David Philips is a singer,songwriter and guitarist from the UK. His debut solo album “Heal yourself alone” was written, performed, produced, recorded, engineered and released by himself, featuring friends Caspar St Charles on drums/flute and Abel Boquera on keyboards.The majority of the album was recorded in a spare room in a flat in Barcelona, Spain and only the mastering was handed over to someone else. Just 2 weeks after it’s release, “Heal Yourself Alone” was chosen as Album of the Week by Robert Elms on BBC Radio London.

It was after a self funded tour of northern Europe that David caught the attention of Dutch label Black and Tan Records and signed to release his second and latest album “The Rooftop Recordings.” Once again he took the “home grown” approach and recorded the album in the rooftop apartment in Barcelona where he lives. This time all doors and windows were left open to allow the outside sounds (mainly Swifts and House Martins visiting for Summer) to blend in with the sparse arrangements of just voice, guitar, some harmonica and a little foot stomping here and there. All these elements give the record a very intimate almost “fly on the wall” feel. He also took to learning some new skills for the record including the Ukulele and Lap Style Dobro guitar.

Philips music has been compared to many artists. Modern day performers such as Amos Lee, Ray LaMontagne, Ryan Adams, Jack Johnson and classics such as Eric Clapton, Jackson Browne and John Martyn. His voice being described as soulful and soothing and his guitar work as solid and even dazzling. It is, however, his diverse musical career that seems to lend something else to his music, not just a cut and paste copy of his influences.

Philips was born and raised in the UK and moved to Barcelona, Spain at the age of 24. Before heading down the solo artist path, he was known as an extremely versatile musician, playing in many different styles spanning Blues, Jazz, Soul, Rock and Pop and has released records worldwide with various formations and indie labels. His talents as a guitar sideman have been called upon by legends and “names” in the world of Blues, Soul and Jazz such as Brian Jackson (Gil Scott-Heron, Kool and the Gang), George Braith (Blue Note Records), Charlie Wood (Albert King), Alvin Youngblood Hart, Hook Herrera (Richie Sambora, Gvt Mule) and Geoff Young (Sting, Steely Dan, Jackson Browne.) David has also done TV work for companies including Audi, Volkswagon, Honda and Gas Natural (Spain) .

But it wasn’t until around 2005 that Philips discovered his talent for singing and writing and his love for the acoustic guitar. He began to pen original songs which later would become part of his debut solo album – finally allowing his solo voice to come to the forefront, as a singer songwriter, multi instrumentalist, producer and story teller.

David Philips is a singer,songwriter and guitarist from the UK. His debut solo album “Heal yourself alone” was written, performed, produced, recorded, engineered and released by himself, featuring friends Caspar St Charles on drums/flute and Abel Boquera on keyboards.The majority of the album was recorded in a spare room in a flat in Barcelona, Spain and only the mastering was handed over to someone else. Just 2 weeks after it’s release, “Heal Yourself Alone” was chosen as Album of the Week by Robert Elms on BBC Radio London.

It was after a self funded tour of northern Europe that David caught the attention of Dutch label Black and Tan Records and signed to release his second and latest album “The Rooftop Recordings.” Once again he took the “home grown” approach and recorded the album in the rooftop apartment in Barcelona where he lives. This time all doors and windows were left open to allow the outside sounds (mainly Swifts and House Martins visiting for Summer) to blend in with the sparse arrangements of just voice, guitar, some harmonica and a little foot stomping here and there. All these elements give the record a very intimate almost “fly on the wall” feel. He also took to learning some new skills for the record including the Ukulele and Lap Style Dobro guitar.

Philips music has been compared to many artists. Modern day performers such as Amos Lee, Ray LaMontagne, Ryan Adams, Jack Johnson and classics such as Eric Clapton, Jackson Browne and John Martyn. His voice being described as soulful and soothing and his guitar work as solid and even dazzling. It is, however, his diverse musical career that seems to lend something else to his music, not just a cut and paste copy of his influences.

