When both sides meet up under a mountain, while drilling for years, a tunnel is connected. Our movement has been drilling endlessly since 2014, hoping to get past that hard wall that is so difficult, but with the right people, artists and communities around us, we have finally accomplished this feat. The artist was drilling under the same mountain we are so covered by. The mainstream, and modern internet with its walled gardens, and opinions, that hold us down and house us in due to old rules that no longer apply (the music industry and forced ‘content’); were not allowing us to branch out. But the human spirit is powerful thing, it finds ways outside of prisons. The Internet is a tool, a communication center and a space to share ideas. – WEATNU – is one such idea for the experimental scene, a – machine – that continues to help the unknown experimental musician, because experimental music in general is important. Artists are seeking to be found, not by means of modern ways, or an overly active social media lifestyle, either with branding or intense marketing schemes, but actual passionate music and a longing to be heard. We are the community, we are a place for people to gather in a hub online, the city, the center of the indie scene for these musicians, – as artists – with our obscure audio paintings, that are on display for all to see; while passerby’s notice them.
By tunneling under the norm, we have achieved a new underground, one that ensures survival of the artist, without being a detriment to them and offering them free tools, radio, magazine, interviews, – label releases and podcasts. – People want to find like-minded fans in an overly-stimulated online world. This is a place where the attention of the fan is on you, and with the help of ‘both sides’ the artist and the movement, communities are created. They not only connect left and right under the mound of rock which covers us, but by way of other tunnels, connecting us across the world, in the place where it matters, where you find organic people, like small net-labels in the past, even outside the internet. Where a follower loves your music for you, not just your style, not your brand, and certainly not your viral status. These are the artists we house and people notice and take a stand against these norms that so plague us daily. –
The musician wants to make music for the sake of loving their work, and others who aren’t musicians, don’t necessarily understand, especially today in a hyper-driven Internet society. Websites use to be the place where the artist was found, even YouTube. This movement and its artists are moving forward under those tunnels connecting together to other communities, their artists, fans, and branching out selecting across the digital sea we are under because of actual footwork, and seeking out among a network online through communication and collaboration. We are seekers not only for others to listen but for a career in our music, that is final goal.
Because of this connection, we have achieved victory as a movement, with over 500 artists helped in ten years, and many countries who have released along-side of us. The label/s we house and highly passionate and talented musicians has caused WEATNU’s vision to become accomplished. Now a visual place to show ourselves and the fans who are unknown will find us, by way of podcasts in this year and beyond. The future of the indie artist is not IG, Twitter, Threads, or the like, it is you. You are the artist, if passion for the music is lost, what do we have left? We are not ruled by algorithms, or big tech, but by the human heart, – that simple nature to create song, and write, because you love to make music.
All of us, the very indie artists themselves are this driving force to behold, and your stories will be told to others who haven’t heard them before. Just like in the beginning those 10 years ago during the summer of 2014, now once again, and one artist at time, visually you will be heard. We must unite and break down the walls that separate us, that tell us we can’t be heard without major marketing or spamming social media daily. #WEATNU is promo itself because of your self-promotion, and you are the artist, not a product but a team of strong people who love their music and simply want it to be found. This next evolution of WEATNU marks our 10th year as a movement, we are a city with other communities around us – We are the New Underground. We are all one!
“Our music, our passions, the connections we form, the fans we lose, are all lost because of the control these tech companies have over us. The next generation is taking down the walled garden we have all been under for 10 long years. The control must end, it must fall like the great wall that separated two countries long ago. The human spirit can’t be pushed down forever. It has become akin to 1984.”
“There is a great divide separating us online”, the musician cannot find their fanbase, that once attainable organic group of people who are interested naturally in your craft. The artist who paints, or the filmmaker who directs, the creator who invents and wants to reach their audience. From the small business owner who wants to sell her flowers, or trinkets online to a fresh list of people. The once free Internet that we all had is now controlled. We are in a walled garden. Even our thoughts are encased in a digital prison. – Imagine if you will your home being boarded up with barriers on all sides, and you can’t talk to your neighbor, you can’t find new friends in that coffee shop, because they install cubicles that reach the top of the ceiling. This is digital tyranny and we have to get the word out and let others know what is happening.
WEATNU for 10 years has spoken out about the unfair music industry, and we are the new underground. We are musicians, the artists the people that these systems are hiding, one from each other and also from groups who may find them by discovery alone.
