Performer Magazine: July 2012

TH E M US I C I A N’S R ES O U RC E

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MEMORIALS

Writing Hooks with a Drum Prodigy

interviews

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TA B L E O F C O N T E N T S

VOL.22, ISSUE 7

The Memorials by Ellen Eldridge

28 COVER STORY

Some might think leaving a successful prog rock outfit would be career suicide, but drum prodigy Thomas Pridgen knows what he’s doing. With his new musical partner Viveca Hawkins, he’s setting forth to make The Memorials a prog-soul force to be reckoned with.

Portland Cello Project by Benjamin Ricci

18

Mark Lanegan by Julia DeStefano

22

We recently caught up with the former Screaming Trees frontman in Boston to talk about his solo projects, the benefits of musical collaboration, and how he’s learned to structure his songwriting process.

This PDX ensemble is breaking down barriers with audiences, and mixing hip-hop with classical strings. We sit down with bandleader Doug Jenkins to discuss the group’s mission, and how they combat prejudice in music.

Hallelujah The Hills by Andrew Fersch

26

This Boston group has just dropped their latest album, and we had the chance to interview leader Ryan Walsh to discuss the group’s approach to the studio, writing meaningful lyrics, and learning how to keep a band together over the years.

D E PA R T M E N T S 5 Obituaries

35 Top Picks: The best in new music

54 Gear Reviews

6 Local News

44 Inside an Indie Label

56 Flashback: Tangent Channel Strips

13 Tour Stop: Savannah, GA

46 Legal Pad: Pay to Play

15 Spotlights:

48 DIY Merch Tables

Belle Histoire, Deadkill,

50 My Favorite Axe: with Guy Keltner

The Nightmare River Band

51 Recording: Killer Lead Vocals

32 Summer Festival Previews

Photos - Top left clockwise.

Demondre Ward (Cover photo and this page), Tarina Westlund, Timothy Renzi, Sam Holden

52 Studio Diary: Adela & Jude JULY 2012 PERFORMER MAGAZINE 3

FROM THE TOP Volume 22, Issue 7 Festival season is upon us, and there’s no shortage of great events to keep you busy as you rack up more miles on your summer road trip.

Point to any random spot on a U.S. map and there’s bound to be an awesome festival with an endless list of headliners, just ready to take your dollars. If you want to read about all the cool, hip stuff going on, this might not be the mag for you.

If you want to get some straight talk from the folks who put on these festivals, then read on.

We caught up with some of the highest profile events of the summer to discuss their booking processes and what fest organizers look for in independent artists.

We’ve also packed the issue with useful info on maximizing your merch table, some legal advice on pay-to-play situations, and we’ll even take you on a behind-the-scenes look at a successful indie label. Add to that our standard spotlights, interviews, record picks, gear reviews and recording tips, and you’ve got yourself one helluva bargain. What more could you want for free?

Personally, I’d want some more scratch and sniff sections, but we’ll have to talk to the printer about that. I’m thinking strawberry jam for our cover stories from now on…

-Benjamin Ricci Editor

24 Dane St., Suite 3 Somerville, MA 02143 Phone: 617-627-9200 - Fax: 617-627-9930 PUBLISHER

William House - bill@performermag.com EDITOR

Benjamin Ricci - ben@performermag.com DESIGN AND ART DIRECTION

Joe LoVasco - scoutco1@gmail.com EDITORIAL ASSISTANT

Samantha Ward editorial@performermag.com

CONTRIBUTING WRITERS

P.S. – While we were able to get a lot of info from festival organizers on their booking procedures, we didn’t get the inside scoop on how to make yourself a hologram so you can play multiple festivals at once. Still working on it, folks. If Tupac can do it, I’m sure there’s hope for the rest of us…

Adam Barnosky, Adam Ritchie, Amanda Macchia, Andrew Fersch, Ari Goldberg, Ben Marazzi, Benjamin Ricci, Brad Hardisty, Brent Godin, Candace McDuffie, Carolyn Vallejo, Chris Devine, Christine Dore, Christopher Petro, Ellen Eldridge, Gail Fountain, Garrett Frierson, Jan King, Jason Ashcraft, Julia DeStefano, Katrina Nattress, Matt Lambert, Rich Coleman, Robert Wainscott, Samantha Ward, Shawn M Haney, Tara Lacey, Taylor Haag, Vanessa Bennett, Zac Cataldo, Zack Sulsky

CONTRIBUTING PHOTOGRAPHERS

Follow us on Facebook and Twitter. facebook.com/performermagazine twitter.com/performermag

ABOUT US Performer Magazine, a nationally distributed musician’s trade publication, focuses on independent musicians, those unsigned and on small labels, and their success in a DIY environment. We’re dedicated to promoting lesser-known talent and being the first to introduce you to artists you should know about.

Astroana Graphics, Brendan Gabriel, Brian Hockensmith, Carolyn Vallejo, Creative Outlaw, Dave Vann, Demondre Ward, Emily Tan, Francis Chung, Gail Fountain, Gail Rush, Jan King, Jason Quigley, JMR Photography, Jonathan Weiner, Julia DeStefano, Lord Photog, Matt Koroulis, Meagan White Photography, Raquel Horn, Rosalyn Lee, Sam Holden, Shervin Lainez, Tarina Westlund, Thomas B. Diasio, Timothy Renzi ADVERTISING SALES

Kathleen Mackay - kathleen@performermag.com Deborah Rice - deborah@performermag.com

© 2012 by Performer Publications, Inc. All rights reserved. No part of this publication may

SUBMISSION GUIDELINES We listen to everything that comes into the office. Unfortunately, due to space limitations, we are not able to review everything. If you do not see your record in the mag in the months following your submission, we were unable to feature it. We prefer physical CDs over downloads. If you do not have a CD, send download links to editorial@performermag.com. Send CDs to Performer Magazine, 24 Dane St., Somerville, MA 02143.

4 JULY 2012 PERFORMER MAGAZINE

be reproduced by any method whatsoever without the written permission of the publisher. The magazine accepts no responsibility for unsolicited recordings, manuscripts, artwork or photographs and will not return such materials unless requested and accompanied by a SASE.

Annual Subscription Rate is $30 in the U.S.; $45 outside the U.S.

Bee Gees Singer Robin Gibb died in London on May 20 at age 62 due to colorectal cancer. He was best known as a founding member of The Bee Gees with his brothers Maurice and Barry. The group was one of the most successful pop groups of all time, racking up nine Billboard Hot 100 No.1 hits, including tracks from the blockbuster soundtrack to Saturday Night Fever. Gibb is remembered for his soulful vibrato and his contribution to disco fever.

Donna Summer, 63 Iconic Disco Singer The queen of disco, Donna Summer, died of lung cancer the morning of May 17 at age 63 in Florida. Born into a conservative Christian family in Boston, Summer first found her soulful voice in church choirs. She signed with Groovy Records in her mid-twenties and danced her way through the ’70s with iconic hits like “Last Dance” and “Hot Stuff.” The impact her vocals made on the industry won her five Grammys and numerous spots on the Billboard Hot 100.

Arthel “Doc” Watson, 89 Folk Guitar Legend Arthel “Doc” Watson died May 29 of complications following colon surgery.

Watson was known for promoting the musical traditions of Western North Carolina and the Blue Ridge Mountains with his flawless flatpicking style. Born blind, he used music as a feasible way to make a living, though he never really enjoyed touring. Watson only made the Billboard charts once, but earned eight Grammy awards, including a lifetime achievement award. In 2000, Watson was inducted into the International Bluegrass Music Hall of Honor.

Alan Hacker, 73 Innovative Clarinetist & Conductor Exemplary British clarinetist and conductor Alan Hacker died at age 73 on April 16. Hacker was a pioneer of the clarinet, performing with the Park Lane Group, the London Philharmonic, and helping to create an innovative music department at York University. He changed the realm of clarinet when he reintroduced the basset clarinet in 1969. Paralyzed at age 28, Hacker triumphed over the challenge of traveling with his disability and was able to play and conduct vibrant performances to audiences all over the world.

Carrie Smith, 86 Broadway Star Carrie Louise Smith, a smoldering jazz and blues singer, died of cancer at age 86 on May 20. Her breakthrough moment came in 1974 when she played the role of Bessie Smith in a memorable performance at Carnegie Hall in New York.

She later starred in the hit Broadway musical Black and Blue from 1989 to 1991. In the musical celebrating jazz and blues, she used her experiences as a touring blues singer to project the confidence and silky-smooth voice that earned her recognition in the industry.

OBITUARIES

Robin Gibb, 62

Herb Reed, 83 Platters Founder Herb Reed, the last surviving member of the popular 1950s group The Platters, passed away June 4 in the Boston area at age 83. Reed was born into poverty in Kansas City, but founded the legendary vocal quartet in Los Angeles in 1953. Reed sang on memorable hits like “Smoke Gets in Your Eyes” and “The Great Pretender.” In 1990 the Platters were inducted into the Rock and Roll Hall of Fame and their recordings were included in the Grammy Hall of Fame.

Eduard Khil, 77 Soviet Singer / “Mr. Trololo” Eduard Khil, dubbed “Mr. Trololo” by American Internet enthusiasts, died from a stroke on June 4 at age 77. Khil was a popular Russian singer during the 1960s and ’70s who fell out of the spotlight shortly after the fall of the Soviet Union. However, a 1976 clip of him singing the melody of “I Am Glad, ‘Cause I’m Finally Returning Back Home,” went viral on YouTube in 2010. The amusing video had been comically edited and remixed, much to the delight of Khil.

Chuck Brown, 75 Inventor of Go-Go Music Chuck Brown died on May 16 at age 75 after being hospitalized for pneumonia.

Brown was a Washington, D.C. jazz and soul musician in the ’60s, earning recognition for his funk hit “Bustin’ Loose” in 1979, later interpolated by Nelly’s 2002 hit “Hot in Herre.” He had the most impact locally, where his free-form funk drew in followers and earned him local legend status. Brown is most widely credited with founding the Go-Go genre in the D.C. area in the 1970s.

JULY 2012 PERFORMER MAGAZINE 5

LOCAL NEWS

Atlanta 5 MINUTES WITH...

Kimberly James, Owner/Producer

Getting Booked at Nophest

ATL’s Indie Fest Offers Slots for Local Bands

CBM RECORDS

by Ellen Eldridge

Interview by Ellen Eldridge 30 Second Bio I have worked in music for many years, first starting out on the national level touring bands as a booking agent and manager in the metal industry. I was able to work for Dave Ellefson of Megadeth, booked a short tour stint for Sworn Enemy, and was in an industry book called Swimming with Sharks.

How do you help indie bands?

Several years ago I decided to take all I learned to the regional and local level to help bands I love at home get national exposure.

Using my national connections and friends now, I work as a team effort with amazing up and comers Paris Luna & Company, Citizen Icon and Jody Pyles. I still work with national acts behind the scenes, and own a record label I recently started, CBM Records. I also work for the GA Music Awards in promotions and as a producer among many things, and also produce regional shows, festivals and concerts. I guess you should know me because I work hard at what I do and love the music so much, and spend a lot of my time consulting with venues, bands and other music-related companies as well as take a huge part in music charities.

Proudest achievement?

Man, I am still working on the bad ass one, but I guess helping a band get signed to Jamey Jasta of Hatebreed’s label and working with Dave [Ellefson], and touring overseas bands to the USA. That and his friendship meant a lot to me, but my biggest right now is the hard work Heather Russell of Paris Luna and I both do together propelling her career. I’m really proud of our hard work and team. www.facebook.com/CBMRecordsLLC

Nophest is the “no bullshit,” non-corporate festival put on by the independent Atlanta label Nophi Records. Randy Garcia is at the head of this operation and has been since its beginning six years ago.

He admits that Nophest is open to Atlanta bands and that the line-up is “pretty much first come, first served.” Bands that have previously played are invited back each year, and booking is never set in stone until the minute the show starts. The flexible atmosphere anticipates the chaos of a local festival while still allowing for the involved bands to network and perform.

Scheduled to take place on two stages at 529

VENUE PROFILE

in Atlanta on Thursday through Saturday, August 23-25, Nophest will include such local acts as The Sexual Side Effects, a band that has been playing its heart out in Atlanta and surrounding areas so much that it was nominated for a Georgia Music Award.

Additional well-known local acts include Hip to Death, Nerdkween, Baby Baby, Mice in Cars, Hail the Titans, Jungol and Swank Sinatra, just to name a few. A one-day pass costs fans only $7.50 and a weekend pass costs only $15.00 for all three nights.

More information on booking policies and ticket

info can be found at www.nophest.com.

Wild Bill’s

Giving Local Bands a Shot to Play South’s Biggest Room Wild Bill’s is the biggest indoor live venue in the country, according to the production manager Jason Gates. Wild Bill’s consists of a full restaurant with two performance rooms, the first of which fits 4,700 people with 103 VIP seats, and the second of which accommodates 350. This smaller room, “The Crown Lounge,” has an open mic hosted by Dixie Duncan every Wednesday. More info about nightly events at Wild Bill’s can be found at: www.wildbillsatlanta.com/nightly

Photo by Kristin Banks

BOOKING INFO

Contact Tom Siliven at tsiliven@aol.com. If your band doesn’t hear back within three weeks, send a follow-up email again. Bands are encouraged to have covers in their set, as patrons like to dance. Press kits should include: One sheet with band contact info and genre, MP3s, website URL, market value (strength in the ATL area), photos and upcoming tour dates.

STAGE STATS Full stage for bands Professional PA system On-site sound engineer for all lounge shows

PAY POLICY Compensation is based on ticket sales. Bands are allowed to sell tickets at a price of their choosing, and keep all profits as compensation for the night.

6 JULY 2012 PERFORMER MAGAZINE

013

the digital revolution is not only here,

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Break free from the confines of front of house. The Mackie DL1608™ redefines mixing by combining the power of a fullfeatured, 16-channel digital live mixer with unmatched ease and mobility of the iPad. Now, mix from anywhere — front of house, the stage… the bar.

Free your mix. Free your mind.

Check out Rusty’s trippy adventure

iPad is a trademark of Apple Inc., registered in the U.S. and other countries. Wi-Fi router required for wireless operation. Wi-Fi router and iPad not included.

Copyright © 2012 LOUD Technologies Inc. All Rights Reserved.

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6/14/12 1:59 PM

Austin LOCAL NEWS

DIRECTORY

AUSTIN Record Labels MONOFONUS PRESS PO Box 6386 Austin, TX 78762 monofonuspress@gmail.com www.monofonuspress.com BEATS BROKE PO Box 29775 Austin, TX 78755 info@b roke.com www.beatsbroke.com AUSTRALIAN CATTLE GOD RECORDS The Typewriter Museum Home of Australian Cattle God Records 1514 Ed Bluestein Blvd. #108 Austin, TX 78721 (512) 779-5179 bryan@australiancattlegod.com www.australiancattlegod.com KING ELECTRIC RECORD COMPANY 1303 East 4th St. Austin, TX 78702 (512) 665-7535 info@kingelectricrecords.com www.kindelectricrecords.com

Get to Know Austin’s Social Promo Master Spotlight on Bling Johnson

by Tara Lacey In Austin there’s no shortage of big personalities. In entertainment, creating a persona not only makes you more marketable, but also helps give you more opportunity for fluid movement across various forms of media. Bling Johnson has done just that. He has perfected an energetic, rock star cowboy on-stage personality helping to build recognition.

WESTERN VINYL 4409 Merle Dr. Austin, TX 78745 info@westernvinyl.com www.westernvinyl.com

EXPAT RECORDS 2020 South Congress Ave., Suite 1121 Austin, TX 78704 (512) 239-8949 info@expat-records.com www.expat-records.com (all demos MUST be submitted online)

For more listings, visit performermag.com 8 JULY 2012 PERFORMER MAGAZINE

www.blingjohnson.com

Paying Bands Through Sponsorship Negotiations A Look at Booking Guru Marsha Milam

ARTIFICIAL MUSIC MACHINE 2108 Thornton Rd. Austin, TX 78704 (512) 657-1414 contact@artificialmusicmachine.com www.artificialmusicmachine.com END SOUNDS PO Box 684743 Austin, TX 78768 (512) 535-0405 info@endsounds.com www.endsounds.com

Johnson humbly started out producing promotional spotlights on local musical happenings with zero budget and zero following. The social media master built an empire from the ground up by forging relationships with some of Austin’s best-known musicians and rousing and engaging an audience via social media. He created a successful YouTube video series and rode the crest of his digital following onto Austin’s KBVO in what started as a seasonal series and, with a growing base of loyal viewers, morphed into a weekly look at Austin’s music scene.

He now works on profiling music venues, tattoos, hot rods, and Harleys on top of local music. His growth is due in large part to his impeccable social media engagement. Johnson’s number one rule for social media: “Make it about them, don’t make it about you. Don’t inundate them with promotions, give them the opportunity for conversation.”

Johnson’s coverage is expanding past local artists into all of Austin’s live music offerings. If you are playing Austin sometime soon and you’d like a little time in front of Bling’s camera, it’s not out of reach. Find him on Facebook and engage in conversation - you too could find yourself featured on his show.

by Tara Lacey

Marsha Milam has proven herself as a fixture on the Texas music scene. Her work has transcended decades in the evolving industry. Though many seasoned promoters may tend to skew towards a comfortable or familiar genre, Milam takes pride in continuing to explore new music. She has enjoyed booking Austin’s most popular summer concert series, KGSR’s ‘Unplugged at The Grove’ among many others. Most of her shows are free to the public.

Milam continually finds new ways to keep the music playing, and pays the bands without costing fans a thing. Her savvy in securing sponsors has allowed her to take the reigns and handle booking duties for a few of the city’s most legendary venues, as well.

She also has a love for blues music. It’s apparent when she begins talking about her favorite local artists who are carving out their space on the scene. She says she’d love to get Jonathan Tyler and The Northern Lights, a talented, Texas group that oozes blues rock badassness.

Milam has a busy summer ahead of her, managing promotions for shows in San Antonio, Belton, Fort Worth, and El Paso in addition to Austin.

You can find her more information on her services and shows at www.milamandcompany.com.

In The News Northeast

Radio Opps Still Exist for Bands in Boston Despite Loss of Independent Station WFNX

Boston-based trio Constants are set to release Pasifora on July 24 via The Mylene Sheath.

Cloud Seeding releases their second single, “New Testament,” feat. Greg Hatem on Bleek Records.

David Ramos released Sento La Tua Mancanza on May 29 via Fake Four Inc. Ramos used his personal experiences of impermanence and loss to direct the album.

Brooklyn-based music project Conveyor is set to release their debut full-length selftitled album on July 17 via Paper Garden Records.

Josh Newton and Joe Trohman (formerly of Fall Out Boy) of With Knives announce Summer U.S. tour dates in support of their newly released EP, Schadenfreude.

Brooklyn three-piece Violens channels ’90s sonic pop on their new EP, True, released on May 15 - now streaming online via Spin.com.

