As leader of her band Tomiya St., Tomiya sold thousands of self-released CD’s on the streets of Japan, quickly landing a contract with Warner Bros. As a solo artist, she’s recorded with top producers in Tokyo and New York, hosted a radio show in Nagoya, and delighted audiences with performances all over the globe.
Tomiya’s music comes from her pure soul, which has yet to be jaded by society. She is funny, cool, sweet and edgy. She is everything her music is all about. For her latest release “Ichiban Pop”, she returned to the studio with producer/multi-instrumentalist Brad Craig. Here, as with their 2005 release “Honey Rock”, they create a genre bending escape from the typical trappings of predictable pop.
Yuka Azuma,Adriana Sassoon, Tomiya Japanese Rock Star
Tomiya official site:http://www.tomiya.ne.jp/
* Tomiya, I had a great time with you and Yuka hope to see you soon!
LIKE A STORM
Like A Storm is a four-piece rock band from Auckland, New Zealand. In the past 6 months, the band has toured the United States with rock giants Creed, Staind, Hoobastank, Puddle of Mudd, Saliva, Skillet, Shinedown, and Burn Halo, as well as The Veer Union and Framing Hanley. Like A Storm sold over 3,000 Limited Edition Tour EPs in their first 3 weeks of touring in the United States . Overwhelming fan response to the band’s live show saw their debut album “The End of the Beginning” enter at #61 on Billboard‘s New Artist Charts – from tour sales alone. The album has since been made available on iTunes and at Like A Storm’s shows. UPDATE: Like a Storm is now set to begin touring January 22nd 2010 with Shinedown, Puddle of Mudd, and record breaking rock band Skillet! [www.likeastorm.com] [www.skillet.com].
Their song “Enemy” is featured weekly on ESPN’s College Football, their song “Chemical Infatuation” was featured in USA’s hit Royal Pains, their video is set to debut on MTV’s Headbangers Ball and their songs were featured in trailers for Wolfenstein and Halo video games. The band’s brand of alternative rock music includes vocals, drums, guitar, and bass, as well as programming, piano, synths and didgeridoo. The band’s hit song Lie to Me was the official theme song of TNA’s pay-per-view event Genesis.Like A Storm began in 2005 when brothers, Chris Kent, and Matt brooks first played together in their native New Zealand. They immediately decided to move to move to North America to pursue a career in music. According to Chris “New Zealand is such an awesome place to grow up, it’s a really inspiring place–so beautiful and isolated. But the first time we jammed, we had this amazing chemistry, and we knew we had to take our sound to the world. We left our family and friends and set up in Canada. There are so many different experiences from that time, and the songs on the record are about them.” They settled in Vancouver and quickly created a buzz. After their first show, Kai Marcus from Methods of Mayhem befriended them and introduced them to producer Mike Plotnikoff. In 2006, they began working on the record and officially began recording with Plotnikoff and Igor Khoroshev in 2007 in California. After about sixteen months of writing and recording the record, The End of the Beginning was complete.
* LIKE A STORM- Great Show at the HOB Boston.
KISS IN BRAZIL
The Samba school called ‘Salgueiro’ from Rio de Janeiro honored the band KISS…as seen in the image below. The ‘Salgueiro’ was the second school in the Rio parade on Monday 02/23.
2009 RIO CARNIVAL CLIPCheck out this clip of the 2009 Rio Carnival featuring school ‘Salgueiro’ from Rio de Janeiro honoring KISS with their Gene inspired costumes.
A comemoração dos 35 anos do grupo promete ser de muita alegria para os fãs brasileiros. Com datas em São Paulo no dia 07/04 e no Rio de Janeiro no dia 08/04, os ingressos para os shows variam de R$ 170 à R$ 350,00.
A pista para o show de São Paulo está R$ 170, 00, mas haverá uma área VIP que custará R$ 350,00. Estudantes pagam meia entrada.
Os preços dos ingressos para o show do Rio de Janeiro ainda não foram divulgados, mas clientes do Citibank podem adquirir os ingressos pela pré-venda que será realizada na próxima semana, dia 05 de fevereiro. O público carioca, no geral, pode comprar os ingressos a partir do dia 12 de fevereiro.
