OndaDrops Vol. 3:

After letting itself be bewitched by the lure of electronica in the second volume, OndaDrops returns to the "songwriter" universe, already explored in the first chapter of the series dedicated to singer-songwriters. Exactly one year on from that thrilling debut, for its third installment OndaRock's special featuring exclusive free-download tracks turns pink, offering readers 28 compositions that reflect the many facets of the female universe. The artists who took part in making "Come all ye fair and tender maidens" shape music between their fingers like clay, crafting refined, handmade pieces tailored to their individual tastes and sensibilities. The tracks on this double collection thus range between folk ballads from a distant past and playful pop suggestions, between piano-led introspection of deep intensity and colourful music-box arrays of sounds and noises, between seductive country-blues and acoustic sketches of utter candour. In his Orlando Furioso, Ariosto wrote: "le donne sono venute in eccellenza di ciascun'arte ove hanno posto cura". Judging by the tracks on OndaDrops 3, it's hard indeed to prove him wrong.

CD1

Carol Anne McGowan

An Irish singer-songwriter who has only very recently ventured into recording, Carol Anne McGowan has already proven herself a seductive interpreter of that ancient, mysterious-sounding folk that finds two of its most celebrated overseas exponents in Marissa Nadler and Meg Baird. So far she has released only one limited-edition mini album, "Songs From The Cellar", whose seven tracks were, in fact, recorded in a cellar in the Rhineland town of Oestrich-Winkel, with nothing but a guitar and a microphone. Yet even through the muffled atmosphere of the setting and the low recording quality, the splendour of a deep, touching voice already shines through, one that manages to be both evocative and enticing. Proof of this is the enchanting "So To The Sea", presented here in a studio version, longer and more "polished" than the one included on "Songs From The Cellar".

Carol Anne McGowan – So To The Sea (Studio Version)

Klima

A past spent in French post-punk band Ginger Ale, then the move to London and the pivotal meeting with Glen Johnson, who made her the leading muse of his Piano Magic, and finally the head of her own multifaceted project under the name Klima. Such is the brief artistic excursus of Angèle David-Guillou, one of the most fascinating and expressive female voices of recent years, but also a versatile multi-instrumentalist and songwriter. From the vaguely Björk-esque electronic pop of her self-titled debut to the thickening of her sonic spectrum on the recent "Serenades & Serinettes", David-Guillou is proving to be an astute creator of electroacoustic textures, at times shadowy, at times graceful, and a wonderful interpreter of enchanted musical crystals. Beyond dream-pop, beyond her original authorial shyness, Angèle keeps probing new territories, always filling them with extreme grace and a distinctive personality.

Klima – Something Good

Ezza Rose

From Portland, long an extremely prolific breeding ground for folk-rock talent, comes Ezza Rose, a young artist with an angelic, supple voice, who in 2009 already released a self-produced debut titled "Through The Music Box". Extremely active on the local live circuit, where she has already achieved considerable fame, in the spring of 2011 she is preparing to attempt a leap towards wider artistic recognition thanks to a new record featuring collaborations with some of the city scene's biggest names. "2%", the track offered here as a preview, will be included on the album, and it's a delicate, engaging waltz in which young Ezza's extraordinary vocal gifts are showcased to eloquent effect.

Ezza Rose – 2%

Rachael Dadd

As the ideograms making up her official website hint at first glance, Rachael Dadd splits her activity between Japan and her native Bristol, where she was an original member of the “Cleaner Records collective” alongside, among others, Rozi Plain. This isn't the only artistic circle this folk singer-songwriter with a delicate voice and a pronounced melodic sensibility has come into contact with, though: she has recently joined the ranks of the Wilkommen Collective and that select group of talented artists orbiting the Broken Sound Music label. That same label has released her last two EPs, “Moth In The Motor” and “Elephee”, while this year is already set to bring a much-anticipated full-length from this artist, who manages to craft songs steeped in pure, heartfelt folk warmth armed with nothing more than a guitar and a banjo.

Rachael Dadd – Sticking In Pins

Odessa Chen

Odessa Chen, born in Oakland, is without a doubt a genuine talent. Self-taught on guitar but classically trained in voice and cello, over the course of two albums (“One Room Palace” from 2003 and “The Ballad Of Paper Ships” from 2006) she has proven her ability to write songs and lyrics that move listeners and send shivers down the spine.

