Jessie Farmer ? Guitar and Backup Vocals
Jamie Holm ? Bass Guitar and Backup Vocals
Katie Murphy ? Guitars and Backup Vocals
Brooke Svanes -- Drums
Abisha Uhl ? Lead Vocal, Guitar



They aren't sick of Sarah -- actually, they love Sarah.

The band, Sick of Sarah, was named when lead singer Abisha Uhl, 25, was talking to her roommate, Sarah, who was complaining that she didn't like her name, that she was "sick of Sarah." Uhl was inspired to use it as the name of her band, which originally was Sparkle Motion. After learning there were hundreds of other bands with the same name, they decided to go by Sick of Sarah.

Sick of Sarah, an all-girl band of boundless energy met through mutual friends in 2005. They are releasing their self titled debut album in summer of 2008. The band which has a strong local following in their hometown of Minneapolis are beginning to draw attention nationally. It was after winning the MTV virtual Kaya?s Battle of the Bands they released a single ?Bittersweet? through LA indie Adamant Records. That single caught the attention of Spin Magazine which compared them to the Breeders and Sleater-Kinney in a ?Buzzcatcher? story.

Minneapolis serves as a symbol of the Sick Of Sarah sound. The city has served as the breeding ground for some of the most iconic and diverse music, from Prince to Bob Dylan to the Replacements and Husker Du. Sick of Sarah is five young women with five different tastes in music. The debut album is an amalgam of these disparate influences; a confluence of John Fogerty, Sleater-Kinney, Michelle Branch, Babes In Toyland, and Joan Jett to name only a few. "We write all our own stuff; it qualifies as indie pop-rock," says Abisha Uhl. "It is very melodic. We like sweet melodies and ballads, but we also like punk and the edgier stuff.? Uhl further describes the music as "crazy, fun and obnoxious."

The band only in their 20?s aren?t sick of much. They love touring, recording and causing general mischief.

SPYMOB

John Ostby, lead vocals, keyboards
Eric Fawcett, drums, vocals
Brent Paschke, guitar, vocals
Christian Twigg, bass

How do you describe a year in which your band toured the world, played on a gold-selling record, performed on "The Late Show with David Letterman," scored radio and MTV airplay, garnered critical acclaim, shared stages with everyone from David Bowie to Jay-Z and recorded its debut album?

"I call that a really good year," says vocalist John Ostby, whose group Spymob hit it big in 2002 as the backing band for Neptunes side project N.E.R.D. For the average artist, such achievements usually mark the summation of an entire career -- if they're lucky. Spymob, however, is just getting started.

Their eagerly awaited debut album Sitting Around Keeping Score glows with the absorbed influences of Todd Rundgren, Steely Dan, Jellyfish and Split Enz. It's also the first rock album released on Star Trak, the new Arista subsidiary founded by the Neptunes.

About the Neptunes/N.E.R.D. collaboration, Ostby says, "It changed our world. One day we were playing hole-in-the-wall gigs in our hometown of Minneapolis and the next we're touring Europe and performing on BBC's 'Top of the Pops.' It's the kind of stuff you dream about from the day you learn to play, but not something you can plan."

Pharrell Williams, however, had it all mapped out. The visionary Neptunes producer foresaw endless possibilities after hearing Spymob's much-buzzed-about demo. "They reminded me of the music I grew up with," he says. "Their songs sounded like Steely Dan crossed with the Meters and Prince and it just blew me away." Williams sang Spymob's praises to his attorney, who, unbeknownst to him, already represented the band. Meetings ensued, ideas were exchanged and excitement built as Williams told Spymob drummer Eric Fawcett, "I'm gonna blow Spymob up. Everyone is gonna know who you are."

After asking Ostby to lend backing vocals to the Neptunes-produced Kelis track "Mr. UFO Man," talk of a more serious collaboration began. It all came together in June of 2001, when Williams and partner Chad Hugo decided to re-cut N.E.R.D.'s debut In Search Of... using live instrumentation. The two-man hit factory, whose multi-platinum producing credits include Nelly, Mary J. Blige, Kid Rock and dozens more, had their pick of star power and A-list session players. They chose Spymob. "Those guys were integral to the making of the album," says Williams.