Philips was born and raised in the UK and moved to Barcelona, Spain at the age of 24. Before heading down the solo artist path, he was known as an extremely versatile musician, playing in many different styles spanning Blues, Jazz, Soul, Rock and Pop and has released records worldwide with various formations and indie labels. His talents as a guitar sideman have been called upon by legends and “names” in the world of Blues, Soul and Jazz such as Brian Jackson (Gil Scott-Heron, Kool and the Gang), George Braith (Blue Note Records), Charlie Wood (Albert King), Alvin Youngblood Hart, Hook Herrera (Richie Sambora, Gvt Mule) and Geoff Young (Sting, Steely Dan, Jackson Browne.) David has also done TV work for companies including Audi, Volkswagon, Honda and Gas Natural (Spain) .

But it wasn’t until around 2005 that Philips discovered his talent for singing and writing and his love for the acoustic guitar. He began to pen original songs which later would become part of his debut solo album – finally allowing his solo voice to come to the forefront, as a singer songwriter, multi instrumentalist, producer and story teller.

Pedro e os Lobos é o novo projeto do guitarrista e compositor Pedro Galhoz.
A surpresa no cruzamento de várias culturas e estilos musicais é desde logo notória neste primeiro disco.

Os ambientes cinemáticos onde a admiração pelo deserto é assumida.
A paixão pelos velhos mestres do Blues é evidente.
As guitarras empoeiradas e gastas, podem aqui coabitar com tascas Lisboetas ou com Tavernas de auto-estrada perdidas no meio da Andaluzia.
Aqui o tempo passa devagar, o eléctrico de outrora, muitas vezes torna-se acústico e fazer parte de conteúdos passageiros da moda, são uma recusa obrigatória.

A estrada, o palco, os amigos que partem e chegam em cada paragem, os amores, os dissabores, a esperança e as encruzilhadas que o destino e a vida em si nos reservam ao virar de cada esquina, são o mote para um conjunto de letras e músicas que relatam episódios da vida comum e do nosso dia-a-dia.

Ele é o Pedro e o conjunto de músicos convidados a colaborar são os Lobos.
Música honesta, livre e sem preconceitos é como o compositor define este seu trabalho.
2012 será o ano de um novo disco, uma tour e a internacionalização do projeto.

Pedro e os Lobos – Música para escutar de olhos fechados.

Pedro e os Lobos é o novo projeto do guitarrista e compositor Pedro Galhoz.
A surpresa no cruzamento de várias culturas e estilos musicais é desde logo notória neste primeiro disco.

Os ambientes cinemáticos onde a admiração pelo deserto é assumida.
A paixão pelos velhos mestres do Blues é evidente.
As guitarras empoeiradas e gastas, podem aqui coabitar com tascas Lisboetas ou com Tavernas de auto-estrada perdidas no meio da Andaluzia.
Aqui o tempo passa devagar, o eléctrico de outrora, muitas vezes torna-se acústico e fazer parte de conteúdos passageiros da moda, são uma recusa obrigatória.

A estrada, o palco, os amigos que partem e chegam em cada paragem, os amores, os dissabores, a esperança e as encruzilhadas que o destino e a vida em si nos reservam ao virar de cada esquina, são o mote para um conjunto de letras e músicas que relatam episódios da vida comum e do nosso dia-a-dia.

Ele é o Pedro e o conjunto de músicos convidados a colaborar são os Lobos.
Música honesta, livre e sem preconceitos é como o compositor define este seu trabalho.
2012 será o ano de um novo disco, uma tour e a internacionalização do projeto.

Pedro e os Lobos – Música para escutar de olhos fechados.

Elysian Fields is a Brooklyn, New York based band founded in 1995 by co-composers Jennifer Charles (vocals, instruments) and Oren Bloedow (guitar). Their music has been sometimes described as “noir rock”,[1] due to its sultry, dark and mysterious inflections, be it sonically or lyrically. The band uses mainly acoustic instruments, predominantly guitar, piano, bass and drums, with the occasional appearance of eastern instruments, classical strings, and subtle electronics, the focal point being the voice of Charles in the forefront.