In her career spanning nearly a decade, Odessa has shared the stage with artists of the caliber of Damien Jurado, Microphones, Mark Eitzel, Mirah, and Jolie Holland. Likened, for the rarefied quality of her music, to the slowcore of bands such as Spokane, Low or early Early Day Miners, the Californian artist has completed, after five years of intense work, her third album, “Archives of the Natural World”, centered on the fraught relationship between humanity and nature. The track she's given us as a preview is a kind of love song in which nature plays a fundamental role. The horses of the title symbolize dreams that, once set aside, come back to light and, at last, are fulfilled.

Odessa Chen – Horses Are Knowing (Don’t Wake The Dawn)

Louise Le May

The words of Louis Philippe, the French arranger and musician credited (along with radio DJ Chris Evans) with discovering Louise Le May's talent, are enough on their own to give listeners a sense of this London artist's potential: “A singer who seems to inhabit a world entirely her own, uncoded, capable of an otherworldly sweetness, yet at the same time earthy and full of desire. Desire that is also physical, expressed with extraordinary courage and the elegance of a true musician.” Louise, who hails from the London borough of Hackney, owes her chance encounter with Philippe the opportunity to record five of her compositions, which make up her debut mini-album, “Tell Me One Thing That Is New”, produced and arranged by the Frenchman and released in 2009 on Folkwit.

“Thunderbird” is a track recorded by Louise specifically for this collection at Regal Lane Studios in Camden, London. Produced by Ken Brake and Danny Manners, who also plays piano, it was written and arranged by Louise.

Louise Le May – Thunderbird

Cassie Morgan And The Lonely Pine

“No one deserves your tears, and whoever deserves them will never make you cry,” wrote Gabriel García Márquez. It was precisely reading “One Hundred Years of Solitude” that inspired Cassie Morgan's folk sketch “No More Tears”, as she sought to capture “its magical realism and its rich imagery”. Raised in rural southern Illinois, the American singer-songwriter formed a duo in 2008 with Beth Bombara, who came from the ranks of an all-female punk band. The first album released under the name Cassie Morgan And The Lonely Pine, “Weathered Hands, Weary Eyes”, came out in April 2010 and earned Cassie Morgan the “Best Vocalist” award at the 2010 edition of the St. Louis “Riverfront Times” annual Music Awards. Cassie Morgan wanted to offer us a live version of one of the tracks from her debut album, recorded at the studios of local radio station KDHX.

Cassie Morgan And the Lonely Pine – No More Tears

Jaymay

“Think Woody Allen, if he were young and female — and if he could sing.” With these words, back in 2007, the Observer described Jamie Kristine Seerman, aka Jaymay, on her English debut with the album “Autumn Fallin'”. A little gem of the New York anti-folk scene, before landing in London to sign with Heavenly Records Jaymay had already charmed the Big Apple with her sugary indie-folk, winning over an ever-growing audience thanks to her EP “Sea Green, Sea Blue”. Fresh and light, Jaymay's songs offer a tender view of the world, whether real or imagined. The latter, in particular, is the subject of “Pinocchio's Demise”, a sweet lullaby in which, amid little birds and crickets (talking ones, perhaps?), Collodi's puppet defends his own version of events to the bitter end: ⟦Q1⟧, Jamie chirps, echoing the Pinocchio of Shrek 2. Born out of a voice-and-guitar improvisation, the track was later fleshed out with contributions from her friend Steve Lewis (slide guitar, bass, bongo) and embellished with violins and animal sounds. “Pinocchio's Demise” will likely be included on the EP “10Under2”, due out in 2011, which will feature ten tracks all under two minutes long.

Jaymay – Pinocchio's Demise

Heidi Elva

A New Zealand harpist and multi-instrumentalist active in numerous collaborations across the Australian music scene, Heidi Elva is also a songwriter and singer eager to experiment with new languages, poised between minimal electroacoustics and fully-fledged songs built almost entirely on delicate string touches and skeletal harmonies that reveal an enchanting melodic sensibility.

Her music tastes of a traditional, brooding folk, interpreted with an all-feminine grace; it offers visionary ballads, brushes against the nocturnal tones of a stripped-back trip-hop, and even ventures timidly into electronic-ambient territory. Since her debut "Ships And Trees" (2008), Heidi has focused on writing her own songs and honing her interpretive skills, which showed themselves in all their ethereal grace on her appearance on Part Timer's recent "Real To Reel", and are fully confirmed on "The Heart Is A Lonely Hunter", an intriguing preview of a much-anticipated second album.