Portland’s Zach Jones recently released his first soul album, titled Things Were Better, with live acoustic shows in Bull Moose stores in Portland, ME and Portsmouth, NH.

It was a sad day in Boston on May 16 when WFNX, a beloved local alternative rock station, announced its sale to Clear Channel Communications. The sale marks another loss in Boston independent radio, following the sale of WBCN in 2009. Since its genesis in 1983, the station has been known for its early support of Pearl Jam, Nirvana, Green Day, and more recently for promoting acts like Passion Pit, Foster the People, and Gotye into the spotlight.

However, while the city can mourn the loss of this cutting edge independent station, it also cannot dwell in the past. Stations like 92.9 carry on the dedication to spread the talent in the Boston/

by Samantha Ward

New England area on their HD-2 channel streaming 24/7. Their website features an A-Z listing of local artists with bios and audio samples, a calendar of their shows, and profiles of Boston-based bands called the “Local Spotlight.” 92.9 will also be hosting music showcases for these artists at venues throughout the city. Local acts can submit their music and gigs to the program by using the submission guidelines and information found on the station’s website.

Similarly, WERS 88.9 (Emerson College’s popular non-com station) provides a mixture of indie-rock, alternative rock, and folk, largely featuring local and independent artists in its popular program, “WERS Daytime.” Musicians can also check out submission guidelines on their website for more info.

It may be the end of an era of sorts, but Boston locals will find new opportunities to identify with new stations, web radio, and whatever else the future has in store. The passion for local, independent music on terrestrial radio will certainly not die out with WFNX.

LOCAL NEWS

Boston

www.myradio929.com/local929 www.wers.org/about-wers-fm-88-9/music-submission-guidelines

VENUE PROFILE

T.T. the Bear’s Place

Cambridge Stage Offers Intimate Gigs for Indie Bands Tucked down a side street in Central Square, T.T.’s has been serving tightly packed crowds in this eclectic venue since the 1970s. The 300-person capacity of this small rock club guarantees a good

Pure Noise Records announces that I Call Fives will be releasing their self-titled debut LP on July 10. The record was produced and engineered by Paul Leavitt (All Time Low).

view from anywhere in the crowd and personal vibe from the audience. Its proximity to The Middle East club on Mass Ave ensures healthy foot traffic, as well. For out of town bands, please note that Cambridge, while technically across the river from

Baltimore’s Strong Intention continues to pound the underground grindcore scene with their new album, Razorblade Express, recently released via PATAC Records. Their East Coast Filth Tour commenced last month in Detroit.

Shadows Fall recently premiered the video for “The Unknown” from their new album, Fire From the Sky, released in May. Future of What is set release their new EP on June 26, entitled Moonstruck. The EP’s first track, “I Wait For You,” is now streaming online.

For more news, visit performermag.com

Boston, is still considered “Boston” when routing a tour. In fact, many popular Boston clubs are actually located in Cambridge.

BOOKING INFO

For locals, in order to be booked at T.T.’s, your band should have played a few smaller venues in the area and have some semblance of a local fan base. The club books at least eight weeks in advance. In order to be considered, send a link to your band’s music (they don’t like attachments), then wait a few weeks before following up. The club does not feature hip-hop, extreme metal, or hardcore punk – so be aware of that if you’re planning a tour through Boston.

Email: booking@ttthebears.com Phone: 617-492-2327 Web: www.ttthebears.com

STAGE STATS Capacity: 300 Elevated Stage Full PA, on-site sound person Front of house mixing board

PAY POLICY Compensation varies by artist. Payment will be determined at time of gig confirmation.

JULY 2012 PERFORMER MAGAZINE 9

Denver LOCAL NEWS

DIRECTORY

DENVER Recording Studios

Indie Bands: Get Played on OpenAir

Meet Colorado’s Newest Public Radio Station

By Zack Sulsky / Photo courtesy of Colorado Public Radio In a time when the airwaves are dominated by a handful of media giants, it’s not every day that an entirely new station comes around, let alone a public radio station broadcasting contemporary music on the AM dial. But in October 2011, the leadership at Colorado Public Radio decided to take a leap and turn Denver’s 1340 AM from a simulcast of their FM news station into a new station dubbed OpenAir. With a staff composed largely of alumni of CU Boulder’s Radio 1190, OpenAir brings a fresh perspective to the Mile High City’s airwaves, focusing on indie rock along with many of the styles that have influenced it, including classic rock as well as country, blues, and jazz. OpenAir seeks to find underplayed gems, with a particular emphasis on current artists.

Program Director Mike Flanagan expresses

VENUE PROFILE

optimism about the future of radio, saying that its greatest strength as a medium is its ability to remain local, giving listeners the opportunity to hear the same bands at home or in their cars that they hear in area venues. However, Flanagan acknowledges that the ways in which listeners consume music are changing, and emphasizes that OpenAir is focused on keeping up with technology via its online streaming service, which supplements its AM signal and allows OpenAir to reach a broader audience. OpenAir welcomes submissions from local artists, and hopes to continue to expand the usage of their live studio. Asked about the role of local musicians at OpenAir, Flanagan quipped, “Our doors are open.” www.openaircpr.org

Mercury Café

Small Venue Provides Three Stages for Indie Artists Located in Denver’s historic Five Points neighborhood, once dubbed the “Harlem of the West” for its thriving artistic community, the Mercury Café is one of Colorado’s most distinctive small venues. Since opening in 1975, the Mercury has combined organically grown food with a thriving artistic culture including music, dance, and poetry on three stages under a single roof.

STAGE STATS Dance Hall Capacity: 350 Equipment: grand piano, 32-channel mixer, monitors, mics

Contact Marilyn Megenity

BOOKING INFO

CONWAY SOUND 3156 W 38th Ave. Denver, CO 80211 (303) 458-1800 ryan@conwaysound.com conwaysound.com CHERRY SOUND STUDIOS 1600 Downing St. Suite #120 Denver, CO 80218 (303) 910-5359 guillot3000@yahoo.com cherrysoundstudios.com CCM RECORDING STUDIO 4214 East Colfax Ave. Denver, CO 80220 (720) 941-6088 denver-recording-studio.com ROCKY MOUNTAIN RECORDERS 1250 West Cedar Ave. Denver, CO 80223 (303) 777-3648 contact@rockyrecorders.com rockyrecorders.com COLORADO SOUND RECORDING STUDIOS 3100 W. 71st Ave. Westminster, CO 80030 (303) 430-8811 colosnd@coloradosound.com coloradosound.com SUMMIT RECORDING 7581 East Summit Rd. Parker, CO 80138 (720) 295-8308 summitroadstudios@gmail.com sr.summitrecordinggroup.com BOULDER SOUND COMPANY (720) 300-0366 greg@bouldersoundco.com bouldersoundco.com

Phone: (303) 294-9258 Email: marilyn@mercurycafe.com Web: mercurycafe.com

Description: hardwood dance floor with moveable seating Jungle Room

UNEVEN STUDIOS (303) 292-6030 unevenstudio@gmail.com unevenstudio.com

Capacity: 100 Equipment: baby grand piano, 8-channel PA, monitors, mics Description: café-style seating Rose Room Capacity: 100 Equipment: baby grand piano, 8-channel PA, monitors, mics Description: piano bar-style seating

10 JULY 2012 PERFORMER MAGAZINE

PAY POLICY Negotiated on a case-by-case basis, however artists determine cover charge and take the majority of sales. Mercury Café provides an on-site sound engineer.

SIDE 3 STUDIOS 725 Mariposa St. Denver, CO 80204 (720) 515-2649

For more listings, visit performermag.com

Seattle

Tips for Radio Airplay from KEXP Seattle Non-Com Shares Valuable Info with Artists

by Glenn Skulls Tired of the same old crap on the radio? Maybe it’s time to switch the dial. KEXP in Seattle is one of the nation’s best non-com, or non-commercial, radio stations. KEXP and fellow non-coms like KCRW (Santa Monica, CA) and WXPN (Philaelphia) have the freedom to play music you’re not likely to hear on commercial Top 40 radio.

KEXP morning show host John Richards

LABEL PROFILE

explains further: “We don’t have to answer to commercial interests. Why does this matter? It matters because we answer to listeners…it’s the listeners who listen for the love of music and commercial sponsors are interested in dumbing it down to sell their products.” He also offers the following advice when seeking non-com airplay: “This morning I got the new Futureheads single sent to me and it hadn’t been played on the radio in the U.S. yet. Did I go right to it and listen?

Hell yes, I know the Futureheads, great band. Was I rewarded by doing this? Hell yes, sounded great.

Now imagine all the other emails I’m getting as well…a lot. But that’s the nature of the job, you have to remember that. What most stations have is an ‘MD,’ which isn’t a doctor of airplay but a music director. If you’re a small band, it’s going to be hard to get their attention. Send [your music] but make sure you let them know why they should listen to it and if possible send a hard copy, as well. With a DJ you should do the same. In fact, send it to all the DJs, the worst they can do is ignore you. Inform your supporters what station is playing your CD; however, make sure that they don’t overload the station with requests. DJs can tell when a band’s supporters are overloading them with requests and this will not win you friends or more airplay.”

For more info and advice: john@kexp.org

Hardly Art Records

Seeking Unique Demos for Roster Consideration Hardly Art is an independent record label based in Seattle, WA. Founded in early 2007

by Sub Pop Records, Hardly Art is run by three full-time employees and is distributed by the Alternative Distribution Alliance (ADA) and Sub Pop. The label puts out great records on a consistent basis, and currently accepts unsolicited demos from artists seeking roster consideration.

Visit www.hardlyart.com for more info.

UNSOLICITED SUBMISSION INFO

All general inquiries should be sent to info@hardlyart.com. Hardly Art is accepting demos at this time and will make an effort to listen to everything sent in. However, the label (like most) can’t guarantee a response, nor can

SEATTLE Recording Studios FASTBACK STUDIOS 12345 8th Ave. Northeast Seattle, WA 98125 (206) 367-4667 info@fastbackstudios.net www.fastbackstudios.net

LOCAL NEWS

DIRECTORY

JUPITER STUDIOS 4000 Wallingford Ave. North Seattle, WA 98199 (206) 633-1363 jupiterstudiosseattle@gmail.com www.jupiterstudios.com STUDIO NELS 911 Western Ave. #402 Seattle, WA 98104 (206) 414-9106 info@studionels.com www.studionels.com AVAST! RECORDING CO. 601 NW 80th St. Seattle, WA 98117 (206) 633-3926 avast@comcast.net www.avastrecording.com EARWIG STUDIO 74 South Lucile St. #200 Seattle, WA 98134 (206) 763-3333 info@earwigstudio.com www.earwigstudio.com STUDIO X SEATTLE 2208 4th Ave. Seattle, WA 98121 (206) 448-6686 info@studioxinc.com www.studioxinc.com CLATTER&DIN 1518 1st Ave. South Seattle, WA 98134 (206) 464-0520 tickle@clatterdin.com www.clatterdin.com

they return any materials you send in. That said, your music will certainly be listened to and given consideration.

CURRENT ROSTER Deep Time, Gem Club, Jacuzzi Boys Woven Bones, K-Holes, Hunx Gold Leaves, and more…

CONTACT INFO Demos may be sent to:

HARDLY ART PO Box 2007 Seattle, WA 98111

UNDERCASTE STUDIOS 20340 24th Ave. NW Shoreline, WA 98155 (206) 417-0766 undercaste@undercaste.com www.undercaste.com

For more listings, visit performermag.com JULY 2012 PERFORMER MAGAZINE 11

Nashville LOCAL NEWS

DIRECTORY

NASHVILLE Live Music Venues

Performance Opps for Blues Artists in Music City

BLUEBIRD CAFÉ 4104 Hillsboro Rd. Nashville, TN (615) 383-1461

Nashville’s Got The Blues!

Article and photo by Jan King

Nashville is often thought of as the capital of country music, but on any given night you can hear music of all types coming from the clubs on Broadway and Music Row. If you are a blues musician, then Music City has several opportunities for you to hone your blues chops with great local musicians. The Nashville Blues Society sponsors two blues jams for musicians and there are several other jams available in town, as well.

The first occurs on Sunday afternoons at 3 pm at The Music City Smokehouse on Hermitage Avenue, and is followed by the pro jam at Carol Ann’s Café at 6 pm. Bourbon Street is the site of Monday’s Super Blues Jam at 8 pm. Tuesday nights feature an open blues jam at Cragnacker’s in Old Hickory and the blues are back at Carol Ann’s with the Tennessee Rhythm and Blues Society happy hour jam at 5 pm. Thursday rounds

STUDIO PROFILE

out the week with a jam at The Filling Station in Kingston Springs at 7 pm and another jam at Jimmy’s Sports Bar at 8:30 pm.

If jamming isn’t enough, bands can also compete in the annual Nashville Blues Challenge.

The event is open to members of the Nashville Blues Society and is held each November. The winner competes in the International Blues Challenge in Memphis with other local winners from around the country.

For more information on the Nashville Blues Society: Nashville Blues Society P. O. Box 330986 Church Street Station

BOURBON STREET BLUES & BOOGIE BAR 220 Printers Alley Nashville, TN (615) 242-5837 DOUGLAS CORNER CAFÉ 2106-A 8th Ave. South Nashville, TN (615) 298-1688 EXIT/IN 2208 Elliston Place Nashville, TN (615) 321-3340 LAYLA’S BLUEGRASS INN 418 Broadway Nashville, TN (615) 726-2799

Nashville, TN 37203 or email info@nashvillebluessociety.org

Ocean Way Nashville Recording Studios

Former Gothic Church Excels at Orchestral Projects

ROBERT’S WESTERN WORLD 416B Broadway Nashville, TN (615) 244-9552 STATION INN 402 12th Ave. South Nashville, TN (615) 255-3307

Ocean Way is located in the heart of Nashville’s famed Music Row. It is housed in a 100-yearold Gothic revival church and was purchased by Belmont University in 2001. It now serves as a fully

3RD & LINDSLEY BAR AND GRILL 818 3rd Ave. South Nashville, TN (615) 259-9891

commercial studio and is used in conjunction with the school’s College of Entertainment and Music Business. The studio serves indie musicians of all genres as well as many well-known artists. Since it’s renovation in 1996 from church to recording studio, Ocean Way Nashville has been a top destination for recording strings and orchestral projects.

PRODUCTION APPROACH Ocean Way Nashville provides an exceptional acoustical space tuned specifically for music recording in the rich visual beauty of a church sanctuary.

NOTABLE EQUIPMENT A vintage Neve 8078 console is the largest of its type in the world, featuring 80 inputs of pure warm analog audio along with a 64-channel monitoring section. Proprietary 14-channel cue mixers are stationed at each section so section leaders can adjust cue mixes as needed.

PAST CLIENTS George Strait, Matchbox Twenty, Harry Connick Jr., Faith Hill, The Mavericks, Willie Nelson, Train, Gretchen Wilson, Kenny Chesney, Three Doors Down, Sheryl Crow, Steve Martin, and Paul Simon.

CONTACT INFO Pat McMakin (615) 320-3900 pmcmakin@oceanwaynashville.com www.oceanwaynashville.com

12 JULY 2012 PERFORMER MAGAZINE

12TH & PORTER 114 12th Ave. North Nashville, TN (615) 320-3754 PUCKETT’S GROCERY 120 4th Ave. South Franklin, TN (615) 794-5527 THE RUTLEDGE 410 4th Ave. South Nashville, TN (615) 782-6858

For more listings, visit performermag.com

Savannah, GA PORTMAN’S MUSIC SUPERSTORE 7650 Abercorn St. Savannah, GA 31406 (912) 354-1500 WWW.PORTMANSMUSIC.COM RODY’S MUSIC 7700 Abercorn St. Savannah, GA 31406 (912) 352-4666 WWW.RODYSMUSIC.COM

TOUR STOP

GEAR

GEORGIA MUSIC WAREHOUSE 5205 Waters Ave. Savannah, GA 31404 (912) 358-0054

PRESS

Casual, comfortable and picturesque, Savannah is situated along the Savannah River, close to South Carolina and the coastal islands of Georgia, and is a convenient stop when routing a tour through Eastern Florida, the Gulf Coast, Atlanta or Athens. Historical houses in the downtown area add to its charm, in addition to town squares and Spanish moss-lined oaks. Live music attendees are enthusiastic and range in age from college students to locals and tourists above 40. Each year the city holds a huge St. Patrick’s Day celebration for 400,000 people and there are two music festivals each year, the Savannah Music Festival, the largest in Georgia featuring nearly all musical genres and Savannah Stopover, a pre-SXSW event for indie bands.

–Article and Photo by Gail Fountain

VENUES THE JINX 127 West Congress St. Savannah, GA 31401 (912) 236-2281 WWW.FACEBOOK.COM/JINX.SAVANNAH The Jinx books national, regional and local acts and is highly awarded for doing so. The venue holds up to 300 attendees with standing room in front of the stage as well as a side seating section and bar.

LIVEWIRE 307 West River St. Savannah, GA 31401 (912) 233-1192 WWW.LIVEWIREMUSICHALL.COM Livewire is located in the strip of brick buildings along the Savannah River, which contains restaurants, shops and nightclubs. It features national, regional and local acts as well as jam nights for acoustic and blues. The venue has two sides connected by brick arches, making it quite a picturesque, but modern, place to play to up to 100 people.

CONGRESS STREET SOCIAL CLUB 411 West Congress St. Savannah, GA 31401 (912) 238-1985 WWW.CONGRESSSTREETSOCIALCLUB.COM The Congress Street Social Club has an inside section with pool tables and an outside open courtyard. Its bar and grill has daily features, making it a place to spend an afternoon and/or an evening with a small crowd.

BLOWIN’ SMOKE 514 Martin Luther King Jr. Blvd.

Savannah, GA 31401 (912) 231-2385 WWW.BLOWINSMOKEBBQ.COM Blowin’ Smoke is a bit off the beaten path of downtown Savannah. It features an authentic BBQ restaurant next to a covered porch area that can hold 100+ people.

SOUTH MAGAZINE 116 Bull St. Savannah, GA 31401 (912) 236-5501 WWW.SOUTHMAGAZINE.COM SAVANNAH COLLEGE OF ART AND DESIGN DISTRICT P.O. Box 3146 Savannah, GA, 31402 (912) 525-4713 www.scaddistrict.com The student voice of SCAD. SAVANNAH MORNING NEWS P.O. Box 1088 Savannah, GA 31402 (912) 236-9511 WWW.SAVANNAHNOW.COM

RECORDING STUDIOS ELEVATED BASEMENT STUDIO 911 65th St. Savannah, GA 31405 (912) 356-9445 WWW.ELEVATEDBASEMENT.COM THE STORYMAKER STUDIOS, LLC 9945 Whitfield Ave. Savannah, GA 31406 (877) 444-8253 WWW.STORYMAKERSTUDIOS.COM

VISIT OUR FULL MUSICIAN’S DIRECTORY @ PERFORMERMAG.COM/DIRECTORY JULY 2012 PERFORMER MAGAZINE 13

Transcending Hardcore Origins with More Personal Songwriting

by Katrina Nattress / photo by Meagan White Photography

GENRE Indie Rock HOMETOWN Cincinnati, OH ARTISTIC APPROACH Producing soft, catchy tunes that fans can relate to.