Based in New York City, Elysian Fields have found underground success in the United States but are more popular in Europe. Author of The Dark Stuff, Nick Kent says of their music, “Maybe we have their out-of-the-mainstreamness to thank for a sound that is still unique — as sensual as a sleepwalker’s wet dream.” Through the plus-twelve years the band has been active, they have won quite a devoted cult following, largely by word of mouth. Besides their well received albums, the band is also noted for its strong live performances. The rest of the band has included many of New York’s strongest players: all the members of Jeff Buckley’s band, members of Medeski Martin and Wood, Ed Pastorini, Ben Perowsky, James Genus, Thomas Bartlett, Jamie Saft and members of Ollabelle have all played in Elysian Fields at various times.

Elysian Fields is a Brooklyn, New York based band founded in 1995 by co-composers Jennifer Charles (vocals, instruments) and Oren Bloedow (guitar). Their music has been sometimes described as “noir rock”,[1] due to its sultry, dark and mysterious inflections, be it sonically or lyrically. The band uses mainly acoustic instruments, predominantly guitar, piano, bass and drums, with the occasional appearance of eastern instruments, classical strings, and subtle electronics, the focal point being the voice of Charles in the forefront.

Based in New York City, Elysian Fields have found underground success in the United States but are more popular in Europe. Author of The Dark Stuff, Nick Kent says of their music, “Maybe we have their out-of-the-mainstreamness to thank for a sound that is still unique — as sensual as a sleepwalker’s wet dream.” Through the plus-twelve years the band has been active, they have won quite a devoted cult following, largely by word of mouth. Besides their well received albums, the band is also noted for its strong live performances. The rest of the band has included many of New York’s strongest players: all the members of Jeff Buckley’s band, members of Medeski Martin and Wood, Ed Pastorini, Ben Perowsky, James Genus, Thomas Bartlett, Jamie Saft and members of Ollabelle have all played in Elysian Fields at various times.

Pedro e os Lobos é o novo projeto do guitarrista e compositor Pedro Galhoz.
A surpresa no cruzamento de várias culturas e estilos musicais é desde logo notória neste primeiro disco.

Os ambientes cinemáticos onde a admiração pelo deserto é assumida.
A paixão pelos velhos mestres do Blues é evidente.
As guitarras empoeiradas e gastas, podem aqui coabitar com tascas Lisboetas ou com Tavernas de auto-estrada perdidas no meio da Andaluzia.
Aqui o tempo passa devagar, o eléctrico de outrora, muitas vezes torna-se acústico e fazer parte de conteúdos passageiros da moda, são uma recusa obrigatória.

A estrada, o palco, os amigos que partem e chegam em cada paragem, os amores, os dissabores, a esperança e as encruzilhadas que o destino e a vida em si nos reservam ao virar de cada esquina, são o mote para um conjunto de letras e músicas que relatam episódios da vida comum e do nosso dia-a-dia.

Ele é o Pedro e o conjunto de músicos convidados a colaborar são os Lobos.
Música honesta, livre e sem preconceitos é como o compositor define este seu trabalho.
2012 será o ano de um novo disco, uma tour e a internacionalização do projeto.

Pedro e os Lobos – Música para escutar de olhos fechados.

Elysian Fields is a Brooklyn, New York based band founded in 1995 by co-composers Jennifer Charles (vocals, instruments) and Oren Bloedow (guitar). Their music has been sometimes described as “noir rock”,[1] due to its sultry, dark and mysterious inflections, be it sonically or lyrically. The band uses mainly acoustic instruments, predominantly guitar, piano, bass and drums, with the occasional appearance of eastern instruments, classical strings, and subtle electronics, the focal point being the voice of Charles in the forefront.

Based in New York City, Elysian Fields have found underground success in the United States but are more popular in Europe. Author of The Dark Stuff, Nick Kent says of their music, “Maybe we have their out-of-the-mainstreamness to thank for a sound that is still unique — as sensual as a sleepwalker’s wet dream.” Through the plus-twelve years the band has been active, they have won quite a devoted cult following, largely by word of mouth. Besides their well received albums, the band is also noted for its strong live performances. The rest of the band has included many of New York’s strongest players: all the members of Jeff Buckley’s band, members of Medeski Martin and Wood, Ed Pastorini, Ben Perowsky, James Genus, Thomas Bartlett, Jamie Saft and members of Ollabelle have all played in Elysian Fields at various times.