Heidi Elva – The Heart Is A Lonely Hunter

Muffin

A voice of silk and a surprising passion for acoustic folk, singer-songwriter craft and psychedelia: the shy Japanese musician Mana Sasaki is the heart and mind of Muffin, a project conceived back in 2001 but which only reached its first releases once Mana found herself flanked by an actual band, capable of supporting her songs and her multi-instrumentalist talents (guitar, piano and organ). Her recorded debut dates back to early 2009, in the shape of the splendid mini CD-R "Folklore", released in a limited edition by Reverb Worship, followed shortly after by the album "Grapes", the result of a meticulous sonic exploration, evidenced by an instrumental variety of many different origins, ranging from horns and percussion to banjo and bouzouki, all the way to the Indian esraj, placing Muffin's music in a context free of any spatial or temporal reference points, yet dotted with watercolours in gentle yet vivid hues. Like the one painted by "Hedera", a track written upon her return to Japan after a brief Italian tour, and thus dedicated by her to all the people she encountered in our country.

Muffin – Hedera

Winter Took His Life

We don't know who the "he" is that lost his life during the harsh season, but the passing was probably caused by the frost that marks the long Scandinavian winters that Susanna Brandin, the young musician who chose this gloomy moniker for her solo output, must be well used to, coming as she does from chilly Sweden. The music Susanna plays, by contrast, is warm and enveloping, even though it's often made up of nothing more than guitar and voice. In 2007 Susanna gave us the surprising debut "You Know What It's Like To Be Alone And Shut Down", to which she hopes to give a follow-up during 2011: she too, in fact, feels that although she's currently focusing her energies on her band, Hunt, it would really be about time. "Could Go Now" was written and recorded by Susanna alone in just fifteen minutes, during a long, dark and dull night in Gothenburg.

Winter Took His Life – Could Go Now

Danielle Doyle

Some songs are too personal to end up on an album. They're like diary pages, written more for oneself than to be shared with others. That's the case with "Seventeen", whispered by Danielle Doyle in the intimacy of her own bedroom, with nothing more than an acoustic guitar and a tape recorder. In her songs, the Massachusetts singer-songwriter usually prefers to tell stories: stories like that of the cartographer's wife, forever waiting for her man to return from some journey to the ends of the earth, which gave its title to her debut album ("The Cartographer's Wife", released in March 2010). "Seventeen", on the other hand, is different: "A super personal song", is how Danielle Doyle herself describes it. And she immediately adds: "That must be one of the reasons I never thought about including it on the record". Listening to it is like being invited, for an instant, to share the beating of her heart.

Danielle Doyle – Seventeen

Rozi Plain

Rozi Plain, real name Rosalind Leyden, is a young English artist originally from Winchester who later moved to Bristol, where, working in close contact with the woodland along the Avon, she developed her own artistic sensibility, geared towards capturing bucolic vistas and intimate snapshots of everyday life. Together with her older brother Sam and Rachael Dadd, she helped found the "Cleaner Records collective", a varied gathering of songwriters from the Bristol area, before joining the wider collective orbiting around James Yorkston and the Fence label, on which she released her debut album "Inside. Over Here" in 2008. The album, along with numerous compilation appearances, was followed by a six-track EP, in which she gave ample proof of a simple, lively folk songwriting style that grafts spirited horn arrangements and understated rhythms, plus light, measured vocal delivery, onto traditional instruments (acoustic guitar, banjo, accordion).

Rozi Plain – Massive Nothing

Malvina Meinier

Electric guitar, ukulele, music box, bells, toy instruments, but above all piano: these are the instruments through which French artist Malvina Meinier has shaped her artistic project, formerly known under the alias Porcelain, in which she combines seductive piano melodies with fragments of song and a myriad of sounds veiled in a subtly dusty enchantment. In doing so, she paints the picture of a new world unfolding before her eyes, a universe she herself describes as real yet intangible, in which love and music scatter across a multitude of physical dimensions. Her compositions take on, by turns, the form of solemn ballads, or of playful harmonies that, like a new Ophelia, rouse her from an endless sleep and from that latent state of consciousness in which her fragile world settles gently, almost silently, into the unreal stillness of a winter…

