Jazz Pop Vocal Stylist
JANITA FEATURED THIS ISSUE:
JUSTIN GOLDNER LARRY MITCHELL
LARRY MITCHELL
www.larrymitchell.com
CONTENTS 4
JAZZ POP SENSATION JANITA Talks About Life As A Pop Star
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AWARD WINNING PRODUCER Larry Mitchell
14 ARTISTIC BASSIST Justin Goldner
READ UP ON SOME OF TODAY’S FINEST INDIE-ARTISTS!!!
Indie-Musik Expressions is a magazine that is dedicated to the thousands of musicians, songwriters and performers who create music for the pure joy and love of it. And, for those who aspire to be the stars of tomorrow. They all share one thing in common, an overwhelmingly passionate drive for the art of creating music. In the ten last years, many avenues have opened up for creative artists to create and share their music. The internet has been tremendously instrumental in enabling independent artists to pursue a lifelong dream of becoming a musician and reaching fans across the world. While technology, having become more accessible and affordable, has made it increasingly easier for musicians to take an idea from a concept to a completed song, or a completed CD. And, with outlets like cdBaby, iTunes, lastFM, etc., once that disc is completed they can sell and promote it to the masses. Whereas, ten years ago that same musician would had to have spent a fortune in studio time, then shop their product to music labels in hopes of getting an executive to listen to it. And, if they got signed, there was NO guarantee that a record would ever be produced, released, or marketed to the consumer market. Today, musicians have greater control over their careers than ever before. It also means that those serious about pursuing a music career have to work a lot harder, but now... they can enjoy more of the fruits of their labor. And, they are more in control of their own destiny. Which is a tradeoff that most of them gladly accept. So this magazine will be dedicated to these artists and their stories.
GMJ Publications
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The Long-Awaited Interview “We had been in talks with JANITA to do a cover story and interview for a previous issue, but things weren’t able to come together soon enough for that issue. However, after a series of conversations and some coordinated efforts we are extremely pleased to present that feature to you now!�
JANIT An incredibly talented vocalist...
When did your interest in music began... and what were some of the first things that you heard growing up?
I always had a natural interest in music and I learned to sing before I knew how to talk, at least, that's what my parents say. One of the earliest memories I have of being really touched by music was when I saw and heard Leonard Cohen on TV... I must have been about 5 or 6. Then later came Michael Jackson. He ended up becoming quite the idol for me. I was completely mesmerized by him. I even wrote him a fan letter! When did you first realize that you had talent... and at what age did you begin performing in public (I heard that you became a star at 15 in Finland... is that true)? I performed playing piano from ever since I was 5 years old. My first performances as a singer came when I was around 11 years old. I then signed a record deal at 13, and became a star in Finland at 14. I suppose that's pretty young, isn't it? 4
ITA
JANITA photos by Noel Spirandelli
What made you decide to come to America? I came to the States when I was 17 with my then musical partner/boyfriend Tomi Sachary. He was quite a bit older than me and had already lived in England and France;now he was intrigued by NY. We also had interest from record labels and publishing companies in the States, so the move made sense. What was your introduction to the NYC music scene? How did things get going for you here in NY? Was it difficult as an artist being a transplant from another country... or did you find the process to be somewhat easy for you? Within a year of moving to NY, I already had a recording contract with SONY Music 550. Everything happened very fast for me. I ended up working with lots of big people in the music industry back then: Michael McCary of BoyzIIMen, Anthony Hamilton, J Dilla, etc. I didn't realize what a unique situation I was in- one only gets perspective later on in life. Everything had always happened to me very quickly. Unfortunately though, due to changes within the company, my album never ended up getting released in the US. Yeah, we heard that you had a contract/deal with SONY Music. How did that come about, and do you still have any affiliation with them? 5
The deal came through Jimmy Douglass (Missy Elliott and Timbaland's right hand). He heard my singing and was impressed enough to introduce me to Michael Caplan, an A&R at SONY. I have been in contact with M i c h a e l , since I left SONY, but as of right now I don't have any further affiliation with them. How is it that a gal from Finland has this incredibly soulful blend of R&B and bossa nova style. Having not known your background... I would have thought you came from Spain or Brazil. So how did you develop such an affinity for this music? I have always been a weird combination of things, I suppose. From a young age, I taught myself to sing with the big names in R&B. Later, I fell in love with bossa nova and brazilian music. I've been inspired by many things during different phases of my life, and anything that I listen to leaves a mark on my music. These days though, I find that my interests have shifted somewhat and now I've started bringing some alternative elements into my m u s i c . I have discovered that lyrically I was being touched more deeply by alternative artists such as Gus ter, Death Cab for Cutie and Radiohead, and I've started listening to that kind of music more. Some influences have stuck, as well. Thus, these days I call my 6
