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MiekLyrik performed the great HOT single "What Can I Say (So Beautiful)" @ 721 Productions & Hot 97 DJ Radio Promo Showcase 4-3-07

It was a GREAT performance!!

Check www.myspace.com/MikeLyrik for INFO on future performances

San Francisco, California: Lawrence Blatt?s new solo album ?Out of the Woodwork? was released to radio stations across the US in late January and early February. Station uptake has been steady and to date numerous radio programs are airing selections from the album. As a result of the station uptake, the album debuted at number 11 on the February 2007 New Age Reporter Top 100 New Age/Ambient/World Radio/Internet Airwaves Chart.

?I am so grateful to the program and music directors for allowing my music to be heard. There is no greater reward to an artist than to know that your music has a chance to touch so many lives. The radio airplay is one vehicle for this.? said Lawrence Blatt when he learned of the news regarding the placement of his album on the top 100 chart.

To view the entire New Age Reporter Top 100 New Age/Ambient/World Radio/Internet Airwaves Chart please click here.

http://www.newagereporter.com/charts/top100.asp

More about Lawrence Blatt

Lawrence Blatt is an independent solo artist who has been playing acoustic guitar for over 30 years. He is currently performing his original compositions for finger-style-guitar in the San Francisco Bay area. His music has been called heartwarming, soothing, and relaxing. His music consists of layers of guitar work decorated with luscious melodies and percussive moods. ?As a solo instrumentalist I have to let my guitar be my voice. I try to create moods and express feelings by using alternate tunings, by careful attention to musical dynamics and intonation and by layering percussive sounds behind the main voice of the guitar. Sometime playing a phase softer or louder can have a significant impact on what is communicated. In some cases being a solo instrumentalist is difficult since I cannot use lyrics to directly express my thoughts and feelings. In another sense, this is highly cathartic as my music can communicate in any language and I can create new patterns of communication through sounds and rhythms.? said Blatt. His latest project is called "Out of the Woodwork" and is a compilation of thirteen original pieces that range from solo acoustic guitar works to multilayered complex compositions.

More about the New Age Reporter

The New age reporter was created to promote the New Age Music industry. In addition to new age music, the site also covers world music, ambient music, electronic music, Native American music, Celtic music, music for healing and relaxation, health and wellness music and many others. It provides a number of terrific services for artists, promoters, retailers and broadcasters of new age music, world music, ambient music, electronic music and other genres.

San Francisco, California: Lawrence Blatt?s debut album ?Out of the Woodwork? is featured in the April issue of the New Age Reporter?s ?Both Sides Now? column. This well known feature contains reviews by renowned New Age music writers Bill Binkelman and RJ Lannan.

?What I liked about all of Lawrence's songs is that they have the feel or distinctive kind of sound of honest first takes. These songs are not remastered over and over again which could have made them lose their earthy feel. Out of the Woodwork is by far one of the best tracks on the recording. It is a song about discovery or perhaps that story of big things out of small packages applies. This album is highly recommended.? said Lannan in his review of the cd

Binkelman added, ?With thirteen instrumentals on Out of the Woodwork, you get more than your money's worth if you love a varied approach to acoustic guitar recordings. Blatt deserves credit for not just his talent and skill on his instrument (which are considerable) but also how he managed to record an album as diverse as this one while infusing it with a single "voice" uniquely his. One of the more interesting guitar releases I've heard in the last year or so, the album gets "thumbs up" from me for both its originality and its overall artistry.?

Both writers highly recommended the cd. The complete review can be found at:

http://www.newagereporter.com/recording/viewreviews.asp?rvwbrd=8&rvwbrdpstn=1&rvwbrdcmmt=429

The Complete Reviews From NAR:

Out of the Woodwork

I found the guitar style of Lawrence Blatt very light. I mean light as in delicate, feathery and nimble. Then the mood changed and I found the music energizing and edgy. The sound of his latest offering Out of the Woodwork is way past contemporary and more reserved than neoclassical.

