FEATURING

The first single and hit song ‚ÄúShiver,‚Äù is about the passion of love. The award nominated video for ‚ÄúShiver‚Äù, choreographed by Luther Brown (So You Think You Can Dance Canada) and directed by RT!, reflects the sensuality of Shawn’s musical vision, married with movement. ‚ÄúNight Like This,‚Äù the second single, marks his return to his roots in dance music.

Shawn is back to dancing, performing and touring this time with the Backstreet Boys to support the release.

From the moment he released his self titled debut platinum-selling album (2002), Desman has enjoyed phenomenal success in the music industry. His album spent an incredible 49 weeks on the SoundScan Top 200 sales chart and produced two Top 10 singles and two #1 videos. He instantly proved he was about to become a superstar entertainer worthy of all the critical acclaim and destined to be at the forefront of the global music stage.

Desman‚Äôs visibility then soared to even greater heights after the subsequent release of his sophomore gold-selling album ‚ÄúBack for More‚Äù which produced a #1 hit single, three Top 10 hit singles, and also garnered him a Juno Award for Best R&B/Soul Recording. Desman‚Äôs hit single ‚ÄúSpread My Wings‚Äù was featured in the film ‚ÄúKangaroo Jack‚Äù and appeared on the soundtrack. Desman has also worked with acclaimed producers Rodney Jerkins (Michael Jackson, Destiny’s Child, and Whitney Houston) and Tricky Stewart (Beyonce, Rihanna, and Mary J Blige).

His high-energy, infectious single, “Let’s Go,” exploded onto the Top 40 radio chart after just 1 week, peaking at #1. His extensive tour schedules, both in Canada and abroad, showcased him as a dynamic and energetic performer and received extensive praise from international fans.

Despite the frenetic pace of his own career, Desman, has collaborated with other artists and producers to continue to explore the possibilities of music. He has co-written and co-produced three consecutive Juno Award winning albums in the Best R&B/Soul category. His passion for music continues to have him write and produce for artists and labels around the world.

Desman also continues to have a very successful acting career including roles in Paramount MTV”s feature film “How She Move,” “Honey” starring Jessica Alba and “Get Over It” featuring Carmen Electra.

Having spent most of his life working diligently as a world renowned entertainer and performer, Desman continues to strive to leave an indelible mark on the human experience through music and dance.

AUTOMATICLUV has thirteen new songs from Danny, plus an additional version of future single “Take Me Away” remixed by one of the world’s top producer/djs, Grammy Award winning Benny Benassi. The album features an impressive and diverse list of guests including Belly, Josh Ramsay of Marianas Trench, Shawn Desman and Mia Martina. “I make music that I can dance to,” Danny says. “That’s what I do because I was a dancer before I was anything else.”

Although some may have the misconception that success came overnight – Danny first began his career as a dancer at the age of six and it has taken tireless effort and determination to bring him to where he is today. Born the middle child in a musical Italian/Portuguese family with a grandfather that was an opera singer and an older brother that was already an artist (Shawn Desman), the now 25 year old naturally gravitated to music, but favoured dance first to keep out of the shadows. He proved a quick study with an ambitious streak. By 11 he had an agent and was dancing in commercials. By 16 he was practically drowning in gold medals, even netting two consecutive (and aptly-named) Rising Star awards in the annual CNE dance battle. At the same time, he blew away thousands of competitors to become the youngest member of the Toronto Raptor’s famed Dance Pak and started appearing regularly as a backup dancer in music videos.

“I‚Äôm fortunate that my parents have always been incredibly supportive,‚Äù raves Danny. ‚ÄúWhen I told them at a young age my desire to pursue music and dance as my career, not just a hobby, they said ‚Äòlet‚Äôs do it, but you‚Äôve got to work hard.‚Äô‚Äù Soon after, he hit the road with the likes of Aaron Carter, Blackstreet, Deborah Cox and his brother Shawn, with whom he toured the world for an entire year, even playing the NBA All-Star game in Atlanta.