music soulternative. It's just a When I last saw you (a few combination of things I've months ago) you mentioned been influenced by. that you were working on a album/CD. What's your writYou have this very unique ing/recording process like? and polished presence Do you have a home studio... o n s t a g e. Does that all come or do you go to a standard from starting this at such studio. Do you produce your an early age? I am just curi- own stuff.... or is that a colous where that confidence labborative process for you? and command of the stage comes from. I am happy to report that my album is now done. I just have to finish the artwork and then it's ready to be released. The process itself took quite long (3 years), as I a lot of changes in my I've been inspired had life during that period. Thus by many things far in my life, I have mainly collaborated with Tomi during different Sachary, but now am starting write more and more on phases of my life, to my own and with other peoand anything that ple. For this project, I worked collaboratively with Jamie I listen to leaves a Siegel and Tomi Sachary on the production of this album mark on my which is called "Haunted."
music.
Thank you! It's a constant learning experience: a nything to do with music and performing. We as human beings always keep growing and evolving and so I definitely feel like I have more to offer an audience than ever before. And experience certainly helps--the more you perform, the more you are able to be present in the moment and enjoy it.
Any upcoming events you'd like your fans to know about... or any more details that you'd like to share with our readers? My new album will come out this fall and I'll be doing concerts to promote it as widely as possible. I will also update my website this summer and make it possible to buy music through there. Also, people can always send me a message or sign up for my mailing list through janitamusic@gmail.com
www.janita.com
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THE
LARRY MITCHELL INTERVIEW
WRITER PRODUCER ARRANGER and guitar VIRTUOSO 9
Hey, it's been a long time, my friend. I remember the first time that I saw you... it was at Kenny's Cast away's in NYC. You were quite aa unique fig ure... this tall black man, in cow b oy hat, long trench coat and c ow b oy boots. At fi r st, I thought you and your trio were going to play country & western music. Then, when you guys started playing... the first thing I thought was "Wh o a ! ! ! " Which was then followed quite quickly by... "Who IS this guy?" Do you remember anything about that night? By the way, was that Will Calhoun from BRC and Living Colour fame playing with you that night? I don't know if I remember that night, specifically. I played Kenny's quite a bit. I can remember many nights where I started the show with that jacket on and it got hot real quick. The Drummer that night could have been Yves Gerard or Tony James maybe. I know Will Calhoun but we have never played together. I've know Muzz Skillings the original bass player from Living Colour for awhile now and have never played together but we will be touring this summer in Scandinavia backing Blues artist Ellis Hooks. As for drummers, I feel very fortunate to know and and to have worked with some of the best drummers in the world. Nir Z (Geneis, John Mayer) Tony James (Maggie's Dream, Cyndi Lauper), Tal Bergman (Billy Idol, Enya,) Alez Alexander (Dido), Jeff Bowders (Paul 10
Gilrbert) and Yves Gerard have Native American artist's and the played with me over the years. stage volume is really low. Plus, most of the gigs are fly gigs so I The other time I remember the have been constantly trying to most was seeing you at the down size my rig so that I can get China Club. You were on stage on and off a plane with everyw ith these massive cab i n e t s thing I need to do the show. (three of them, I think). But, the There have been a few show sound wasn't loud or blaring... it where the airlines have miswas just amazing. I had never placed some gear and we got it seen anything like it before that. back after the show was over. so now I try to get on the flights What made you decide to use with a guitar in a gig bag and a that particular setup bac k small 2 space rack bag. Last year then... and what type of setup I got an amazing multi-effect do you perform with now? unit call an Axe Fx by a company called Fractal Audio. It has Back in the early 90's I used to built in Amp models and lots of endorse and use Hartke Speaker great effects in it. It has allowed cabinets. Larry Hartke is a good me to have all of the sounds I had friend and was very supportive in back in those early 90's days, those days. His factory was in NJ plus the pedal board sounds that then and he would take two guys I had in the late 90's and the early off