The tone of Blatt's copious liners notes made me think of him as a "long hair", but you would have to be a child of the sixties to get that. That is a person really wrapped up in classical styles and methods. His approach is to utilize his classical experience and blend it harmoniously with contemporary scoring. His CD jacket, with so much on it that it was printed microscopically, will tell you all there is to know about his approach and thinking. I for one just enjoyed his music.

The first track is sort of a tune up. Called It's Not Baroque, it is a sweet introduction with a Spanish tone and perky harmonics, but it only lasts 55 seconds. First impressions are so important, don?t you think? Then comes Jason's Party. Apparently a good time was had by all as this lively tune celebrates the camaraderie that is to be had when ever friends get together. Blatt's rendition comes across perfectly just as if he were a friend you asked to play at the party.

A couple of tracks have a unique sound. For instance, the style in Where Have You Gone? put me immediately in mind of folk rock legend guitarist Steven Stills. There is power and poignancy in this song of angst that declares that life stinks and fairness is out the door. The punchy guitar licks reappear in the title tune Out of the Woodwork. What I liked about all of Lawrence's songs is that they have the feel or distinctive kind of sound of honest first takes. These songs are not remastered over and over again which could have made them lose their earthy feel. Out of the Woodwork is by far one of the best tracks on the recording. It is a song about discovery or perhaps that story of big things out of small packages applies. (Got to read them liner notes!)

Here We Go was a favorite on the first listen. The tune is a bit elaborate with quirky percussion, but the lead is jaunty and has a lot of motion. This is traveling music no doubt and about the changes and travails we run into when we move around in life. Z-Squared is a song for the children. Lawrence?s two children Zoe and Zack are the inspiration for this animated tune that tried to corral the energies of two youngsters that are like night and day.

Finally, Keiki's Lullaby played on a ukulele is a sweet reminder that the world?s children need tucking in and a kiss on the forehead no matter where they are. This album is highly recommended.

Rating: Very Good+ - RJ Lannan
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Lawrence Blatt?' acoustic guitar recording, Out of the Woodwork is a multi-hued collection of pieces that vary not just in mood and tempo but also in regards to accompanying instrumentation (some cuts are solo guitar while others feature assorted percussion, electric bass, synthesizer, and even a ukulele makes an appearance on the last song). Regardless of the rhythm, evocation or musical motifs on any individual track, the quality of the music and the care which Blatt exhibits in not just his playing but also the production is always apparent (as is Gary Mankin's excellent mixing and mastering). While the CD may lack the cohesion that some new age music fans seek (i.e. establishing and maintaining a single mood), this variety is what I found refreshing. Also, there is a unified "feel" to Blatt's playing no matter whether he is toning it down to a whisper or whipping through it with a frenzy of passion.

After a short prelude piece (It?s Not Baroque), Jason's Party kicks things off with a light-hearted midtempo tune which juxtaposes the happy melody and bouncy rhythm with a surprisingly subdued overall sound (a unique and enjoyable twist). Say Hello to Yesterday slows things down to a more "traditional" new age acoustic guitar sound, as Blatt (playing only guitar) patiently unwinds the gentle refrain and bridge. It's a (dare I say it?) pretty song. Contrast that with Where Have You Gone which begins in a dark almost foreboding mood. When electric bass and dramatic percussion enter the picture, the setting gets even darker. The title track is another "atypical" slice of music that carefully balances delicate fingerwork against a pervasive mood of mystery eventually folding in pounding drum kit rhythms to elevate the drama even more. Synth chorals at the track?s close fit in perfectly. Standing in the Rain feels surprisingly (given its title) upbeat (I was expecting a somber reflective number). The Road to Poipu has Blatt plying his craft with some Hawaiian slack key guitar as well as an added touch of some fine percussion work. A lilting lively track, the song builds from a soft beginning to become an energetic tune. Blatt closes the CD with another Hawaiian-influenced piece, the ukulele number Keiki Lullaby which despite its jaunty pace still reflects a softer musical aspect of the artist?s personality.

With thirteen instrumentals on Out of the Woodwork, you get more than your money's worth if you love a varied approach to acoustic guitar recordings. Blatt deserves credit for not just his talent and skill on his instrument (which are considerable) but also how he managed to record an album as diverse as this one while infusing it with a single "voice" uniquely his. One of the more interesting guitar releases I've heard in the last year or so, the album gets "thumbs up" from me for both its originality and its overall artistry.