SPOTLIGHTS

BELLE HISTOIRE

www.bellehistoiremusic.com Just a year ago, 17-year-old Jane Smith was fronting the hardcore outfit Formulas and writing softer songs for her own pleasure. When her brother listened to her mellow tracks, he made her an offer. “[He] told me that he would pay for me to record an EP with my good friend [Aaron Hunt],” Smith recalls. “Before we knew it, [Wes Comer], our drummer, was loving it and wanted to be a part of it, with [Mitch Winsett] and [Austin Livingood] soon to follow!” A month later, Belle Histoire released its first EP, Spirits.

And now, one year after their debut offering, the Cincinnati-based quartet has toured the U.S. and is playing the Bunbury Music Festival this month alongside acts like Death Cab for Cutie, The Gaslight Anthem, Weezer and Jane’s Addiction. In addition, the group signed to InVogue Records and released the I Can Tell EP this spring, with a fulllength debut due this summer.

“Making the [full-length] was so fun,” explains bassist/vocalist Winsett. “Jane writes most of our music, [but] for the full-length we all got to be part of the process to help mold her initial ideas into finished songs…it’s the first time we collectively felt a sense of true ownership in our music.”

This sense of community spans further than within the band. “What really sets [us] apart is the positivity we try to bring into our music as well as outside of it,” says Winsett. “Not all of our music is upbeat and uplifting, but one of our goals as a band is to truly connect with those who are influenced by our music and build relationships with our [audience],” a feat that the young indie rockers are achieving with their ever-growing fan base.

“We all got to be part of the process to help mold [the] initial ideas into finished songs…it’s the first time we collectively felt a sense of true ownership in our music.”

JULY 2012 PERFORMER MAGAZINE 15

SPOTLIGHTS

DEADKILL Stripping Down Their Sound

& Finding Success with Non-Conformity

By Carolyn Vallejo / Photo by Matt Koroulis

“We don’t down tune. I plug straight into my amp, and there are no pedals. It’s just straight ahead.”

16 JULY 2012 PERFORMER MAGAZINE

GENRE Rock / Punk HOMETOWN Seattle, WA ARTISTIC APPROACH

Stripped-down rock with a rowdy front. deadkill.bandcamp.com

About a decade ago, Deadkill guitarist Mike Stubz had a Gibson SG, a Les Paul and an original Dan Armstrong stolen off his hands. Just let that sink in for a minute.

Rather than sulk about the lost classics, Stubz focused on drumming and stuck to acoustic guitar as he worked to find suitable replacements, eventually having a custom Gibson hybrid built: simple, with one pickup and a volume knob.

Whether the two are connected, getting stripped of his gear was followed by Stubz stripping his sound down to non-distorted, standard tuned punk rock. It’s this idea of uncomplicated composition that underlies the music of Deadkill, which Stubz formed with a few friends back in 2010, and whose weighted rock riffs and throat-straining vocals make an impact that voids the necessity of distortion effects. “We don’t down tune,” says Stubz. “I plug straight into my amp, and there are no pedals. It’s just straight ahead.”

Deadkill’s lineup, completed by Bryan Krieger (vocals), Kirby C. Johnson (guitar), Michael Loftus (Bass) and Shawn Trudeau (drums), doesn’t need the extras to stare straight into a crowd, veins pulsing out of their necks and sweat dripping on stage. But as a city where grunge was born, Seattle hasn’t always offered Deadkill the comfort of fitting in, according to Stubz. “I come from a punk background, but sometimes it seems like our band doesn’t really even fit in with the punk community,” he says.

“In Seattle there’s this thing going on with metal and heavy music. There’s a rock influence to us that makes it a little hard to fit in.”

But their semi-outcast status is overruled by the unconditional support of their label Good To Die Records and its owner Nik Christofferson, who just released the band’s first 7” in May. “Nik is working his ass off for us,” says Stubz. “He’s not in the band, but he’s part of it. He’s somebody right there in the trenches with you.”

By Andrew Lapham Fersch / Photo by Shervin Lainez

Changing the Perceptions of Country Through Collaborative Arrangements

Menacing as the name might sound, the Nightmare River Band seems a whole lot more concerned with being enjoyed than feared. Then again, if the subtle reference to an obscure Jim Henson movie didn’t go unnoticed, maybe that would have already been obvious. Either way, the irony is definitely not lost on lead singer Matt Krahula, who says that their songs are less about fear than they are about “love, loss, pain, drinking and healing, though not necessarily in that order.”

Krahula, who grew up on John Denver and Bob Dylan, and followed his passion for upright bass through a bachelor’s degree in Classical

Music Performance, didn’t always have an affinity for the music scene he’s now a part of. It wasn’t until college that he began branching out musically and listening to the Talking Heads and the Pixies, the latter seeming to have an influence on Call the Cops!, their first album. However, the mindset seems to have changed a bit over the last three years.

“Call the Cops! has a very country punk feel to it. The approach often being loud and fast,” Krahula says, “On our new release, Last Goodbye, we tried to take a step back and let the songs speak

for themselves. We rebuilt a lot of our material from the ground up and embraced the fact that we are a country band.” And although calling themselves a country band might be a tad misleading, the influence of country is unmistakable.

As the main songwriter, Krahula acknowledges, “the songs I’m most proud of are usually written in less than five minutes. Writing generally happens alone in my apartment,” and explaining why he favors arranging, he says, “Arranging takes place in a room full of people who you love making music with.”

SPOTLIGHTS

THE NIGHTMARE RIVER BAND

GENRE Alt-Country HOMETOWN Brooklyn, NY ARTISTIC APPROACH

To make music you’d hear at a family BBQ… right before your Grandma lights the lawn on fire. www.nightmareriverband.com

“We tried to take a step back and let the songs speak for themselves. We rebuilt a lot of our material from the ground up and embraced the fact that we are a country band.”

JULY 2012 PERFORMER MAGAZINE 17

Portland Cello Project Cavalcade of Strings Takes on Hip-Hop

By Benjamin Ricci / Photos by Jason Quigley and Tarina Westlund

Portland Cello Project’s leader, Doug Jenkins, recently spoke with Performer about his group’s mission to blur genre boundaries and introduce new types of music to different audiences. A sight to behold, PCP’s stage show often features up to 12 cellos performing at once, and with a repertoire of nearly 1,000 pieces, there’s no shortage of styles or random pop songs you might hear at one of their concerts.

As the band so perfectly summarizes:

“The Cello Project’s mission is three-fold: 1 To bring the cello to places you wouldn’t normally hear it.

2 To play music on the cello you wouldn’t normally hear played on the instrument.

Everything from Beethoven to Kanye West to Pantera.

3 To build bridges across all musical communities by bringing a diverse assortment of musical collaborators on stage.”

On the group’s origin, Jenkins has this to offer: “It was kind of a random thing. A bunch of cellists moved to Portland about five or six years ago who all played different kinds of music.

We’re all classically trained but we all played different kinds of music, from folk to rock. One day we were like, ‘Lets play in bars,’ which wasn’t an original idea, but it was fun, and then we thought, ‘This will never happen again, we’re done,’ 18 JULY 2012 PERFORMER MAGAZINE

but eventually for whatever reason we booked another show and took to inviting our friends on stage with us. Our first funny arrangement was one that I did of Brittany Spears’ ‘Toxic.’ It caught on and just kind of evolved to what it is today.” And so our interview begins…

You say one of the goals is to foster collaboration and I think that people might have the misconception that it’s ‘all cello, all the time.’

Yeah, absolutely. There have just been so many wonderful things we’ve done with other musicians. We just played the other day with Jennifer Holliday, who’s a Broadway singer from the original cast of Dreamgirls, and that was just an amazing thing, completely outside of what any of us had done stylistically. We’ve played with a lot of folk musicians in Portland. We’ve done some heavy metal collaborations up in Seattle. We went on tour with [guitar virtuoso] Buckethead. That was something else.

Does the bucket ever come off of Buckethead or is that a permanent fixture?

The bucket came off… But the mask, I never saw him without the mask! I mean, we

went on tour with this guy, and I still know nothing about him. I was like, ‘Man, all my mysteries are going to be solved.’ I remember reading about him in Guitar Player when I was a kid, and I was like ‘Yeah, I’m going to learn about Buckethead!’ but no, I don’t know anything. I have no gossip, nothing.

Buckethead is very much the prototypical guitar shredder. How do you collaborate, as a group of cellists, with that style?

I usually write the majority of the arrangements for the group and it’s been really eye opening. People talk about music as the universal language or whatever, and it is and it isn’t. If you open your mind to what’s going on inside the music, any kind of music - whether it be heavy metal, classical, hip-hop, Broadway, whatever there’s always something in there that’s inspired and human, and I think that’s really how all the collaborations work. You have to find that human connection, that inspired connection, and bring it out.

Do you have a stable line-up now?

It’s still a rotating cast. There’s definitely a kind of core group that tours. But for the most part, it’s still a rotating cast. And it depends, too, on the type of stage we’re playing on. I mean, some stages we’ll fit six or eight cellos on there but otherwise, if we’ve got space for ten or twelve, we’ll do that. And increasingly there’s more than just cellos on stage. We’ve almost always got at least one percussionist, usually two.

How do you recruit members?

Most people come to us, and there’s no audition process of anything. It’s pretty much just… you either can do it or you can’t. You’ve gotta be a really strong reader because we don’t have that many rehearsals. Even though we’re not playing all that much classical music, you’ve gotta be classically trained to play the pieces. Because technically you just won’t be able to do it, otherwise. Some of the stuff is just difficult and that’s the nature of the cello.

I’ve played cello and I can definitely attest to the fact that it’s not the easiest instrument to pick up and learn, especially intonation-wise, for people like me who are used to playing fretted instruments.

Yeah, it’s my taskmaster. Something that I will never master completely, and I don’t think anybody does, which is kind of what’s so cool about it.

How do you choose a setlist?

I guess my goal is to kind of confuse the audience. [Laughs] That gives me the most entertainment in choosing stuff. Like, obviously Pantera should follow Bach, stuff like that.

ON MASTERING THE CELLO:

“It’s my taskmaster. Something that I will never master completely, and I don’t think anybody does, which is kind of what’s so cool about it.”

Well, obviously Pantera follows Bach.

Yeah, I mean that’s kind of the idea. Just find a lot of really wonderful music and put it together in a way so the audience will never be bored and will hopefully be inspired.

So is that how a typical live show unfolds?

You perform a number of different selections from varying genres, or would you have a theme for the night?

It depends on the show. For the most part, almost every show has a big variety.

Occasionally we’ll do a theme show, but usually it’s a big variety.

How is it touring with group of this size?

Or do you not travel that much with the entire ensemble?

Well, we travel with about eight to ten people. Depends. Sometimes we need two vans. On this next tour we’re gonna have, we have eight... well, gosh, how technical do you want me to get?

Get into it. Our readers are musicians, so feel free…

It’s pretty cool, actually, because cellos are pretty light and you can stack them pretty tall in the van. So we have one more bench seat than most vans have and we have a trailer thing

that’s really cool, it hangs on the trailer hitch but doesn’t have wheels so it extends our 25-passenger van quite a bit.

For the most part, you guys don’t have to lug around PA equipment and amplifiers, right?

No, not at all. We don’t have much to bring.

Our percussionist has the biggest stuff and even that’s not that big of a deal, like there’s no 4x12 cabinets or anything.

Would you mind getting into the recording process a little bit?

JULY 2012 PERFORMER MAGAZINE 19

Portland Cello Project

Homage Out now!

Yeah. I own and run a recording studio here in Portland, which helps immeasurably. It’s always been so different, and the last record was an interesting process. I finished recording it about a year ago and hated it. I took everything that we did and threw it out except for one song.

And then we re-recorded it in a week and we were much happier. And I think that process the second time was a lot different from the first in that we got the percussionists all in the same room at the same time, rather than multi-tracking things.

hard to get it away from the words. You know?

I gotcha.

The most important thing was the song choices. They had to be songs that were pretty epically produced and had multiple sections to them. Had bridges. Had actual bridges- a lot of hip-hop thinks it has bridges and it doesn’t. It has actual growth to it, has actual development through it and stuff like that. That was a big part of it, and then the other part of it was just respecting the rhythm of the vocals - because they can be so hypnotic and so important. When we do them live everybody takes a different solo part and does the vocal line on it. So, I guess those are the two things; how they’re produced, if they’re produced with a lot of layers to them, and the rhythm of the vocals.

We just tried to make everything really wild.

And that seemed to be the key. And then the cellists really reacted to that when they went in to do their parts. It was really a lot of fun because of all the extra energy. And we did the percussion in about three hours and the rest of the record in a week. So it had taken months to do before, then we threw it all away and ended up just doing it again in a week, with much better results.

Will you all record in the same room or are you tracking one-by-one?

Oh no, they’ll just do small ensembles at a time. Usually three or four at a time.

So let’s talk about the record that I’ve got in front of me, Homage, which is a collection of hip-hop tracks. What was the genesis behind that?

Hip-hop has always been something that we’ve wanted to do, but we had difficulties, which is probably why we had to throw out the record the first time we recorded it. As you can imagine, it’s difficult for a group like ours to do hip-hop. It’s the most vibrant American art form right now; so relevant and so important but so 20 JULY 2012 PERFORMER MAGAZINE

Yeah, that’s what I was gonna ask about next…

That’s been the challenge and the motivation: ‘Let’s see if we can do it.’ And through a lot of trial and error we ended up with the record we’ve got.

Because it’s such a lyrical genre, what sorts of things would you do to compensate for that, being that this is all instrumental?

Is there a genre that you guys haven’t covered yet that you want to tackle?

Bluegrass could be really interesting if we could get the classically trained cellists to do improvisation. It’s the improv stuff that’s so difficult for the group, but that might be something to hit at some point. And every time we’ve been down in New Orleans we’ve wanted to do something with those rhythms, too.

What can non-classical musicians learn

from this sort of project?

If there’s something I’ve learned that I wished I had learned before working with this group, it would be to never hesitate to reach out across the aisle to other musicians and other types of audiences. Being classically trained and playing so much classical music in my life, there’s such a feeling of a curtain in front of the stage - where you don’t really communicate with the audience. You don’t really connect with them. They have to reach across the aisle to you.

But with this group, the strength and the most enjoyable thing about it is reaching back across the other way, not expecting people to come to you, but for you to go to the people. Because music is communication, you know? Music is a form of communication and that goes two ways.

Do you find that non-classical musicians who you want to collaborate with or even audiences might be a little intimidated by the group?

Yes, or apprehensive at least. We see that a lot, and we try to immediately break down that boundary in the beginning. ‘You’re not gonna get looked at funny if you clap between the movements or spill your beer during the show.’ You know what I mean? That’s kind of the feeling right away. People associate classical music with something that’s not for them, or something that’s just for certain types of people. And that’s the thing to break down. www.portlandcelloproject.com

ON COLLABORATING WITH NON-CLASSICAL MUSICIANS:

“If you open your mind to what’s going on inside the music…there’s always something in there that’s inspired and human, and I think that’s really how collaborations work. You have to find that human connection and bring it out.”

LISTEN NOW @ PERFORMERMAG.COM JULY 2012 PERFORMER MAGAZINE 21

Mark Lanegan

When attempting to charac-

Former Screaming Trees Frontman on

terize the enigmatic man that is

Musical Collaboration, Recording Solo

Mark Lanegan, it’s only fitting

and Structuring His Songwriting

to describe him as an artist with an inimitable, sin-soaked growl.

By Julia R. DeStefano Photos by Julia R. DeStefano and Sam Holden

There is a timeless quality in his signature bluesy baritone that serves to penetrate through listeers of all generations. As someone who elicits such a deep-set emotional response, it’s no surprise to hear statements being tossed around the pit of the Paradise Rock Club in Boston on the eve of his highly anticipated performance – many of them paired with adjectives worthy of n oting: “terrifying,” “bone-chilling,” and “hellish.” Clad in black, Lanegan stands firmly rooted at the microphone.

Gazing intently out into the devoted crowd with its collective jaw hanging slack, he exhibits an otherworldly presence as he bellows his first lyric of the night: “With piranha teeth, I’ve been dreaming of you, and the taste of your love so sweet. Honest, it’s true.” Fast-forward to midnight, where Lanegan greets me invitingly before settling down beside me on a tattered leather sofa for our interview. Is that a smile?!

Lanegan’s story begins in the small town of Ellensburg, Washington, and is relatable to anyone who has struggled to find their niche: “Where I grew up, I didn’t really know anybody who listened to the same kind of music as I did.”

His voice is low and unassuming, warmth exuding from each spoken word. “In fact, from the time I was 13 until probably 18, I didn’t know anybody. The first guys I met who did listen to that kind of music ended up being the guys [Gary Lee Conner, Van Conner, Mark Pickerel] that I started the Screaming Trees with.”

Known as the “Godfathers of Grunge” and one of the most successful underground acts of the 1990s, the Trees’ sound incorporated hard rock and psychedelic elements, and is still celebrated today. “Other than that, I sort of fell JULY 2012 PERFORMER MAGAZINE 23

into it,” Lanegan adds. “Those guys had already had bands for many years and could play instruments. When I started, it was different singing into a microphone in front of people than it was in my bedroom, singing along with records. It took me a while to get comfortable with it, but only about ten years!” Lanegan laughs, a welcome departure from the stern-faced rocker that stood onstage a mere hour ago.

“When I started, I was really trying to sound like a couple of guys whose singing I loved. One was Jeffrey Lee Pierce [The Gun Club].

Falling James [Moreland] from Leaving Trains was another big influence on me.

Early on, we played a lot in Portland, Oregon, and there was a thriving underground scene there. One of the main bands, Napalm Beach, had a singer named Chris Newman. If I could have sounded like anybody, it would have been him.

But I soon realized that I really couldn’t sound like anybody but myself.”

The blues now appears to be a guiding force for Lanegan’s work and resonates deeply within him. “From the first time I started hearing that kind of music, it just seemed to have an effect on me. My experience is nothing like any of those guys singing, but ON LYRICS: somehow, it was talking about places that I had also been.” As Lanegan is the first to acknowledge music’s ability to transport us to different realms and to heighten our awareness, it makes sense that he would prefer listeners create their own interpretations of his songs rather than inquire as to what inspired something in particular, or its meaning. “Ever since I’ve been listening to music, the music that I enjoyed and connected with made me see my own movie. It never occurred to me to wonder what anybody who wrote a song meant by it. To me, it was mine to make my own, however I wanted to think about it.

When I started making my own music, I just naturally wanted to do that same thing for whoever

might connect to it. Of course, some songs are more personal than others. Some partially come from a place of reality and then take on a life of their own because, after all, they’re songs and not real life. That’s what I enjoy about writing them: I get to not only create something that whoever’s going to connect to it can make their own, but I get to create my own reality, as well.”