his assembly line and have 2000-07. The Axe Fx fits in a 2 them fill a van with cabinets and space rack bag and I can get a power amps and they would small midi controller to fit in come and set up the stage for us. there also. I am using a Axess It was great! Like you said it MFC5 right now but I am waitwasn't blaring loud, but nice and ing for the new Liquid foot Jr. spread out. Wherever I walked which is small also but has much on stage, I had my stereo image more functionality. I'll also get with me. All I had to bring to the fractal audio midi controller some shows was my 16 space when it comes out for times heavy as can be rack, or preamps when I need a bigger controller. and effects. IN the early 90's I Here is a video link to my current used mostly a Mesa Boogie guitar rig (online at youtube) Quad Pre amp, A Marshall http://tinyurl.com/phjdvj (9003?) Pre amp, TC electronics 2290, Yamaha SPX 90, a couple Back in the late 80's early 90's of Rocktron Intellifex units and there was something magical maybe a mosvalve power amp about the Village music scene for the main power amp. After and the artists performing back awhile it was much to carry that then... you, Michael Hill Blues stuff around and I switched to Band, Gordon Gaines, Living small and large pedal boards. Colour, Joan Osborne, The Spin Doctor's and many others. The Currently I tour with a few amount of talent was just
ridiculous!!! The record compa - your show to go down the street nies were practically scooping to see one of your friends play. I miss those days, and some good bands right off the street. friends. I really miss Gordon Do you remember the music Gaines he was absolutely amazing and a wonderful guy. I seen scene back in those days? Michael Hill play a few years Yes I remember the city really ago and that was great. I talk being alive then. Music scream- with Mark White the Bass player ing out the doors onto the streets from the Spin Doctors quite a bit. everywhere you went. You had He actually came out and played so many choices to go hear great a show with me. I see Vernon, music. Even after you finished Will and Doug from Living your gig you might go check out Colour every now and then. two or three friends play. People sitting in with each other, great Around '92, I had a disconnect positive vibes all around too. Yes with that whole scene, losing the talent pool was intense. touch with all those cats. But, I think that only makes everyone during that period, or shortly better, though. More of a healthy therea f t er, I remember watching competition, more like you had an episode of Arsenio Hall. Tracy to bring your A game every night Chapman performed that night... just to keep people from leaving and as the camera began pan -
ning the band I could have sworn that I saw you playing with her. Was that in fact you... and, if so, how did you come to be in her band? And, how was it perform ing on the hottest show on the air, at that time? Yes in 1992 I played guitar in Tracy Champan's band. That was way cool and a wonderful experience for me. We played all over the world and Tracy is loved everywhere. I had been know as a Rock guy for awhile back then, that’s when I got the call from Tracy's manager Elliot Robert's, but I didn't believe him. In fact when he called I kept saying who is this really! I thought that it was one of my friends playing a joke on me. He finally said he'd
like to meet me and he was in Manhattan hanging with Neil Young, so I went down to this hotel in mid-town, and sure enough I sat there with Elliot and NEIL YOUNG!!!!! So I believed him. A few months later I was in San Fransico rehearsing with Tracy. I remember landing in SF and there was a big protest and they shut the city down for fear of possible riots like there were in LA at that time. Our very first performance was on the Arsenio Hall Show. We flew into LA and had major security to get us to the studio. I believe Danny Glover was on that show also. Everyone was calling for calm. There was so much happening at the time, I remember for the European leg of the tour we had a private plane, and we had to fly around to avoid the stuff that was going on in Bosnia, also. I hear that you have been doing a lot of touring on the road. Where are some places that you've been with your band? I have not been playing as many of my shows lately. Although I am starting to get it together again. I am working on getting all of my old albums back out for sale after doing a clinic tour of Sweden, Denmark and Norway a few years ago. While I was there I signed quite a few copies of my first CD, which was a nice surprise for me. I got to play Japan last year, and that was fabulous. So I’d like to get a trio out on the road for a little bit. When I lived out in San Diego for about five years, I had a six 12
piece band for awhile. That was nice, too. I was playing more mellow music back then. I actually won the San Diego Music awards Best pop jazz artist 1999. Me the rock guy from NY! My friends where like WHAT? It was fun, but there is something really cool about being the guitar player in a trio. The control over the dynamics, and the space for textures. I love guitar textures more than soloing. I love delays, big swirling chorus, and flange sounds. I miss playing up in NH, VT and on that whole North East coast vibe.