The tech giants that all came up like skyscrapers around our fair city, the old internet are now in full control over our daily lives. We – live and play – online, and we pay our ISPs for this, but these companies are not playing by the rules. They funnel our posts, our music, our links, our passions and our purposes into a computer program that dictates and directs where and who should see what we have posted on social media, YouTube, Instagram, and the like.
People rely on these companies because it’s all we have, and because there is no way around this, they are controlling their user-base by unethical means, they change the algorithm just when you think you have it understood; there is ‘no’ transparency. The rulebook is closed and no one knows the secret.
We have been whittled down to ‘content creators‘ the very things we love to do are hindered, hidden and lost to a sea of 1’s and 0’s online, only to be fed into a machine that Google, Facebook, TikTok, even Twitter, which have all the cards, hold all the power and where people use ‘with good faith’ that their posts and passions will be seen for all. They are walled off from their friends and even their families by showing them a feed of useless garbage to distract them, so that shareholders are appeased.
The artist has no way to break free, no way to expand and show their works to others. The Internet didn’t use to be this way, it was a free enterprise, where thoughts and uniqueness was upheld. Now we have no freedom to speak of. Musicians are without a fanbase, and fans likewise without new music. We have to fight to be heard, more than we should, or attain viral status which is absurd. We are fed ‘cookie cutter’ artists who seem to rise to the top, instead of the next Prince or Bowie. We aren’t allowed to find natural progression to make a simple living from our works.
Where are the leaders of the new music? Where did pop culture go? The musician needs to be heard, and WEATNU has been fighting for 10 years to help them. This is no different, and it is a hope that the word is spread far and wide to get them heard. Congress needs to know how much control these tech monopolies really have over us. The algorithm is hurting the arts and art is needed in a dull and dismal world.
There are studies being done on the effects that this level of control is having over society in a whole. Entire generations are leaving that world and going back to simple tech, just to have a normal existence. Where do we go to share our music and art, music videos and films we put intense passion into? It is hard to say, but until these barriers are removed, we have little to no freedom. The websites of tomorrow are our last hope.
“London ON, Canada, native, Jason M Norwood has been creating many projects since and before the year 2000. First forming his gathering HMR (Hope Mansion Recordings), then later joining with WEATNU in the early days. His music has bounced around from electronic, experimental, industrial, shoegaze, Berlin-school and post-rock. His work entails detailed music and soundscapes in the avant-garde territory. His current project ‘angel on fire’ has been showcased on WEATNU’s sub-label Transmission Nova. He had much to say about his music process, what he has learned over the years and how he has contributed to the music scene.“
How are you doing today?
Jason M Norwood: I’m doing well. Just got back from a walk in the warm weather, which was good.
Glad to hear that, it must be nice up there in London ON this time of year?
JN: It varies. Cold last week, springlike this week. I’m not much of a winter person, so 17 degrees C is welcome.
It appears over the years you’ve been moving from different sounds, and have various projects. One being angel on fire.
JN: angel on fire’s my second-longest project, which started around 2000 or 2001. It’s probably the most “different" of the different projects I do, as it’s primarily guitar-based. In fact, I only really used keyboards on the most recent record to see if they’d fit in, which I think they worked out well. Piano’s always been a part of it as well, but adding e-piano was an experiment that worked out.
At this time I have the diamond silence playing, it always captivates me; and lures me in to listen to all of it. The post-rock aspect always draws me in.
JN: It’s funny, because up until recently I couldn’t figure out a genre for it. Originally it was a combination of being inspired by shoegaze and industrial music, and trying to create a “dark shoegaze" thing, but it’s evolved so much over time (better recording equipment helps) that I couldn’t place it. The first two angel on fire albums were recorded quite raw on a 4-track with a guitar, bass guitar and a single mutli-effects box
angel on fire – the diamond silence
The flow of things via the music itself places ones mind in this relam of remembrance. Especially the mid to late 90’s when bands were played on the airwaves. Where do you draw your influences from?
JN: Influences are kind of nebulous for me. The more ambient side of shoegaze, certainly, and (when I started) post-rock stuff like Godspeed You! Black Emperor with their shortwave radio segues. I was also listening to a lot of industrial at the time, but more the late 70’s experimental stuff. Nowadays I have a hard time putting my finger on what influences it–angel on fire music is something that just sort of suggests itself in my head, and I roll with it. – When I started recording “the diamond silence", I was originally set to try making an all-acoustic album. My brain sort of hijacked the process and said “time to do some angel on fire". ?