Rating: Very Good - Bill Binkelman

.With influences and inspirations as far afield as The Clash, Red Hot Chili Peppers, 3 Doors Down, Pink Floyd, Vangelis, Led Zepellin, The Stone Roses, BB King, James Brown, Sly and The Family Stones, Poco, Lynyrd Skynyrd, Peter Frampton, Bob Marley, Aerosmith, Bob Seger and The Rolling Stones , they could only sound like him.
His sound is like nothing else around at the moment, and has been described as "Awesome Entertainment". Daniel Gray Untamed describes himself as melodic, layered, driving, well thought out, thought inducing and passionate.

To keep up to date with all the latest on J2 try visiting the official J2 website
Alternatively you can add yourself as a fan to the J2 myspace page and stay abreast with all the current affairs.

The word free seems to make everyone look. lol
Just lettin you guys know that the new J2Mix CD titled 'The J2 archives vol.1' is now available for download.
and yes it is absolutely free! just click on the image and the download will start so why not. Its a free album after all from "the most talented and gripping artist to ever emerge from the UK."



www.Myspace.com/J22006
www.J2Music.Info

R&B sensation "June" gets deal with iTunes. Fresh off Streets to the sheets Vol.1 hosted by Kay Slay, June gets ready to drop his debut album "The first day of summer". The hit single "let it go" feat. Rocafella Records Young chris and upstate NY's hit single "Addicted" we definatly make the album.
THE STREETS ARE TALKIN!!!!


