“Write down this name, you’re going to want to remember it... In Case Of Fire are one of the best new bands in Britain” – Kerrang!

“These noisy young Irishmen are going to detonate all over 2008 like an atom bomb” – Planetsound, Channel 4

“The best new band I’ve heard in ages” – Paul Brannigan, editor of Kerrang!

Have a good read of the quotes written above, because there’s going to be plenty more where those came from. Northern Ireland’s In Case Of Fire will these year set the monotone skies of a staid and turgid music scene alive with colour and noise. The three piece who sound like an eight piece have already played dates with such bands as Queens Of The Stone Age, The Subways, Funeral For A Friend and 30 Seconds to Mars. By the time you read this the group will be treading the board’s of this summer’s festival circuit. Recorded music is set to follow.

“We want to be the kind of band that makes a difference to people’s lives,” says Colin Robinson, the band’s drummer and its most talkative member. “We don’t want just to be three guys who stand onstage in t-shirts and jeans playing the kind of music they’ve heard before. We want to be like Muse or the Mars Volta, we want to be the kind of band that make a difference to people. We want to be the kind of band that people talk about, and that people remember.”

The music made by In Case Of Fire is a beautiful noise, an incandescent and commanding thing that lives somewhere between the three neighbourhoods of alternative, independent and rock music. The band – whose line-up is completed by guitarist and vocalist Steven Robinson and bass player Mark Williamson – are a power trio in the most exciting sense of that term. Through songs such as Align The Planets and The Cleansing the band combine melody and muscle to mesmerizing effect.

Listening to the In Case Of Fire’s music, it’s hardly surprising that so many people, from so many different quarters, are looking at them to succeed.

But before they could experience all of this, first the band had to pay their dues. You might call it gaining experience, you might call it getting a splash of puke on your shoes - either way the musical gods seemed determined to make sure that In Case Of Fire <<really>> did want to make it as a band.

The story begins in Portadown, Northern Ireland. Brothers Steven and Colin Robinson form a group, and they call themselves Element. The band are joined on bass by Mark Williams. In a spirit of derring-do they book themselves a series of gigs in Melbourne, Australia. They fly via London, New York, San Francisco and Sydney and make their debut on the other side of the world. Back home in the Six Counties, they gig and work as hard as they can. Their ‘can-do’ spirit leads to Element landing support slots with Muse, Feeder and Frank Black.

Within a couple of years, though, and following the pursuit of many dead ends, Element reached the end of its natural life. This is a crucial part of the story, because the group didn’t simply change its name to In Case Of Fire, rather it became a different band completely. It was a metamorphosis. Each one of the 30 original songs written under the Element name was jettisoned, as too was the visual aspect of the music. Out went t-shirts and jeans, in came stage wear. The group recorded some songs and sent out CDs in mysterious packaging. The response was impressive and immediate. No one knew who they were, or whom they had been.

“We wanted to people to know that In Case Of Fire was a completely new group,” says Steven Robinson. “The music sounded harder and edgier, and people immediately understood that this was something different.”

In Case Of Fire made their live debut at the Brixton Windmill, supporting Fightstar. According to Mark Williamson the band then made it their business “to play every venue, big or small, we could in Northern Ireland.” This they did. They also toured the UK in a car, sleeping where they could, one night catching a fraction of 40 winks in the bar of the venue in which they’d earlier played. The landlord told them to stay silent should the police come knocking.

Soon enough In Case Of Fire were signed by an independent label in Washington DC. Great, thought the band, <<finally>> we’re on our way. Only they weren’t, it just looked that way. Granted a miniscule recording budget, the group installed a borrowed Pro Tools system in the kitchen of the family home. By ‘family home’ we mean ‘mum’s house’. Recording mic’s were gaffa-taped to kitchen cupboards, a drum kit was resting on wooden planks lain across a newly re-furbished kitchen floor. Sometimes recording would have to stop, mid song, so that their mum could make a cup of tea.

The music they were making, though, sounded great, and the three members of the band knew that they were finally on to something. It’s just a pity that the label in the States didn’t agree. Because of this and other complicated factors (lies, lies and more lies) In Case Of Fire had their record contract terminated, by email and with immediate effect. They had half an album finished and no money or label left.

“If it wasn’t for the fact that we were halfway through recording the album,” says Colin Robinson, “the band would have been over. We just didn’t feel we could face any more setbacks. It was so disheartening.”