That kind of happened with me when I was writing my album -ATD-. It was meant to be recorded to tape entirely then back to the computer, but I had a lot of tech issues. We get these happy musicial accidents.
JN: I love happy accidents in music; I’d rather hear that than over-processed, over-quantized music. It’s one reason why I like to use loops of my own drumming rather than programming everything; it feels slightly more natural even if they are loops that I can build on top of.
Since you’ve been with WEATNU Records, you found a place to drop your earlier music, such as Minutes after, Jason M Norwood and now angel on fire’s music.How has Transmission Nova served you, its sub-label?
JN: Artistic freedom, certainly, and community, which I think is incredibly important in a music business that just keeps squeezing artists more over time. angel on fire certainly fits Transmission Nova better than WEATNU, which is where jason m norwood resides.
Do you like the vibe on TNR? or Transmission Nova Records
JN: I do, and I like a lot of the music as well. I’m always just as interested in the artist as the art–like, where does YOUR music come from? Which is a good vibe to work with, even if angel on fire’s kind of its own thing.
The track ‘deep down’ from your album the diamond silence does something to me, especially the droning part toward the end, and while myself I am very experimental in nature when I approach electronic music, but in the sense that it’s organic and not electronic. The repeating voice: the whole album is hypnotic in nature.
JN: I think one of my earliest “wow" moments was when I started hearing about really early experimental artists like Stockhausen and John Cage. I’ve always been fascinated by the art of the tape loop, so that’s where a lot of that comes from, as well as my fascination with shortwave radio (you hear that at the beginning of the album). Quite the avant-garde in nature, but as a post-rock balance. There are all kinds of things via bass and guitar that make this album what it is, not to mention the vocals as a mystery in music.
JN: angel on fire’s strange in that I have a hard time defining what a song is about, for the most part. Lyrics just sort of suggest themselves. There does seem to be a theme of isolation in the album.
From an influence perspective, I hear Pink Floyd as well?
JN: You’re not the only person who has suggested Pink Floyd, and I do like them. I know I loosely based the structure of “the diamond silence" around Talk Talk’s “Spirit Of Eden", which I can definitely say is one of those deserted island albums for me. The sonic space of Pink Floyd, maybe?
It’s very possible, as we are influenced subconsciously by so many things growing up. Personally I can name my influences, such as 70’s pop being one of the later ones in my life now. We grow into our influences and make music around them.
JN: I always like to joke that I make records to fill gaps in my own record collection. ?
It’s hard not to notice the drumming on this album, have you always played the drums, is it a full set?
JN: I can play the drums; I’m not really a drummer. I’ve been lucky to help other people with their studios and recordings, and they let me get some recordings of just me playing a drum kit. So over time I’ve built up a library of these recordings that I can draw on. Occasionally I’ll add rhythmic elements over top of that.
So there are actual real drums on the album?
JN: Mostly, yes. For the title track, I used an electronic kit I had handy. The rest of it is a real drum kit with (in the case of “static in mind", a mix of both). Even if it’s an electronic kit, I still prefer live playing over programming whenever possible.
What happens when you begin to write music?
JN: With angel on fire, it’s a kind of a general feeling that something’s starting. Like I said, with “the diamond silence", I was originally going to work on an album of acoustic music, but angel on fire sounds started happening, so I just “switched gears" to recording the album that you hear. It’s a process of kind of giving over to a raw creative process and letting it define itself, which is probably why every angel on fire album sounds somewhat different.
Are you working on new music as of late?
JN: I’ve been taking a break, which for me is new territory—I normally go from one project to the next pretty fast. But it’s been nice to take a break even as I think about a couple ideas, including going back to the acoustic album and trying again. That’s a new project. I still have music in my head almost 100% of the time, though. ?
There is something about taking breaks from a just-finished album, that sense of accomplishment, which builds up in time and then you wish to make another one.
JN: I think I released my last electronic album in 2022. I had stuff written but it kind of fell out of favour, so that’s a possibility. angel on fire happens usually once every four or five years, but you never know.
What are your thoughts on the surfacing of your music to a new crowd of listeners, via our entrance into threads.net
JN: I think that the relationship of musician-to-listener gets shoved aside a lot in online discussions. I love it when people hear my stuff and come at it with their own ideas, and I’m starting to see glimmers of that coming back.