Da formação original, sobraram o baixista e vocalista Gene Simmons, e o guitarrista e vocalista Paul Stanley.
Junto com os dois membros fundadores estão; o guitarrista Tommy Thayer e o baterista Eric Singer. Segundo informações, todos os quatro se apresentarão devidamente maquiados.
O último concerto do Kiss no Brasil com maquiagem foi em 1983, no estádio do Morumbi.
Logo após a apresentação em 1983, a banda voltou ao Brasil em 1998 para um show em Porto Alegre e São Paulo.
Josh B. Wardrop, da revista Panorama, entrevistou o guitarrista e vocalista dos KISS, Paul Stanley, que explicou a posição da banda sobre um possível novo álbum.
Panorama: O que o levou a experimentar a pintura?
Stanley: “Quando era adolescente, estudei na Escola de Arte e Música de Nova Yorke, mas não pintava na altura. Há uns oito anos atrás, quando estava a passar por um dificil divórcio, um amigo sugeriu que eu pintasse, como uma forma de terapia. E realmente vivi as minhas emoções e quis continuar a fazer isso”.
Panorama: Como você descreveria o seu estilo artístico?
Stanley: “É muito pessoal, introspectivo, espontâneo. Eu comparo-o a uma viagem sem mapa. Eu gosto de arte abstracta porque ela atinge as pessoas mais a nível emocional do que analítico”.
Panorama: Existem planos para outras tours dos KISS ou um novo álbum a caminho?
Stanley: “Acabamos de fazer alguns concertos na Austrália e Nova Zelândia, e em três semanas estaremos a caminho da Europa. Os KISS estão vivos e prontos para para cegar e arrasar com vocês!. Um novo álbum? Perguntaram-nos sobre isso, mas sabemos que os fãs não querem novo material. Eu poderia fazer um ‘Let It Be’ e as pessoas diriam: ‘Fixe! Mas toca ‘Love Gun”. E estamos felizes assim”.
Panorama: Por que os KISS não entraram para o Hall da Fama do Rock?
Stanley: “Porque os responsáveis fazem parte do que chamamos de ‘Máfia da Música’ e as opiniões deles não refletem as opiniões dos fãs de rock em geral. Infelizmente, é uma coisa vergonhosa que tem um nome oficial”.
Trans-Siberian Orchestra was formed in 1996 by Paul O’Neill who immediately approached long time friends and collaborators Robert Kinkel and Jon Oliva to form the core of the writing team.
While producing and writing for a number of years with various rock groups Paul was always looking for ways to make the music have greater and greater emotional impact. He tried to write the music that was so melodic it didn’t need lyrics. And lyrics that were so poetic that they didn’t need music but once you put the two of them together, the sum of the parts would be greater than the whole, and you couldn’t imagine them apart. Once he’d done this, he was still looking for a way to take it to even greater heights and he realized that putting the songs within the context of a story would give it a third dimension that wou ld make that additional emotional impact possible.
Hence, he started writing not just albums, but rock operas.
He realized then, that there was an inherent problem recording rock operas within the standard rock and roll band makeup. Rock operas by their nature need the voices to change as the characters change. Rock bands normally only have one (or if you’re lucky) two great vocalists to work with, therefore limiting how far you can go. You’re forced to make the music fit the band, as opposed to allowing the music to go wherever it needs to.
With Trans-Siberian Orchestra, first the music is created with no artificial limitations, and then we seek out within the classical, rock, Broadway and R & B worlds, the very best singers and musicians to bring each song to life. This also in many ways forces us to operate on a higher level. This environment has the additional benefit of causing a cross pollenization of musical ideas, creating hybrid forms of music that normally never would have occurred, such as an R&B singer doing a classical style melody and bringing gospel touches to it that causes it to glitter in ways that even the creators could not have predicted. Another very important aspect in the creation of the band, is that there could be no limits on the members; we mix all races and ages.
The young get to mine the experience of the old musicians, while they can’t help to be inspired by the enthusiasm of people just entering the business. This has created a vast constantly changing musical group that even we do not know what it is going to do next.
