Plugged In Yorkshire is Yorkshires music develpment body and is proud to present:

Monkey Anna creates electronic pop music that the BBC radio has called "so addictive...it's in your head for days": Her sound is fun, cool and rather glamorous – influenced by 80s pop, 70’s disco, French pop, indie-rock, Britpop and West End musicals.

For a pre-album taster, Monkey Anna welcomes you to the “Monkey Anna TV Dinner Show”, (see profile video) a concert-concept in which the public simultaneously becomes the TV audience and the TV show. In a world where the media films everything everywhere, Monkey Anna draws you through the TV screen into a poptastical world of cupids, rockers, monkeys and men in baths to get you “poppin’ ‘til the end of the night” on addictive electronic pop songs.
 

Andy Doonan is an exciting act hailing from Yorkshire, with a fresh energetic sound that blends melodic acoustic pop, indie, folk and classical. Catchy vocal hooks, clear lyrics and a unique voice have recently captured the attention of local press and radio, and lively performances continue to expand an ever-growing loyal fan base.

His live band have travelled all over the UK to headline famous venues such as The Cavern Club of Liverpool and have played at renowned venues such as The Bedford in London, Manchester Academy, The Scarborough Open Air Theatre, The Library in Leeds and The Duchess, York. In late 2010, Andy Doonan gained investment to record his debut album ‘Lights and Mirrors’ with The Pigeon Detectives producer Andy Hawkins, which was released in June 2011 following the April release of single and music video ‘Made in Hollywood.’ The official album launch enjoyed an impressive turnout, and was held at one of York’s biggest music venues, The Duchess.

After supporting chart-topping acts such as The Hoosiers, Toploader, The Twang, Peter Grant, Jon Allen and Brian Houston, as well as festival slots with The Levellers and The Charlatans, Andy is starting to make serious waves on the gig scene.  Andy played in many bands from an early age, including Crimson Daydream, who won several band competitions and supported bands such as Elliot Minor, Hijack Oscar, One Night Only, After the Fire, Dave Mcpherson (INME), The Humour, The Little Comets, The Dunwell Brothers Band, and The Gay Blades. Crimson Daydream also headlined at renowned music venue The Cockpit on several occasions, playing to near sell-out audiences.

In 2011 Andy won the North West England Area Finals of national music competition Live and Unsigned, leading to a performance at the London O2 Arena, which gained positive reviews from BBC Radio 1 and Kerrang, a great deal of local publicity and local radio play. An accomplished singer, guitarist, and pianist, the 23 year-old’s exciting original songs and powerful voice are starting to turn heads, appealing to a wide audience...

And The Hangnails
Heavily in to Jon Spencer and Jim Jones.... And The Hangnails began as a side/writing project for Steven Reid and Martyn Fillingham in April 2011 with the intention of setting themselves challenges and sticking to them regardless of the results. This is dirty guitar 'n' drums rock and roll; not for faint-hearted, indie kids who think that Bombay Bicycle Club are sometimes a little bit too aggressive,...

Luxury Stranger
A band who played it’s first show in September 2008 and soon afterwards signed a digital distribution and publishing deal with German label Major Digital. The band has played support to influential artists like the Chameleons, the Damned, Red Lorry Yellow Lorry, Lol Tolhurst’s (the Cure) band - Levinhurst - and Gary Numan.

Alvin Purple are a quartet, led wonderfully by female singer, Carly Humphries, that actually launched their first double A-sided single, The Look/Stare to Declare, back in 2010. It earned them some blog coverage and a sprinkling of radio airplay on BBC 6music and Radio One. The Look introduced Humphries’ signature burnt vocals that came in repetitions over Ralph Sayers’ grinding bass riff, whilst Luke Barnfather blasted Rapture-styled guitar riffs in chopped bursts. Stare To Declare brought in more synths and a smoother, more sophisticated expansion to their sound. The first listens had us concluding that here was yet another re-hashed, post-punk sound, or perhaps at best they were seven years too late for a guitar scene that once gave us The Gossip, or even fellow-Leeds bands such as The Hair, or The Sunshine Underground, but inside both tracks there were a few key signs that there was life beyond their obvious influences.

It was tough getting over their garage sound, which felt a little irrelevant to today’s computer-based, self-produced, Internet crowd of savvy, often electronic pioneers. But herein lies what also makes them interesting. Firstly, they followed that initial single by spending most of last year playing only sporadic shows, selecting to focus on recording a string of singles with producers, James Kenosha and Lee Smith (Middleman / Mi Mye), that are now set for releases through 2012. Secondly, this gap has allowed a slightly tweaked sound to emerge, proving that they now have the potential to transcend any current, temporary trends, much in the same way the obviously comparative band The Yeah Yeah‘s do. Just like Karen O‘s American outfit they will find more favourable responses by highlighting an intelligent depth to their music, as much as rocking it out in their productions. They need to get out of the garage and into people’s heads. Just look at the breadth in craft shown between The Yeah Yeah Yeah’s tunes Maps and Zero for example.

Alvin Purple have recently released their new single, Huh Her, which immediately shows us something relatively new. Humphries’ kicks things off with an excellent vocal refrain, before the machine begins to pump behind her. There’s still the industrial energy – this band is unlikely to try and show us their Soft Shock – with a bass-led groove throughout. It continues to prove that they can wind it up to the louder levels that they’ve always been capable of, but it also seems they’re now able to rumble without losing touch of what is required in the design of a single, as hooks and bounce are at the centre of their craft this time around. They excitedly mentioned to us that they had the chance to use the mixing desk from Bjork’s studio and utilised a tape machine that was owned by Paul McCartney, showing us just how much they adore the legends from our rich history, but if it’s success they want then we believe they’d be better off spending time looking forwards not backwards. However, what they lack in positive invention, they make up for with other key elements, such as energy and style, so we think this is a band in the process of evolution, and if they hunt for new, original elements to add their arsenal then it will be the future that will most excite them, not the past.

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