The songwriting process itself is largely

on and so forth. That’s how I build it, bare bones like that. Once I have a structure down, I then try to do the words, but the map of it comes at the same time.” Such a method has resulted in The Winding Sheet (1990), Whiskey for the Holy Ghost (1994), Scraps at Midnight (1998), I’ll Take Care of You (1999), Field Songs (2001), and Here Comes That Weird Chill (2003).

2004 proved to be a turning point of sorts, bringing about the romantic despair of Bubblegum. A record best described as intimidating, exhilarating, intimate, and sensual, it built upon the ambient soundscapes explored throughout his past releases.

Threaded throughout Bubblegum is an intricate arrangement of electronic elements, each of which works cohesively as a backdrop to the urgency of Lanegan’s vocals. A classic in its own right, Bubblegum stunned listeners in its ability to so accurately capture a moment in time, and it seemed as if Lanegan was a ticking time bomb with a rifle in his lap, waiting.

Now, eight years later, Lanegan speaks of his new record, Blues Funeral, as something unplanned but welcomed. “I was really just focused on all the other stuff I was doing.

I hadn’t thought much about making a solo record until I suddenly didn’t have anything else to do. I began without any songs, started writing, and really had the best time making this record out of any I’ve ever made. That was an unexpected bonus, after all this time, to really enjoy something new. It was a great, great surprise.” The record utilizes many of the electronic elements found in his catalogue, especially in the opener, “The Gravedigger’s Song,” “Ode to Sad Disco,” and “Quiver Syndrome”: “I had started messing around with the keyboard, synthesizer, and drum machine that I had gotten and wrote some of the stuff starting with those elements, which sort of dictated what the songs would

“I get to not only create something that

whoever’s going to connect to it can make their

own, but I get to create my own reality, as well.”

24 JULY 2012 PERFORMER MAGAZINE

organic. “I’m usually doing it with the guitar, but sometimes, it’s with the keyboard. I can also start with the drums, a drum machine, and then add stuff to that. But generally, it’s with the guitar and putting together chord progressions while making sound with my voice at the same time – just the process of making sound through words until I find something that sounds pleasing. One of those words that I sing might end up telling me what the next word is supposed to be, and so

sound like. Then, for other songs, I wanted something specific. Alain Johannes made the record with me and took it further in the direction where it was going, so it continued down that road and kept pulling me in. He and I had made about half of Bubblegum together, and I hoped to use some of those elements on Blues Funeral but in a different way – more of a noisier texture from the drum machine, synthesizer, and the other stuff we had used on the last record. For this one, we used the electronics as the meat and potatoes of a song and in a more melodious way.”

Aside from crafting his own material, Lanegan has been an incredibly prolific collaborator over the last few years, making music and touring with Queens of the Stone Age, Isobel Campbell, The Twilight Singers, Soulsavers, and he even became a Gutter Twin alongside compatriot Greg Dulli [The Afghan Whigs, The Twilight Singers]. For Lanegan, the music that he makes with Greg Dulli and Josh Homme is more of an “afterthought.” He cites it as a result of their friendship that has spanned nearly 20 years and the time they spend together. In other collaborative situations, he first considers the questions: “Is it something that I like without me involved?” and “Are there people in it that I will enjoy hanging out with?” A huge fan of Isobel Campbell’s music, namely her Gentle Waves records and her involvement with Belle and Sebastian, Lanegan was grateful for the opportunity to work alongside her: “When she got in touch with me, I was really happy to do something with her because I was already a big fan. Almost always when I’m asked to do something, the answer is ‘yes.’ When I don’t do stuff, it’s usually because, logistically, I can’t make it happen.”

Lanegan does acknowledge a difference between the collaborative and solo environments.

“When I’m making my solo records, I look at it as an opportunity to do whatever strikes my fancy.

I don’t have to answer to anybody. I’ll ask Alain, for instance, what he thinks of something that I’m doing. But if I really want to do something that he doesn’t think is a good idea, we’re going to do it anyway.” Lanegan stops for a moment to laugh before continuing. “But that never happens.

When I’m working with Isobel, I’m really there to enhance her vision and to be a part of what she’s doing, and that’s great. When I’m working with The Twilight Singers, it’s the same thing. I’m just there to enhance Greg’s vision. When with The Gutter Twins, it’s a shared vision, 50/50. Every bit of it we’re doing, talking about, and writing together. It’s always different, depending on the project. The main thing I enjoy about doing other stuff is that it allows me to step outside what I would normally do when left to my own devices.

I get to see things through somebody else’s eyes and I’m always learning something from it.

That’s really the key.” It’s evident that collaboration provides Lanegan with opportunities to not only explore but to expand and therefore, keep evolving. He is quick to cite the English composer, record producer, vocalist, and visual artist, Brian Eno, as his dream collaboration. “I would definitely not say ‘no’ if he came calling. He’s just made so many different kinds of records, each one of them great and that I love. I’ve listened to them for years and years and will always listen to them.”

In considering Lanegan’s successes and his innate ability to command a crowd, one would imagine that making music feels different to him

ON SONGWRITING FOR THE NEW RECORD:

“I had started messing around with the keyboard, synthesizer, and drum machine that I had gotten and wrote some of the stuff starting with those elements, which dictated what the songs would sound like.” now that it has become a career, as opposed to the days of singing in his bedroom. Although he considers himself better at it, he humbly finishes the sentence with “hopefully.” “I’ve just been doing it for so long that it’s gone in cycles. At times, it seems more like a job than others, but it hasn’t felt like a job in a long, long time. I’ve grown to appreciate it more as I’ve gotten older, and I’ve grown to love it more. Things that I didn’t like for a long time, I now really like. I didn’t enjoy playing live for a long time. For years and years, I felt uncomfortable doing it. Now it’s something that I really enjoy. I’ve just been blessed in that way.” www.marklanegan.com

Mark Lanegan Band

Blues Funeral Out now on 4AD Records

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JULY 2012 PERFORMER MAGAZINE 25

Hallelujah the Hills Hitting the Studio, Ready to Record

Your new album is titled No One Knows What Happens Next, so if no one knows what is happening next, what is the appropriate thing to do right now?

We can all start from a point of not knowing and try to pay more attention to the present moment in front of us. It’s the spirit of this phrase that I wanted to use to invite people into these ten [new] songs.

If you had to describe the differences between this album and your last, what would those be?

adhering to limits, and his ability to use words instead of the other

I feel that our last album, Colonial Drones, was kind of a double album disguised as a single full-length. I wanted to keep this one compact and easily [digestible] to the listener. I wrote the [music] as we went along because I felt some of the Colonial Drones songs had already lived such a long life (in live shows) that they had lost something when we finally hit “record.” So, for this we could only afford X number of recording days, and we learned the songs right before going to record them. It kept us all out of our comfort zones! It was a beautiful way to make a record, in my opinion.

way around. On the Boston band’s new album, No One Knows What

Where did you record this record?

By Andrew Lapham Fersch / Photo by Timothy Renzi

Although Hallelujah the Hills’ lead singer and wordsmith has been credited with creating “music without limits” out of “absurdist word clusters,” it may actually be Ryan Walsh’s ability to create without

Happens Next, Walsh and company set forth to create something that delved deeper, lyrically, while still doing something outside the ordinary, musically. And they’ve managed to do just that in the ten tracks on the record.

We recorded to tape at the Soul Shop in Medford, MA. I’m not musically trained so I use a lot of adjectives and hand motions to describe what we’re going for. So [the band] has learned this weird work-around language I use.

Lyrically, it doesn’t seem like you’re just throwing down whatever comes to mind. What does your songwriting process look like?

There’s something to be said for a stream of consciousness writing style. I’ve done it and I’ve immensely enjoyed others doing it. But this process was the complete opposite of that. Clarity was very important to me as I wrote these songs.

I didn’t want the answer to any question about the lyrics to be, ‘Well, whatever it means to you.’ ‘Get Me In A Room’ was the first song that was written and it’s a pretty straightforward assessment of the band, our current position, and what can and cannot be sung about. That triggered everything else that followed.

How about the music? Are you the primary writer or do you show up with lyrics and everyone works together at that point?

Hallelujah the Hills

No One Knows What Happens Next Out now on Discrete Pageantry Records

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I write the songs at home: melody, chord structure, lyrics. Then the band gets a demo recording. Then we proceed to what I call ‘the fun part.’ We arrange the song all together in a room. Everyone invents their own parts. It’s one of my favorite things. What I thought might become a fast song will end up a slow dirge and vice versa. The kind of collaborative process we use for arranging songs is something I

“We could only afford X number of recording days, and we learned the songs right before going to record them. It kept us all out of our comfort zones! It was a beautiful way to make a record, in my opinion.”

longed for the moment I became interested in making music.

In ‘Dead People’s Music’ you sing ‘You stick together or you hang alone.’ In your experience, what has helped keep you together over the years?

That line is a mangling of a quote that Ben Franklin said right before signing the Declaration of Independence. For me, it’s about the power of people coming together to create something, spoken about in such a harsh way that the other option is a solitary death! But to answer your question another way, the band has stayed together for [six years] because it’s always been fun and we make sure to keep it fun even when we’re working very hard, or things don’t go well. I think we’ve carved out a safe space where we can all enjoy each other’s company and create something that wasn’t there the previous day.

You’ve collaborated with other musicians and writers; what have you learned from those experiences?

Every time I do something I’m afraid to do, I feel amazing afterward. Still, it’s hard to make that the default mode of thinking.

Maybe you don’t know what’s going to happen next, but are there any specific hopes?

Of course! Awesome Woody Guthrie quote: ‘About all a human being is, anyway, is just a hoping machine.’ Another great quote - author Terence McKenna had a theory that ‘the world is

made of language.’ He suggested that we couldn’t enter a new reality until we could describe it first. I think that everything we do, say, make, and sing is subtly carving out the future right in front of our eyes. The more aware of that we are, the more true it becomes. These songs weren’t true before I sang them, but I hope they are now.

There was a lot of positive press early in your band’s life. How has that affected you?

Besides igniting a bit of hope that it would lead to more people hearing our music, it didn’t affect us in any significant way. In the few instances where a press piece made some interesting assessment or unseen connection regarding the lyrics or music, I would learn something new about a song. I enjoy that but it’s rare. I wish it wasn’t rare.

It’s an interesting concept, that someone could write about something you created and you’d learn something new about your work.

It’s the same way that we learn about ourselves via people’s reactions to our behavior and words. Everything we do, if we want it to, can teach us more about ourselves. Songs should stir up connections and ideas in people. Every artist, musician or filmmaker I’ve ever taken an interest in has always said something to the effect of ‘this is a collaboration between the artist and audience. It remains unfinished until the audience responds to it in some way.’ www.hallelujahthehills.com

LISTEN NOW @ PERFORMERMAG.COM JULY 2012 PERFORMER MAGAZINE 27

The Memorials Socially Aware Lyrics Fueling Prog Rock Fury

um usic with dr m c ti o a h c t presen Memorials e h winner T l, a c ti li ungest-ever n po o a y th d n te a a s n io iu pass ing gen er While more nt. Drumm te n o c emorials aft l a M ic e r h ly T e d e th d n s gen fou powering a Thomas Prid ), e beats as em in n ky grace of a e n g a fu t e (a th s ff d -O d um awkins a r Center Dr ger Viveca H er’s in S .

9 of the Guita 0 0 2 g. Nick Brew a in lt in o fy V ti s s r a te M r e to secula ay from Th l attitude in e p to allow walking aw s o g e is w long enough other s n ic a r g ly ’ in s m in r ansfo n Hawk eats. soul sister, tr aces betwee p s e th h-inspired b ll s fi a r s r th a , it g u n g ti g unrelen , sprawlin ir y Pridgen’s b psychedelic y a w a ature of the d n ie e r r th a t c u e o b b mer a the music to with Perfor k y of a e p s the mood of to e tim ral chemistr e tu m a o n s e k o th to d uana an Hawkins acy of marij c Pridgen and o v d a ir e ium, th lease, Delir e r e r o m o what h sop e of faith in n o b k c a b e . inst th ve process the moment aga e their creati th in g to living in in p v u li s f s o e y c c it u e their s e spontan orials chalk m e Weighing th M e h T oment, any given m t a g in o d e r they a m. ic guide the s u m e th g lettin moment and

28 JULY 2012 PERFORMER MAGAZINE

By Ellen Eldr

idge

uel Horn Photos by Raq

and Demondr

e Ward

JULY 2012 PERFORMER MAGAZINE 29

How have you grown as a band between your debut and Delirium?

Thomas Pridgen: Well, the first album was done before we ever played a show together, so it was more of a guinea pig project. We didn’t want to start playing shows without something to send people home with. We had to put all the pieces together after the debut. This record [Delirium] came after all that; we traveled and figured out more about the band, so now we’re more unified and solid. We have more of a direct sound; it’s not as crazy and all over the place.

The biggest difference is that we are a [real] band now. We’ve grown and gotten better as musicians and recording artists.

Is lyric writing collaborative? Do you write music around lyrics, melodies or vice versa?

Viveca Hawkins: Basically, I just end up writing to the track. Both times in the recording process, the guys just went ahead and laid down ideas they had in their heads. I get those cuts after they finish and I get to write whatever I want, with a little input from the guys, of course.

What is the message of the cover art for Delirium?

TP: I don’t know if it’s as much a message as a really cool-ass picture. For most prog rock records, they stick to adding weird art or graphic designs. With this record I felt so proud that I wanted to put our faces on the cover. We got a good photographer and started having fun with it.

VH: Yeah, I went out and spent about $200 on different outfits for the album cover shoot and then we came home and I put on my onesie and he [Pridgen] was like, ‘That’s it! That’s the outfit right there!’

How does the idea of delirium play into the messages and themes on the album?

@ LISTEN NOW M O .C MAG PERFORMER

The Memorials

Delirium Out now!

30 JULY 2012 PERFORMER MAGAZINE

VH: I wrote a song called ‘Delirium,’ and in the music industry we live this life of long hours, travel and, at times, we find ourselves exhausted to the point that we’re tripping and can’t function well. We find ourselves fighting with each other over stuff we don’t have to be upset about; we just struggle because we’re so tired. I found that on this album I wrote a lot more personal songs about experiences and feelings I was actually going through or watching my band mates go through. I feel like a lot of the music and songs on this record are pretty inspirational; they identify things people can relate to if they need to.

How do you work together as a band to draw out the inspiration between the music and the lyrics?

TP: It comes naturally to do what we’re doing.

The first record we did in about six or seven days.

This record we did in three days of recording

in the studio. ‘Delirium’ was our first jam and I liked that jam so much that I said, ‘That’s the title track.’ A lot of this stuff doesn’t have as much of a true meaning as it just comes from art. Just like the album cover; there’s no crazy political meaning of a woman in a ski mask with a black Cabbage Patch doll; it’s just what we had. My grandmother passed while making this record and it just had a lot of personal aspects. The way the art and music came together was like destiny. We were riding a wave because this has been the easiest time putting out a record. It’s a lot more art than thinking.

VH: For me, when I write these songs, when they give me these tracks, I just let the music speak to me. I’m writing to music as it sounds, so if it sounds more cohesive that’s because that’s where the music takes me. I let the music tell me what to write. These guys are inspiring me with their music to write the songs that I write.

A lot of the themes deal with the idea of living in the moment; how does that mesh with ‘delirium’ as an idea?

VH: We’ve been going through a lot of ups and down. Like he [Pridgen] said, his grandmother passed and we’ve been changing members of the band; we’ve gone through a lot of things that could have held us back from the things we are trying to achieve. Instead, we’ve taken those moments and accepted them and tried to persevere. We recognize that this is our moment to achieve well beyond that which might bring us down. We’re going to keep doing our thing and not look back.

TP: I give Viv a lot of credit for being hellauplifting and positive, but I’ll be real with you. A lot of the prog rock records don’t be talkin’ about shit. They don’t have any kind of topic, just avantgarde art and lyrics, and that’s cool to make some song about a guy nobody knows. For me, I grew up

in church where all the songs were about a story from the Bible or a story about what God did. This record is not a gospel record by any means, but it still has a lot of messages hidden inside of it – some are not as hidden; the message isn’t hard to find. I even throw stuff at Viv and tell her to rap.

So, she rapped on a song and it ended up being super cool. Nobody tells us what to do. A lot of people our age have people producing their records, but we produce our own records. On the song ‘Daiseys,’ Nick [Brewer, guitar] and I did not hear a love song theme, but Viv said it was a love song, and after hearing it three or four times we agreed.

But at first, we didn’t want to hear about love. It all switches up because we all hear things differently and we’re learning how to listen to each other more. We have three people whose minds are all over the place; we don’t plan it out.

VH: It just happens. We have chemistry and that’s the thing that brought us together in the first place. We don’t meticulously plan our outfits…

TP: For the longest time our songs were titled with numbers because we didn’t know they were about. Many songs have multiple breakdowns, verses and bridges. It’s kind of like cooking, where we put all the ingredients together and pray the casserole is awesome.

After watching the video for the single ‘Fluorescents,’ it’s obvious the band has an affection for marijuana, so what do you think legalization would do for society and creativity?

TP: People would be way less stressed out.

Where we live [in California], everybody is so mellow. People have a whole different way of looking at shit here. In other cities there’s a complete drinking culture: in New Orleans people are

ON SONGWRITING:

“I found that on this album I wrote a lot more personal songs about experiences and feelings I was actually going through or watching my band mates go through.”

–Viveca Hawkins

riding around with alcohol in the car, but they arrest everybody for weed. Here, nobody is crashing cars because of weed. You go to Boston and it’s a super drinking culture [editor’s note: yep, that sounds about right]. Drunk lunatics walk down the street and are mean. Here people smile and walk by; they are kind and will help you.

VH: Besides the weed thing, though, that song is more about the funny aspects of the government and the things they create and allow. They try to pull the wool over our eyes about a lot of shit, including cannabis. I feel if cannabis was legal and people could plant medicine in their backyard it would really change the whole world. It wouldn’t just change our society and maybe that’s idealistic, but I’m an Aquarius so fuck it.

In the same single, the second verse speaks to the ‘necessary evil’ of selling crack to fund ‘the Dreamland’ and ‘put the bread in my hand.’ Who’s the narrator in this part? You don’t support selling crack, right?

VH: No, not at all. I was talking about the U.S. government. This song actually came about from Thomas [Pridgen] talking about a black budget.

He was telling me about how the Dreamland is funded by their black ops and that includes the Columbian drug smuggling and heroin smuggling. They’re bringing it here and moving it all around the United States. They’re not sending the drugs to Thailand or Mexico; they’re bringing the drugs here from there, and they make it seem like bad people are doing this and that they don’t have anything to do with corruption. So, when I talk about ‘I fund the Dreamland and I’m moving more weight than any of you,’ it’s all behind the scenes. They think people don’t know about this shit. The whole song from top to bottom is making fun of the whole situation. ‘EBT vacation’ refers back to the propaganda of welfare fraud and how people think that people are buying plane tickets with their EBT card.