Rolling Stone agreed, praising In Search Of... by writing, "Credit has got to go to (Spymob bassist) Christian Twigg and Eric Fawcett for supplying Search with dexterous, downright joyful bass and drums." Entertainment Weekly applauded the Neptunes' decision as well, writing, "...the gamble paid off. In Search Of... has a crackling vigor missing from the first stab, and its melange of genres makes for music unlike anything else around."

Anything up until now, that is. Spymob raises the ante with Sitting Around Keeping Score, a boundary-busting album that swings and sways with seductive flair. Nine of Sitting Around Keeping Score's 12 cuts were produced by Stephen Lironi (Black Grape, Hanson), while Minneapolis-based Alex Oana produced the title track and "Walking Under Green Leaves." Appropriately, the band produced and recorded the spare and compelling "I Still Live at Home" at their home studio.

When someone suggested that the Neptunes re-mix one of the album's tracks, Williams laughed. "Chad and I are usually brought in to fix all kinds of things on records," he said. "We didn't want to touch this one at all." Adds Hugo, "Pharrell and I were inspired to form the Neptunes because of our love for old soul, jazz and rock records. I get that same feeling of excitement and energy when I listen to Spymob."

"Their attitude toward music is refreshing," says Ostby. "There are plenty of producers out there who just want to put their stamp on records, but Pharrell and Chad are mature enough to know that if it ain't broke, don't fix it."

Though Spymob's sound evokes classic rock and soul-music icons, they keep their grooves current by incorporating loops and samples into songs built on vintage instruments. Says Fawcett, "John has an old Rhodes piano, our guitarist Brent uses a vintage Fender Strat, our bassist Twigg plays a Fender Precision Bass and I play old Ludwig drums. Those vintage instruments have a warm sound, which makes the songs sound really rich."

At the heart of the band's sound is Ostby, whose supple voice, unique phrasings and reflective meditations lend depth and color. In his lyrics, he reveals a singular perspective full of irony, optimism and reverie. In "It Gets Me Going," Ostby turns the seemingly mundane life of a family dog into a deliciously ironic tale set to a rollicking pop song colored by buoyant piano lines, bold Hammond riffs, soulful guitar fills and subtle electronic nuances. The perked-up "Thinking of Someone Else" begins with a broken toe before its protagonist wanders into a dreamy remembrance of childhood and his mother's nurturing. In "2040," Ostby imagines domesticity in a not-so-surreal future. Belying its effervescence, "National Holidays" is a poignant and heartbreaking look at a divorced couple's custody of their only daughter. The sleek "German Test Drive" transports listeners from their late-model Corollas and Civics to the cockpit of a sports car on the Autobahn. He also imagines the life of a NFL legend in the final track, "Joe Namath." "Our job is to take John's quirky witticisms and observations about the world and wrap them in music you can move your ass to," says Fawcett.

Spymob's story begins nine months after Fawcett and Ostby's graduation from Minnesota's St. Olaf College, where the two roomed and played in a band together. Ostby was contemplating a career in film scoring in Los Angeles, while Fawcett had been accepted into a PhD program in the history of science at the University of Wisconsin.

"I didn't think I was going to form another band," Ostby says. "But that's where my heart was." He called Fawcett, played him some recently written songs, and the two agreed to return to Minneapolis and form a new band. "We were on a Blues Brothers mission from God," laughs Fawcett.

Once home, they met up with Brent Paschke, the guitarist who would help bring their developing sound to fruition. Ostby says, "I was coming from a background of pop music centered on the piano-stuff like the Beatles and Burt Bacharach, and also soul stuff like Stevie Wonder, Gamble and Huff and the Philly sound. Brent came in with a rock and funk feel, sort of like (Red Hot Chili Peppers axeman) John Frusciante. I think the fusion of piano-pop with the more aggressive, unorthodox guitar was key to forming our sound." A longtime friend and former classmate of Paschke's, bassist Christian Twigg, cements the group's lineup with his driving bottom-end groove.