Steve Vai, Andy Timmons, Paul Gilbert, Marty Friendman and Simon Phillips). Then fly back home and go straight to a Mirabal show back in the North West. It was all wild and crazy, but lots fun... with little sleep. You've also done a lot of writing and producing. Tell me about some of the projects and/or artists that you've worked with? I started producing other artists back in the mid 90's with a band called Rust Charles. When I moved to San Diego I put together a small home studio to do my own records and a few local artist's asked me to help them with a song here and there for their records. So I did, and then went back to working on my own music. After about a year, most of those artist's came back and wanted me to do their entire record because they disliked the way the balance of their records were coming out. So I started producing singer-songwriters and have been doing so ever since then.
I have been touring with Native American artist's Robert Mirabal, Joy Harjo and Shelley Morningsong, and that's taken me all over the country from Florida up to Alaska. Very nice, my first time there. With Robert it's like a rock concert with a message, and with Joy we do a lot more duo shows. She is also known as a spoken word artist. Her shows are different every night and wonderful. You never quite know what's going to happen, and her audience is very When I came out to New Mexico passionate about her writing. I got into the Native American music scene and have been deeply For awhile there, it was crazy involved, and loving it since. I because I was flying out every have produced a lot of great other week with a different artist. singer-songwriters in all genres. Playing NYC at Lincoln Center It's all done in a very nice home and the Museum of the American studio, usually with just the artist Indian with Joy, then go home and myself. I play a few other for a few days before flying to instruments so that helps. You can the Oregon coast for two show check out: Randi Driscoll, Eileen with Mirabal. Next, come home Meyer, Phil Risen, Robert for 4 days to do one show with Mirabal, Johnny Whitehorse, Shelley. Then to Japan for the Shelley Morningsong, Joy Harjo, Ibanez 100th anniversary party Kathleen Sabo, and Alana Grier to show (hanging and playing with name a few.
Since I have been in New Mexico, I have won 11 New Mexico music awards for production. It has been really nice for me here, musically. We seem to have read some where that you scored a Grammy. If true, did you get invited to the ceremonies... and what was that experience like? One of the artist that I have co-produced is Johnny Whitehorse (aka Robert Mirabal). Our second record "Totemic Flute Chants" won a Grammy in 2007 for Best Native American Album. When we first found out about the nomination. We didn't make up our minds fast enough about going. With it being the 50th Grammy awards ceremony we missed it, and watched from home online. Our category was one of those early in the day ones. It was also the first year that they broadcast the whole ceremony online live. We should have been more on top of it, and been there. “If I ever get that chance again, I will be there for sure" We just finished the third in the series a month ago. It should be out by August. Recently we contacted Ibanez to get some marketing materials and noticed that you're endors ing them now. What is that rela tionship like? I have been with Ibanez Guitars since 1988 and it's been a wonderful experience with them. I have some amazing guitars made just for me, as well as some great stock guitars. They
have put me in their catalogs since day one. They run some pretty cool and funny magazine ads with me in them, and I do guitar clinics and meet dealers whenever I can. I am in the mix with a heavy list of great guitarists that endorse Ibanez... Steve Vai, Joe Satriani, Andy Timmons, Paul Gilbert, George Benson, Pat Metheny and many many more. It's great to get to hang and talk with some of these guys at NAMM shows and other Ibanez events. Getting to sit and jam with some isn't bad either.
online as downloads for a year, and only pressed CDs when I started doing my Clinics for Ibanez guitars. It's a fun and interesting time to be a musician right now. With YouTube, MySpace, and Face book the possibilities for promoting yourself are amazing. I'm also working on some shows for NYC, NJ and Long Island for later this year. It's been a few years since I have played the tri-state area. It will be lots of fun and great to see some old friends.