TP: I know a lot of people sell food stamps. So much of this is right there in your face. We live in the inner city. We get to travel the world and see all sides of people’s lives. Being the way we are without producers, it’s between me and Viv to determine what to talk about concerning politics and injustices. We talked about how we wanted to hit certain points while maintaining positivity on this album. When we shot the video it was a coincidence that we shot it right under a big pot leaf.

We don’t live in San Francisco; we live in the East Bay closer to Oakland. It was just an awesome coincidence.

www.thememorialsmusic.com

JULY 2012 PERFORMER MAGAZINE 31

FESTIVAL PREVIEWS

All Good Festival Thornville, OH / July 19-22

by Amanda Macchia / photo by Brian Hockensmith

What are you looking for when booking musicians?

We seek independent acts who are strong and relevant in the jam scene. Acts that have great original music, a strong organization and buzz within the scene. We aren’t out there looking for groups that have the shiniest press kit or most YouTube video hits. Because we don’t have any overlapping sets, the bands we select are even that much more important; the group needs to “own” the audience and really deliver in their live set.

What do artists get out of performing at All Good?

Tim Walther is the founder of All Good Music Festival & Campout. He also books shows year round in the mid-Atlantic region. Performer had a chance to chat with Walther about All Good’s booking process and how indie artists can get involved with the festival.

Get the inside scoop on All Good’s booking process.

How does the booking process work for All Good?

We gather ideas for All Good acts all year long and keep our minds open. Since we work with a number of these acts in the club markets of Baltimore and D.C., we get an up close and personal sense of the band, their organization and their growth pattern. We listen to our fans, we take polls following each All Good, and every holiday season we have fans submit their wish list for the top ten acts that they would like to see at All Good. We also take input from colleagues, staff, and friends. As the talent buyer, I ultimately decide who is getting an offer and how to coordinate the schedule.

Is there a preferred way for managers or agents (or artists themselves) to approach the festival for booking?

The preference is that they email me submissions for the event starting in September.

We typically begin to put offers out in October. We work from a top-down philosophy of going after the headliners, and then going after the direct support for the headliners, and on down the line until we eventually get to the band that opens the stage at noon.

Do you actively seek independent and up-and-coming artists?

We strive to book the acts that are just on the cusp of breaking to the next level. Again, with our year round relationships with these acts on the club circuit, we are able to keep on top of the strength, growth and buzz of the up-and-coming artists.

The artists get treated with the highest level of respect and professionalism. They perform to an extremely enthusiastic and focused group of fans amongst a swirling level of energy that builds and develops around the main stage as fans enjoy our no-overlapping sets concept from start to finish. They’re not simply the “talent” that performs to our “audience” – the feeling we surround ourselves with at All Good is a community vibe where everyone is treated with a high level of respect. The happier the musicians are when they walk onto the stage, the better their performance.

What else sets the festival apart from other summer music festivals?

We have remained true to our roots from where we began 16 years ago. We offer the best concentration of jam-centric music in the country, and with no overlapping sets we set the fans up to see every minute of every band. Beyond that, it is our opinion that we create a vibe unmatched by any other. www.allgoodfestival.com

“Pitchfork head honcho seeks obscure bands to expose fest-goers to new music.”

Pitchfork Festival Chicago, IL / July 13-15, 2012

by Candace McDuffie photo by Francis Chung

32 JULY 2012 PERFORMER MAGAZINE

With a slew of music festivals dominating this summer’s landscape, it is pivotal for each one to possess their own appeal in order to avoid being overlooked. And Pitchfork President Chris Kaskie not only made this his top priority when booking this year’s lineup, he went above and beyond the call of duty to gather an eclectic and highly sought after array of artists. From indie’s most luminous voices (Feist, Beach House) to bona fide party starters (Hot Chip, Sleigh Bells), Kaskie has his bases covered. Even Vampire Weekend couldn’t forgo headlining the last night of the festival. It’s all because Pitchfork Music Festival, much like its online publication, successfully feasts off of its sole principle: to satisfy their readers.

“This [festival] was created as a physical version of what we do online,” Kaskie explains. “We made sure that it is a manageable size and is carefully curated - it’s a tangible event for emerging

music.” When it came to selecting which musicians would make for an unforgettable weekend, Kaskie’s approach is more common sense than formulaic. “We wanted to have [artists] who were more obscure, since the goal is having people check out and discover great music.” At this point in our conversation, Kaskie spits responses with speed comparable to bullets. But instead of coming off as manic, it is clear that he is just a highly organized individual. “We also tend to go with bands that were a good fit before as well as ones who the fans want to see. We’re careful with how we craft our lineup.” That’s not to say putting together an event in Chicago for 20,000 music goers with scorching temperatures doesn’t have its hurdles. “In terms of logistics, I’m responsible for the well-being of all of those people. I make sure everyone can have fun and be safe,” he divulges. “But with Pitchfork, it’s for better or worse.” www.pitchfork.com/festivals/chicago/2012

Louisville, KY / July 12-15, 2012

By Jason Ashcraft Back in 2002, a small group of local musicians gathered in Louisville’s Tyler Park for a day of music and community celebration. Now, 10 years later, founder JK McKnight has morphed that little neighborhood gathering into the Midwest’s largest music, art and activism Mecca.

Forecastle Festival now boasts more stages, vendors, sponsors, keynote speakers and a musical roster that has included some of the nation’s top touring acts with a steady reputation of hosting local indie artists. Last summer’s “Halfway to Forecastle” event was a show that McKnight conceived on-the-fly to hold over the Forecastle faithful while he formed a partnership with AC Entertainment, the company that just happens to produce a little festival called Bonnaroo.

“The partnership has been great. AC Entertainment has brought of wealth of knowledge, experience, enthusiasm, and commitment to programming excellence,” Knight comments.

So with his big guns a blazing, and a hell of a lot more production power behind him,

Camp Bisco Mariaville, NY / July 12-14, 2012

by Amanda Macchia / photo by Dave Vann

Skrillex

Although the Disco Biscuits have taken a backseat in the production and planning process of their annual summer music festival, the strategic team behind Camp Bisco still feels like a family. Jonathan Fordin of MCP Presents says that the crew actively seeks independent or emerging talent, but that this

“My Morning Jacket’s Two-Tone Tommy explains the curating process at Forecastle X.” McKnight has now recruited Louisville’s biggest musical export, My Morning Jacket, to help select the show’s artist roster. We had the chance to talk with MMJ bassist Two-Tone Tommy Blankenship on this year’s event and how the band has played a role in curating this year’s show.

So what does curating a festival entail?

The biggest thing was throwing out names of bands, like our dream list of the artists we wanted to see this year.

Does that mean we will see a lot of local bands on the bill?

Exactly. Since there are so many national acts that are already coming in – [we wanted] to have a dedicated local stage that would really shine a spotlight on what makes the city so special. Especially just having both - the festival as a 10-year anniversary and it felt like something we’ve always wanted

to do at all of our shows. Like have the local village, you know? Like have the spotlight on the city itself, because there are so many people traveling in from out of town. Just trying to put the spotlight on everything we love about the city.

FESTIVAL PREVIEWS

Forecastle Festival X

Who are some of local or indie artists that you guys hand-picked?

A big one for me is Cabin. Do you remember Shane Thomas who we went to school with?

Yeah, I think so. And I’ve seen Cabin before, and they were good!

Yeah, yeah, they’re amazing. Yeah Cabin, Lydia Burrell, John that used to play in the band (MMJ) is in The Ravenna Colt now and they’re playing.

Wax Fang. I mean, pretty much everybody that was invited was on our list. [Especially] a lot of the local artists that are coming in. www.forecastlefest.com

“Learn what Bisco bookers are looking for.” effort is oftentimes a result of their preexisting relationships with bands, managers, and artists.

For Fordin, “It’s one big community.”

The booking process starts late in September.

MCP is in charge of shaping the lineup, with some input from the Disco Biscuits in an effort to keep their tastes aligned with MCP’s. “We’re all fans of a lot of the same music,” says Fordin, “which is what this scene was built on over the years. We book music we want to hear and see, and music that makes sense. We always try and expose people to things they don’t know. If you ask most people, there are always a ton of acts they have never heard of before on the lineup. That’s always a goal of ours.”

Musicians who play at Camp Bisco are able to reach thousands of potential fans. Camp Bisco is promoted over a 6-month span and receives millions of online hits. This gives these acts the ability to make impressions through multiple public relations, marketing, and social media campaigns. Thousands of bands email MCP in hopes of connecting with the festival. Each year, around 100 acts are booked. Fordin explains, “MCP has long standing relationships with the agents and agencies and does most of the booking with our friends at these agencies. It doesn’t take long to fill up the lineup”.

Artists outside of this network might have a more difficult time getting on the Camp Bisco bill.

In an effort to show their commitment to what’s new on the scene, the festival has started the Up and Coming stage, which helps to get more acts in on the action.

Competition is relatively fierce for bands looking to get booked. For these presenters, a firm online presence and a proven track record of quality musicianship are both a must. “Social reach, quality of music, ticket sales, quality of performance. Press kits just don’t mean that much anymore,” says Fordin.

Although this may seem like a selective, topdown booking process, many up-and-coming festival-appropriate acts have made their way to the Camp Bisco stage to become a part of the MCP/Biscuit community: including Spiritual Rez, Rubblebucket, Papadosio, The Pimps of Joytime, The Indobox, Zoogma, Orchard Lounge, and Dirty Paris. The producers at Camp Bisco know what they want, and if your band fits into that package, you have a shot of working your way into the festival. “The festival has reached its capacity,” explains Fordin, “so now it’s about making it better and better.” www.campbisco.net

JULY 2012 PERFORMER MAGAZINE 33

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OUR review section is a little bit different. We don’t use a numbered scale or star system, and we don’t feature music we don’t like. Instead, think of this as our top picks of the month.

These are the new releases that we’re really enjoying, and that we recommend you check out. We also mix in a few of our favorite live shows, as well as books and videos from time to time.

You can listen to the music featured in this issue at performermag.com. Enjoy.

Beachwood Sparks The Tarnished Gold Los Angeles, CA (Sub Pop Records)

“Unparalleled psychedelic indie-folk experience” Have you ever wondered to yourself what it might sound like if Willy Nelson and James Mercer of The Shins got together and created an indie-folk epic that conjured up images of the wild, untamed frontier AND 1960s acid flashbacks? Well there is no need to meditate on these wild musical fantasies anymore, thanks to the release of Beachwood Sparks’ first album in 11 years, The Tarnished Gold.

The Tarnished Gold wastes no time immersing you into what is a pilgrimage of an album, with the first slide of the lap steel that encompasses with a warm embrace as you drift off into the universe that is Beachwood Sparks. Tracks like “Mollusk,” with immensely spacious vocal and lap steel parts, accompanied by journeying acoustic guitar chords, evoke images of lonesome travelers fallen astray from the path into the new frontier, which happens to be in an alternate universe, mind you. In between the more psychedelic ditties are traditionally approached folk songs like “Talk About Lonesome,” a song of heartbreak and reflection with prominent banjo and harmonica parts a la Neil Young. This ‘good trip’ comes to a close with the poignantly brief track “Goodbye,” which perfectly meshes the lyrically classic folk themes with the vast, psychedelic-indie sound.

Western of brashly infectious beach-jazz and Hindi-pop cadences. Wielding an anachronistic audio time capsule and diverse, “United Colors of Benetton” line-up, the 11-piece band twists, twinkles then gutturally surprises listeners on their debut album, You Me Bullets Love, tugging on musical threads from traditional Indian croons to Japanese mob galas and Frankie Avalon soundtracks.

From the opening reverb-drenched chords of the title track, “You Me Bullets Love” captures tales of allusive lovers and clandestine fate against a backdrop of dueling male and female vocals that duet to punctual horns and sauntering melodies. Trumpets as sharp as arrows tie together Hindi sentiments of passion as descending guitar themes cleverly lace together the band’s bouquet of musical influences.

Boasting a genuine mosaic of somewhat archaic, geographically distant and lushly unique genres, The Bombay Royale has tactfully rehashed and blended a variety of underrated ingredients to generate a fine-tuned, exquisitely produced record. You Me Bullets Love is a hearty stamp the in neo-musical passport.

“Bound in Time” has a beautiful verse to chorus structure, complete with harmonies that bring peace and calm to the listeners. The song ends with a repeating phrase, “All that we’ve got is ticking away/If you know what I mean,” a feeling that resonates from songs off Pearl Jam’s Binaural.

Sonorous guitars and vocals are blended nicely with Hammond organs in “A Reason To Be In My Skin.” Gossard’s guitars complement the lead vocals with fervor and grace, singing the lines “Your touch is electric/Your mind is sharp/I’m lost in your self,” bleeding through the speakers. This tune defines the record with a great downward chord-shape progression in the verse.

A gem and highlight of the record, “The Only Way” is beautiful beyond measure, complete with lush acoustic guitars, heavenly vocals, and scintillating pianos. W ith delightful verses and a glorious chorus, the band makes a statement, keeping the tradition of Seattle alive.

Brad’s music displays influences from ’60s and ’70s rock, with drummer Regan Hagar, bassist Keith Lowe, and frontman Shawn Smith completing its lineup. Although Gossard is well known from his ties to Pearl Jam, he doesn’t fight for the spotlight in the group. Still, he has been a powerful force in the creative stages of this record, a grand event of mighty sounds and introspective songwriting.

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OUR PHILOSOPHY ON REVIEWS

Produced by Stone Gossard, Regan Hagar, Keith Lowe, Shawn Smith Engineered and Mixed by Floyd Reitsma

Recorded and Mixed by Tristan Ludowyk

www.thebandbrad.com

Mastered by David Walker at Stepford Audio

-Shawn M. Haney

Mastering

The Brothers Comatose

www.thebombayroyale.com -Taylor Haag

Brad United We Stand

Respect The Van San Francisco, CA (Self-Released)

Seattle, WA (Razor & Tie)

Produced by Thom Manahan

“Swaggering, fun-loving boots and denim bluegrass”

www.thecalmingseas.com -Brent Godin

The Bombay Royale You Me Bullets Love Melbourne, Australia (HopeStreet Recordings)

“Espionage jazz cavorting with beach-pop benevolence” Straight from the gills of Melbourne, The Bombay Royale is an orchestral Spaghetti

“Seattle outfit more than just a Pearl Jam side project” Beginning with the opening track “Miles of Rope” Brad launches from their Seattle roots with their fifth album, United We Stand. Music that is passionate, compelling and wholly satisfying, here one is greeted with sustaining lead guitars, riveting percussion and sultry bass lines, as this project delivers a grand epic. One of the few remaining bands from Seattle’s grunge days of the early ’90s, Brad is led by Pearl Jam guitarist Stone Gossard, who creates glorious patterns and notes in his solos in a palette that is both colorful and dynamic.

Believe it or not, it’s tough to create foot stomping rhythms without the use of percussion. San Francisco quintet the Brothers Comatose are one of those modern, rambling bluegrass ensembles that sustains up-tempo tunes, joint harmonization and plucking along via chirping mandolins, fiddles, guitars, banjos and upright bass.

Some of the songs are so infectious that they’re hard not to quote, “I am the scout / you are the man / you’re all grown up and you do what you can / you say I don’t know nothing / but you’ll surely see ... I’m staying young forever / that’s how it’s going to be,” (“The Scout”). Here the group ratchets back the country kitsch and brandishes JULY 2012 PERFORMER MAGAZINE 35

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The Brothers Comatose (continued) strong, unwieldy youthful vigor.

The backcountry anthem “Feels Like The Devil” feels more Ken Burns than Nickel Creek a catchy tune that could insight a boots and barn dance event given the right audience. “The Van Song” is a gem that echoes the dueling guitars before jolting the listener with a full-sprint Dixie dash. Although the lyrics could use some maturing (“Pie for Breakfast”), the record offers up what it should, establishing a signature sound and showing off competent musicianship.

Engineered by Matt Wright and Tim Bluhm Recorded at Prairie Sun Recording in Cotati, CA Mastered by JJ Golden Produced by The Brothers Comatose www.thebrotherscomatose.com -Christopher Petro

The Deadfields Dance In The Sun Atlanta, GA (Self-released)

“Sunny, pop-infused country that relies on honesty”

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exists without pretense. Dance In The Sun is the band’s debut release and is a folksy, countrytinged album, an album that fits perfectly within contemporary music’s current folk revival.

The record is energetic with strong chord progressions and sunny, if somewhat formulaic, compositions.

“Carolina Backroads” starts the album off with a burst of pop-infused, roots revival country.

The odd mesh of twangy guitar chords and catchy pop beats sets the stage for a slew of songs teetering between the two genres. There are darker moments, such as those shared on “Till The Next Time” and hopeful ballads conveyed through lively beats, the likes of which are best showcased on “Dandelions.”

With clean lines and clear equations used to form melodies and harmonies, The Deadfields have created a debut that walks a safe line. It is brimming with emotion and honesty, fueled by catchy hooks and enjoyable progressions, but they seem to know their current limits and are happy to reside within them.

Engineered by Jeff W. Gardner, Corey Chapman and

Georgia natives The Deadfields are a band of musicians determined to create music that

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Dresden Dolls Bad Plus Girls Guns & Glory String Cheese Incident Esperanza Spalding Medeski Martin & Wood Steve Winwood Gov't Mule 311 Janis Ian Jim's Big Ego Stanley Clarke Umphrey's McGee Gretchen Parlato Miss Tess Mike Stern Soulive Maceo Parker PUBLICITY AND TOUR SUPPORT (print press and viral)

call: 800-356-1155 www: powderfingerpromo.com 36 JULY 2012 PERFORMER MAGAZINE

Kevin Sellors www.thedeadfields.com

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- Don de Leaumont

An Old Leg Sign Atlanta, GA (Self-released)

“Folk songs contrived from dreams and played with sincerity” Don de Leaumont oozes sincerity. Those who know him as a journalist know his passion for brutal honesty and those who know him from his folk songs know him as a down-to-earth songwriter, unconcerned with grandiose dreams of wiping his butt with hundred dollar bills. Instead, he imagines a life twisted by loneliness and impacted by poverty. The first track on An Old Leg Sign dives into the idea that a wall built around an affluent community in Atlanta may function to keep its owners’ arrogance in as opposed to the street-level citizens out. Don admits his songs stay surface level, but describes them as very dear to him with themes ranging from a contrived tale

HIGHLIGHT

Secret Stages 2012 Birmingham, AL / May 11-12, 2012 review by Brad Hardisty photo by Thomas B. Diasio

Machines Are People Too

of a cowboy loving a Federale who brings him everything he needs – except the jailhouse key - to a song inspired by the great, if not sarcastic, mind of Benjamin Franklin advising all to share that which comes from deep within, in “Fart Proudly.”

