Mira Craig is an artist with a very different sound, she experiments with her voice and mixes styles from all over the world in her productions. She samples her voice and makes a lot of the other samples and live sounds so the beats will sound organic. Her sound is an edgy mix of various styles such as Dancehall, Soca, Keiso, Raggasoca, Crunk, Southern Bounce, Norwegian Folk music, Japanese Folk music, Opera, Charleston, and many others. It’s a new and urban type of world music. She calls her sound Tribal Dreams. She also has a very distinctive voice, although she uses it in many different ways. She is songwriter and Producer.

She has her own company called Homemade Records and is the first artist to sell to gold with R&B in Norway. She makes all her own clothes for videos, stage and pictures. She co-directs, produces and co-edits her own videos. She does all the styling and choreography for her videos. She also does her own CD design. Her debut album, Mira Mira, went to gold without a TV commercial. She had 3 singles off that album, Boogeyman, Headhunted and Who Make Yuh, which all became huge hits. Her second album Tribal Dreams has just come out and the first single Leo was the first Norwegian video to get MTV’s highest rotation in Norway, Sweden, Denmark and Finland simultaneously.

She has worked with respected artists and producers such as Snoop Dogg and Timbaland. She was featured on Timbaland’s album Shock Value, where she laid the opera voices in the production of Come and Get Me featuring 50 cent and Tony Yayo. Snoop Dogg put her on his compilation Welcome to the Chuuch – The Album, where she featured on the song Sisters n Brothers and he even put one of her songs from her first album Mira Mira on the compilation, called Dinner In Bed.

In 2006 she was nominated for best Norwegian Act at The European Music Awards, 2 nominations (best female and best newcomer) at The Spellemans Prize in Norway, and she was nominated and won newcomer of year at The Alarm Prize in Norway. She also won best video at Norwegian Hood.

She has warmed up for numerous grand acts, such as John Legend, Wyclef, Fugees, Pharrel Williams, Beenie Man, Snoop Dogg (3 times), Diddy, Lauren Hill, Aha, Chris Cornell and several others. She has also been on stage and sung 911 with Wyclef twice and danced during Pharrel’s/NERD’s performance of She wants to move.

She has played huge arenas and stadium shows. She performed in Senegal, Africa at an international charity event for 40.000 people at a football stadium. She has performed at Topp 20, 3 years in a row in Norway, 70,000 people, 120.000 people and 90.000 people. She has played at different big festivals in Norway with approximately 10.000 people, like The Quarts Festival, Molde Jazz Festival, etc. She has also performed big stages in Trinidad and Tobago, for The Soca Monarch, other shows during carnival, and she has warmed up for Trinidadian artists like Machel Montano etc. She recorded two of her videos in Trinidad and released one there, her first video, Boogeyman, which became a huge hit. She has also performed in countries such as The Us, Japan, France, Sweden, Denmark, Spain and Iceland.

She is one of the artists who get the most press in Norway, she has been on all the covers, national newspapers such as VG, Dagbladet and Aftenposten and magazines like Elle, Mann (voted best cover, twice) Det nye, Kingsize (Scandinavia’s biggest hip hop magazine, twice), Gründer, Shape-up (they had their biggest selling magazine with her cover, which sold out, twice) Spirit (twice) FHM, and numerous others… She has also had photo shoots and interviews in other magazines such as: Inside, Topp, C!, Woman, Mag, KK, Costume etc. Mira had a net chat at the biggest newspaper in Norway’s net page and the net page crashed because there were too many people trying to download a video of her dancing. She has been given the title Norway’s most sexy woman on numerous occasions as well as Best dressed Woman. She has walked the catwalk for different designers from Norway and Sweden including Fiori and Jenny Helstrøm.