What's the secret to the band's across-the-board appeal?
Says Fawcett, "We're willing to go to weird places musically to find inspiration, that's who we are

GINGERJAKE
BIO
Hailing from Minneapolis and formed in November of 2002, Amanda Harris (Vocals), Ian Severson (Guitar, Backing Vocals), Eric Rotter (Bass, Backing Vocals) and Joe Rotter (Drums) have created a unique style of aggressive rock that?s been described by numerous fans and critics alike as the ?perfect blend of beauty and brutality.?
Prior to Gingerjake, Amanda was making a name for herself as a solo artist while Ian, Eric and Joe were members of the now defunct band Two Ton Crutch. When a mutual friend introduced them, the chemistry was instant. They?ve been writing and performing ever since.
In only their 7th show, they placed 2nd in the Twin Cities hard rock station's 93X Battle of The Bands. They then went on to play the station's annual 93X-Fest in Somerset, Wisconsin, sharing the stage with such bands as Sum 41, Taproot, CKY, and many more. Since then, they?ve embarked on a non-stop assault of the Minneapolis/St. Paul and greater Midwest club scene. To this day they continue to stretch deeper into the Midwest playing shows in Iowa, Wisconsin, South Dakota, Nebraska, Illinois, Kentucky and beyond.
In late 2003, Gingerjake journeyed to Orange County, CA where they hooked up with Producer/Engineer Cameron Webb, who has engineered albums for 311 and Godsmack and produced So Cal punk legends Social Distortion. They returned with a blistering six song E.P. entitled Paralysis. Released independently in March 2004, the band kicked it off by packing The Quest Club in Minneapolis with over 950 fans. The single "Karats" quickly received airplay on 93X?s prime time audience judged "Cage Match" with Gingerjake being crowned ?retired champions? as they beat out national acts for the entire week. Since its release, the E.P. has rapidly scanned over 3,500 copies and receives regular radio airplay on several Midwest stations.
In May 2004, Gingerjake returned to the 93X Battle Of The Bands and won, securing a coveted main stage slot at the 93X Riverfest concert along with Sevendust, Papa Roach, Cold and many more.
In September 2004, the Paralysis EP was nominated as ?Best Hard Rock Recording? by the prestigious Minnesota Music Academy.
On October 10th 2004, the band returned to The Quest for the release of their highly anticipated live concert DVD, again packing the club with devout fans. On January 14th, 2005, Gingerjake's "Karats" was added to XM Radio's "Unsigned" show where it will continue to receive regular airplay.
A highlight for Gingerjake in 2005 was playing Summer Fest in Milwaukee, WI. Gingerjake were direct support for the Cardboard Vampyres, Jerry Cantrell?s (Alice In Chains) rock star line up cover band. Gingerjake played to a capacity crowd of over 5,000 fans and are invited back to play Summer Fest in July of 2006.
Most recently, Gingerjake released ?Get It Get Off / Live?. The mostly live EP consists of a studio version of the single ?Get It Get Off?, a multi-media video for ?Get It Get Off?, as well as seven previously unreleased live tracks. It was released Friday, January 13th ?06 as a limited edition release which recently sold out of it?s only pressing.
Currently, Gingerjake is hard at work in the studio working on new music to potentially be released this spring. No release date has been set yet, but the new material is shaping up to be the strongest Gingerjake music to date. Stay tuned and look for Gingerjake in a city near you.