Once when asked what Trans-Siberian Orchestra was about, Paul O’Neill replied, “It’s about creating great art. When asked to define what great art was, Paul said, “The purpose of art is to create an emotional response in the person that is exposed to that art. And there are three categories of art; bad art, good art and great art. Bad art will elicit no emotional response in the person that is exposed to it, i.e.; a song you hear in an elevator and it does nothing to you, a picture on a wall that gives you the same emotional response as if the wall had been blank, a movie that chews up time. Good art will make you feel an emotion that you have felt before; you see a picture of a forest and you remember the last time you went fishing with your dad, you hear a song about love and you remember the last time you were in love. Great art will make you feel an emotion you have never felt before; seeing the pieta, the world famous sculpture by
Michelangelo, can cause someone to feel the pain of losing a child even if they’ve never had one. And when you’re trying for these emotions the easiest one to trigger is anger.
Anyone can do it. Go into the street, throw a rock at someone, you will make them angry. The emotions of love, empathy and laughter are much harder to trigger, but since they operate on a deeper level, they bring a much greater reward.
Festival snares compelling drummers
Cindy Blackman & Adriana Sassoon
In many cultures, the drum is the preferred means of making an announcement. So it’s appropriate that the opening salvo of this year’s BeanTown Jazz Festival – the fall event that, in eight years of existence, has grown into an important gathering of local and national acts – will take the form of a drum summit.
Featuring two of today’s most compelling jazz drummers, Terri Lyne Carrington and Cindy Blackman, the Sept. 26 showcase at the Berklee Performance Center will offer a rare opportunity to hear, in one evening, two contrasting drum styles as well as two bands in which the player behind the skins is also the leader.Carrington and Blackman are both former Berklee students who went on to respected careers, albeit on somewhat different tracks. A local product (she grew up in Medford), Carrington was a child prodigy who attended the school in her early teens and went on to play with the likes of Herbie Hancock and Wayne Shorter before moving to Los Angeles where, for a time, she was the drummer in the Arsenio Hall Show band. She’s now based back in Boston, teaching at her alma mater.
Blackman didn’t finish school, bolting instead for New York, where she started as a street musician in the ’80s. She’s now best known for her many years playing with rocker Lenny Kravitz. But both she and Carrington have maintained jazz identities and careers – mainly as first-call sidewomen, with sporadic outings as leaders. (“Music for the New Millennium,” Blackman’s new double album with a groovy electro-acoustic group, just came out but was recorded in 2005; Carrington has a record due out next year.)Programming the two on the same bill highlights, of course, how rare it is to hear a woman behind the drum kit. And Carrington in particular is underscoring the gender theme through the special lineup she’s assembled for this show. It includes the singer Patrice Rushen and the pianist Geri Allen, along with a rising young saxophonist from the Netherlands, Tineke Postma.
“You reach out to like-minded people,” Carrington says on the phone from her home. She volunteers that it was her intention to gather top women players, while in the same breath starting to change the subject. “It’s a celebration of women in jazz,” she says, “but I don’t want to dwell on that.”Blackman is more adamant on the topic. “The gender question is not even worth bringing up because the drums have got nothing to do with gender,” she says on the phone from a gig in France. “I’m there because I love to play music. And I’m in support of anyone who wants to play the instrument.
“I wouldn’t care if Art Blakey was pink with polka dots and wearing a tutu,” she adds, citing the great drummer-bandleader. “I wouldn’t care if Tony Williams was green.” Williams, who played with Miles Davis, is the drummer she cites as her greatest influence among a pantheon of others, including Papa Jo Jones and Max Roach.And it’s true: Even if women are a minority in jazz, and perhaps especially on drums, there’s nothing inherent in Carrington’s or Blackman’s style that one can attribute to gender. Rather, there is the influence of these great elders; and there is each woman’s personal aesthetic and approach to an instrument that – made up as it is of a large and malleable assortment of drums and cymbals – offers almost endless possibilities.
It will be a special treat if, following each group’s set, Carrington and Blackman take the stage together to make this summit truly one to remember. At the time of these conversations the two hadn’t yet planned it out, but Carrington says there’s a good chance it will happen.”It’s a difficult instrument to do that with,” she says. “People like to see the competitive aspect of it. But if we do play together it definitely won’t be in any kind of drum battle. I do mine and she does hers, and both should be celebrated.”