She has had two Mira phones, one with Samsung and Netcom and one with Sony Eriksson and Netcom. She was the first artist in Norway to do this kind of digital distribution deal and the Sony Eriksson phone, was sold out. (10.000 phones were made)

Recently she submitted the first song she ever wrote to the Norwegian Grand Prix song contest. The song which she wrote at age 15, was sung by Maria Haukaas Storeng and won the national competition. It was sent to represent Norway in The Eurovision Song Contest and made it all the way to 5th place out of 43 contries, they were best out of the whole of West Europe. The show had 600 million viewers!

Mira has become an icon that many young people look up to and she is a role model when it comes to being natural, eating healthy, and being active. She is also a role model when it comes to following you dreams, not being afraid to set high goals, and taking control over your life. She is one of the youngest business women in Norway, written about in business issues and business magazines. She has held lectures and presentations about the music industry, the various record contracts, having your own company, and about creative writing. A lot of people come to her for inspiration and advice. She is an ambassador for numerous charities and has performed at many charity events. She has done a lot of work with equality charities, environmental charities, cancer and aids charities, and hunger charities.

The future is looking bright for Mira, she has accomplished so much in only a period of 5 years. Since her first release she has worked hard, blown minds and brought joy. She has a big fan base in Norway but she is also being noticed more and more in other areas. Her 3rd album Ghetto Fairytale and MiraMira sunglasses and jewellery line just came out and is for sale on her website She is currently a judge on x-factor. She has a desire to branch out and release in other countries and that is what she will be concentrating on in the near future. SHY IS NORWAY HIP HOP DIVA







Annie calls it “pop with strange edges”; those sounds both immediately listenable and utterly beguiling, mainstream and underground all at once. On her second album this ‘pop with strange edges’ is also pop with twists and eccentricities so surprising that the tunes persistently demand a double take. Sometimes expressive, sometimes funny but always totally fresh and utterly human, Annie’s new album ‘Don’t Stop’ puts on something of a show.

Recorded over the last two years, ‘Don’t Stop’ will pull off the tricky task of pleasing Annie’s existing fans while, just maybe, making her a bit of a household name. Think of that first album, which sold more than 100,000 copies and established Annie’s name as one to watch throughout Europe, America and the Far East, as the blueprint, or as a speculative ‘Property Of Annie’ stamp on pop’s plump rump; now think of ‘Don’t Stop’ as a faithful amplification of ‘Anniemal’’s winning charms. The result? A sound you’ll find everywhere from Hoxton houseparties to the distant, absent-minded whistle of a Burgess Hill binman.

Complementing Anne Lilia Berge Strand’s pick ‘n’ mix, Pitchfork-to-Popjustice, genrehopping pincer movement are an array of handpicked associates: ‘Don’t Stop’ reunites Annie with Timo Kaukolampi and Richard X – collaborators from the first album – and introduces a new friends such as Xenomania, Alex Kapranos from Franz Ferdinand and Paul Epworth. It’s an eleven-course feast for the modern musical connoisseur but while it’s so fond of ticking boxes that you wouldn’t be surprised to find it outside Boots with a clipboard asking for five minutes of your time, it’s also an effortless and organic blend with Annie centre stage.

Annie’s journey this far has been a long one. It started when she was a teenager living in Norway’s tune capital, Bergen, long before she founded the legendary clubnight Pop Til You Drop or her debut single ‘The Greatest Hit’ sent the planet’s online community into a frenzy. Before all that, during dark days fronting a terrible Norwegian indie troupe called Suitcase, Annie would send her band’s demos to Saint Etienne’s Bob Stanley. “Fortunately he doesn’t remember them at all because they really were very bad,” Annie laughs now, “but by the time ‘Anniemal’ came around Saint Etienne asked me to tour with them.” Annie’s friendship with the band continued as ‘Anniemal’ and its lead single ‘Chewing Gum’ put Annie on the brink of global stardom in 2005. Annie toured America, Japan and Australia, then got down to writing for the second album. By that point there was only one problem: no record label. Annie’s appealingly diverse qualities – a pop singer with credibility, an indie artist with one eye on the dancefloor – were proving difficult for some people to get their heads around. “It was confusing for me,” Annie remembers, “because nobody had said what I’d been doing was crap. If I’d had everyone going ‘look, you’re not really very good at this, have you thought about working in a shop’ it would have been one thing, but… Well, it was a strange situation.”