And then – finally – things began to go right. The musical gods had decreed that In Case Of Fire had paid their dues and could now proceed. Finally, things began to go their way. Soon enough they attracted the interest of a manager, Craig Jennings (who also looks after the affairs of Gallows and Bullet For My Valentine) and began to attract media interest from outlets such as Channel 4’s Planetsound and Kerrang! magazine.

If it’s true that what doesn’t kill you will only make you stronger then In Case Of Fire are very strong indeed. They certainly sound as if they are. After years, literally years, of struggle this is now their moment in the sun. Woe betide anyone who claims they haven’t earned it. And woe betide anyone who claims they don’t <<sound>> as if they’ve earned it.

“I know that if people listen to our music they’ll realise that we’re something different,” says Colin Robinson. “They’ll realise not only that we’re a good band, but that we’re also a band that wants to make a difference. We really do. We work so hard at what we do, we’re merciless in getting it right. Anything that’s mediocre is weeded out. It’s gone. What remains is as good as we know how to be.” And what remains is very, very good indeed..

For more information contact Rob Hurst at GR8 Online PR on 01223 410000 or email: robert@quitegreat.co.uk

Release new single ‘Mercury Summer’ on April 6^th 2009 through Search And Destroy records

“the band are loud and gritty whilst still retaining their catchy melodies...” Kerrang

“...convincing evidence they are due for a reappraisal...impressive melding of Biffy Clyro’s pop sense and Mastodon’s whales-on-parade sound” NME

“Fightstar..have serious rock credentials” Guitarist

Fightstar are bursting with ideas and on an upward trajectory” Rock Sound

“...a band hitting their stride with a scary amount of talent” Big Cheese

On 6^th April 2009, Fightstar will be releasing the second single “Mercury Summer” from their new album “be human”. The band have been closeted in the studio for the last few months putting the finishing touches to the tracks, which features a 16-piece orchestra recorded at the world famous Air Studios, with parts written by renowned arranger Audrey Riley (Coldplay, Muse). The album will be released on April 20^th.

The first single from the album “The English Way” released at the end of last year has currently racked up over 300,000 song plays on MySpace, plus the video for the track was at No. 1 on MTV2 MySpace Chart for 3 weeks. It was also added to the Radio 1 playlist. “Mercury Summer” has already received upfront play from Radio 1’s Colin Murray and Sarah Cox.

Talking about “Mercury Summer” singer Charlie Simpson said

The inspiration for this song came from one of our favourite films of all time The Shawshank Redemption and the character Andy Defrain's dreams of reaching his paradise Zihautanejo.

At the base of it, it's really just a love song but it interprets the story of a couple on a journey to find their own nirvana away from all of the consumerist bullshit that surrounds us in our day to day lives.

It's a song that shows the happier and more positive side to the record which in itself is a change of mood from our last two records, though the Fightstar fans can be assured that when the new album is fully unravelled there will be plenty more surprises to come!

The band start their headline UK tour on April 22^nd, preceded by an appearance at London’s Albert Hall for the Teenage Cancer Trust show on March 28^th.

Check out the band on www.myspace.com/fightstarmusic

For more info please contact Rob on 01223 410000 or Robert@quitegreat.co.uk

Following their recent Top 40 success with debut single ‘Numb’, Honey Ryder have today announced details of their follow up single ‘Fly Away.’

The London-based duo, Martyn Shone and Lindsay O’Mahony have worked on ‘Rising Up’ with producers Goldust. The album has been mixed by Brad Gilderman, (Madonna, Outkast) and Bob Kraushaar (Pet Shop Boys, Robbie Williams).

Tips from Music Week to The News Of The World, The Daily and Sunday Express to The Times have, alongside the bands initial chart success, set the stage for the band’s debut long player. Honey Ryder defy the old tradition of not mixing business with pleasure and have made a beautifully melodic and epic album that is backed with ingenious and unique marketing concepts as well as forward thinking business models.

They have devised a unique funding model for the project, which involves selling shares in the future profits from income they expect to generate. Each share carries a dividend entitlement worth 0.5% of net profit derived from various income streams, including album and single sales, synchronisation fees and touring and merchandise, to name a few. Moreover, eligible investors receive a host of tax benefits as the company has been set up to qualify for the government's EIS scheme, which encourages investment into UK startups.

It is no surprise that the band have created their own piece of rock history when we investigate their previous form: Singer Lindsay worked at MTV alongside the likes of Chris Evans, Edith Bowman, Russell Brand and Alex Zane whilst guitarist Martyn juggled a double life as a banker in the city and a jobbing musician. Together they found a writing connection and enjoyed developing their sound with various bands on the London circuit before starting on their own journey.