A handful of creatively-crafted and folk-worthy songs dance alongside a cover of the Rolling Stones’ “Dead Flowers;” this ode to his childhood mis-pronunciation, “An old leg sign,” from “Auld Lang Syne,” reiterates feelings not only of nostalgia for days gone by but also for the spirit of the music industry where anyone can create an album and dream of fame with starry eyes. Don de Leaumont takes an honest account as he draws from dreams as well as hopes for the future.

Produced, Mixed and Mastered by Don de Leaumont www.donontheweb.com -Ellen Eldridge

Friends Manifest!

Brooklyn, NY (Fat Possum Records)

“Sweaty, sexy female-fronted dance music studded by ’70s rhythms”

Secret Stages 2nd annual event kicked off the weekend of May 11th & 12th in Birmingham, Alabama, attracting an even wider range of artists from all over the United States. Last year’s inaugural event, which took the place of the now defunct City Stages, turned out to be the indie rock party of the year in the Southeast, with thousands of fans showing up through a simple blog and word of mouth.

This year, the organizers, a group of local music event entrepreneurs and musicians, were a little more prepared with local business sponsorships and support to defray some of the costs, along with support from the local independent press. The two-day event is basically a pub and hall crawl covering four square blocks of the Historic Loft District of downtown Birmingham. Birmingham has developed its own scene, with recent indie success including Maria Taylor, Taylor Hollingsworth, who played with Conor Oberst in The Mystic Valley Band and now has a band with wife Kate Taylor called Dead Fingers, and also The Great Book of John.

MGMT-inspired Machines Are People Too, from Chattanooga, TN, put on a great set at Rogue Tavern, getting the people dancing. Rogue Tavern had the largest indoor stage, which came in handy when light rain fell on Sunday night. There was an outdoor stage and some ventured out to dance in the rain Sunday night just as the Third Man Rolling

searing rhythms and hip-shaker beats on their debut LP, Manifest! via a gamut of instrumentation: congas, sun setting guitars, electronic flourishes and Samantha Urbani’s seductive vocals. The band self-proclaims their genre as “weird pop,” which is surprisingly accurate; although the casual listener will file this record near Ladytron, Chromatics and Florence and the Machine. Expect lots of bass, elongated rhythms supported by strangely well-curated percussion, drum machines, lightly-echoed harmonized vocals and shamelessly voyeuristic, yet infectious dance pop. Songs like “Stay Dreaming” rise above and showcase band versatility by creating dance music that is equal parts intelligent, liberated and sweaty.

The group is tight and bounces along effortlessly, with lots of lyrical flirtation and overtly sexually-charged poetry, “You perch like a church / my pedestrian self trivializes your worth … oh boring guy / I’m thinking I want to touch it” from the simmering and bass-warped grooves in “Ruins.”

Ranked on NME’s “Best New Band” list, the group has been getting a lot of traction on the road, both domestically and internationally. Their album comes just in time for summer, providing the sunset soundtrack for rooftop bar-hopping and beachfront dance parties.

Engineered by Daniel Schlett Recorded at Strange Weather Studios in Brooklyn, NY Produced by Friends

Brooklyn, NY’s party-bringer quintet bears

www.afriendszone.com -Christopher Petro

Records Store truck pulled away, heading back up to headquarters in Nashville.

Das Haus, the Oktoberfest headquarters in Birmingham, smelled like brats n’ kraut, and was the punk and heavy rock stage for the night with everything from death/surf/punk band, Kill Baby Kill from Anniston, Alabama to Motörhead-meetsBlack Sabbath at a Southern BBQ in Savannah, GA’s sons, Black Tusk, to the ambient noise rock of Hail the Titans from Montgomery, AL. Metro Bar seemed to be more about roots and Americana with stand-out Lydia Loveless (Columbus, OH) picking up where Loretta Lynn and LA’s Lone Justice left off. Birmingham’s own Dead Fingers played a stripped-down set of Mississippi hill country blues meets Alabama punk-country.

Secret Stages succeeded in having more depth in regional and national indie acts than the recent Musicland (aka Next Big Nashville) and had the out-of-the-box feel that SXSW had 15-20 years ago.

Chuck Leishman, who originally had the idea of a pub-crawl and called together a roundtable that developed Secret Stages says, “We wanted to have a festival where all these bands that play the circuit could have a platform, a place to get their music heard in one weekend. It would be great if every regional area had a festival like this.”

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Great mix of local and regional indie acts sharing stages.

LIVE SHOW

www.secretstages.net

Geronimo Getty Darkness Hides Los Angeles, CA (Self-released)

“Townes Van Getty” Trading in a the muscle of a rock band, Aaron Kyle steps away from fronting California indie darlings, Le Switch, for a singer/songwriter’s tenderness on his solo debut, Darkness Hides.

Tender, yes, but in no way weak - Kyle’s songwriting (now under the moniker Geronimo Getty) is sharp and expressive with a conviction befitting the Americana roots he aspires to.

Kyle’s rock background peaks through often enough, with some great Mike Campbell-esque electric guitar accents, but it’s largely a traditionalist affair. Within that tradition though, Kyle entirely eschews one pillar of Americana for another, entirely forsaking characters and story songs for personal introspections. And these are as earnest as they come on standouts like the outlaw-country brooding of the title track and the lovelorn acoustics of “Dear Lover.”

With a weary baritone smacking of Townes Van Zandt (and a touch of nasal Jonathan Richman), Kyle’s voice seems genetically JULY 2012 PERFORMER MAGAZINE 37

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Geronimo Getty (continued) Larry Keel and Natural Bridge

engineered to plead over a whining fiddle ballad or achingly falter over a country lover’s lament.

And like Van Zandt before him, he doesn’t need great range to get his point across. It’s always been more important in the American folk tradition to wring a feeling out of your voice rather than virtuosity, and Kyle wrings out plenty on this solid debut.

Classic Lexington, VA (Keel Fish Music)

“Appalachian music with heart, fervor, and soul”

Mixed by Jeff Halbert Produced by Aaron Kyle and Christopher Harrison

www.geronimogetty.com

Larry Keel and Natural Bridge is a true bluegrass band, stemming from the rich musical culture of Appalachia. Their latest album, Classic, is exactly that, a classic. Vibrant and vigorously plucked banjo chords sit nestled against fiercely played fiddle notes, as the record unfolds in a superb blend of original songs and covers.

There is barely a moment of rest on Classic.

The traditional style is kicked up a notch with high energy, high intensity compositions that demonstrate just how creative and engaging bluegrass can be. From the very first track “Love,” listeners are taken on an impressive flatpickin’ adventure. Keel’s attention to progressions and detail as he strums each intricate note fuels tracks like “B-Funk” and “Back Up On the Mountain.” Traditional styles of play mold into more contemporary creations both vocally and instrumentally, and there are moments of country-infused storytelling delivered by Keel’s unmistakable drawl and the sweet vocals of Keel’s wife, Jenny. The band delivers each track with an undeniable energy and a level of musicianship that can only be acquired through years of dedicated play and passion.

Classic is an harmonious, adventurous and raucous journey through the bluegrass culture. Rooted deeply in all the things that make bluegrass wonderful - twangy banjos, twilight melodies, fast paced hootenanny manifestos – it’s an album that displays an immense level of talent and commitment. Larry Keel and Natural Bridge have created yet another record that is a necessity in any serious music collection.

-Ari Goldberg

Honey Locust Fear is a Feeling Nashville, TN (Self-released)

“A delightful feast of instrumentation” This fantastic group from Nashville has released a five-song EP filled with charming material. It’s a delight to savor such a compelling record of sounds, as Honey Locust dazzles listeners beginning with “Fear is a Feeling,” complete with gorgeous male and female lead vocals and a myriad of beautiful instrumentation.

Broad in scope, Honey Locust is a quintet made up of singers Jake Davis and Lizzie Connor, able to record and perform their tunes with viola, banjo, piano, organ, accordion, guitar, ukulele, mandolin, percussion, bass and possibly a few other voices.

The accordion is ever present in “Silver for Cynics,” complementing the lead vocals nicely.

The tempo shifts from 4/4 to a waltz smoothly, giving the song dynamics and texture. It seems to have the feel of the Avett Brothers and Mumford and Sons, as their sounds bring out the best of those influences. They also touch on the Decemberists with their graceful attention to subtle detail, and in the way they present their song structures.

“Softer Someday” is quite the passionate track, with riveting mandolins and ukuleles aiding the vocals and a brooding cello to round things out. Certainly this sneak peek EP presents to America a tapestry of this group’s future potential as a grand scale Nashville chamber ensemble. Delivering these songs in the studio, Honey Locust has recorded a unique gem, using their unlimited talents to bring to life a plethora of sounds in an entertaining and serenading fashion. Brutally honest and conceptually stunning, Fear is a Feeling is a charming record for folk rock fans, and thus should not be missed.

Recorded by Andrew Davis at Seismic Sound Mastered by Mike Odmark

Produced by Larry Keel and Jeff Covert Mixed by Jeff Covert at Wally Cleaver’s Studio in Fredericksburg, VA Mastered by Bill Wolf www.larrykeel.com -Vanessa Bennett

dub meet an old Stax record on a crowded street Baddawn Veinsof corner in New York City,pictured: amidst the disco, boom bap, and Funkadelic. It may be surprising to learn that seven Berklee graduates from the ‘90s have captured this moment in time and transported it into the present.

This is Lettuce. Their new album Fly delivers funk that breathes with time and echoes into the future. Heavy reverb and delays saddle alongside a Funkadelic sense of style in the record’s title and opening track. “Fly” was recorded all-analog to two-inch tape. The song vamps leisurely, dripping with the resonance of a dub side of funk.

Fly is full of unwaveringly deep pockets and bold, blaring horns. The band takes the time to let you feel more of what you might have missed in their last album Rage! - that Lettuce flair. Music snobs can dig, and young folks can dance.

For the only cover on the album, Lettuce folds nicely into a decades-old War track, “Slippin’ Into Darkness.” Crisp, clean horn lines allow Lettuce’s guitar-led rhythm section to leap out. Other standout tracks include “Ziggowatt,” “Madison Square” and “Do It Like You Do.” Recorded by John Davis at Bunker Studios, Brooklyn Mastered by Scott Hull and John Davis at Masterdisk, NYC www.lettucefunk.com -Amanda Macchia

mewithoutYou Ten Stories Philadelphia, PA (Self-Released)

“Captivating story told with near-perfect musicianship” It’s been quite the evolution for Philly’s mewithoutYou. What began as experimental punk rock dominated by spoken word vocals has grown more sophisticated and mature with every new release. The group’s rock dynamics and sensibilities took a bit of a backseat with 2009’s folky, Aesop Fable-y It’s All Crazy! It’s All False! It’s All a Dream! It’s Alright, the last Tooth & Nail release this band would have. But now the quartet is on its own without the help of a label, and the band has

Lettuce Fly New York, NY (Velour Recordings)

“Futuristic funk, re-envisioning urban sounds with technical prowess”

LISTEN TO MUSIC FROM THIS ISSUE

www.honeylocustmusic.com -Shawn M. Haney

38 JULY 2012 PERFORMER MAGAZINE

The fractured, sopping sounds of Jamaican

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mewithoutYou (continued) never sounded tighter.

Ten Stories sees a return to form for mewithoutYou, but there are still elements from It’s All Crazy! present. Lyrically, the songs are rife with allegories and metaphors that expertly delve into themes of life, death, loneliness, and faith through use of a wild concept (the album follows ten animals as they escape from a circus-train crash).

Musically, this album seems to finally blend every style that influences mewithoutYou. Fastpaced, aggressive rock numbers like “Cardiff Giant” with dirty electric guitars feature subtle horn sections, while slower-paced songs like “Bear’s Vision of St. Agnes” build to overwhelming heights with dramatic string sections.

It’s been 10 years since mewithoutYou debuted their unique brand of loud, aggressive, punk rock. But since then it’s been an adventure to watch this band grow. With Ten Stories, the band finally sounds as if they are truly masters of their craft and have a strong grasp on their sound.

Produced by Daniel Smith www.mewithoutyou.com -Rich Coleman

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New Sweden The Mountain Wilmington, DE (Self-released)

Produced by Ritchie Rubini

“All the energy and potential that alt-country should offer”

SEND US YOUR MUSIC! EDITORIAL@PERFORMERMAG.COM

HIGHLIGHT

The night’s progression from thrash rock to thrash metal to thrash punk.

Actor|Observer

Empire Escorts, Await Rescue, Actor|Observer, - Church – Boston, MA / May 30, 2012

review and photo by Carolyn Vallejo Thrash can manifest itself on stage in many ways. Empire Escorts did it at Church in the most classic form, headbanging and hair flying, opening the night with ear-numbing rustic vocals and 40 JULY 2012 PERFORMER MAGAZINE

Engineered by Nick DiDia www.newswedenmusic.com -Andrew Lapham Fersch

There are a slew of bands coming out these days that could be the next Mumford and Sons. Some clearly are doing more justice to that potential than others. Few, however, are showing a unique potential so early after their formation as Delaware’s New Sweden. Although their music won’t sweep the listener away to Delaware, it’s likely to get them up and dancing, and, once they’ve learned the lyrics, singing along. Through lead-singer Billy Dobies’ semi-slurring and group hollering of “A Poor Man’s Song” to the lyrical cleverness of “Saint, Don’t You Lie” (“If I can predict the future we’ll be dead”), the whole album is pure potential.

The rowdier they get, the better it seems to come off, although the more laid back tracks such

LIVE SHOW

Leave By Six

as “Like a Fool” and “View From the Mountain” still hold their own thanks again to well thought out lyrics and perfectly placed violins and percussion. By incorporating tight harmonies and mixing up their sound, New Sweden has managed to make an album that flows smoothly, no matter what mood they seem to be in at the moment.

bass lines that held their own. The four-piece from Jersey knocked the wind out of the crowd with “Electric Whiskey,” tight percussion and dirty metal rock, just before locals Await Rescue

The Nightmare River Band Last Goodbye New York, NY (Self-released)

“Infectious sing-along alternative folk” The Nightmare River Band’s Last Goodbye is a strong follow up to their 2009 debut Call the Cops! The New York based band is quickly pushing their way into the spotlight of the alt-folk/ Americana music scene, claiming, “We’re coming to your town whether you like it or not.” But believe me, you’ll like it.

Last Goodbye features catchy, bursting choruses by front man Matt Krahula,

thrashed in their set with red-in-the-neck throat screams by singer Johnny Cutulle in the dark beauty of rock ballads at high speed. Frantic use of cymbals and Zen indie riffs played into syncopated slash guitar, making their time on stage the most romantic of the night.

Even during Actor|Observer’s soundcheck, the venue filled with heartbreaking chords that set the backdrop for this Allston, MA-based hardcore thrash. With plenty of reverb and feedback, the band set a pace-change with rhythm guitars ripping out 32nd-note riffs and three-singer screams, shifting the night towards the punk-end of thrash as Leave By Six took the stage. This lastminute addition to the lineup took their thrash to the hardcore end of pop punk as the earnest Boston-based group’s “No Glory for the Underdog” pounded the amps. Heavy picking and chord progressions that pulled at your heartstrings circled around decentralized vocals for a disorienting moment in the set. It was a late Wednesday night, but Church’s lineup took the crowd through an unwaveringly relentless show of thrash. Whether it came through heavy metal or hardcore punk, thrash is about s gorgeously violent movement and energy that took the venue hostage for more than four blood-pumping hours. www.empireescortsmusic.com www.awaitrescue.com actorobserver.bandcamp.com www.leavebysix.com

Little Anchor -Yellow Lights

“Bouncy pop gem wrapped in a playful wrapper”

Little Anchor’s Yellow Lights kicks off with a thoroughly delightful pop nugget, “Don’t Be Scared to Move,” featuring a fun Letters To Cleo vibe and a hooky refrain. The EP refuses to lose momentum, quickly transitioning into another rhythmically charged pop-rock track (“Lady Tennessee”) that, in a less corrupt commercial radio environment, would certainly be in heavy rotation. The song keeps things moving with a great drum track and tight vocal harmonies, courtesy of lead singer Alexa Cabellon. Side A concludes with a slower, piano-driven tune entitled “SEA/MD,” which introduces more atmospheric textures and tasteful acoustic guitars to the previously straightforward arrangements.

Side B opens with more tight acoustic work, as Cabellon’s vocals seem to sit above “A Sentimental Way” in an angelic register.

Drums and bass slowly creep into the mix after the first

Brooklyn, NY / (Self-released)

verse - a nice touch by producer Gary Atturio.

The gentle nature of Side B continues in “Until Our Eyes Adjust,” as sweet strings and light percussion accompany cleanly plucked guitars.

Rounding out the EP is “When You’re Looking,” a more up-tempo way to end the record. All in all, Yellow Lights provides a quick glimpse into the best of Brooklyn’s burgeoning indie pop scene.

Pick up the vinyl if you can, as Masterdisk’s expert cutting provides an excellent sonic experience for even the most discerning audiophile.

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VINYL OF THE MONTH

Recorded, Mixed and Engineered by Gary Atturio Recorded at Galuminum Foil Productions, Brooklyn Mastered for Vinyl by Alex DeTurk at Masterdisk, NYC EP Artwork by Barclay Douglas Format: 12-inch Speed: 45 RPM Color: Black Vinyl www.thisislittleanchor.com -Benjamin Ricci -photo by Emily Tan

JULY 2012 PERFORMER MAGAZINE 41

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LIVE SHOW

The Nightmare River Band (continued)

Symbiosis Gathering Pyramid Lake, NV / May 17-21, 2012 review and photo by Rosalyn Lee

Little Dragon

coupled with twanging guitars and delightfully simple rhythms. The album has a mixture of sweet lyrics reminiscent of the Avett Brothers and infectious rhythms echoing Mumford and Sons.

Opening tracks like “Mary” and “Oh Me Oh My” set the playful, bouncing mood of the album, with choruses that demand to be sung along to.

The sounds of a harmonious quartet of back-up singers powerfully accent Krahula’s strong voice in the choruses and the raucous country beats, which more than likely make for some delightfully rowdy live shows.

As the album progresses, tracks like “Walk On” and “Life Just Stops” successfully bridge a stronger pop-rock sound, trading country sounds for electric guitars and featuring lyrics delivered more forcefully than the lighter, folksy tracks.

The record is a gem that combines the pleasantries of folk with the power of alternative rock, all the while serenading you with love and loss, metaphors of robots and Superman, and honest words.