Annie kept writing and touring, and one day Bob Stanley mentioned the producer Brian Higgins, who he’d known for a long time and who was a fan of Annie’s breakthrough US hit ‘Heartbeat’. Annie got in touch, and was summoned to Brian’s Xenomania studios in the Kent countryside. She turned up with a stinking hangover after three hours’ sleep. “Brian’s very direct and that’s great because I’m clear about what I like and don’t like, too,” Annie explains.

Flashforward to 2009 and ‘Don’t Stop’ is a schizophrenic but undeniably solid proposition. ‘My Love Is Better’ comes with its deliciously angular guitar hook thrown into a melting pot of blazing pop beats, singalong choruses and hilariously competitive couplets (“underneath your smile you don’t want to lose / Babe I’ve got the style, you’ve just got the shoes”). Where ‘Better’ fizzes with Xenomania’s trademarked everything-and-the-kitchen-sink sonic style, one of the production team’s other surprises on this album is an object lesson in well-judged sparseness – a reminder that sometimes knob-twiddling genius comes from knowing what to leave out, not just what to throw in. “I always wanted to sing a power ballad,” Annie says of understated, gut-wrenchingly powerful masterpiece ‘When The Night’. “And now I have!”

Annie also teamed up with producer de jour Paul Epworth (Bloc Party, Friendly Fires) to work on three tracks including hypnotic album opener ‘Hey Annie’, the pulsating title track ‘Don’t Stop’ and ‘I Don’t Like Your Band’, a slice of sublime stuttering electro-pop complete with hilarious throw-down lyrics, ‘You’re out of tape and out of time. Don’t get me wrong – I like you, I don’t like your band, It’s not you, It’s your tunes’. Ouch.

Continuing one of Annie’s recurring lyrics themes (“that love and horrible things don’t always come together,” she laughs, “but they seem to for me”) is ‘Heaven & Hell’, which is the sort of song Annie hears playing as credits roll in an imaginary romcom. It’s a breezy number which reflects Annie’s developing passion for the best bits of French pop – Brigitte, Serge and co – and is complemented on the album by ‘Marie Cherie’. That song was recorded with Timo in the same studio as much of ‘Anniemal’, and tells the doom-laden tale of a girl who commits suicide because she’s been abused by her father, and whose disappearance is noticed by nobody. ‘Bad Times’, with its haunting observation that “the loneliness reminds you that everything fades”, is one of Annie’s autobiographical moments and another of the album’s ‘love and horrible things’ songs, evoking the glacial, hypnotic power of ‘Heartbeat’. ‘Don’t Stop’ also boasts Annie’s first true four-to-the-floor anthem, the Richard X-produced club banger ‘Songs Reminds Me Of You’ – a song whose strobe-friendly breakdown and overall sense of dancefloor abandon is so intense that they’ll be picking up the whiff of amyl all the way back in Bergen.

Life-on-autopilot is reflected, ominously, in the atmospheric ‘Take You Home’, with its grim chant of “I cannot lie, my fear of you is strong, I don’t love you, I want to take you home”. “The album works against itself,” Annie says. “I like there to be two things happening at once; pop and cool, happy and sad.”