American Head Charge are survivors. Despite numerous line-ups, the tragic death of guitarist Bryan Ottoson and changing labels, the band is still creating music and decimating crowds across the globe. Their new Nitrus Records CD/DVD compilation aptly-titled Can?t Stop the Machine chronicles their roller-coaster career. Guitarist Benji Hellberg sums up the DVD best. ?I want fans to be able to feel like they?re getting to see inside the band members? souls. The story is completely out of control and unbelievable, and the music is just as out of control and unbelievable.? With numerous extras, music videos and unreleased tracks, fans are granted all access to the enigmatic band like never before. The DVD also features a 75-minute documentary with tour and studio footage from the last five years, as well as jarring and honest interviews with members both past and present. Holding nothing back, the film captures the darkness and genius inherent within American Head Charge.

NUMM started in 1999 with three bro's originally from Eau Claire Wisconsin, JoeyD (vocals,guitar) Stab (bass,vocals) and Mikey (drums). The band quickly gained recognition as a contender in the Minneapolis music scene with their heavy melodic sound, playing major venues such as First Avenue and The Quest, as well as many other gin joints around the midwest. It didn't take long for the band to make a name for itself. While Recording at Oarfin studio's in early 2000 the band went through two member changes. Mikey and Stab where gone being replaced by Beak (drums) and Kerry (bass). The Band pressed on and continued to gain momentum touring and recording as a trio. One night after playing another Quest for Mayhem in Minneapolis, Joey met Dale Steele (lead vocals) and they talked about writing some songs together and it worked. Now with a lineup stronger then ever the band began attracting label attention, and working with major notables in the music biz. Playing with just about every named band on the MNPLS scene as well as some major touring artists, NUMM had/has a whole vibe of their own!

Who is ill e. gal?

Hopeful, honest and hungry her mission is clear.
Strong, independent and lyrically inclined, her time is now.

ill e. gal was born and raised in Rhode Island. As a young girl she excelled in writing and poetry. It was no surprise when she realized her true calling in life in late 2002. Being an emcee. Although she had recorded two songs in early 2003, one being fan favorite ?Mary Jane?, ill e. gal felt as if there was no outlet for her music in New England. She took a chance by moving to Minneapolis, Minnesota in late 2005. Leaving her family, friends and everything she had ever known was one of the hardest challenges ill e. gal has ever faced. Luckily, at that point in her life, moving to Minnesota was one of the best decisions she could have ever made.
After six months and almost calling quits, something happened that would change her life forever. She met a few local hip hop artists including Krow and Miss Tress. Shortly thereafter, she was introduced to Ruthless and Playaz Lounge Crew of Loonatix Productions. ill e. gal had finally found people to work with. Other up and coming rappers just like her, who shared the same dream. Since then, she has been playing shows all over the country with Miss Tress in their band, True High Class. These ladies are currently recording their debut full length album ?Wings? which will be available this summer. Last year, T.H.C. won the Twin Cities Music Award for the ?First Ladies of Hip Hop?. The girls are also opening for national recording artist Tech N9ne this May. ill e. gal continues to remain a solo act as well, and has her album already in the works with a fall release expected.
ill e. gal stays true to herself, her beliefs and her motives to convey a clear message with her music. She fights strongly for the struggles of women that continue in today?s society. It is noticeably evident that there needs to be more females representing females in this male dominated genre. She also feels strongly and supports the actions to legalize marijuana. It is such a positive force in her life she will do all she can to speak her mind and reach the millions of people who feel the same way. ill e. gal is here to enforce change in the lives of many, to her it is more then hip hop. It is more then music itself. This is life.
Her sound is unique, aggressive and heavy with angst. ill e. gal needs to be heard loud and clear. Though a little rough around the edges, she has proven herself to be a contender in this game. Her lyrics come from the heart and she is not afraid to say it like it is. Fusing hip hop with punk rock and industrial she continues to grow not only as a writer but a musician as well. She has started producing her own beats, and is constantly improving as a performer. ill e. gal is a master of self promotion, acquiring a fast growing nationwide fan base. She has created quite the buzz in the underground scene. I guarantee there is much to look forward to from the likes of ill e. gal. In her eyes, this is just the beginning.