Produced and Mixed by Dan Romer Mastered by Devin Kerr www.nightmareriverband.com -Samantha Ward

Patrick Watson Adventures In Your Own Backyard The rhythmic seeking to make their drive pounded like outsides as beautiful as HIGHLIGHT ancient pony hooves their insides through carrying us into the true self expression, desert. This year the shattering prejudice Kooyooe Tukadu tribe and preconception. allowed the Symbiosis My admiration for Gathering to take place the participants was on the sacred land of their ancestors near North fickle but honest. It stretched from The Bay Area’s Pyramid Lake. It is believed that just being Shotgun Wedding Quintet where Dublin’s rapid, on such land can change you, and these sacred insightful flow meshed perfectly with his band’s grounds did not disappoint. The desert drew banging beats, to my new favorite beat boxer, its temporary tenants in with a mystic, almost Scissorology. Sissorology’s apoplexy bass blew magnetic force as people converged to share my mind through powerful amps, pounding my music, art and love. Smoldering desert mornings heart into my stomach. Another new favorite was unhurriedly dissolved into icy dips in the lake - Little Dragon, who moved like her music, delicate, cooling, cleansing. strong, and sexy…upbeat trance drenched in soul.

The music became an extension of the magiThis gathering left its participants with many cal atmosphere, like the desert sand beneath our parting gifts – especially those who came with feet, continuous, blending one act into the next, an open mind – but most lasting for me will be morning into evening, then night, then into the the love. It radiated through the ground, through next morning, filling every space with its beauty. the crowd, through the music and through our The scene was filled with workshops, truth- souls. We all danced and loved. My most endurseekers, elaborate artesian vendors, rappers, ing memory is watching the Eclipse peak over the DJs, bands, yogis and stunning art installations. Eclipse stage, me, submerged in the sacred water, Like a thread of life flowing throughout the com- experiencing universal truth that could only be munity, invisible beats moved you as each step found in that place in that moment. carried you into a new reality, allowing you to fall Enlightened, I bumped home through the desin love with something or someone new. To open ert, the whispers of the ancients inviting me back your eyes in this oasis was to discover new beauty next year. An invitation I will humbly accept. and truth in all directions. The people gathered here were walking pieces of art themselves, www.pyramideclipse.com

Mix of magical atmosphere, art and mystical beats.

42 JULY 2012 PERFORMER MAGAZINE

Montreal, QC (Secret City Records)

“Typical Patrick Watson: beautifully and meticulously crafted” There’s something about Patrick Watson that completely stills everything. His gentle vocals quiet the room. The melodious and meticulous piano brings sweet calm to the harshest storm. Watson’s newest album, Adventures In Your Own Backyard, proves that he is consistently maintaining himself as one of the most brilliant modern artists in North America.

There could not be a better opener for this record than “Lighthouse,” a gentle, lush introduction into Watson’s darkness, eventually leading into a hopeful crescendo of unrepentant horns, kind strings and those elegant, f loating vocals. Watson’s collaboration with fellow musician Robbie Kuster f leshes out the beautifully-crafted track “Blackwind.”

Clearly inf luenced by late 1960s pop, “Into Giants” is a stark contrast to the earlier tracks, with endearing, resilient lyrics: “Grew so tall our heads hit ceilings/Trouble seemed so small, outgrew all the doors and walls/ We never needed any plans, for ends to meet again/Started as lovers, don’t know where it’s gonna end...” So simple, yet so glorious. With this album, Watson’s future plans involve

River City Extension

Watson

Don’t Let the Sun Go Down On Your Anger

Mastered by Harris Neuman

Toms River, NJ

Recorded at Patrick Watson’s Home Studio

(XOXO Records/Anchor & Hope Music)

Engineered and Mixed by Rob Heany and Patrick

EDITOR’S PICKS

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embarking on a tour with multi-instrumentalist Andrew Bird. It seems this man cannot disappoint.

www.patrickwatson.net

“Catchy, quirky and upbeat”

-Christina Dore

Pennywise All or Nothing Hermosa Beach, CA (Epitaph)

“So-Cal punk legends return to form…with the addition of a new lead singer” It’s not easy for a band to lose one of its founding members, but it’s even harder for a band that’s been around since 1988 to lose its lead singer. Although Pennywise’s last few albums have been a little stale, All or Nothing feels like the band has been reborn. When it was announced in 2010 that longtime lead singer Jim Lindberg had left the group and Ignite vocalist Zoli Téglás would be replacing him, message boards lit up with discussions of whether or not the band would bounce back.

Fortunately the group first reunited with longtime label Epitaph, (their last record was released on MySpace Records) and has triumphantly returned to form. All or Nothing sounds like a band that wants to prove itself. For a group of guys that could easily continue to float along on the jock rock popularity of “Bro Hymn,” All or Nothing packs some major punches and some of the best hooks the band has laid down since 1997’s Full Circle. Tracks like “Revolution” and “We Have It All” are undeniable Pennywise gold, and the record’s first single “Let Us Hear Your Voice” is already receiving major spins on altrock stations nationwide. Grab your skateboard and go shred a pool. All hail the ’90s.

River City Extension may hail from Toms River, NJ, but don’t expect them to sound like a typical Jersey rock band. They feature a unique blend of indie rock infused with folk and country elements, all from a roster of eight members and featuring, at times, many other guests. Their current release, Don’t Let the Sun Go Down on Your Anger, is far from a sophomore slump.

The first track, “Glastonbury,” starts the album off on a somber tone that also draws the listener into a journey that sounds like it would properly accompany a trip to the frontier. Other highlights include “Welcome to Pittsburgh,” which the band used as the album’s promo track on their website before it was released. It has a fun summer feel with a Beach Boys vibe to it. Following “Welcome” is a very catchy, quirky and upbeat piano-rock number, “Point of Surrender,” that features everything you’d want in a rock song including harmonized vocals, hand-claps, tambourines, a banjo, and a guitar solo. They bring it back down afterwards with “Standing Outside a Southern Riot,” a midtempo ballad reminiscent of songs from the Eels’ album Daisies of the Galaxy.

Overall, there are a slew of really good songs and a few not so memorable ones. This 14-track follow-up from River City Extension leaves a good impression and it seems like a step in the right direction for the band. Look for them performing live in PA, MA, and NY in July.

Produced by Brian Deck

The Daredevil Christopher Wright The Nature of Things Eau Claire, WI Genre: Swamp Folk

Billy Martin & Wil Blades Shimmy San Francisco, CA Genre: Experimental Jazz

Incomplete Neighbor Flowers and Dinosaurs San Francisco, CA Genre: Psyche-Pop

www.rivercityextension.com -Matt Lambert

Produced by Cameron Webb Recorded at Maple Sound Studio, Santa Ana, CA Mastered by Gene Grimaldi at Oasis Mastering, Burbank, CA www.pennywisdom.com -Ben Nine-K

WANT TO BE FEATURED AS A TOP PICK? LISTEN TO MUSIC FROM THIS ISSUE @PERFORMERMAG.COM

SEND US YOUR MUSIC! EDITORIAL@PERFORMERMAG.COM

163 Massachusetts Ave. (across from Berklee, next door to Daddy’s Music)

JULY 2012 PERFORMER MAGAZINE 43

BEHIND THE SCENES

Go Inside the Office of an Indie Label An Interview with No Sleep Records’ CEO Chris Hansen

by Benjamin Ricci / photos by Jonathan Weiner

know? Make sure they have a good work ethic, that they’re gonna tour as often as they can and that they know all the right things to do. Be able to take advice, and like I said, make sure they’re genuine people.

What advice would you give to a band on how to approach a label they want to get signed to?

Just get word out there about your band. Tour, play shows, because a lot of the bands we do hear about are from other bands on the label. It’s just because of the world we’re in and our friends are a community. So knowing that our bands know about the bands out there definitely helps [your shot].

Is it less effective for them to just send you an unsolicited package of their stuff?

Chris Hansen

No Sleep Records was founded in the summer of 2006 by Chris Hansen, with the purpose of bringing back the originality and uniqueness that was long missing from today’s ever-changing music scene. Originally founded while Hansen was working as the art director for a larger independent label on the East Coast, No Sleep eventually moved back out West to Huntington Beach, CA. We got the chance to speak with Hansen recently, to take a behind the scenes look at what it’s like to run an indie label.

I think people tend to glamorize record labels. Can you give a more realistic description of what the day-to-day operations are like at the office?

It definitely depends on the day. Some days are more relaxed than others, depending on if there’s any new releases coming out or bigger releases being planned, you know?

It’s also different now than it used to be. I used to be a completely one-man show, but now I have someone who does my mail orders, which is nice.

I pretty much get in the office between seven and nine in the morning. Sit at the computer, do a million emails. Then I talk to our press guy everyday to make sure everything’s going correctly for each release. I also send out updates to all of our booking contacts to make sure everyone can get on the road, get updated info for managers and look for new bands all the time. And there’s always various drama to deal with...

44 JULY 2012 PERFORMER MAGAZINE

How much do you actually interact with bands on your roster?

I interact with at least one band every day.

Sometimes all of them. It depends on what’s going on, but everyone is my friend, so everyday I talk to them at least from a friend standpoint. Because one of the things I look for when I’m signing a band is that they’re good dudes who I can be friends with. It’s a family to me. I always wanted No Sleep to be something that I enjoy. I don’t want it to be something that leads to me hating what I do.

What is your submission policy for new bands?

A lot of it is word of mouth between bands on the label. I mean, we obviously get press kits and listen to them, but 90% of the press kits we get are pretty bad. That’s just how the press kit game goes.

When we are talking to a band I like to make sure that they’re doing it for the right reasons, you

I mean, not really, but sometimes we get press kits for things that don’t make sense at all [for us].

Then, obviously it’s a waste of time. I definitely think press kits are still a good thing. It shows that the band cares about what they’re doing and wants to put time into it. When we get press kits where it’s a complete form letter and you can tell it’s been sent to a million people, that’s a little off-putting.

I think it’s still important for bands to send the material out, though, because…it shows they’re serious. The only downside is that they get buried sometimes in the really bad stuff that gets sent.

Have you signed any bands from press kit submissions?

I’ve signed…I think two, maybe - based off of having not heard them before and getting a press kit. As far as not knowing of a band, there’s been a couple where I have actually gotten to know them from [their press kit]. It definitely helps, doing the press kit and then also working on getting your name out there. Just [sending] a press kit when I haven’t heard of [the band] and none of my bands have heard of [them], it shows they’re obviously not really working that hard on playing shows, getting their name out there.

So it’s beneficial for bands to interact with and get to know your bands, not just the label heads.

It’s definitely beneficial because for us it’s a family, a community. So whenever there’s a band that I haven’t really heard of, I ask if there’s someone on the label who might know them or has

played a show with them, just to see what they think of them. That helps to know if they’re good live, or if they’re douche bags and you don’t want to work with them.

What misconceptions do bands have about behind-the-scenes stuff at a label?

Kids assume that if a record goes into second pressing, that means that the band and label are making money, but you and I know vinyl is an expensive thing. I think from the band’s standpoint, sometimes they don’t realize everything that goes into marketing and working a record, you know? The costs involved can add up [for us].

What about other misconceptions?

There are still people who think that the label just presses records and sends them out, and that’s all they do. But there’s dealing with the distributor, dealing with the press guy, dealing with the radio people, because we do college radio campaigns with every release, too. I don’t know if it leads to more sales, but it helps get people aware, you know? Then dealing with our friends’ labels and the community and just trying to do whatever we can to get more awareness for everything. I think bands sometimes have the misconception that they send us the stuff, we send it out and then they move on to something else, you know?

And what about money issues?

Some bands think, ‘Well, we sold 500 records, how come there’s no money in yet?’ When we press a record, it varies depending on what terms you have with the [pressing plant or duplicator], but mostly we’ll pay upfront for product. So you pay [for a record] a few months before a release is actually out. Then it comes out and any copies that were distributed you [might not] get paid on for three months after the release date, because of [additional] terms.

And then the distributor takes a cut and they also hold a return reserve, which is 25% or so for about ten months of the year. So it’s a long time before any money comes in. I think that’s definitely one thing, especially when I first started a label, that bands didn’t really understand. Once a band’s been around for a while they realize [how it works].

I mean, let’s say the record’s in store for 13 bucks, we wholesale it for a price that’s obviously less than that, the distributor takes their cut and then there’s a return reserve for a while, which you won’t get paid on for a year, basically…

If this is too personal you can let me know, but when you started the label how did you fund it?

Oh, every penny outside of my rent went towards the label. My salary at the time and then freelance work all went to No Sleep. I’ve sold my personal record collection a few times to pay debt that has accumulated from pressing [the label’s records]. I really put everything I had into this financially, mentally, and physically. It’s what I knew I wanted to do, because there’s definitely a lot of [great] shit out there. I wanted to [leave] a mark in some way, you know?

BEHIND THE SCENES

lot of sketchy people in this industry, clearly.

Definitely don’t go overboard in choosing too many bands or doing too many things at once.

Start small; try to have it as a hobby and not a full-time thing, especially at first. It’s definitely an expensive industry to be in, and it’s definitely a cutthroat industry. It’s hard to survive, honestly, with labels failing all the time.

www.nosleeprecords.com

Knowing what you know now, are there any things that you would have done differently with the label from a business standpoint?

There are definitely things I would have done differently, but also some stuff where I don’t think I would have, because I wouldn’t have learned from it. I definitely lucked out by working at various labels, distribution companies and record stores, which helped me to learn the good and bad side of things, you know?

I’ve done larger specialty radio campaigns for some stuff that I shouldn’t have and there’s been a couple of bands that I shouldn’t have [worked with] because it was a big loss for the label, which obviously hurts.

What advice do you have for folks thinking about putting their own label together?

Know that it’s going to be a lot of work, and you’re not going to get a lot of sleep most of the time. It’s very stressful. It’s very time consuming. Lots of money will be spent on things that you may or may not ever receive a return on. Running a label is a big gamble at the end of the day. We all have days where we want to stop because it’s overwhelming at times. And then be wary, there are a JULY 2012 PERFORMER MAGAZINE 45

LEGAL PAD

photo by JMR Photography

PAY-TO-PLAY: PROHIBITED OR RITE OF PASSAGE? YOU’VE HEARD THE DEAL BEFORE: get a slot at this summer’s music festival by pre- CONS: purchasing 40 tickets in advance. Some see it as a rite of passage, others a blatant scam. Of course, there are huge downsides for acts who sign up for pay-to-play and/or “presale” deals.

Whichever way you see it, here is a legal breakdown of the pay-to-play arrangement: Bands often find themselves paying hundreds WHAT IS IT? IS IT LEGAL? of dollars to perform limited sets along with a There are several ways to interpret “pay-to- Is the band/venue pay-to-play arrangement random assortment of other acts. The line-ups, play.” Some define it in the literal sense: to play a legal? In short, the answer is “yes.” Falling into particularly with many festivals, are assembled certain venue, a band must pay an out-of-pocket the “you-get-what-you-pay-for” category, there is based upon ability to pay the promoter or sell tickfee. Promoters and venues define the process in nothing illegal, per se, about the arrangement. It ets – not because they fit a certain bill or attract terms of “presale” tickets. This presale process is no less legal then a venue contracting a band to a similar audience. In addition, with “presale” is the one usually sold to relatively unknown and play for free, pay them in beer, or pay a few bucks arrangements, the promoter has substantially untested bands. Under this arrangement, a band for a full night’s work. less incentive to list the event, poster the area is given a certain number of tickets to sell (to their to encourage attendance, work with a publicist, friends, family, fans, etc). These, however, are not Black’s Legal Dictionary defines a valid contract package similar acts, or otherwise promote the comp or promo tickets – a band is required to pay as “an agreement between two or more parties event. Often times this scenario can lead bands to the promoter/venue for the tickets up front. If creating obligations that are enforceable or rec- perform (1) in empty halls or (2) for “friends and the band is unable to sell the tickets on their own, ognizable at law and supported by consideration.” family” of the acts. Neither scenario is particuthey have to eat the cost (i.e. paying for the ability Consideration is simply defined as “something larly beneficial for exposure. to play the show). of value (such as an act or return promise).” In For promoters, the downsides are related the case of pay-to-play, the band is paying money to credibility. Most respected, popular, and HISTORY: (something of value) to a promoter in exchange successful venues and promoters don’t require Pay-to-play has existed in various forms through- for the promoter allowing the band the expo- presale tickets. Their success comes from out the history of the music industry, most sure of performing at a live venue (something of establishing venues in saturated music markets notably during the 1950s “Payola” scandal where value…if in the eye of the beholder). Essentially, and finding a good balance between booking, record labels would regularly pay radio stations like any arrangement you freely enter into on your promoting, and sales. Pay-to-play promoters to play songs as part of their daily lineup. It is less own accord, pay-to-play is a good deal if you think unable to secure viable acts continue to require known, however, that pay-to-play is actually legal it’s a good deal. bands to pay for the opportunity to perform, and in radio as long as the payment is disclosed on air. the cycle continues.

Federal law denotes the requirements for disclo- PROS: There are entire sites dedicated to educating sure under the law, stating: For a band (especially one that is new or untested) bands on “pay-to-play.” For more specific informapay-to-play can be an avenue to playing a live tion, visit a band run site at neverpaytoplay.com “All matter broadcast by any radio station for venue. For their press kits and touring lineup, which details an array of facts deterring bands which any money, service or other valuable con- other bands may see an advantage to playing at a from participating (not to mention a victorious sideration is directly or indirectly paid … the historic or reputable venue (i.e. Whisky A Go-Go). lawsuit to boot). station so broadcasting, from any person, shall, at Bands further along in their career may have the the time the same is so broadcast, be announced as opportunity to buy on to a major tour as a suppaid for or furnished, as the case may be, by such porting or opening act. It is up to each group to Adam Barnosky is a Boston-based attorney and person…” (see 47 U.S.C. Sec. 317) determine the risk vs. reward in choosing to pay writer. For industry trends, legal updates, or to Problems with undisclosed radio pay-to-play are for exposure. Often times the decision will rely on request an upcoming Legal Pad topic, find him on not a thing of the past. As recently as 2006, major the degree of meaningful exposure offered.

Twitter @adambarnosky. labels paid multimillion dollar payments to settle For the promoter, there is little to lose finanstate and federal inquiries into illegal pay-to-play cially from this arrangement. It ensures profits DISCLAIMER: The information contained in arrangements. The government’s regulations while all but eliminating risk. Some promoters this column is general legal information only and against broadcast pay-to-play are clear, where support their actions in contract, disclaiming should not be taken as a comprehensive guide the arrangement for performance pay has yet to that if a band does not think it can sell the presale to the law. Consult your attorney for all specific be formally discussed. tickets it should not sign the agreement. considerations.

46 JULY 2012 PERFORMER MAGAZINE

P P

P E R F O R M E R P R E S E N T S ATLANTA

July 13 at The Drunken Unicorn featuring Elk Milk Freak Out Dead Rabbits Doors at 9:00 pm $6 - 18+

Brought to you by:

BOSTON

July 22 at Church featuring Kayo Dot Jaggery Something About Horses Doors at 8:00 pm $10 - 21+

SAN FRANCISCO

July 26 at Great American Music Hall featuring Ghost and the City Tumbleweed Wanderers Rin Tin Tiger Doors at 7:30 pm $15 - ALL AGES

MERCH SALES

BUILD A MERCH D I S P L AY to Make Optimus Prime Jealous Tips from The Lights Out Not every band’s van has an extra seat for the merch girl. That’s what I realized while on tour with my band, The Lights Out. In your home city, there’s always a friend or girlfriend who can be roped into selling your stuff for a few beers. But when you’re on the road, you’re on your own. By the time we hustle our gear offstage, we’ve already lost the crowd’s attention. I started thinking about a self-service kiosk that could do the selling for us, during our set. The GigStation was born.