Malvina Meinier – Hiver

CD2

Kristen Toedtman

“Che fai tu, luna, in ciel?”. The piano of an empty church, a Los Angeles night, and the wound of a broken heart: Kristen Toedtman's eyes lose themselves in the glow of the full moon, weighed down with questions as old as the human soul itself. “The moon seems to know what we humans can't understand: which road should I take?”. Her voice had already appeared on the first volume of OndaDrops, alongside her friend, actor/songwriter Brendan Hines, in a live version of “The Butcher's Son”. This time, though, the American singer-songwriter goes it alone, with a piano-driven ode possessed of a soul depth worthy of Joan As A Police Woman, in which it's easy to catch the echo of her classical training (which also led her to take part in several early and Baroque music ensembles, before launching her solo career in 2009 with the album “The Fall”). The moon's humps, so distant yet so mysteriously familiar, seem to map out our destiny: “Oh moon, why won't you take me?”.

Kristen Toedtman – Old Gibbous

Allysen Callery

From the woods and untouched nature of her native Rhode Island, Allysen Callery draws inspiration for her artistic creations, both musical and literary, carefully guarded and sealed away like messages in a bottle, meant to be revealed only to those truly determined to find them. The precious essence of her music is entrusted entirely to self-releases utterly alien to any form of self-promotion beyond simply offering a few songs to stream on her Myspace page. That's the key to entering her musical world, populated so far by two albums, “Hopey” and “Hobgoblin's Hat”, in which, departing from the nearby Appalachian tradition, she has blended with great elegance a fascination for the most classic British folk with sinuous interpretations and a subtle psych streak, enhanced by the contribution of producer and multi-instrumentalist Myles Baer (electric guitar, upright bass and Hammond organ).

Allysen Callery – Favourite Son

Therese Aune

Norwegian artist Therese Aune plays evocative dream-pop songs on piano, toy keyboards and various other instruments. She started playing piano at the age of ten, gradually developing a personal mode of expression that shifts between calm and measured on one hand, and playful and deliberately ramshackle on the other. Her rough, powerful voice offers listeners living matter to engage with, in a search for suggestions that are hard to remain indifferent to. She's often backed by a genuine little orchestra made up of violin, cello, accordion and percussion, whose interplay shifts the compass of her songs from enveloping drones to lively rhythms. So far she's only made herself known through a self-produced demo from 2008, while the new track she offers for our compilation opens her world to new experiences, having been recorded at Greenhouse Studios in Reykjavik, with the collaboration of sound engineer Mio Þorrison, who has also worked with Owen Pallett and Valgeir Sigurðsson.

Therese Aune – Grey Ghost

Lay Low

Lovísa Elísabet Sigrúnardóttir, aka Lay Low, makes no secret of her love for cinema: back in 2008 the Icelandic singer-songwriter had already lent a couple of tracks to director Baltasar Kormákur for his “Brúðguminn” (winner of the Icelandic Oscar for Best Film of the Year). That bond with the big screen was renewed in 2010 thanks to a film by another compatriot, “Kóngavegur” by Valdís Óskarsdóttir. The country-folk caress of “3. Nótt”, framed by lap steel and originally written precisely for that film's soundtrack, had remained tucked away in Lovísa's drawer until now. Anyone who's had the chance to see Lay Low live, touring across Europe as support for Emiliana Torrini, will have no trouble recognizing a delicate grace close to that of the author of “Fisherman's Wife”. Those already familiar with her albums, “Please Don't Hate Me” and the more recent “Farewell Good Night's Sleep”, will find the same gentle features of a girl in love with Dolly Parton and old honky tonk records. For everyone else, it will be like discovering the imaginary border between America and Iceland.

Lay Low – 3. Nótt

Kesang Marstrand

Born in Woodstock to a Danish mother and Tibetan father, and now living in Tunisia for reasons of the heart, Kesang draws her inspiration from this fiery cultural melting pot. She discovered music thanks to a piano at a school in Colorado, where she grew up amid vast open spaces and deep silence; soon after moving to New York, she began exploring the endless possibilities offered by the guitar and her warm, seductive voice.

Author, in 2008, of a debut, “Bodega Rose“, capable of immediately stirring strong, lingering emotions, as well as the clear sense of witnessing a tiny yet important musical “event”, Kesang the following year recorded “Hello Night“, a collection of lullabies written and sung by her that confirm her delicate inspiration and extraordinary interpretive gifts. Busy with various projects and working toward her third record, on “Spike Driver's Blues” the young American musician gives us a cover of Mississippi John Hurt, taking on a Delta blues classic.

