Lisa Hannigan (Dublin)
Rodrigo y Gabriela (Dublin)
Wallis Bird (Dublin)

Israel
Yair Yona (Tel Aviv)

Japan
Hideki Matsushima

Mali
Kandia Kouyate (Kita)
Lobi Traoré (Bamako)
Tartit (Timbuktu)

New Zealand
Fiona Soe Paing

Norway
Grim Stene (Fredrikstad)
Isabella Leroy

Spain
Ojos de Brujo (Barcelona)

Sweden
Asha Ali (Stockholm)
Frida Sundemo (Gothenburg)
Laakso (Stockholm)
Maia Hirasawa of Hello Saferide (Gothenburg)
Markus Krunegård (Stockholm)
Sara K
Vapnet

UK
Adem (London)
Al Shields (Edinburgh)
Alexis Strum
All at sea (Sheffield)
Amy McGarrigle of Boathouse(Belfast)
Ardentjohn (Edinburgh)
Calaghan (London)
Charlene Soraia (London)
Christine Collister
Drew Pilgram (London)
James Yorkston
Jamie and the Argonauts (Edinburgh)
Jennifer Concannon (Edinburgh)
Jess Morgan (London)
John Knox (Edinburgh)
Karen Dalton
Kathryn James (London)
King Creosote
Lisbee Stainton (London)
Malcolm Middleton (Falkirk)
Mara Carlyle
Mary Hopkin (Pontardawe)
Philip Smiley of Le Volume Courbe (London)
Sarah Lain
Sian Evans & Simon Kingman and Sian Evans of Kosheen (Bristol)
Skellum (Edinburgh)
Smoke Feathers (London)
The Electric Ghosts (Edinburgh)
The Library Trust
undergrass (York)

USA

Alaska
Kray Van Kirk

California
Alana Sweetwater (Los Angeles)
Alina Estelle Hardin (Nevada City)
Calico Horse (San Diego)
Daniel Steinbock (San Francisco)
Emily Jane White (San Francisco)
Kerry Getz (Newport Beach)
Kristy Hanson (Los Angeles)

Mark Fosson
Meiko (Los Angeles)
Mia Doi Todd
Monkberry (Cypress)
Pickering Pick (Northern California)
Sara Melson (Los Angeles)
Sheila Nicholls (Los Angeles)
Sierra Swan (San Fernando Valley)

Colorado
Brian Bixler (Aspen)

Florida
Deblois (Miami)
Elaine Silver (Sarasota)
Liset Alea (Miami)
Terri Binion (Orlando)

Georgia
Peggy Honeywell (McDonough)

Illinois
Robert Bowlin (Cobden)
William Fitzsimmons (Jacksonville)

Indiana
Krista Detor (Bloomington)

Maryland
Disappear Fear (Baltimore)

Massachusetts
Amy Jo Johnson (Cape Cod)
Barbara Kessler (Hopkinton)
Bill Harley (Seekonk)
Jennifer Kimball (Somerville)
Libana (Cambridge)

Minnesota
Haley Bonar (St Paul)

New Hampshire
The Hotel Alexis (Portsmouth)

New Jersey
Vicki Genfan (Fairview)

New Mexico
Sara K. (Sante Fe)

New York
Atoosa (NYC)
Clare Burson (Brooklyn)
Dawn Landes (NYC)
Elizabeth Willis (NYC)
Experimental Haywire (NYC)
Jaymay (Long Island)
Jihae (NYC)
Jonathan Coulton (Brooklyn)
Kelley McRae (Brooklyn)
Kostars of Luscious Jackson (NYC)
Kyle Smith (NYC)
Rebecca Schiffman (Upper East Side)
Sheri Miller (NYC)
Sophie Auster (Brooklyn)
Toshi Reagon (Brooklyn)
Trina Hamlin (NYC)
White Magic (NYC)

North Carolina
Melissa Reaves (Boone)
Sarah Bolen

Oregon
China Forbes (Portland)
Christina Antipa (Portland)
Emily Picha (Portland)
Kari Newhouse (Portland)
Laura Gibson

Pennsylvania
Nicole Reynolds (Pittsburgh)

South Carolina
Danielle Howle (West Columbia)

Tennessee
Eastmountainsouth
Muriel Anderson (Nashville)

Texas
Sarah Elizabeth Campbell (Austin)

Utah
Kid Theodore (Salt Lake City)

Virginia
Alex Bach (Winchester)

Washington
Amy Blaschke aka Night Canopy (Seattle)
Sarah Severson (Seattle)

Wisconsin
The Archivist (Milwaukee)

?
Bonnie Dobson
Heather Combs
Might Could

?
Philippa Nihill


And for the record, I am Hannah Werdmuller, from Edinburgh, UK.