Lastly, are there some things coming up on the horizon for Visit Larry’s websites online at: Larry Mit c h ell... and will you www.larrymitchell.com be playing in NYC again any and time soon? myspace.com/larrymitchellmusic to find updated show dates I am trying to find and keep a and events good balance of side man shows, shows of my music, producing other artists, and doing more of my own records. I am also gearing up for a nice Blues tour this summer with Ellis Hooks in Scandinavia. Joy Harjo and I did a 3 week stint of her play out in LA at the Autry Museum this year, and there is talk of taking it to Europe, and even bringing it to NYC. I'd like to do a new solo record of my own too. Maybe get it out by next year. With the state of the music business changing daily though, I wonder if just selling singles for sale on iTunes and Amazon.com would be the best right now. It seems I only sell CDs at live shows these days. When my latest Sonic Temple came out, I kept it available 13
k & tasty licks
How do you think that particular period of "shedding" has influenced your music?
from years ago that have become central to my musical understanding- lessons on listening and subtle forms of variation that really shaped how I perceive music. I was very compulsive as a kid... I didn't "shed" like some people, but I made it my business to listen to everything I could get my hands on and to figure out how to reproduce anything that I could hear. In addition, being around other musicians always pushed me get my act together and I was lucky enough to be around a lot of great peer musicians even in my adolescent years. One in particular was a br illiant drummer who died a year ago from Leukemia. He was RELENTLESS in his pursuits; he never stopped until he had mastered something, and every time I met up with him he was onto the next thing. Seeing those kind of standards gives you ample inspiration not to rest on your laurels.
Very significantly! It's incredible to look back at what seemed like passing lessons or observations
Having studied both classical and jazz... what would you say has been the resulting benefit from each?
At 13 you began playing guitar and studying pretty heady stuff for a teenager- including blues, funk, bluegrass, hip-hop and World music. As a youngster, what was it that drew you to these different types of music? It took time, but from the start of my musical interest I was lucky to learn from the people I admired to have an open mind. I remember being drawn to the idea that for any kind of music that exists, someone out there likes it, so there's got to be something of value- and somehow I decided that if I couldn't find that value, it was my own shortcoming. That attitude and a pretty obsessive listening habit got me into all kinds of stuff real early on.
14
JUSTIN
GOLDNER
Wh at drew me to classi cal music was always the "arc" of a piece, the way in which composers spin fantastic work s that take you from one place to another. It was the same spark that pulled me towa rds concept albums. For a 10th grade mu sic class, I remember analyzing the Grateful Dead's entire Live Dead record (which is mostly open-ended spacey improvisation) as a symphonic form. Th at's how I was thinking. Only recently, I've begun to understand musical concept as architecture after a visit to the Aya Sofya cathedral/mosque in Istanbul. A cohesive work of music or art has uniformity and developed variation, requires a strong foundation but is nothing without its walls and ceiling, and ultimately serves as a space for the listener to inhabit. But what pulled me towards "jazz", that extremely loaded 4-letter word, was the desire to play with people. I studied and love classical guitar, but there's nothing like connecting with other souls, and for me, the open-endedness of the jazz idiom was a fast-track to doing that: instant give and take if you could get past your ego and just open your ears. I also
think that the puzzle-like nature desi re to retain a child- li ke of standards jived with something approach to music- and when I in my left-brain. don't have real chops on a given axe [instrument], it pressures me Being a multi-instru menta list to only play what is needed. which instrument do you tend to compose music from? I have to add, though, that the myriad recording tools widely More often than not I compose and ava i lable nowad ays are changarrange away from instru ments; I i ng the way I write. Before, I often feel that my habits in my would oc casiona lly sc ribble down hands get in the way of hearing ideas or charts but would have what a melody or song requ i res. entire arra ngements floating arou nd in my head, gradu a lly That being said, there have been developing over the course of a million times that trying a tune yea rs. Now I tend more to jot the on a different instrument com- ideas down soni ca lly and devel op pletely ope ns it up for me and them as if bu i ldi ng a hou se, exersends it in a new direction. I cisi ng at ti mes a spontaneous crethink one reason I tend to dabble ative prac ti ce, and at others a with different instruments is a criti cal mi nd. 16