The band’s unique business model has, impressively, caught the eye of former EMI CEO Eric Nicoli who has taken the role of personal mentor for the duo who are already proving to have a fast-growing fanbase - including the likes of Annie Lennox.

For more information on the band please visit: www.myspace.com/honeyrydertheband 

For press enquiries please contact Kate Chaundy at Quite Great Publicity on 01223 410000 or kate@quitegreat.co.uk

Anthoney Wright’s new single “NO ME WITHOUT YOU” is to be released on February 9th on Palawan Productions. The single follows hot on the heels of his radio smash debut “RESET TO ZERO” which was Record of the Week on BBC Radio 2.

The song comes from Anthoney’s debut album “FEET ON THE GROUND” which is released on February 16th.

Written by Anthoney with Pete & Steve Lewinson (Simply Red, Annie Lennox) and produced by the Lewinsons and the Brit nominated Absolute production team, the song is a love song based on a true story.

With a voice that is reminiscent of some of the great soul classics, Anthoney’s songs capture some of his early influences, (Al Green, Marvin Gaye, to Prince & Aretha ) yet they display a subtle contemporary feel that glides through the album with effortless ease.

His writing is often inspired by his ability to open up conversations with complete strangers. “We don’t talk to each other enough. If we did we would be able to overcome some of our fears which often turn into prejudices. …….everyone has a love story and each one is different……this is what inspires me.....I love life and it never ceases to thrill me……”

Anthoney now practices Buddhism which came to him after a revelatory stay in Worth Abbey where he was part of the programme called ‘The Monastery’. To this day he remains friends with Father James who he sees on a regular basis. Discipline, awareness, running, boxing and meditating all form part of Anthoney’s daily routine, one that is about to see a significant change in gear.
Anthoney is signed exclusively to Palawan Productions Ltd, a Universal Music distributed company.

For more information on Anthoney and his new release please log on to www.anthoneywright.com alternatively you can contact Kate Chaundy of Quite Great Publicity on 01223 410000 or email kate@quitegreat.co.uk

In September 2007, Adam Ant gave his first public performance in 12 years at London’s Bloomsbury Theatre. The gig was intended as a ‘thank you’ to the members of his official website forum (adam-ant.net) for their continued support and to publicise the publication in paperback of his best-selling autobiography Stand & Deliver (Macmillan).

The Bloomsbury Theatre was sold out within two days of the tickets going on sale, advertised only on www.adam-ant.net.

The fans lucky enough to be at the gig witnessed a unique performance from Adam, which mixed reading from his autobiography with ad-libs and songs from the early days of his career.

For that one night only Adam sang with the backing of an amplified acoustic guitar, played by his childhood friend, Dave Pash and with no other backing instruments or performers. The audience were spellbound and reacted with incredible applause to each number as it finished. It was a truly memorable evening for all present.

A recording of that gig, complete with readings from the book, ad-libs and eight songs is now released in a limited edition CD album only available online via

www.adam-ant.net.

Adam co-produced the album with Boz Boorer in late September 2008.

The CD comes packed in 3 panel fold-out digipack with an 8 page booklet written by Adam and includes unseen photographs and images from Adam’s collection.

Adam Ant, Live At The Bloomsbury, tracklisting:

1. A Girl Named Bill (spoken word) 8.33

2. Young Parisians [Ant] 3.17

3. Never Trust A Man (With Egg on His Face) [Ant] 3.46

4. Cleopatra [Ant] 3.13

5. Boxing Clever (spoken word) 15.36

6. Catch a Falling Star [Lee Pockriss/Paul Vance] 3.57

7. Cartrouble [Ant] 3.02

8. Stand & Deliver [Ant/Pirroni] 3.08

9. Early Mornings Gene Vincent (spoken word) 12.26

10. Goody Two Shoes [Ant/Pirroni] 5.24

11. Never Trust A Man (With Egg on His Face) Encore [Ant] 3.08

Catalogue number: AACD001

© 2008 Adam Ant under exclusive license to Essential Works Limited.

Readings & Vocals: Adam Ant

Guitar: Dave Pash

Mixed by Boz Boorer at House of Boz Studios, London.

Produced by Boz Boorer & Adam Ant.

Official website at www.adam-ant.net also visit Adam on Myspace and Facebook

For further information, please contact Rob Hurst at Quite Great on 01223 410000 or email Robert@quitegreat.co.uk