Once upon a time, Erik Appelwick and Darren Jackson were hard at work writing songs and gigging for their "other bands" (Vicious Vicious and Kid Dakota, respectively). But in the damp basement shadows of a lowly squire's Minneapolis cottage, the two were experimenting with a mysterious and magical sound that didn't seem to fit the vibe of either band. They'd lay down a few tracks here and there to blow off steam or to find a good home for an orphan guitar lick or synth riff. You know, just for kicks. The lucky few in the kingdom who heard the handful of resulting songs liked them very much. So although the duo focused on their other efforts, they nevertheless played an occasional show under the name "Camaro," airing the charming innocence of '60s-era pop cuts like "Drain the Sea" and the bittersweetness of anti-love songs like "Pretty Bigmouth" to enthusiastic crowds. And each time, they had only a sheepish shrug for the hapless fans who inevitably demanded, "Where can I buy your record?" Eventually, the two began asking themselves the same question. They took a closer look at the repertoire that had materialized into a full-fledged album in those dark basement corners, and decided that "sooner than later" was the appropriate response. The king of 2024 Records gave a listen one fateful January day (with Jackson singing live into the computer screen on some songs) and decreed that a debut was, indeed, long overdue. Then again, timing is everything, and in the interim, Jackson and Appelwick had gained valuable experience behind the boards working on their own projects, as well as those of the artists who sought out the pair's production skills. Their songs had evolved. They had acquired some new gear. They had grown in wisdom and beauty. And they had chosen a new name to launch this musical adventure. The resulting well-oiled music gemini now known as the Hopefuls added the engineering wizardry of Lord Alex Oana (Honeydogs, Spy Mob) to the mix. The finished record, titled "The Fuses Refuse to Burn," is slick in all the right places but always full of soul, and combines a bit of Weezer guitar grit with the playful, carefree anthems of bands like The Apples in Stereo and Beulah. Onstage, bassist Heath Henjum (The Beatifics), drummer Eric Fawcett (Spymob, N.E.R.D.) and multi-instrumentalist John Hermanson (Alva Star, Storyhill) complete the Hopefuls lineup. And the quest for rocking mightily continues...

7 MONTHS OF NOTHING started as nothing more than a pure desire to create good solid power-funk, groove-metal. The culmination of talent, desire and chemistry is what sets 7 MONTHS OF NOTHING part from your average band. Their charisma and stage presence will light up any stage they have the privilege of playing. Each and every member of this group has an unquenchable thirst for success. Their definition of success, however, is to create great music and share it with others. They strive constantly to take their sound and fan demographic to the next level by incorporating infectious rhythms with the intensity of raw metal. This makes their music a mix of pulse racing, head pounding, power groove, heavy funk and melodic metal. 7 MONTHS OF NOTHING has the rock solid potential to help bring new listeners to the local music scene. So if these words have fallen upon ?DEF EARS? or ?BLIND EYES? then come experience the super high energy, fist waving phenomenon known as 7 MONTHS OF NOTHING!

Biography
Quietdrive members Justin Bonhiver and Droo Hastings were best friends growing up together. In 9th grade, Brandon Lanier started telling Hastings that he was a great drummer, and that they should start a band with him. At the time, Droo Hastings was the lead singer of the trio, and Brandon was the bass player.

The band started to audition for a lead singer, so they posted an ad on MP3.com. Kevin Truckenmiller posted his solo work, including an early incarnation of the song Both Ways. They later got Kevin to audition for them. At the time, Kevin went to the audition and sang into a radio-shack microphone. The trio clamed that they couldn't really hear what he was singing, so they set up a recording session at a friend?s basement.[citation needed]

When All That's Left Is You is Quietdrive's first full-length album, released in May of 2006. Its first single was "Rise from the Ashes" and was featured on EA's NHL 2007 soundtrack. Matt Kirby has been quoted in saying that the band wants to explore different sounds in their album, including the harder rock sounds from their past.

For the month of January 2007, Quietdrive is being featured as the "Artist of the Month" on Xbox Live. The band is touring heavily in the midwest as of late 2006 and early 2007.