Due to your struggle in the music scene after your endeavor HMR, would you have continued down that road had you not have found WEATNU those years ago?
JN: I’m not sure, to be honest. HMR had a very similar philosophy to WEATNU, but when the various bands disappeared, I decided to end it. I had already released my tiny little techno project Minutes After via WEATNU because it fit WEATNU more than it did HMR. After HMR’s ending it was easy to fold what I do into the WEATNU ecosystem.
If you had something musically philosophical to say to the modern world, what would it be?
JN: Just to tune out all the noise that exists telling you to do things a certain way, and make the music that you want to make. And, and….never throw anything away.
It was a pleasure to hear from you the first time talking about your music Jason.
JN: Always a pleasure.
#WEATNU Digital Magazine – April 2024 – Almark
buy angel on fire – the diamond silence on Bandcamp
From the opening haunting notes of “your last touch” through to the end of “empty grounds”, the Promise by Weeping Boy is a work of experimental electronic music that hits you in the feels. When I first heard “lonely nights”, in some weird way that I couldn’t quite put my finger on, it almost reminded me of sombre indie rock from the early 2000’s even though that’s not at all the genre of the work itself. Then it hit me; vulnerability. That’s what it was. Vulnerability on full display.
Glassy ambient synth textures combine with occasional subtle, noise-oriented, percussion. Occasional pulsing arpeggios and sparse melodies float around the listener’s space. Inventive spacey pad-synths float above minimalist bass pulses on “inching closer” while subtle percussive samples carry the listener forward. “hearing voices” is another inventive and haunting piece, where sample aliasing and subtle bit distortion are used as an emotive textural backdrop that swirls about the listener’s head, while samples drift overtop.
“breaking waves” is a truly unique collage of almost melodic string type pads and digital bassy pulses, evolving into monosynth lines in the vein of classic experimental electronic music from the 70’s.
Packaged with gorgeous abstract artwork that complements the sonic qualities of the release, “The Promise” is a quirky, experimental and haunting release that will leave you aware that you’re longing for something, even if you’re not quite sure what that something is. Fantastic release.
Opening up with a deceptively simple electro flavoured beat, “@4” by Ronnie Spice is a unique and creative piece of music that pushes electronic music genre boundaries while also wearing some influences on its sleeve. In doing so it creates something fresh and original.
The whole track could be described as experimental, but with nods to electro house, hip-hop and even jazz. Phasing funky pads glide over a slowly evolving, but steady electro-house sort of beat, with sharp digital bass lines poking through the mix. Harmonized cold but funky synth stabs come in and out. Experimental electronic percussion elements are sprinkled throughout the track, which really shine and make me curious to hear more!
Around 2 minutes into the track a brief but solid rap vocal comes in and takes the track in a whole new direction.
Coupled with a gorgeous vintage looking photo of the artist’s day to day view from his workplace “@4” is something that needs to be experienced, repeatedly!
Finnish artist The Nightwalker comes to WEATNU Records with his debut release (Nobody Can’t Escape From Karma) Le Clotêt Avec Garcés hails from homeland of Catalonia, originally releasing under a folk-grunge album in 2015 and moving this year to an electro sound. Producing music in the cold north under the land of lights. The Nightwalker brings influences from GusGus and classic electro. His music has been heard worldwide. Hearing the melody that penetrates the heart and soul, you’re soon not to forget this tune.
“Looking back in retrospect to a time where it was hard to be seen or discovered, we have a lot that we have accomplished as artists. But now music is being discovered, and the system by which its being found, allows artists to take charge in where their music goes. without labels and without the middleman. We’ve come a long way as musicians and composers in the independent world. Instead of using our platform as a way to force the industry, we’ve become a part of the music scene itself, a part of music history. #WEATNU is at the sunset of its former days, as ideals and motivations change, and this idea we have has helped the many.“
An artist dreams of being heard, at least for the mere sake that you “climbed that mountain” and it feels good to accomplish a goal. To make a notch in the music scene with others, to make a change to help the niche artist and their fans. After 8 years We are the New Underground has been doing the same thing, but we are looking at the sunset of those 8 years and looking forward to the sunrise of the next era in a future not yet known.
What worked then, no longer works now, what was needed then is no longer needed. If the artist now has complete control over their music, their entire catalog and their fan base (which they should) then what about labels and free communities that help artists? Those places are still just as relevant, as they allow the artist to seek out new listeners and fans. Not just radio and streaming, or even Bandcamp but the indie label itself still matters. The artist may feel proud that they climbed to the top on their own, but none of us really make it there by ourselves.
