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Scarlet Sins - OFFICIAL COMMUNITY OF RUSSIA. Sylvya NuVynska - Vocals
Cristina Bishop - Guitars
Tanya Nicklaus - Bass
Elie Bertrand - Drums
Call it destiny, chalk it up to dumb luck, or maybe it’s a case of fate playing fair, but guitarist Cristina Bishop’s and vocalist Sylvya NuVynska’s musical vision, Scarlet Sins, has given an industry cluttered with label cash-grabs and talentless two-chord wannabes a much needed kick in the head. Following a chance meeting in 2004, Bishop and NuVynska devoted all their energy from the start on transforming their passion for music into a living, breathing musical entity with a definite idea of where it wanted to go.
«I was dealing with a traumatic event in my life,» Bishop reveals. «The only comfort I found was in writing music. I poured myself into it and songs started flowing. Once I heard Sylvya’s voice, I knew we had to start a band.»
Working through the growing pains of establishing a sound and a solid line-up to execute it, the Scarlet Sins ranks were strengthened with the addition of bassist Tanya Nicklaus. The band’s work-in-progress Alice In Chains meets Black Sabbath gone Black Label Society delivery brought the Sinners noteworthy recognition throughout Ontario and Quebec, quickly turning them into a club staple in their Toronto stomping grounds. Mid-2007 saw the entrance of drummer Elie Bertrand, a skinbashing powerhouse despite her youth that sealed the deal and solidified Scarlet Sins’ musical direction.
The self-titled debut album issued in September 2007 is, quite simply, a feast of heavy guitar riffs, aggressive drums, melodic solos and dark grooves. A defiant mix of styles that stays within the realms of metal, there is something for every fan of distortion-heavy ear-scorching mayhem.
«The dark aspect of our music, I guess that comes from us putting all our anger, our angst and sadness into the songs,» says NuVynska, who carries the mood of the album with «one of the most unique female voices» according to Brave Words & Bloody Knuckles writer Carl Begai. «We put all our energy into that so it’s almost like therapy. We’re generally really happy people outside of those songs.»
Produced by Richard Chycki, who boasts a catalogue of work for acts including Rush, Aerosmith and Simple Plan to name only a few, the album is the equivalent of a sonic freight train. An album is only as good as its players, however, and Chycki agrees he had real talent to work with.
«Anyone that hears the Sins CD can’t believe it»s a bunch of girls,» he says. «That’s such a stereotype, isn’t it? Really, they’re simply a solid, energetic band with good songwriting. Given that they rock and don’t need to play the overt sex card at all.»
Since the release of the album, Scarlet Sins have enjoyed recognition outside their regular haunts, and the buzz is getting louder. They put in two shows, including a headline spot, at the Powerbox Festival in Seattle, WA, sharing the stage with legendary metal queen Doro Pesch (ex-Warlock), Vixen and Kittie. Add to this, gigs supporting Buckcherry, Cypress Hill, Ill Scarlett, Helix, April Wine, and Anvil. In June 2008, the band was chosen from 600 Sonicbids applicants for a chance to open for Mötley Crüe at the Sarnia Bayfest in Sarnia, Ontario. Chosen by the Crüe themselves, no less, for a show attended by 16,000 people.
Now, with a killer album in hand and another one on the way, Scarlet Sins are gearing up to push the envelope even further.
Music speaks for itself, but when it comes to Scarlet Sins, it shouts in your face.
Genre: Alt.metal/Modern hard rock/Progressive/Female vocals

Scarlet Sins - OFFICIAL COMMUNITY OF RUSSIA

Elissa. Born to a Lebanese father and a Syrian mother, her debut was in 1992 in Studio El Fan, a popular music competition where she won a silver medal. Her debut album in 1999 was Baddi Doub. Following her success at the International Music Festival, Elissa released her second album, We Akhertha Maak, which included the immense hit duet, Betghib Betrouh, sung with Lebanese superstar Ragheb Alama. The emerging singer's third album, Ayshalak, was also quite successful and its musical quality was considered a big leap forward in her music career.
Elissa's fourth album, Ahla Donia, recorded with Super Audio System, was released in May 2004. It broke record sales around the Middle East and the beloved artist won the World Music Award for Best Selling Middle East Artist. As a result, Elissa was recognized as the first Lebanese to win the award and went on to win the Murex d’Or for not only Best Lebanese Singer, but also Best Video Clip for her hit song, Hobak Wajaa.

New Politics. Origin: Copenhagen, Denmark
Genres: Alternative rock
Years active: 2009–present
Labels: RCA
Band Members:
David Boyd - lead vocals
Søren Hansen - guitars, lead vocals, keyboards
Poul Amaliel - drums, percussion, backing vocals
New Politics have a motto: “Fuck It.” It’s kind of a crass, apathetic motto. But for the Copenhagen band it doesn’t mean giving up. It means taking chances—something they do with reckless abandon. For instance, when the band was on the verge of signing with RCA in November, they realized “If we’re going to become insanely famous in the U.S. we might want to actually live there.” So the three musicians packed up their instruments and recording gear, said “Fuck it” and moved into a loft in Williamsburg, Brooklyn.
Here’s another example: David and Soren had been writing songs together for over three years (for respective solo albums that have yet to see the light of day) when they realized that they had unintentionally started a band. The pair had experimented with every imaginable style of music (every imaginable style) and suddenly recognized that the combination of their musical sensibilities, as witnessed on the 300 songs they’d penned together, created something new and interesting. Plus, the rambunctious, beat-driven nature of the songs offered Soren a chance to “freak out and go crazy” onstage while David showcased his impressive break-dancing moves.
“We were at a point musically where you could say we had given up, honestly,” David says. “It was at that point. We were doing it solely as a hobby. In the back of our minds we might have been holding onto the dream but it was more about the joy of music and having fun. We were trying to help each other out and we ended up experimenting. We came up with a couple of good songs.”
So the guys uttered their ubiquitous motto and haphazardly sent two songs— “Stress” and “Make Money” into the Danish National Radio P3’s cleverly-titled Karriere Kanonen (“Career Cannon”) competition in early 2009. And somehow, out of the 973 bands that entered, New Politics were one of 42 selected to perform. Except, they weren’t even really a band.
“They called and said ‘Congratulations, you’re going to playing in three weeks at this club, are you ready?’” David says. “And we had never played live. We had three songs. We had no drummer. We didn’t know if we wanted a bassist. We had no idea.”
David and Soren called Poul, another lifelong musician about to call it quits. In fact, the call came just a month after Poul had decided to give up music in favor of learning to be a professional bricklayer. But Poul too said “Fuck it” and the threesome rehearsed a few times, decided against adding a bassist, and played a raucous first show that left the judges both bewildered and amazed. The band, defying all possible odds, made it to the next round and in April were one of four bands to win the Karriere Kanonen, which unfortunately turned out not to be a real cannon.
The win landed them a slot playing Denmark’s Spot Festival in May, where the threesome played a show so wild Poul and Soren left the stage covered in blood and Poul nearly beheaded a fan with a thrown drumstick. Record labels in Denmark were into this sort of thing and began to flock around New Politics, fielding offers. But the band, like the pilgrims, had dreams of America, and a one-take video for the band’s impassioned rock song “Yeah Yeah Yeah,” which aptly conveys their fervor for performing (and David’s ability to do a headstand on an amp), convinced quickly American record labels to come knocking.
“We realized we were at a point where we either had to go with the wave in Denmark and Europe and get a deal over there that was the best we could get or we could come over here and take our chances,” David says. “We decided not to wait.”
New Politics, who signed with RCA in November, are not done blowing off convention and expectati

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