Quietdrive released a new single entitled "Pretend" on their AbsolutePunk.net page in early 2007 for fans to stream.

This band had a odd beginning. late in 2002, Mr Ronis, playing with the experimental outfit, the Ronis Brothers, was asked to sling the axe for a little-known folk-rock singer named simply PILLA. After one practice before the show the next night, it was clear to Mr. Ronis this line up had somethng special. Prowling the stage like a animal waiting for prey, it was easy to see Mr. Pilla NEEDED to sing true rock n roll music. After the show, Ronis approached Pilla with the idea of a TRUE modern rock band. Loud guitar, screaming solos, screaming, melodic voals, and pounding drums. After the first song writing session, it was clear it MUST happen. Platinum, from the Ronis bros, replaced the orig bass player, bringing with him a taste for writing hot licks. Together, they are manace on-stage, playing with a no-holds-barred attitude, full of what a rock show SHOULD be. Checkout a show, you wont be dissapointed.

Fate sometimes smiles upon those who least expect it. This was the case for STAIJA during their chance meeting with Grammy-award winning audio engineer Steve Hodge in 2004. After listening to STAIJA's successful first EP "A New Energy," Hodge took STAIJA under his wing and honed three new songs for the "Show Yourself" EP as a pre-curser to a full length release expected early 2006.

Live, STAIJA's contagious vortex of energy is fueled by its rabid and rapidly growing fan base. Singer Alex Anderson's voice hovers over the dynamic, fleshy undertones, partnering with guitarist/singer Tony Williams at times for ambient, hypnotic harmonies that lull you into its grip. At other times, Anderson's eyes peel back, the rhythm section pounces, and a growling potency smashes down on you in furious ecstasy. This brilliant and unique show is enhanced by elaborate drum breakdowns, where Williams joins drummer Dane Tuders for well-orchestrated and stunning tribal rhythms. Dane's abilities are also displayed on a side project called F.O.R., which includes Paul Gray of Slipknot, as well as Chad Hanks, and Martin Cock of American Head Charge.

STAIJA has shared the stage spotlights with several national recording artists including: Taproot, Kings X, Flaw, SOiL, Trapt, Powerman 5000, American Head Charge, and Marilyn Manson. When STAIJA took the stage before Marilyn Manson, in front of a crowd notorious for eating the opening act alive, thousands of uninitiated concertgoers erupted in unanimous approval. This event made it resoundingly clear that STAIJA is ready for the next step.

Over the last three years, the members of STAIJA have exerted a tremendous amount of focused energy into sharing their art with as many people as possible. With a sound and performance versatile enough to intrigue and engage any music listener, STAIJA is ready to take hold of the national spotlight. They only need to be given the opportunity and the audience. Let fate smile upon you, and help push STAIJA to a new level.

When we began typing up our band bio, we wanted to really give people an idea of what SMILIN LIAR is. It seems like most band bios are either a wordy description of how the band thinks they sound, or some drawn out history of each members' life with ramblings about chemistry and originality. Well when it comes down to it, everybody's a critic; everybody has their own opinion. If you like SMILIN LIAR because of what you hear, what else do we have to say? You obviously get it.

If you want to know what SMILIN LIAR is about, the bands driving philosophy is about exposing the Lies of Life. This is a primary motivation in what we do, through our lyrics, music and beliefs.

We see SMILIN LIAR as a motion. Musical styles, band images, even gimmicks for some change throughout the life of a band, the thing that we feel makes SMILIN LIAR a good band is that a main goal is to stay true to what we feel. If we feel good about what we are doing, then it IS good, and we believe our fans pick up on that. Some fans come and go, but we also have a large number of fans that have followed us through our progression as a band, some of them have even become good friends. That's what makes SMILIN LIAR real and keeps us alive.

We ourselves aren't sure where exactly this motion will take us, but we do know what will keep us in motion. Feeling good about what we do, appreciation for fans, and making sure SMILIN LIAR continues to get in everyone's face and through their ears. Who's coming with us?