The 4onthefloor deliver stompin' blues at an alarming intensity. 4onthefloor was born in the bottom of a bourbon bottle with the idea that it’s effing time to have some fun and make amazing music as well. Audiences immediately took to the infectious driving feel of not one, but four bass drums pulsing to the beat of the songs. The music is inspired by the gutsy stomp of the Delta Blues and the hoe-downs from America’s past and present. While 4onthefloor prides themselves on their original songs, they also love putting their signature stomp on covers from the likes of Wilco to Tom Jones. This makes 4onthefloor one of the most entertaining bands on the Midwest music scene today, and the world tomorrow.

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They pull no punches. They won’t bore you with trying to explain how multi-genre and indefinable they are. The 4onthefloor play rock music. The 4onthefloor play blues music. And they do it in 4/4 time. 4×4, The 4onthefloor’s debut album, showcases the band’s heavy-handed (or should we say heavy-footed) rhythm section that, when paired with lead singer Gabriel Douglas’ gritty, baritone vocals, makes the listener both nostalgic and ready to drink… or maybe even fight. Through gutsy Delta–Blues and classic Americana, The 4onthefloor put their signature stomp on these classic genres with not one but four bass drums pulsing to the beat of all 16 tracks. Inspired by The Doors, Muddy Waters, CCR, Howlin’ Wolf, Tommy James & the Shondells and Waylon Jennings to name a few, all four members operate on the same hard-hitting, bourbon-infused wavelength while keeping perfect time.

BNLX has been meeting and/or exceeding expectations whilst providing mission critical noise solutions to the entertainment sector since Q1 | 2010. The band is a two-piece noise/electronic ensemble featuring musicians; it also incorporates visual and narrative elements. These compositions combine rhythmically-expressed poetry in popular idiomatic vernacular (“rhymes“) with pulsating percussive elements (“beats”) and harmonic modulations/variations/transpositions (melody). The resulting unique juxtaposition of auditory and narrative elements can only be described as “music”. Thematic topics on this release include IED’s, event horizons, beards and banjos, and deposed royalty. The group is comprised of members from Polara and The Moodswings.

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Muddy Waters once said, "If you want to play the blues, you have to go to church. A Black church. Because that's where you learn to put your soul into music." While making no claims to be in the same league as legend Muddy Waters, the concept of injecting soul into music was fascinating to Ramones-obsessed members of the BCS. Based in Minneapolis, the Black Church Service has few goals other than to play some decent punk rock music, injected with the soul.

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featuring members of CHOOGLIN'

Martin Devaney has always embraced his local identity, literally dubbed the Mayor of St. Paul by friends and compatriots in the music scene. A classically trained musician with a jazz sax background, the accomplished singer-songwriter got his start playing with revered hip-hop ensemble Heiruspecs before embarking on a solo career. After self-releasing an EP in 2001, Martin followed with four full-length albums, each garnering more praise and attention from press and fans. Described as “a charming, bushy haired, sweet voiced tunesmith” by No Depression, Martin became quickly known for his poetic, yet unpretentious songs and inspired live performances.

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Now, over four years after his last release, Martin Devaney unveils his best work yet. The West End, another project with Mark Stockert and Underwood Studios, features an all-star cast of musicians Dave Boquist (Son Volt), Steve Murray (Molly Maher and Her Disbelievers) and Mick Wirtz (Bellwether). It also highlights the long-time collaboration with Jake Hyer (vocals, violin, mandolins). Harmonies with Hyer provide the bread and butter to Devaney’s artful, sincere songs, and obviously guided much of The West End’s creative energy. In addition to his own band, Devaney plays sax with Twin Cities’ indie-folk darlings Roma Di Luna, recently mentioned in Rolling Stone, and heads the local rock band Crossing Guards. In the past decade, Martin Devaney has shared the state with and impressive list of national acts, including Andrew Bird, Mason Jennings, The Jayhawks, Semisonic, Soul Asylum, Billy Bragg, Evan Dando, Mary Lou Lord, Robbie Fulks, Dan Bern, Ike Reilly, Damien Jurado, Rhett Miller, Mike Doughty, Mary Lou Lord, The Roots, Southern Culture on the Skids, and Richard Buckner.

I’ve taken to introducing Ashleigh Still as “the Eva Cassidy of Woodbury,” because her soul – even more so than her stunning voice – recalls the late great D.C.-area thrush’s depth of feeling. Which is to say that Ashleigh sings from a deep place informed by her hardscrabble experience as a gospel-trained, church-raised single mother of two whose fashion photos could grace the cover of either “Bust” or “Glamour.” (When asked how she knows so much about men, she recently said, “I don’t! It’s all imagination…”)

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But beyond her outer beauty and the wisdom that comes from the day-to-day struggle of making a living for her and her kids, there is an inner flame that burns brightly and has something to say; something about what it’s like to be a woman trying to dig out from the conformity of society, religion, and family. In that sense, Ashleigh also reminds me of Anne Sexton and Billie Holiday. Like those two express-myself-or-die classic talents, she manages to stop time when she opens her mouth/heart, and we’re all the richer for it. [Jim Walsh, Summer 2009]