Kesang Marstrand – Spike Driver's Blues

Audie Darling

Audrey Jarvis, a young woman originally from Nashville, Tennessee, but now firmly settled into Portland's incredibly prolific music scene, has chosen the alias Audie Darling for her solo output: songs that, thanks in part to a diaphanous, airy yet deeply alluring and elegant voice, sketch delicate miniatures built on guitar and piano.

For her 2009 debut, provocatively titled “Full Of Ghosts“, she chose to surround herself with a large backing band including, among others, the talented Leonard Mynx, and, above all, producer and musician Adam Selzer, who once again played a decisive role in crafting a small gem of folk intimacy.

Audie is now based in Nashville, where, with the support of her father, himself a well-known musician, she is recording her second album. In the meantime, though, she didn't want to leave us without a musical contribution of her own, offering us a track that bodes very well for the success of her “difficult second album“.

Audie Darling – Penny For Your Thoughts

Delphine Dora and Half Asleep

The pairing of Delphine Dora and Valérie Leclercq feels like a truly fated artistic encounter: both are “women at the piano” or guitar, both devotees of self-production and lo-fi aesthetics, both having in the past come up through free online music via netlabels or personal free distribution. The first is French and has released four albums of spare, jagged melodies, made even more skeletal by their lo-fi aesthetic and a relatively raw voice; the second is Belgian and, since the early 2000s, has pursued her personal project Half Asleep, which, true to its chosen alias, is as muffled in its sonic settings as it is slow in its output, since Valérie has only recently announced the release that will follow her previous “(We Are Now) Seated In Profile” (2005) and the magnificent Hinah debut “Just Before We Learned To Swim” (2003).

Delphine Dora & Half Asleep – Zelda

Lotte Kestner

Lotte Kestner is the alter-ego of Anna-Lynne Williams, the entrancing female voice admired on the albums of Trespassers William, under which name she has channeled her solo work. Her velvety, dreamlike interpretations are naturally the core around which a deeply delicate, spare female singer-songwriter craft revolves, one that retains from the band only the atmospheres of enchanted melancholy, though here cast in a shadowy acoustic setting made of barely sketched melodies and singing so intimate and lulling that it borders on shyness in its fragile sweetness.

Over spare acoustic notes, punctuated only by occasional piano touches or muffled guitar ambience that heighten the album's ethereal mood, Anna-Lynne moves between whispers, trills and vocalizations chasing each other in gleaming spirals, sometimes left free to trace fluttering arabesques, more often shaped into fully-formed ballads with clearly defined melodies and deeply felt delivery, like those found on her precious solo debut “China Mountain“.

Lotte Kestner – Nurse

Haruko

Her alias and vaguely "exotic" looks don't reveal much about the young woman who goes by the name Haruko. Her real name is actually Susanne Stanglow, a young German artist who reinterprets fragments of evocative folk in her own personal way, written and recorded entirely at home, with bare-bones instrumentation and an aesthetic naturally leaning toward lo-fi.

Haruko's visionary world is defined by her gentle yet obsessive picking and a slender voice that narrates hallucinatory, literary-flavored adventures, close cousins to European oral-tradition tales and to the amorous, fantastical stories of the troubadours. That same simplicity of expression and the candor of the lyrics on her debut album "Wild Geese" also run through "Made Of Paper", a song she herself describes as having been conceived during a nighttime bike ride, watching dead leaves swirl up in the wind: "Sometimes I feel like I'm made of paper and the wind is whirling me around and then I think I need some heavy boots to keep my feet down on the ground".

Haruko – Made Of Paper

Natalie Abulhosn

Of Lebanese origin, raised in Dubai and recently relocated from Portland to New York, Natalie Abulhosn weaves together cultures and styles, much as she does with the different expressive forms of visual art and music. On the musical side, she hasn't released anything official yet, but she has a long string of demos ranging from simple acoustic guitar or piano songs, recorded entirely at home, to the pulses of a minimal electronic sound that represents her most recent discovery, certainly spurred on by her encounters with Benoît Pioulard and with other artists engaged in oblique electro-acoustic manipulations. While we wait to finally see her gather the fruits of her eccentric artistic upbringing into a full, cohesive work, she has decided to offer OndaDrops a taste of her more intimate, melodic side, in a song sung as a duet with her sister.