Pedro e os Lobos é o novo projeto do guitarrista e compositor Pedro Galhoz.
A surpresa no cruzamento de várias culturas e estilos musicais é desde logo notória neste primeiro disco.

Os ambientes cinemáticos onde a admiração pelo deserto é assumida.
A paixão pelos velhos mestres do Blues é evidente.
As guitarras empoeiradas e gastas, podem aqui coabitar com tascas Lisboetas ou com Tavernas de auto-estrada perdidas no meio da Andaluzia.
Aqui o tempo passa devagar, o eléctrico de outrora, muitas vezes torna-se acústico e fazer parte de conteúdos passageiros da moda, são uma recusa obrigatória.

A estrada, o palco, os amigos que partem e chegam em cada paragem, os amores, os dissabores, a esperança e as encruzilhadas que o destino e a vida em si nos reservam ao virar de cada esquina, são o mote para um conjunto de letras e músicas que relatam episódios da vida comum e do nosso dia-a-dia.

Ele é o Pedro e o conjunto de músicos convidados a colaborar são os Lobos.
Música honesta, livre e sem preconceitos é como o compositor define este seu trabalho.
2012 será o ano de um novo disco, uma tour e a internacionalização do projeto.

Pedro e os Lobos – Música para escutar de olhos fechados.

“I’ve got something to say” whispers Martina, barely ten minutes into The Blue God, her first album for five years. “Have you?”
It’s a neat touch -a reminder that for MTB, music is as much about challenging the audience as tapping into the creative flow.
“For me, music is about accessing thoughts and emotions that lie below the surface” she explains.
“I’m interested in using music as a way of exploring the emotional layers in life.”

Martina Topley Bird is one of British pop’s great mavericks. When she first cast strange and exhilarating shadows over contemporary music on Tricky’s ‘Maxinquaye’ in 1995 no one was expecting the arrival of such a precocious young talent. The times were demanding conservative, retro-minded Britpop. Instead, the pair conjured up an intimate yet other-worldly form of down tempo, with Martina’s vocals acting as celestial foil to the blunted genius of the music, causing critics to fall over themselves and cash-till’s to work overtime.

Further collaborations on ‘Pre-Millennium Tension’, ‘Angels With Dirty Faces’ and ‘Nearly God’ saw Martina acting as both musical and visual foil to her (then) ex-boyfriend. Dazzling stars in a dull universe, they subverted gender politics and mainstream pop, their chalk’n’cheese synergy chalking up platinum sales en route.
“Those records still sound good today, and that’s all you can hope to achieve.”

Martina has guested on a who’s who of contemporary music, including David Holmes, Gorillaz, DIPLO, Primus and The John Spencer Blues Explosion, developing her craft as both a singer and songwriter along the way.

For her solo debut,’ Quixotic’ (2003) Martina called on heavy friends ranging from David Arnold to Josh Homme to Mark Lanegan to help fulfil her sepiated vision. The result – an exotic fusion of vintage soul, rock and nocturnal blues – duly received a Mercury Prize nomination and prompted Mojo to declare it “a sensual and endlessly inventive record.”

“If you look at my career on paper it looks a little bit like a hobby” she says “But it’s always been a matter of waiting for the right people to work with. This is the happiest I’ve been, working in this particular constellation.”

Such eagerness to see music as a vast melting pot can be traced to her childhood.
“I saw The Sugarcubes when I was twelve and after that I really got into alternative music- Faith No More, Jane’s Addiction. I’ve known Josh Homme since he was in Kyuss.”

“My Parents played R’n’B and soul in the house (opera and jazz on Sundays). My mum would play one song incessantly in the car to torture us! Barry White was my parents’ smooching music – I guess that’s why it had the opposite effect on me, eugh!”

Whilst much modern chart music has given up on breaking new ground, Martina’s career has been about deconstructing the past and building something more fantastical in its place. Who better to embark on her latest voyage with, then, than Brian ‘Danger Mouse’ Burton, mastermind of pop situationists Gnarls Barkley, and widely regarded as modern pop’s most visionary thinker.