‘Don’t Stop’ cements Annie’s position as the postergirl for 2009’s brilliantly varied musical landscape. It’s an album to be hungrily devoured by everyone and Annie loves its stylistic contradictions. Like few other albums of the last ten years ‘Don’t Stop’ makes perfect sense of pop’s brilliant extremes; this is, after all, the work of a woman whose cat Joey was named after her favourite Ramone and her favourite New Kid On The Block

So this is Annie: a singer songwriter without an acoustic guitar, a chart-friendly singer with her own finger on pop’s throbbing pulse, so comfortable in her independence that she’ll assemble her own rolecall of collaborators and partners in crime. With a splendid sense of logic quite common in musicians she’s recently bought a place in Berlin, just as she’s launching in the UK – a great encapsulation of Annie’s can’t-won’t-don’t stop attitude. One of the brilliant things about being neither one thing or the other is that, if you want, you can be everything. Just don’t stop, no matter what. “I’ll never give up,” she hoots. “I’m like a virus!”



The beginning
COMMUNIC is a Norwegian metal band that was founded in March 2003 by guitarist/vocalist Oddleif Stensland and drummer Tor Atle Andersen (both ex-SCARIOT), who shortly after was joined by bass player Erik Mortensen, (a former band mate of Oddleif’s from INGERMANLAND). In April 2004, Oddleif Stensland quit Scariot to fully focus on COMMUNIC for the future – so now all priority for both Oddleif and Tor Atle went into COMMUNIC.

Conspiracy In Mind
Finally, in July 2004, all the details were in place and the band had signed a long-term record deal with well-respected German label NUCLEAR BLAST. In September 2004 COMMUNIC spent 3 weeks in the Danish Jacob-Hansen-Studios with producer Jacob Hansen to recording their debut album “Conspiracy In Mind, which was released February 21st 2005. The debut album received fantastic reviews around the world, and was a.o. voted “Album Of The Month” in Rock Hard and Heavy Oder Was, two of the world’s major metal publications. Oddleif did tons of interviews for the album, and the response from both media and fans were amazing. COMMUNIC went on tour to promote the release of “Conspiracy In Mind” throughout Europe. A tour that went very well for the band, and garnered them a lot of new fans. As a result of the great critics on the album and their live-gigs, the band was asked to perform at various festivals, including the Rock Hard Festival in Germany – a gig that further established COMMUNIC as a name to remember.

Waves Of Visual Decay
In early 2006 the band once again went to Denmark for recording the new album together with producer Jacob Hansen. “Waves Of Visual Decay” is the album that will bring COMMUNIC yet another step up the ladder of success. 7 tracks of pure asskicking heavy metal, delivered with a technical expertise and lots of power and aggression.

Communic – now and future
The musical style of COMMUNIC is rich in both emotional depth and musical broadness and includes many elements from various metal genres. Catchy vocal melodies, thrilling bass and guitar lines colliding with power, thrash, progressive and a bit of doom and groovy metal. COMMUNIC consists of highly skilled musicians that deliver quality metal with variety and originality. The music has a progressive touch in some experimental form, yet easy to listen to – quite moody, mellow and emotional, and a mix of influences from the 80’s and 90’s metal scene, but most of all it’s a mix of the different approach each member of the band has on the music, thus giving it the unique sound and feeling, that makes it hard for fans and media to compare COMMUNIC to just one other band.

With COMMUNIC the Norwegian – … no, the worldwide … – metal scene has a new exciting and forward-looking name to remember.


Inglow was formed in 2000, and after seven years and multiple EP releases and compilation contributions they released their debut album “Till Deaf Do Us Part” in September 2007 (Norwegian release only). Inglow’s hit single As I Am, the third to be released from the album, made it to the Norwegian equivalent of the Billboards, VG-lista Topp 20, where it stayed for several weeks.

“Till Deaf Do Us Part” was well received by Norwegian reviewers, radio and tv stations as well as fans and new audiences – the latter contributing to a sold out release concert at the legendary John Dee music hall in Oslo. In October 2007, less than a month after the release, Inglow was approached by MUSE’s management and are asked to support MUSE (UK) in Trondheim. The Trondheim audience gave the newcomers a great reception, delivering Inglow’s first stadium roar, which in Trondheim counted about 8,500 voices – as the 7,000 limit was exceeded by almost 1,500 who got in using fake tickets.