Our efforts are not alone, as #WEATNU has loyal followers, some seen and some unseen, who help the new artist while they themselves benefit from the scene itself. The element to making music is greater than the career that comes from it. Art and music are the beating heart of what it means to be human, and the greater care taken to ensure that survives is above all. WEATNU isn’t a label, it’s a movement, of musicians, artists, poets and dreamers, all of which long for others to simply enjoy the work they have left behind.
We can’t all be David Bowie but there are others who are just as talented yet unseen, even underappreciated. This article should go to the labels, their indie artists and the fans that keep them going.
Most of us don’t make a dime from our work, but at the end of the day, that music you create is being heard by someone. Those people who take the time and put together large radio shows, for the artist, without payment, for the mere pleasure of getting the music heard, we salute you here at #WEATNU.
We’re all working together in some way to strike the balance for the artist. And there will always be artists who think they can do it all on their own, but adding their work to other places actually brings them newer connections and helps build a foundation, and new friends. No artist ever made it to the top alone, someone somewhere helped them see the peak that was hiding over the next cliff side. WEATNU continues to move with the DIY scene, and that means we move with your music.
A new generation of Industrial, Darkwave, Coldwave and EBM artists – take flight, as we start to build up our artist listfor 2023.Another welcome addition to the already existing list of labels that are provided here.
One of (6) internet radios that #WEATNU had during 2015 has just been born.
Having our 3rd sub-label set for Industrial and dark electro type genres, just seemed like the right timing. As the label continues to create more options for the listener, allowing in the known and unknown artist who poses “great talent.” Synthesis Noir promises to be something new.
While during the beginning of the movement of We are the New Underground, our roots were Industrial, IDM, Ambient, Dark ambient, and from that day forward the digital underground scene continues to morph and evolve and we release what is sent our way. One more label added to the landscape, one more option for the artist. These labels of #WEATNU help to target various scenes of the music landscape.
If you’re into classic Industrial, Electro, and EBM, then Synthesis Noir will be a place to keep an eye on. Our sub-label may include some goth-crossovers from Transmission Nova label as well. A newer audience will find this great music and the #WEATNU machine will continue to grow. Free to join, and great benefits allotted to the artist. Other genres may include Futurepop, witchhouse, and many sub-genres that come to us. If Transmission Nova is to guitar post-punk, then Synthesis Noir is to Coldwave and digital wires.
‘In a music scene that is nearly impossible to be heard, yet alone be noticed, #WEATNU has been fighting for experimental music since the summer of 2014. Starting by forming the group We the New Underground, on Soundcloud that summer, but that was just the beginning of an idea that became a movement and finally a label that artists could stand behind‘
In this world we have formed, the musician is appreciated, not underrated. It is a city all its own, a hub for artists who long to be found, found by anyone they can. The seeker who wishes for something more than top 40 finds it here. Along with the many artists who release to us, with other sub-labels connected, forming a network, a machine for the avant-garde, a world that is so well hidden, few know about it, yet alone care to seek it out, but it’s there, and it’s been building for these 8 years. That machine is a self-running creation, that is helping the indie artist.
In a digital realm that is vast, a small drop of water that is made creates quiet ripples across the digital ocean. The original logo becomes those quiet ripples moving across the music scene.
The mainstream is this imaginary wall that we all fighting. #WEATNU didn’t climb that wall, we tunneled under it, forming our own underground. Using the internet as that underground, an underground that long existed, before this movement was made, even before the internet itself was conceived.
The mainstream is this imaginary wall that we all fighting. #WEATNU didn’t climb that wall, we tunneled under it, forming our own underground. Using the internet as that underground, an underground that long existed, before this movement was made, even before the internet itself was conceived.
We are the New Underground –
The Underground scene
The underground has always been the hidden driving force behind the music. When mainstream was releasing Disco in the 70’s, people in their own world were creating punk and later Joy Division starting the post-punk movement. Then the 80’s, while New wave was jamming and pop radio was pushing synth-pop. Industrial began to surface with groups like Throbbing Gristle, Cabaret Voltaire, Skinny Puppy, NIN, Ministry and Severed Heads then from Belgium, EBM came forth, with Front242 andUK, Nitzer Ebb. When dance was huge, Richie Hawtin in a club in the Detroit scene was spinning techno, then later DnB, Jungle, Electronica in the UK, and Vaperwave, Lo-fi, Synthwave, Retrowave, Dream pop on the internet. And concluding, one scene building off another, connecting them somewhat with each other.