One of my fa vorite tu nes from YouTube is your "Ă“neira." Can you briefly tell us about that wonderful composition and concept behind the Subdiversity Band? Ă“ neira ("Drea ms" in Greek) is u nu sual for me in th at I composed it very quickly. I studied at NYU in an en semble with Wayne Krantz, who has some very pa rti c ular ideas on composition and improvisation . Stylisti ca lly, I th i nk I usu a lly end up in a different place but I'm very inspi red by his concepts. He pushed us to compose pieces on- the-spot, to produ ce mel odies or motives out of thin air and use a combi nation of simple forms and improvisation to make a
cohesive piece out of them. The what keeps me interested in her basis of Ónei ra ca me from one of mu sic is the endless creativity, those session s . th at she's always turni ng a new corner and doi ng someth i ng real The Subdiversity Ba nd has been a nd her’s. So these days, th at ' s a way to tie together many of my where she hel ps me- as a figure, latent mu si cal and non-musical in push i ng me to do my th i ng, interests, including tra veling a nd to always be grateful. a nd cultures that are foreign to me. In a world th at often seems You seem to do a lot of touring. so polari zed, it's inc redi ble for me Do you prefer performing LIVE to hear in Fla menco mu sic, for to recording... or does that really example, Arabic and Persian make a difference to you? influences th at have travelled such great dista nces over thou- You know, even in recordi ngsands of yea rs yet are deeply which I love, as a canvas- I embedded in the mu sic and la n- always try and maintain a liv e gu age, and above all, in the peo- vibe. There's something about ple. I have th at sen sation ti me that energy that all too often gets a nd time again and it di rec tly lost in the studio when p eople informs the kind of mu si cal and clean their music up as if airc ultural conversations th at we brush i ng a photo or applyi ng try and explore in the make-up to hide their skin. For Subdiversity Ba nd on our live Funky Butter's record Made of a l bum Una Passeggiata. You, we recorded all the basic tracks live, usually in the same We noti ced several Meshell room, and kept a lot of stuff that Ndegeocello covers by you. Is that was a little hairy but had a sponaffinity due to some close associa- taneous energy that couldn't be tion to her? reprodu ced. The Rx Ba ndits record... And The Battle Begun Meshell has been a huge, often was a big inspiration in that way: loomi ng inspiration for me. In you can hear the sweat on their some ways, she's the reason I stri ngs as they thrashed th at picked up the bass. Those videos whole album out live. When you from a couple years back are play liv e, every moment is the funny for me to re-watch because cusp- every moment, the s takes I see myself shamelessly coppi ng are high- and then it's gone, and her licks, and th at's not wh at it ' s you've got no choice but to live in about. I eagerly awa it the day and sen se the next moment. when I'm con fident enough in my Even when I want to hole up in a playing not to ever play a note studio and create for my own senslike her again-- becau se as much es, it's other artists' liv e energy as I ad mi re and envy her poc ket, that inspires me to create.
Are there any projec ts comi ng down the pike that you'd like our readers to know about? I'm really fortunate right now to be playing with a lot of talented artists. One special project is that I'm arranging and directing the band for the new musical The Daughters, written by my friend Shaina Taub. It's quite a spectacle; the cast is 7 goddesses who belt their faces off and everyone involved is great to work with. We premiered it in early May, but this summer we'll be putting on an expanded version at Joe's Pub on July 16 as well as making a studio record of the show. The other is th at I've gradu a lly devel oped more of my own vocal mu sic after Fu nky Butter split, a nd a lot of th at material is now ri pe. Whether it will devel op into a new ba nd, a new record or someth i ng else, we ' ll see over the course of th is coming summer a nd fa ll. The Daughters at Joe's Pub on July 16
www.tinyurl.com/ocw4um FOR ADDITIONAL INFORMATION ON THIS CREATIVELY TALENTED MUSICIAN VISIT JUSTIN AT
www.myspace.com/jusfunk 17
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