October held more good news for the debutants. Track “Here We Go” was featured on the Norwegian block buster motion picture “Switch” and Inglow headlined the first ever MSN Oslo Music Week with Brett Anderson (UK). In February Inglow played at by:Larm, Scandinavia’s biggest music conference and the northern equivalent to Midem (Cannes) and Popkomm (Berlin). Inglow was also selected “Band of the Month” by (“Norwegian music”), and three Inglow tunes were added to Positive Gaming Europe’s Fitness Multiplayer System. Inglow is listed at several Norwegian radio stations, as well as on the UK radio show Unloaded.

In summer 2008 Inglow entertained their greatest crowd so far, when a staggering 35 000 people attended their concert at NRJ in the Park 08 (keep in mind there’s only 4,5 million Norwegians).Thei also went on the NRJ Musc Tour’08 and their latest single “As I am” sailed steady in six weeks on the Norwegian billboards (vg-lista topp20)

Concert review highlights:
“Around nine thirty it was time for this evenings hand picked support band, Inglow. Unfortunately I didn’t have time to see the entire gig because I had to prepare for the Muse gig, but what I saw definitely sounded great” ( (Muse support gig October 20th 07)

“There’s a great energy on stage and you’re pulled in from the first catchy tune. And even though they give everything up there it’s still really tight, because of the steady rhythm section. The one with the greatest stage-presence is bassist Kevin, who has a scream vocal much like Lost Prophets. This provides variation to Martins brighter vocals and the backing vocals from Syver and Andreas. Joakim, the only one not doing vocals, is instead doing a hell of a job behind the drum kit. Martin has an exceptional force of attraction on – and communication with – the audience, and his voice is done even greater justice live than on recordings. ( (John Dee release concert, September 28th 2007)

“Inglow clearly stood out from the rest of the bands. These hard core rockers attracted the audience like a magnet and before you knew it, the first row was packed with chicks filming with their cell phone cameras. It started with a bang, literally. Fireworks went in every direction behind the band members, who were headbanging like true rock stars. Inglow is a band of emotions, lots of emotions, and you could feel it in your bone marrow. When they performed their single “Not For Sale”, you could tell that they’re just itching to finally make it big time. The highlights came one after another and before you knew it, it was over.” ( (MSN Oslo Music Festival, with Brett Anderson October 18th 07)


November 16, 2000 Mtv Europe Music Award in Stockholm Hosted by Wyclef Jean

All Saints — “Pure Shores”
Backstreet Boys — “Shape Of My Heart”
Bomfunk MCs — “Freestyler”
Guano Apes — “No Speech”
Ronan Keating — “Love Is A Rollercoaster”
Jennifer Lopez — “Love Don’t Cost A Thing”
Madonna — “Music”
Ricky Martin — “She Bangs”
Moby — “Porcelain”
Spice Girls — “Holler”
U2 — “Beautiful Day”
Robbie Williams feat. Kylie Minogue — “Kids”


The 2006 MTV Europe Music Awards was presented on November 2, 2006 simultaneously at Bella Center and The City Hall Square, in Copenhagen, Denmark. This was the 13th MTV Europe Music Awards. The host was Justin Timberlake. The event featured a PSYC backstage video chat hosted by Juliette and the Licks.

Nelly Furtado — “Maneater”
Jet — “Rip It Up”
Keane — “Is It Any Wonder?”
The Killers — “When You Were Young”
Lordi — “Hard Rock Hallelujah”
Muse — “Starlight”
Outlandish — “I’m Callin’ You”
Diddy & Cassie — “Come to Me”
Rihanna — “SOS”
Snoop Dogg feat. Pharrell — “Drop It Like It’s Hot”
Justin Timberlake — “SexyBack” / “My Love” / “LoveStoned”