“Brian has been a friend for a long time, and we first worked on a track in May 2005. We were both so excited by the results; we agreed to do the whole record together. I had loads of songs before we started, but in the end I only kept one (‘Poison’). Instead, we created something new between us. Brian is a huge anglophile, and the album is very visual sounding. I wanted there to be a sonic manifesto as well as a lyrical one, and I think that’s been achieved.”

The result, The Blue God -recorded in LA over a three month period last year- is where Martina takes the fabulous contradictions of her past and wraps them in live instruments and luxurious production. A unique musical environment which fuses Hollywood glitz, psychedelic-pop riffs, ambient interludes, light and shade and her trademark futuristic pop noir. At the same time it’s a banner under which Martina can deliver ruminations on the human condition.

“A lot of the album is about the notion of physical proximity relative to emotional connections between people. My dad, Martin Topley, died when he was twenty-nine. Between the release of ‘Quixotic’ and now I turnedtwenty nine, and I started thinking and what I’d achieved in my life as a human being. Also I wanted to focus on the nature of my relationship with him and with my step father because of the way I felt those relationships were affecting my other relationships.”

If sure-fire hit “Poison”, Wurlitzer waltz “Snowman” and Arthur Lee inspired psychedelic-pop gem “April Grove” don’t get your feet moving and your spirits soaring then bad luck, you’re dead already. Elsewhere, “Phoenix”, “Razor Tongue” (featuring bass by Money Mark) and instant classic “Baby Blue” are further reminders Martina has lost none of her freewheeling vocal dexterity. Perhaps best of all, as first single ‘Carnies’ proves, The Blue God is as British as fish’n’chips.

“Carnies’ is about how intoxicating it is as a kid to go the fair and go on the rides. You get the horrors and feel out of control, and there’s a real sense of danger. At the same time, the central lyric is “Say what you want/ Life’s too good to be true’’. It’s bittersweet. The song is saying either you’ll come home or you won’t. I’ll always come home, I hope.”

Intelligent, life-affirming, futuristic, pop noir to make the head spin and the heart soar, then.

In a world that has come to welcome self made artists, Martina Topley Bird’s return couldn’t be better timed. She’s got something to say. Have you?

“I’ve got something to say” whispers Martina, barely ten minutes into The Blue God, her first album for five years. “Have you?”
It’s a neat touch -a reminder that for MTB, music is as much about challenging the audience as tapping into the creative flow.
“For me, music is about accessing thoughts and emotions that lie below the surface” she explains.
“I’m interested in using music as a way of exploring the emotional layers in life.”

Martina Topley Bird is one of British pop’s great mavericks. When she first cast strange and exhilarating shadows over contemporary music on Tricky’s ‘Maxinquaye’ in 1995 no one was expecting the arrival of such a precocious young talent. The times were demanding conservative, retro-minded Britpop. Instead, the pair conjured up an intimate yet other-worldly form of down tempo, with Martina’s vocals acting as celestial foil to the blunted genius of the music, causing critics to fall over themselves and cash-till’s to work overtime.

Further collaborations on ‘Pre-Millennium Tension’, ‘Angels With Dirty Faces’ and ‘Nearly God’ saw Martina acting as both musical and visual foil to her (then) ex-boyfriend. Dazzling stars in a dull universe, they subverted gender politics and mainstream pop, their chalk’n’cheese synergy chalking up platinum sales en route.
“Those records still sound good today, and that’s all you can hope to achieve.”

Martina has guested on a who’s who of contemporary music, including David Holmes, Gorillaz, DIPLO, Primus and The John Spencer Blues Explosion, developing her craft as both a singer and songwriter along the way.

For her solo debut,’ Quixotic’ (2003) Martina called on heavy friends ranging from David Arnold to Josh Homme to Mark Lanegan to help fulfil her sepiated vision. The result – an exotic fusion of vintage soul, rock and nocturnal blues – duly received a Mercury Prize nomination and prompted Mojo to declare it “a sensual and endlessly inventive record.”

“If you look at my career on paper it looks a little bit like a hobby” she says “But it’s always been a matter of waiting for the right people to work with. This is the happiest I’ve been, working in this particular constellation.”