By the time he returned to Canada, Danny was ready to step up to the mic. He hooked up with then-fledgling producer Pilzbury and the pair ensconced themselves in a Brampton studio. One of their first collaborations back in 2003 was the song “Curious.” In a rare case of piracy gone right, the track mysteriously leaked online and was discovered by a DJ in Germany who pressed it to bootleg vinyl. “I don’t know who did it,” Danny says, “but who ever did I want to thank.‚Äù His MySpace page got flooded with requests and soon he was touring Europe for months on end and topping club charts. It was then his time to conquer Canada. He didn’t have a label yet, but that didn’t hinder his focus to succeed. In late 2007, he sent “Curious” to New York and the hot track easily convinced rapper Juelz Santana to drop a guest spot. Without any label backup, the song shot up radio playlists into the Top 20.

In 2008, Danny signed to CP Records, Canada’s hottest independent label and home of Belly, Massari and Ivana Santilli. With CP Records he found much more than a record company ‚Äì he found a family and a creative community that could push and inspire him. “This kid is a triple threat. He’s headed to the top,” boasts Belly, who personally recruited Danny into his revolutionary army invading Canada’s airwaves.

You only get one chance to make a first impression, so Danny and Belly hunkered down in the studio to write the songs that would become his debut album Intro. The album reached #1 on iTunes and received rave responses from fans and critics alike. The first two singles ‚ÄúPrivate Dancer‚Äù and ‚ÄúFantasy‚Äù both went GOLD and he had four music videos achieve a record six #1′s at MuchMusic and MuchMore. Danny has already earned seven MMVA nominations (winning for Best Pop Video of the Year for “Private Dancer” in 2009), two JUNO Award nominations and walked away as the Best Male Artist of the Year at the 2009 Top Choice Awards.

Also since the release of Intro, Danny has been a judge on YTV‚Äôs Karaoke Star Junior; toured with artists such as: Akon, Flo Rida, Sean Kingston, Girlicious, been part of an Athlete’s World ad campaign, graced countless magazine covers; and even had his very own MuchMusic episode of “My Date With‚ĶDanny Fernandes.”

When asked why the new album is called AUTOMATICLUV, Danny has this to say, “I am so proud of the songs on this album and hope that people fall in love with them right from the first listen.”

Most debut albums are a loose representation of what a band will become. Not until they tighten up; gain enough experience and confidence to dictate their future progression does their sound begin to solidify.

Given the enviable success garnered with their 2009 self-titled debut though, Stereos started miles ahead of the pack. There was no wonder as to what this fresh-faced quintet’s refinement would breed: even more compelling songs motivated by their unified personality, musical ability and impeccable delivery.

It’s a given when one considers that no less than all eight of Stereos’ singles from their eponymous debut hit the radio charts, with ‚ÄúSummer Girl‚Äù grabbing the #2 slot, and the record reaching a prestigious #3 on Canadian Album Charts overall. Factor in that it reached certified gold sales status shortly after release, six videos in constant music television rotation, cross country tours in both Canada and the US, ongoing radio play, as well as nominations for the 2010 Juno Awards’ Best Pop Album and Best New Artist, and how could Stereos and their impeding follow-up be anything but‚Äîas Kordyback refers to it‚Äî‚Äúright?‚Äù

It couldn’t. Golden children from the moment they were conceived as Stand By Me in Edmonton, Alberta circa 2005, Stereos has been on an astral course. By 2008, the outfit had relocated to Toronto, immediately overtaking the inaugural season of revered MuchMusic program disBAND, releasing their stellar self-titled record and becoming celebrated artists, chart-topping successes and household names.

Still, each of those achievements are destined to be dwarfed by the assuredness, musicality, spirit and energy of Uncontrollable, an album that perfectly encapsulates the band’s aforementioned refinement, streamlined attack and aural expansion. Initially adored for their unique blend of R&B, hip hop, reggae, rock, metal and punk, this latest work finds the band building their sound even further by exploring influence from previously-untapped resources.

‚ÄúWith this album, we’ve been writing with more of a club/dance vibe,‚Äù Kordyback reveals. ‚ÄúWe’ve been exposed to that scene and it’s really interesting. It’s definitely an influence on this album. We’re also writing more for our age, not that we’re trying to alienate anyone. We’re honing and refining but it’s not rash. It still sounds like Stereos but more like how Stereos actually is.‚Äù

All of this isn’t to say that the Stereos of 2009 failed to deliver an accurate representation of themselves. While their debut was the perfect document of its time, as the band grows‚Äîpersonally and collectively‚Äîthey have come to find a greater wealth of context to their tunes.