The experimental end of this spectrum began with early hits from Coldcut, Ninja Tune, WARP RecordsAphex Twin, Autechre, Squarepusher thus the IDM scene. Then trickling down to, Underworld, Boards of Canada, Tycho, Tosca, GusGus, and Röyksopp showing us the downtempo and chillout field of things. Each scene is born direct from the underground. A small niche of people find the music, and it drives straight to the heart of what they are longing to hear.
WEATNU encompasses all of these sub-genres in (4) labels.
A free existence to a musician is key to survival in a corp music world, and everything we do is free to the artist.
#WEATNU 2023
WEATNU Records
Housing all forms of electronic music, avant-garde, experimental and ever-evolving underground styles we are the bleeding edge of the DIY scene.
WEATNU Records – Founded 2014
IFMACA Productions
Our cinematic/chillout label and company for royalty free stock media, formed in 2021, and slowly rising to help composers who make film-related music, that you can listen to and enjoy.
IFMACA Productions – founded Summer 2021
Our library of composers continues to build
Transmission Nova
The post-punk/shoegaze of Transmission Nova, alongside goth and alt-rock of the 90’s.
Transmission Nova – Founded Nov 2021, launched 2022.
Synthesis Noir
And this year Synthesis Noir, our latest sub-label will house, EBM/Industrial, Darkwave, and Coldwave music.
Synthesis Noir – Founded 2023 (opens Summer)
Internet radio
WEATNU [OUR] Online Underground Radio, playing 24/7 on rotation all music that is uploaded to us. Freely send music to us.
WEATNU [OUR] playing the best of the underground, 24/7 Electronic, Avant-garde and beyond.
Alongside our sister station, Transmission Nova – WEATNU [OUR], which also plays Indie rock and shoegaze, goth, etc. Transmission Nova radio was the first before its label came years later.
Transmission Nova – WEATNU [OUR] 24/7 | Indie Rock/Post-punk/Shoegaze and Alternative. Internet radio: Playing the best of the Underground 24/7
Our movement hones in on “The Underground” of this modern era, where people are making music directly from their small bedrooms, tiny studio in their apt/flat. That obscure musician on YouTube you’ve never heard of, or the lonely talented musician that wants to be heard.
Along the way #WEATNU has formed Radio | Label | Magazine | and in 2023 formed its net-label to help the artist, who may not wish to sell their work, but instead be appreciated for it, under creative-commons licensing through archive.org.
#WEATNU – Net-label
WEATNU Records – net-label on archive.org – under creative-commons licensing. (opened 2023)
WEATNU continues to influence the indie scene
The image of #WEATNU – becomes invisible radio waves moving across the music scene, beyond web apps, beyond software barriers, and beyond the algorithm of social media, resisting restraint from the corp world. An idea is carried across the ocean, and around the world.
mind map of #WEATNU (c) 2023
Artists from different parts of the world
Artists from many places around the globe join us, we are a world-wide event. It started in the UK and spread to Australia, and now Russia where The Underground still thrives, thanks to the pioneers who keep it going; those early 80’s artists.
Artists and fans are given new options also in 2023, now that we have our network website.
Forum and social gathering
WEATNU Network – social network + forum, opened 2023
A free to join forum / social gathering for people to come together and share music, and to join #WEATNU, where one simply becomes part of the community, sharing each others music on the internet.
We are the New Underground seems to be influencing the music scene, in some way, by the people who hear the music we release to the internet. Those unknown musicians suddenly find a niche audience. There are micro communities across the world and have been for years, and WEATNU is here as the lighthouse for all to see from endless miles on that digital ocean we are traveling over.
Some artists who have come through our doors went on to become semi-famous, even successful and some were already this way before they arrived, only needing a boost for their self-esteem or finding a new audience, even enjoying the community we have here. For every person who can be helped here, they find their niche audience, and this continues to happen, due to the power of the internet.
What we offer is freedom to the artist and fans who alike wish to find music that isn’t mainstream, but has true, raw talent. Both the unknown and the known are welcome to join our movement. We need you all, now more than ever.
May we continue to grow in this hard music industry, but with your help, we will succeed.