Myspace.com/upstateposterchild

new

http://montrealbands.net/schooner/

...with the elderly silvertone, a mnemonic phenomenon has occurred gradually in usage, some esoteric interconnectivity whereupon a creative sense has imbued the once atonal rawness of the instrument, transforming dubious half-notes into full diplomatic sound...distortion is all the more integral, technically so, as I would certainly sense loss were I without one or more abstractive devices. but, as stated, this guitar is built with time and character, a decade's worth of stringent yet therapeutic rickets work. I believe I shared the same relationship with my former guitar (an evil green helicopter of no value or name), crashing about basements and strumming abusively ? driving nails through that tawdry wooden form to some aesthetic extent or generally attempting to perceive its capacity for violence. with time, no matter the instrument, there is an evolution of sound adapted to the artist's idiosyncratic manner of execution, and the object begins to sound...good. not an illusion of good, good outwardly and objectively and unique, so very unique (which is key). I have a mind to purchase solely valueless guitars and ?save? their sound (and I am not expressing a propensity for large-scale alteration and/or parts replacement ? apart from strings - ); rough nine dollar diamonds kneaded from sonic decrepitude, rust-laden components and chipped cedarwood deliberately forced through endangered transmitters. Knuckle grooves in paint from previous owners, gashes in fingers, the lipped curve of bloody molten plectrum rigidly pressed to a drooping arrangement of nooses. the silvertone (now consummately tarred and feathered) is the most enduring, most beautiful guitar I have ever held; solid, heavy and managed into a sort of monster of cochlear reception. I view the guitar as an emissary judiciously depicting the coded evidence of my very being, an adamant safe-cracker of the internal happening (as with the unbidden thoughts washed to and fro during any melodic episode). Be wary the distinction, though, the transportation?directly into the mind of the composer.? g. sanchez once insisted that if he were to 'give' me his old acoustic guitar (that had never really resumed flight due to a missing bridge) I would, in turn, have to promise to never ever dispose of it. this was some time ago and I understand now, of course, the importance surrounding the words of a weathered musician (the carefully pared bridge of soft wood was far too immature for my impatience and the incomprehensible investment was one of years at the time). rarely has a song (as in a complete song, beginning to end) appeared, of a sudden, in my head, perhaps a portion of a song, or a sort of abstracted realization of a portion of a song betwixt thought-processes (that, should I find myself within proximity of a guitar, I will materialize strictly utilizing power chords), but nothing altogether elaborate or orchestral for that matter (estimating that that is your counter-position). I have, however, seen (rather vividly) a picture in my mind depicting the 'shape' of a song or 'an interesting shape for a song' and consequently written a song to, in a way, suit the shape, or, in the least, fill out the shape. the shape itself (to perhaps relate...) is remindful of the two-dimensional profile of any given motor vehicle, raised (topmost) areas, an increase in height or shapeliness and/or peaks are viewed ? of course ? as crescendos (whereupon in my purposefully stunted knowledge of the aforementioned I will use augmented (augmenting...) levels of distortion and volume rather than sublimate with logical harmonic perpendicularity) and the remainder, a body of sound (more often than not ?clean? determinations). *please note that I have apprehended a reference to motor vehicles as to project the idea; that I have never actually usurped the profile of an existing motor vehicle in order to frame a song). and, as always, one may gather that parts may be purloined from original solitary improvisations and placed side by side (I too am remarking on the linearity of personal musical perception) in order to create a solid song (and solid gold typification), which is most common, I have discovered. I will sit to write a song, usually on the edge of a bed, and remain seated until the song is complete (at most a couple of hours which includes the jumbling of lyrics until suited to my personal slant of perfectionism), although, actually, I will address the warmth of my coffee several times in one sitting (and here one may observe the profundity of concentration). each song contains significance comparable to that of a poem I have written (in all honesty, not very significant) until viewed quantitatively, as in an album, whereupon I obtain a true sense of accomplishment. mind you there is satisfaction in hearing an individual song (reading an individual poem et cetera), but upon perceiving a formidable, well-rehearsed repertoire of my general invention (thumbing through a book of personal poems), the result is unadulterated elation. ego aside and subjected to a plethora of insubstantial musical waste matter daily, I know that the sounds of my imagination have value, uniqueness, at least, and each song, upon materialization, bears this tag of worth innately (as with poetry). I have not methodically ignored an education in music for years for nothing. now apart from that, I have discovered the phenomenal escapist aspects of performance quite intriguing...this often occurs in stages, I have noticed, from initial song creation to live performance. there is absolutely no surreality in manufacturing a song, and I believe the toil besetting the act disavows one the other-worldly release...I am made aware as I piece a song together, so very conscious in that I am plucking random sound-pictures of the atmosphere, essentially. during rehearsal there are blissful moments of good distraction, yet the exigency of practice itself denies one complete effacement. live performances, on the other hand, provide a desired position of complete invisibility (obtained upon minutes of beginning...), but there are brief moments whereon one is grounded between songs (at a lesser level of elevation ,I should say). (micheal stipe admits to undergoing a six-month ?decompression period? after a series of performances...) due to a lack of performance-frequency I may solely express my understanding of ?decompression,? but I have experienced this sort of weening to a lesser degree. god's only man, as they say, and my involvement is such (should I reminisce) that, recalling our last imposition, come climax I had unwound every string, pressed my instrument firmly against the metallic fitments of the bass drum , and shoved with violent repetition ( which was explosively noisome, I have imagined) to a degree of utterly disturbing our drummer's meticulous actions. I suppose the more one performs, the more he or she experiences the development of this apparitional state. I must state, though, that I am solely aware after the fact (and I am aware), at times solely informed of my actions by others. I am usually entirely inebriated (which probably assists in the determination of invisibility) during a performance, so there are most commonly periods of blankness in any case. the audience is irrelevant during...and I have abandoned the thought of consider others when writing a song (for the sake of originality). I attain a sense of bliss when my songs are recognized, commented-on (inflation of the ego does not scathe one of inconsistent security), but, as with most artistic prospects, I fail to view myself attired in complete seriousness, hence maintaining the capacity to avert change as a direct result of ego infiltration. I have discovered that there is still excitement and originality in rudimentary expression (as though we have traveled beyond the essence without extracting certain very important mineral elements) , in outlooks of primitivism, and I have made a quaint little bed of fossiliferous valley. mind you, I may also retrieve this ?invisibility? when executing a song in solitude, although loudness is a great activator in achieving transparency (the horrific existence of neighbors).