‚ÄúThere were a lot of tongue-in-cheek and jovial songs on the first album. Now we actually feel closer to the lyrics and sounds on this album. I’m singing about things that are real to me,‚Äù says Kordyback. ‚ÄúThe girl thing is still there but it’s less peachy. I spent a lot more time on the lyrics because as you grow up, you want to say different things. A song I wrote four years ago came out on the last album a year ago. I don’t necessarily feel that way anymore where these songs are newer and closer to where our minds are at now.‚Äù

Moreover, Kordyback asserts that while embracing new musical endeavours in a means of accomplishing their vision, Stereos is far from losing any semblance of their core. Steeped in those same punk, metal, rock, R&B and hip hop roots, he feels the addition of club/dance rudiments only serves to amplify their voice and accost a new form of music lover into the world of Stereos.

‚ÄúWe still have the punk mentality. That’ll always be there but the allure of the club scene‚Äîbeing there, you see how people still genuinely react to music. When those people go out, music is an integral part of why they’re there and that music is super-catchy and poppy. That’s pure, enjoyable and a great influence on Uncontrollable.‚Äù

Featuring tracks such as the adventurous title song, bouncy ‚ÄúGirls In The Club,‚Äù internal call-to-arms ‚ÄúOver And Over‚Äù which asserts Stereos’ determination/enduring spirit as well as slower heartfelt tracks such as ‚ÄúA Lot Like You‚Äù with its admission of personal sentiments many struggle to hide, Uncontrollable is still personal, introspective, raucous and revelrous; everything longtime fans could hope for.

‚ÄúThe album‚Äîespecially the title song‚Äîis incredibly different than everything else we’ve ever created,‚Äù beams Kordyback. ‚ÄúIt sits completely on its own; speaks for the band so well on so many levels like how our future is uncontrollable or how people see you is uncontrollable.‚Äù

Flowing smoothly while pushing boundaries, embracing chance and taking the listener on an aural/emotional journey, Uncontrollable is the perfect representation of individual personalities combining to create an indelibly enjoyable experience, hence Kordyback’s devout confidence in Stereos’ inevitable accomplishment.

‚ÄúI’m more confident in this album than the last one,‚Äù he concludes cheerfully. ‚ÄúThis is definitely a Stereos album because it has an upbeat, fun vibe but there are moments where it ventures out a lot more. I think it’s amazingly well-rounded because it has all those elements. The music, how it was put together and everything…It doesn’t sound A.D.D. It sounds like different places at different times.‚Äù

‚ÄúLet me put it this way,‚Äù he concludes. ‚ÄúYou’d think that pressure comes from your first album: ‘Here’s your shot.’ But because we’ve seen success, we have to step-up even more with this album and you know what? I don’t care that we’re a bigger band than we were last year at this time. Uncontrollable proves that we’re a way better band and that’s what matters.‚Äù

Three years later, Divine has returned with a tour-de-force album, a virtual trip through both the last half-century of soul music and the roller-coaster ride of love dubbed – appropriately – The Love Chronicles.

The Love Chronicles spans everything from bop-shoo-bop secret crush confessions (lead single ‘Lay It On The Line’) to sassy surf ‘n’ soul kiss-offs (‘Bebe’) to sultry late-night neo-soul (‘Next Best Thing’), all held together by Divine’s magnificent, shape-shifting voice. And thanks to expert assistance by a killer band and a team of producers ((Slakah the Beatchild, Colin Munroe, James Bryan, Soulfingaz and Divine herself), it’s an album that should catapult her to the stratospheric heights of her heroes.

Hailing from Chilliwack, British Columbia, singer Alex Johnson, guitarists Joshua McDaniel and Joe Porter, bassist Alan Poettcker, synth/programmer Matt Vink and drummer Josh Mitchinson are currently working with producers GGGarth Richardson (Hedley, Red Hot Chili Peppers, Rage Against The Machine) and Matt Squire (Katy Perry, 3OH!3, Panic At The Disco), on their debut album, “Jumpstart” – in stores February 22nd. In the meantime, dedicated fans continue to snap up copies of the band’s self-titled EP available in stores and online