Drum Summit is at Berklee Performance Center Sept. 26. 617-747-2261
BIOGRAPHY-DJ Ashba was born in Monticello Indiana on the early Friday morning of November 10th. At age 1, The Ashba family moved to Fairbury Illinois, a small country farm town, raised by his mother, a classical pianist, who taught DJ about music at a young age .He was instantly obsessed with it. DJ started playing piano at age 3 and played his first recital at 5, performing Beethoven’s classic “Ode to Joy.” By age 6, he was studying drums, banging on garbage cans, pots, pans, buckets and anything he could get his hands on. Finally getting a real set, he studied rhythm. At age 8, DJ worked detasseling corn in the fields for one year until he was able to buy his first electric guitar out of the Sears catalog. The Harmony white Flying V was priced at $89.00. As he rode on the bus to the corn fields each day, he sat with a friend he made, an older guitar player from a local band. DJ would take his pocket knife and carve a fret board on the seat in front of them. His buddy would take the knife, poke 3 holes, and say “That’s an A chord,” go home and practice that tonight. Everyday DJ looked forward to going to work so he could learn a new chord. DJ grew up in a 8 bedroom house with no TV, due to his religious mother. He would sit in his room and practice his new guitar 17 hours a day. At 16, he was taken to his first concert by his dad—the Mötley Crüe “Girls, Girls, Girls” tour. It was the night that changed his life forever. By 19, he packed his possessions in a van and drove to Hollywood, joining a band called Barracuda. As a solo artist, he released his first instrumental album, ASHBA: Addiction to the Friction, and earned six Best Guitar Player awards. DJ Ashba co-founded the band Beautiful Creatures, landing a major label deal with Warner Bros. Writing all the music, his song, “Ride” ended up in the major motion picture Rollerball, while “Wasted” appeared in Valentine and “1 a.m.” was used in the TV show Smallville and on Howard Stern. Beautiful Creatures opened for KISS on their farewell concert jaunt, then went on to perform on Ozzfest 2001, played with Marilyn Manson and toured Japan. The video for “Wasted” was featured on MTV and the band performed a full concert for HBO’s Reverb. The band also made appearances on The Late Late Show with Craig Kilborn with Knock-Turn-Al as well as memorable performances at Sundance Film Festival and Denver’s Mile High Stadium. DJ Ashba is endorsed by over 15 major music companies. He has toured the world, blowing away audiences with his out-of-control stage performances. DJ has appeared in Rolling Stone and numerous other world-wide ads and videos. Ashba eventually teamed up with Crüe bassist Nikki Sixx, opening an amazing, state of the art recording facility called Funny Farm Studios, were they have written and produced songs for many platinum recording artists. His latest project with Nikki is writing, producing and performing on the soundtrack to Sixx’s biography, The Heroin Diaries: A Year In The Life Of A Shattered Rock Star, which also includes producer/songwriter James Michael. Together, Sixx, Ashba and Michael make up Sixx:A.M. creating the sonic diary to the book. Ashba contributes fiery guitar solos that fuel such songs as “Accidents Can Happen” and “Dead Man’s Ballet.” “After reading the book, I was so intrigued and inspired, I thought to myself, this is such an amazing story, with such an important message. “I’ve lost so many close friends in the music business to drugs, I felt I had a lot to add to this musical journey.” “We dug so hard-core into the book,” he explains. “I constantly probed Nikki’s mind about heroin and addiction. I really wanted to get a good feel on how to bring this book to life, musically. When I listen to the album now, it gives me chills, but at the time, I was in such a zone. I just tried to be as honest and true to the book as I could be. “I’m so proud to be a part of,” he admitted. “It never entered our minds it would turn out to be a band situation. But everything good that happens in life happens naturally, just like this did. The magic is so amazing between the three of us, this will be one of many albums to come. What I love about this is there are no limits, no rules. We’re putting our hearts out there, and people are responding to it.” “While writing this, we didn’t think about radio,” he said. “It wasn’t about being in a band… it was all done for the song, the story and the message, and that’s why the final product is the way it is. Working with these two guys is a dream come true.”