The Pat McGee Band is a rock band from Richmond, Virginia. Formed by frontman Pat McGee on the heels of his solo release From the Wood in 1995, the Pat McGee Band signed with Warner Bros. Records subsidiary Giant Records in 1999. Shine, the band's major-label debut, was released in 2000 with the national singles "Runaway" and "Rebecca". After two years of delays, the band released their second album with Warner, Save Me, in 2004. The band was dropped from the label that year and picked up by Kirtland Records. An enhanced Save Me is now being distributed through Kirtland with the radio single "Must Have Been Love".

Former guitarist and vocalist Al Walsh left the band in an amicable split at the end of 2001. Keyboardist and vocalist Jonathan Williams left in 2003 but rejoined the band in late 2005. Both were significant contributors to the band's sound, particularly in the form of backing vocals. The band didn't see another background vocalist until the 2003 addition of keyboardist/guitarist Todd Wright.

Longtime bassist John Small left the band in 2004. With Jonathan's return, Todd Wright has left the band. Todd is now finding success as the frontman of his own band, Getaway Car, where he's backed by guitarist Matt Miceli and Crix Reardon - while still a part of Pat McGee Band - on bass.

Drummer Chris Williams passed away peacefully in his home October 28th, 2006.

As of June 2007, the band has severed ties with Kirtland Records and is once again recording independently.

In Between proves that Van Dyk's heart remains in the clubs. "White Lies", his latest single, could be a contemporary pop number - but there's no mistaking that huge dancefloor beat. American clubgoers have taken to it already; the song hit #1 on the Billboard Top Dance Singles chart, was a Top 10 Soundscan single, and is currently storming its way onto mainstream playlists. There are plenty of mesmerizing progressive-trance tracks on In Between - but the set is marked by several dazzling collaborations. Ashley Tomberlin of Luminary appears on several cuts, Rea Garvey of chart-topping German band Reamonn sings on the gorgeous "Let Go", and the set culminates with a guest performance by David Byrne of Talking Heads.

There's a pretty famous set of pipes on "White Lies", too. The single features singer and actress Jessica Sutta - best known as the "Pin-Up" girl in the Pussycat Dolls. Sutta's sultry voice has become quite an in-demand commodity in pop and dance music circles recently: Kanye West signed her up to contribute vocals to Graduation, and she also graces Dave Audé's latest club singles. On "White Lies", she channels Madonna at her most forthright and seductive, and proves she can go toe-to-toe with Van Dyk's mammoth backbeat.

San Diego powerpop quartet Pensive is well known for their melodic sing-along songs rooted in the California pop-punk scene that spawned Green Day, The Offspring, and San Diego superstars blink-182. Having previously released two EPs, which they describe with tongue-in-cheek charm as "diet punk," Pensive expects to raise a few eyebrows with their new album Artifacts. Although continuing to embrace the naturally infectious tunes that make for a lively, energetic stage performance that is the hallmark of these California boys, Pensive promises that Artifacts will bring to the fore songs with new musical influences that might be unexpected for fans who know the band well.

"From Nothing To Nowhere", the lead cut from, features everything that makes Pinback singular: provocative lyrics, rich atmospherics, intricate and characteristic bass playing by Zach Smith, and a semi-sweet, semi-tough vocal from charismatic frontman Rob Crow. Like much of the album, it's an unprecedented fusion of contemporary indie, prog, math-rock, Synchronicity-era Police, and digital folk. Mario Rubacalba of Rocket From The Crypt keeps the beat behind the kit, and Smith and Crow fill out the sound with polytonal bass guitar and hypnotic six-string.

Joshua Nichols's clip for "From Nothing To Nowhere" is similarly stark: it features the members of Pinback in action, playing under a dark sky in what initially appears to be a barren field. But there's more detail here than what immediately meets the eye - three wheel-treads slash across the cold earth in front of the musicians. Bright light pours over the drummer's shoulder; later, electrical supernovas illuminate the desert landscape. The camera pulls back, and a spectacular aurora borealis hangs in the sky above Pinback, throwing an eerie light on Rob Crow's face. Could they possibly be performing on the moon, or another world? Certainly there is something extraterrestrial and untethered about this scene - something that invites the viewer to experience an altered state. Flecks of dust catch the light and float through the air, shadows slash across the ground, and the band members stand and play; titans of this deserted world.

It's arguable that early music television was built on California heavy rock and Los Angeles attitude: MTV veejays were looking for something showy and dramatic for their new channel, and bands from the Strip were happy to cooperate. Just like those legendary groups, Poets & Pornstars have a look and stage show that simply begs to be preserved on film. The clip for "Rock And Roll" captures the band in their element: onstage at the Roxy, in front of an adoring - and often ecstatic - audience. The stage is flooded with hot colored light, and the members of the L.A. quintet know how to catch the illumination with the headstocks of their six-strings. They charge to the brink of the performance area, stalk the floorboards, shake their formidable manes of hair, and command the microphones with the confidence of those who were born to kick out the jams.

Porcupine Tree has been setting its own course for more than fifteen years, supporting their acclaimed albums with ferocious live shows and innovative visuals. By this point, it's almost a cliché to say so, but it bears repeating: there's no group quite like them, and their strict adherence to their own principles has won them a passionately devoted and genre-be-damned fan base. This latest salvo from Porcupine Tree is the combo's most focused and forceful effort yet: an attempt to grapple with technoconformity, the culture of self-medication, and the crushing boredom of 21st-century youth. If that sounds grim to you, make no mistake, it is - but Wilson and his band articulate their logic with chilling precision, and back up their dystopian insights with an instrumental attack that feels positively apocalyptic.Fear Of A Blank Planet ups the ante by bringing in Alex Lifeson and Robert Fripp to contribute guitar-work and soundscapes.

Danish filmmaker Lasse Hoile tethers Steven Wilson's narrative for "Fear Of A Blank Planet" to a clip that makes reference to contemporary controversies yet seems timeless nonetheless. His protagonists are a gang of teens who are disturbingly ordinary: they go to school, they play video games, they put posters on their wall and dream of escape. But they're also guzzling prescription pharmaceuticals by the handful, and when they do, their eyes turn the transparent pale blue of a television set on the fritz. They're receiving transmissions from another zone; they're unreachable, frightening, adversarial. . It's a portrait of modern nihilism that's at once extraterrestrial and all too believable. Don't avert your eyes from it: watch, and listen. For Porcupine Tree tour dates, please consult http://www.porcupinetree.com/tour.cfm

At the beginning of 2007, nobody in the States knew who the Racetrack Babies were. Now, after a highly successful U.S. tour, airplay on American left-of-the-dial stations, and an enthusiastic recommendation from MTV's Subterranean weblog, the Danish band has won devotees from Atlantic to Pacific. The future couldn't be brighter.

The American shows have left crowds breathless, and sent attendees rushing to their blogs for fevered recaps. But it was the very Nordic clip for "The Storm" that caught the attention of Subterranean. The website compared the video to recent work by the Shout Out Louds and Sigur Ros, and even came up with a plausible appellation for the aesthetic of these bands: "faerie indie". Director Jesper Isaksen has captured something strange and mystical in his nearly-straightforward performance clip, and presented the Racetrack Babies as a group with command over the natural world. Not for nothing does he shoot them in a forest glade - he wants to suggest that there's elemental magic in the music they make.