Such eagerness to see music as a vast melting pot can be traced to her childhood.
“I saw The Sugarcubes when I was twelve and after that I really got into alternative music- Faith No More, Jane’s Addiction. I’ve known Josh Homme since he was in Kyuss.”

“My Parents played R’n’B and soul in the house (opera and jazz on Sundays). My mum would play one song incessantly in the car to torture us! Barry White was my parents’ smooching music – I guess that’s why it had the opposite effect on me, eugh!”

Whilst much modern chart music has given up on breaking new ground, Martina’s career has been about deconstructing the past and building something more fantastical in its place. Who better to embark on her latest voyage with, then, than Brian ‘Danger Mouse’ Burton, mastermind of pop situationists Gnarls Barkley, and widely regarded as modern pop’s most visionary thinker.

“Brian has been a friend for a long time, and we first worked on a track in May 2005. We were both so excited by the results; we agreed to do the whole record together. I had loads of songs before we started, but in the end I only kept one (‘Poison’). Instead, we created something new between us. Brian is a huge anglophile, and the album is very visual sounding. I wanted there to be a sonic manifesto as well as a lyrical one, and I think that’s been achieved.”

The result, The Blue God -recorded in LA over a three month period last year- is where Martina takes the fabulous contradictions of her past and wraps them in live instruments and luxurious production. A unique musical environment which fuses Hollywood glitz, psychedelic-pop riffs, ambient interludes, light and shade and her trademark futuristic pop noir. At the same time it’s a banner under which Martina can deliver ruminations on the human condition.

“A lot of the album is about the notion of physical proximity relative to emotional connections between people. My dad, Martin Topley, died when he was twenty-nine. Between the release of ‘Quixotic’ and now I turnedtwenty nine, and I started thinking and what I’d achieved in my life as a human being. Also I wanted to focus on the nature of my relationship with him and with my step father because of the way I felt those relationships were affecting my other relationships.”

If sure-fire hit “Poison”, Wurlitzer waltz “Snowman” and Arthur Lee inspired psychedelic-pop gem “April Grove” don’t get your feet moving and your spirits soaring then bad luck, you’re dead already. Elsewhere, “Phoenix”, “Razor Tongue” (featuring bass by Money Mark) and instant classic “Baby Blue” are further reminders Martina has lost none of her freewheeling vocal dexterity. Perhaps best of all, as first single ‘Carnies’ proves, The Blue God is as British as fish’n’chips.

“Carnies’ is about how intoxicating it is as a kid to go the fair and go on the rides. You get the horrors and feel out of control, and there’s a real sense of danger. At the same time, the central lyric is “Say what you want/ Life’s too good to be true’’. It’s bittersweet. The song is saying either you’ll come home or you won’t. I’ll always come home, I hope.”

Intelligent, life-affirming, futuristic, pop noir to make the head spin and the heart soar, then.

In a world that has come to welcome self made artists, Martina Topley Bird’s return couldn’t be better timed. She’s got something to say. Have you?

Pedro e os Lobos é o novo projeto do guitarrista e compositor Pedro Galhoz.
A surpresa no cruzamento de várias culturas e estilos musicais é desde logo notória neste primeiro disco.

Os ambientes cinemáticos onde a admiração pelo deserto é assumida.
A paixão pelos velhos mestres do Blues é evidente.
As guitarras empoeiradas e gastas, podem aqui coabitar com tascas Lisboetas ou com Tavernas de auto-estrada perdidas no meio da Andaluzia.
Aqui o tempo passa devagar, o eléctrico de outrora, muitas vezes torna-se acústico e fazer parte de conteúdos passageiros da moda, são uma recusa obrigatória.

A estrada, o palco, os amigos que partem e chegam em cada paragem, os amores, os dissabores, a esperança e as encruzilhadas que o destino e a vida em si nos reservam ao virar de cada esquina, são o mote para um conjunto de letras e músicas que relatam episódios da vida comum e do nosso dia-a-dia.

Ele é o Pedro e o conjunto de músicos convidados a colaborar são os Lobos.
Música honesta, livre e sem preconceitos é como o compositor define este seu trabalho.
2012 será o ano de um novo disco, uma tour e a internacionalização do projeto.

Pedro e os Lobos – Música para escutar de olhos fechados.