Natalie Abulhosn – Birdsircle

A Book About Elephants

Behind the quirky alias "A Book About Elephants" hides Christina Tsui, who grew up in suburban California, amid endless rows of bridal shops and picture books starring talking animals. Christina's music is very close in spirit to the books she read as a girl: full of curious, original stories, painted in pastel colors, simple yet brimming with imagination. After a mini album, "Milk The Moon", released as a free download through Hush Records, and a subsequent album of home recordings also available for free on Bandcamp, "A Book About Elephants" plans in 2011 to take her music on the road with a backing band, and maybe even to write a danceable electronic song or two (!).

"Eve", the track she offers us here, describes the feeling of being stuck in a liminal state for so long that all you want is simply to be able to move, in any direction at all.

A Book About Elephants – Eve

Milenasong

Milenasong is the musical project of Sabrina Milena, a painter and songwriter of Slavic-Norwegian origin who came up artistically in the Berlin scene and has been involved in a range of different musical projects. Perhaps that's why she still hasn't followed up her debut album "Seven Sisters" (2007), which drew attention for her personal take on slow, minimal acoustic folk streaked with faint electronic touches.

Her chiaroscuro folktronica is built from a recurring, concentric circularity of delicate acoustic textures, discreet electronic intrusions and ethereal, barely-sketched melodic lines, deliberately left hanging, as if to heighten the abstractness of a music made up of just a few, simple elements. Whether expressed through shadowy mantras, lulling and melancholy nursery rhymes, or exercises in acoustic intimacy, Milena's songs absorb Central European and Nordic musical references, distilling them into colorful, richly suggestive miniatures shot through with oblique undertones. "Love Will Appear" is a fine example, self-produced by Milena herself and made together with guitarist Leo Abrahams, with mastering handled by Fredrik Ness Sevendal.

Milenasong – Love Will Appear 

Milenasong – Love Will Appear (video)

Ilona V

Ilona V describes herself as a solitary musician and is based in Brooklyn. She never performs live and usually records her music at home, where she also makes jewelry, draws, paints and collects arcane, fascinating objects. After a self-produced EP in 2006 and an excellent single, "Good Morning", which earned her flattering comparisons to artists of the caliber of Joni Mitchell and Carole King, Ilona has planned for 2011 a new all-covers single for the English label Fruits de Mer – which puts out extremely limited colored vinyl releases exclusively featuring 60s and 70s psych-folk songs reinterpreted by young artists – as well as an album made in collaboration with a mysterious friend known only to be a notable musician who has recorded for Creation Records. In the meantime, she gives us Tim Hardin's "Southern Butterfly", tinged with the scent of Mazzy Star and recorded live in her New York home.

Ilona V – Southern Butterfly

Freschard

It's not easy to inhabit someone else's words: something has to resonate deep down, right to that secret point where you discover you're made of the same desire. Perhaps that's why so many artists have taken on the songs of Daniel Johnston: because his songs carry within them the innocence of someone used to letting the heart speak without defenses. “Don’t want to be free of hope”, the opening line of “Life In Vain” declares from the very start: Clémence Freschard caresses every word with her seductive French accent, making it her own with disarming lightness. Raised in the Burgundy countryside and discovered by André Herman Düne in a Parisian café, Freschard already has three solo albums to her name. It's Düne himself, under the alias Stanley Brinks, who accompanies Freschard on “Life In Vain” with delicate touches of guitar, bass and breaths of clarinet. On drums is David Tattersall of the Wave Pictures, with whom Freschard and Brinks recently collaborated on the London songwriter's debut solo album, Happy For A While. Together, they let Johnston's questions throb with the weight of the truest kind of doubt.

Freschard – Life In Vain

OndaDrops Vol. 3: Come all ye fair and tender maidens

Cd1: download

Cd2: download

All the tracks featured in OndaDrops have been made available by the artists for free download. OndaRock makes no claim of ownership over these tracks, which remain the exclusive property of their respective copyright holders, artists, record labels and publishing companies.

Thanks go to the artists, the labels, and everyone without whose support this compilation could never have seen the light of day. Special thanks to Valeria Campana for her "technical" support.

All songs included in OndaDrops are provided by artists and intended for free download. OndaRock makes no claims of ownership to any of the songs, that are sole property of their copyrights, artists, record labels and publishing companies.

We would like to thank the artists, the labels and everyone whose support made this compilation possible. A special thanks goes to Valeria Campana for her “technical” support.

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