48 JULY 2012 PERFORMER MAGAZINE

ELEMENTS OF A GIGSTATION MP3 player and headphones How many live bands have you enjoyed enough to buy their studio album, and then wished you hadn’t? Questionable recording quality makes show goers hesitant to pay for a CD they’ve never heard. The Lights Out works with some very talented people who always make our recordings sound top-notch, so we wanted to remove this fear by letting people hear exactly what they’d be buying. And these days, MP3 players are cheap.

Donation box with money slot The next most important feature is a secure box for fans to put their money into. We’ve used a “pay what you think it’s worth” honor system for years, and it’s worked well. For every wad of singles we find in the box, there’s usually a $20 from someone who really enjoyed us. That’s moving two CDs for $25, rather than one for $10: more music in more people’s hands, and more money for us.

LED lights and LED-lit band name marquee In a dark club, your name scrolling across the top of your display catches everyone’s attention, and tells everyone this band cares about presentation.

5”x7” digital picture frame A recent eye candy upgrade, we call this our “mini JumboTron.” It plays a slideshow of the band’s best photos and music videos, as well as

information about the “listening booth” part of the station and our “pay what you think it’s worth” policy. For $40, it keeps people stuck to the booth.

Fan club clipboard and pen We never call it a “mailing list,” because who wants to be on another one of those? We call it a “Fan Club,” use individual letter-boxes (for hands not at their 9-5 steadiness) and ask for ZIP codes so we can limit show announcements to those within an hour’s drive. The list is well lit by the booth, when we’re not walking the room with it.

Press binder When a well-regarded publication says a band is good, it ups people’s interest level. In their natural environment, some articles have a very short shelf life – sometimes as short as an hour. But printing them out and arranging them in a press binder makes them live forever and tells people, “Billboard liked them, so maybe you should stick around for a song instead of getting a head start on that pizza slice.”

Storage for up to 20 CDs T-shirt display area

MERCH SALES HOW TO BUILD ONE YOURSELF I took up drums and industrial design around the same time, and I’ve always loved Transformers.

They were in the back of my mind when I started this design. No matter how many features I packed into it, the GigStation had to transform into a box the size of a small suitcase for easy, well-protected load-outs. I didn’t have a wood shop, but I knew a place down the block that made custom pine furniture on the cheap. I brought my plans to them and they made me the parts I needed. After assembly (and a coat of red and black paint by our handy lead singer Rish) I was ready to staple some red LED Christmas lights around the inside. The Lite-Brite style band name marquee [editor’s note – strikingly similar to the Performer logo, hmm..] was fashioned by poking more LED Christmas lights through the front of a box made of corrugated plastic. This sign would sit atop two folding panels that were the perfect size for hanging our t-shirts.

A word of caution: don’t make your GigStation too bright. While concertgoers are attracted to glowing things like moths to a flame, they can also be like cockroaches that scatter from corners that are too brightly lit.

A LOW-PRESSURE SALE Beyond giving people something to play with at a show, other than their cell phone or a half empty beer glass, a GigStation takes the pressure off everyone. People can explore and purchase things as they like, and the band can be more relaxed about the responsibility of selling.

Jesse James Salucci is the owner of Creative Outlaw. See his work at www.creativeoutlaw.com To see the GigStation transforming, visit www.youtube.com/thelightsoutband.

JULY 2012 PERFORMER MAGAZINE 49

SPOTLIGHTS GEAR

MY FAVORITE AXE

with Guy Keltner of Fox and The Law photo by Lord Photog

BACKGROUND I’m the founding member of the Seattle-based garage rock outfit Fox and The Law. Known for our heavy, fuzzed-out blues-rock sound, FaTL deals in catchy riffs, flashy solos, and a whole lot of noise.

MAKE AND MODEL Customized Fender Telecaster, assembled from separate pieces.

WHAT IT MEANS TO YOU When my father passed away, I was left with a small amount of money, which I used to upgrade my gear. I figured he’d have wanted it that way since he was such a huge supporter of my music. I used the money to purchase a homemade cabinet, a ’67 Fender Bassman, and

50 JULY 2012 PERFORMER MAGAZINE

this guitar. The guitarist who mentored me growing up, a man named Allen Kaatz, built the guitar himself.

WHAT IT SOUNDS LIKE Thick, crunchy, a whole lot of tone without losing any of the brightness. It can be smooth when I’m playing soul and it sounds beautiful with a Tube Screamer.

BODY MODIFICATIONS The part of the body where my right arm rests while strumming has been sanded down so that I can play more comfortably.

CAN BE HEARD ON Scarlet Fever (upcoming full-length LP)

VISIT www.foxandthelaw.com

PICKUPS There’s a TV Jones Power’Tron Plus pickup at the neck, which I use primarily for rhythm and the occasional lead. The bridge pickup is a set of stacked single coils, which sound true to the Telecaster in one position, and much hotter and brighter in another.

Got a favorite instrument you’d like to share?

Email us at editorial@performermag.com.

RECORD KILLER LEAD VOCALS

COMPRESSION, A SINGER’S FRIEND Without compression, much of a vocal take can get lost in the mix - all that sexy, breathiness gets buried. With compression, you can turn up the gain, often in the 7–10 dB range, to bring the singer to life and put them front and center in the mix. Play around with the threshold and attack so that their loud parts aren’t too loud. The compression ratio should be in the 6:1 to 12:1 range.

Tips for Producers and Engineers: Part 2 of 2

EQ

Photo by Brendan Gabriel

The lead vocal – it’s arguably the most important track in most songs. It’s carrying the melody and message and overall tone of the song and it’s what most listeners lock onto over anything else.

Try asking someone how they like a particular song and chances are their comments will be about some aspect of the lead vocals. So how do you record a great vocal part? Here are some tips we have found over the years that help the vocalist perform at their best.

To read Part 1, check out our June issue.

MIC TECHNIQUE A good vocalist will know how to use the mic to maximize their performance – moving in closer for softer, breathy parts and backing up and turning slightly when they want to belt something out. We almost always use a pop filter to help eliminate plosives (say the word “pastrami” into your hand and you’ll feel what I mean). The pop filter is a good visual reference for singers and you can give them a little primer on moving in and out; but mark my words, if the singer is not already a pro at using mic distance, they will completely forget to do it during their performance, anyway.

We have had good luck using a mic isolation shield (like the Auralex MudGuard) to help minimize unwanted room reflections that can color a vocal performance. These are especially helpful if you are forced to record in a less than optimal space. Use low-key sessions (like demos and sessions with friends) to experiment with different mics and their placement. You get different tones when the mic is set up in different locations around a singer’s face, but many singers intuitively try to stretch up to the mic as they sing, counteracting our efforts.

GETTING THE LEVEL RIGHT With vocal takes, we always want to have headroom on the recorded track, but most vocal performances are very dynamic. There may be a whispered verse followed by an exploding

RECORDING

key on the plug-in to the song’s key – never use chromatic auto-tuning) and many singers will be thankful. Other singers want to go back in the booth and get it right themselves – and sometimes they do. But often they don’t and they just end up getting frustrated and embarrassed as they do take after take, trying to improve.

chorus. You can boost lower parts but you can’t fix digital distortion, so how do you capture both on the same take? Answer: Input Limiter. We almost always use a compressor on the input channel set to do the job of a limiter, which means a very high compression ratio, a very fast attack and a fairly quick release. Depending on the range of signal we might employ some input gain to help boost the lower, whispery parts and set the threshold 2dB lower.

MULTIPLE TAKES Many singers want to “nail” their performance from start to finish. While that would be ideal, it hardly ever happens. We like to record the vocalist two or three times all the way through a song, have them take a break and come back into the control room to listen. Usually we’ll find that one of the takes is a good “base” take.

We’ll then replace “bad” lines from other takes.

When we’re done with this process we usually have most of what we need, with maybe a couple lines that need to be overdubbed. A note about replacement: while you can zoom down and replace individual words and syllables, it is usually much more organic to capture and replace whole phrases whenever possible.

TO TUNE OR NOT TO TUNE Some singers are pitch perfect, but unfortunately many are not. Subtle pitch correction can usually do wonders (make sure to set the

We usually roll-off the bottom end unless the singer is using a low register. An exciter or Sonic Maximizer plug-in like those from BBE and Aphex might be all the EQ you need to give the track some extra “air.” If the vocal isn’t quite cutting through the mix, first try to subtract frequencies from other tracks that may be masking the vocals (guitars in the 500–1000 Hz range are notorious examples). If the vocals still need some help, experiment to find and cut any “annoying” vocal frequencies and boost “pleasing” frequencies (like up around 4khz) with some slight gain.

WHERE IN THE MIX Panning is almost always right down the middle, unless you are going for some kind of effect. If the vocalist has that “It” factor, then we’ll put them up hot in the mix. But if you find yourself getting tired of the vocals quickly, then work on recording backing vocals and even melody tracks to help strengthen the lead vocal in the mix. We use volume automation to bring the dynamics of different instruments up and down throughout the song to keep the mix alive and keep the listener interested. Don’t be afraid to add a little delay to vocals to add excitement (but keep delay times short). We recommend a separate reverb send exclusively for vocals with a high pre-delay to preserve clarity.

Zac Cataldo is a musician and owner/producer at Night Train Studios, a recording studio in Westford, MA. He is also co-owner of Black Cloud Productions, a music publishing company. (zac@nighttrainstudios.com) Brent Godin is a bassist/guitarist and engineer/ producer at Night Train Studios and talent scout at Black Cloud Productions. (brent@blackcloudproductions.com) Zac & Brent have over 35 years of experience recording/producing artists throughout New England. Find them at nighttrainstudios.com and blackcloudproductions.com JULY 2012 PERFORMER MAGAZINE 51

STUDIO DIARY

Mixing Vintage Gear with ’60s Nashville Production Techniques

Interview by Benjamin Ricci / Photos by Gail Rush and Astroana Graphics

In The Studio with Adela & Jude

ALBUM INFO

PRE-PRODUCTION

BAND NAME: Adela & Jude ALBUM TITLE:

In Loving Memory

RECORDING STUDIOS: Dirt Floor Studios,

Hi-n-Dry, Watch City Studios RECORD LABEL:

Self-released

RELEASE DATE: November 2, 2012 PRODUCTION CREDITS:

Eric Litcher (Dirt Floor - Engineer) Andrew Mazzone (Hi-n-Dry - Engineer & Producer) Joel Simches (Watch City - Engineer & Producer) JJ Rassler (Watch City - Production) 52 JULY 2012 PERFORMER MAGAZINE

What was your pre-production like on this project?

We spent three years on our debut record, first recording in our digital studio to work out songs, then honing them in live performances while touring. Then direct to tape, recorded live to capture the essence of our live shows. After initially recording and sitting on some of the songs, we added parts and developed them more and went in and rerecorded them.

How did you choose the studios?

We looked for an environment that was geared toward old school live tracking to tape; Dirt Floor has a great track record for that kind of

artist-friendly vibe. Hi-n-Dry - just an honor to record at a place that had Mark Sandman’s gear hung all over the room; Andrew Mazzone did a great job making us feel great there.

When we did a live radio show with Joel Simches at WMFO - we were blown away with his talent and ears, and knew we had found someone who totally got our vibe. After seeing the new Watch City Studios (formerly Allston’s 247 studios) - the gear and room - we were like, ‘This is IT! The perfect place to finish up our record.’

What kind of sound were you looking for and how did you achieve it?

Our music is a cross between the Handsome Family and The Carter Family, with a healthy dose of old ‘60s Nashville production - big plate reverb, old tube preamps, classic mics. Ideally we would have rented a time machine and traveled back to a radio station circa 1938 and recorded through an entirely RCA signal path. But, the next best thing was to record everything live with a great engineer and quality vintage gear; we are kind of geeks about that.

I hear you two use a lot of vintage gear to record with.

Our gear is actually all very old; to get the sound we require means searching out and finding the instruments from the ‘20s to the ‘40s. You can’t get the sound using a digital plug-in. Specifically, Adela performs on a 1930 Estey Chaplain pump organ, which presents a real challenge to an engineer since it’s got pedals she pumps and keys that make a lot of noise when recording - literally one track (‘Sinner Girl’) sounds like someone is rattling a skeleton in the background. Jude plays a 1928 George Stone snare with his left foot, and a 1905 18’ Ludwig Jr. with original calf head kick drum with his right foot. Tracking live while playing guitar or banjo obviously gives you no real isolation between tracks.

As far as guitars, Jude’s main instrument is a 1937 Epiphone archtop picked up in Nashville in 1991. ‘Miss Nashville’ has a very unique vibe, and sometimes stuff comes out of her that she just knows - it’s like she is playing herself… Jude also uses a 1960s Harmony tenor guitar on a couple tracks - she cuts beautifully through the deep, rich organ sound. We used a couple autoharps from the ‘40s; it’s an instrument that’s a bitch to get right, but adds such a haunting sound that fits our music perfectly. Finally a ukelin was used on a few tracks; it’s a bizarre combination of strings grouped into chords that you strum with a pick, and another group of strings that are played with a violin bow at the same time.

STUDIO DIARY

PRODUCTION

What was your philosophy on live, fullband takes versus individual tracking?

We perform live always. Back in the ‘30s and ‘40s - until the advent of multi-track recording - there simply was no other method.

What did you try to accomplish in the studio that you’re not able to do live?

Our approach in the studio is very much about the song, and not so much about the ‘band sound.’ So we add some instruments in the studio that we don’t normally have with us live. Because we are a duo, in our live performances we literally split a drum set while we play guitars and organ. Jude will be playing a snare/kick beat while strumming and Adela will be pounding a floor tom and hitting cymbals with one hand, while pumping the organ with her feet and playing a melody with her other hand. In the studio we tried to keep this vibe, while adding the color players on each song.

We’re also in the process of assembling a larger full band and guest artists for some of our live shows to allow us to bring the studio production to the stage.

What were the toughest challenges you faced?

Working with drums and guitars only a few feet away from each other makes for a ton of bleed from the mics, and we really ended up doing a ‘top down’ mix, where the overhead mics are the start of the sound mix, and the individual instrument mics are blended in for color of each voice.

Any funny stories from the session that you’ll be telling for a while?

At the old Dirt Floor Studios there was an old steam train that ran tourists up and down a railroad line outside the studio - so we had to time some takes between the train schedules.

Although, a train whistle would have been a nice addition to an old Hank Williams song we recorded (‘Six More Miles’).

“Ideally, we would have rented a time machine and traveled back to a radio station circa 1938 to record through an entirely RCA signal path.”

POST PRODUCTION How did you handle final mixing and mastering?

We’ve basically spent a year doing remixes and living with the tunes. Jude learned a lot from his time working with Tom Scholz from Boston as his studio manager. We listen to mixes everywhere - sitting in a studio while mixing has a lot of pitfalls; you are in an optimized environment - and the vast majority of listeners are in cars, or listening through earbuds. Mixing through a set of earbuds is a far different experience than through perfect studio monitors. We listen to mixes everywhere to see how different frequencies and parts come across then settle on what we like.

What are your release plans?

Our record is due out on November 2, ‘The Day of the Dead.’ We chose that date specifically, as it relates to a lot of the music we play. We tour a fair amount and play more out of town than in Boston, and we’ll be hitting the road before and after the release. Our PR partner, Janelle [Rogers] from Green Light Go Publicity, has been more than incredible in helping us develop our plans. Building a national fan base really can’t be built without touring, and you need a strong release to get press and radio in other markets. Because we’re an all-acoustic duo, we can tour pretty cost effectively and look forward to spending more time out on the road in 2013. www.adelaandjude.com

HAVE A UNIQUE STUDIO STORY TO SHARE? EMAIL EDITORIAL@PERFORMERMAG.COM JULY 2012 PERFORMER MAGAZINE 53

GEAR REVIEWS

YAMAHA MGP16X Mixer $799 PROS Plenty of channels, good FX selection, iPhone compatibility.

CONS Might be overkill for the average band.

Yamaha makes items that range from motorcycles to musical instruments. With their MGP Series of mixers, they’re bringing their high standards of quality to new applications of sound reinforcement.

The unit we received was the 16-channel model, the MGP16X. Each channel has 1/4” and XLR inputs, as well as a compressor, EQ, (2) FX controls, panning and a linear fader. Phantom power is available, as well, for mics that require it.

While it does come configured for a tabletop, the side brackets to convert it to rack use are inverted into the side moldings. Remove a few screws, flip them over, reinstall the screws, and it’s set for a standard rack: a nice touch for pro users.

For effects, there are two independent

channels, so adding combinations of effects is easy and controllable. However only one of the FX channels has the Tap function enabled. The sounds are great, and they aren’t overpowering. Dedicated monitor outputs give this a lot more flexibility for live use.

The headphone out has many applications as

well, for monitoring, as well as previewing output before applying a signal to the mix. One unique feature is the “ducker” function, which lowers the volume of background music whenever a signal is engaged - excellent when combined with its iPod/ iPhone connectivity. With a USB connection, an iPod or iPhone can be used to send audio to or from the mixer. Recording a practice session just became super easy!

This is not just a unit for live use. With all of the inputs and outputs, this makes an excellent mixer for home recording, with plenty of channels and output options to a multi-track recorder.

It’s a lot to digest; yes it’s a mixer, but all the routing and outputs make for a very useful (and robust) unit. For most bands, this might be a little much for basic needs, and it might be more suited as a good FOH mixer for a small club, considering its capabilities and features. But for musicians looking for all the bells and whistles (that actually work), the MGP16X fits the bill. Another winner from Yamaha. -Chris Devine

SPECS 10 Mic Inputs with 48V Phantom Power and HPF per Channel 16 Line Inputs (8 mono and 4 stereo) Additional 2TR Inputs to accept the output from analog devices or iPod/iPhone 2 AUX Sends + 2 FX Sends 4 GROUP Buses + ST Bus

FENDER Halo Guitar Wall Hanger $29 PROS

CONS

Cool design, neat functionality, safe for nitrocellulose finishes.

Drywall anchors not included.

Wall hangers for home use have been around awhile, and Fender is throwing their hat into the ring with their new Halo wall hangers.

The Halo is very simple looking and mounts to any wall with ease. Placing an instrument in the cradle, its weight activates a mechanism that pulls a set of clear plastic gates hidden inside the cradle, keeping the instrument secure and safe. The angle of the unit is offset to give plenty of room, keeping the instrument from whacking itself against the wall.

The rubber padding has a nice texture, grips the instrument well, and shouldn’t mar or mark 54 JULY 2012 PERFORMER MAGAZINE

up any finishes. Standard screws are included for mounting to a stud, though drywall anchors (not included, but available at any hardware store) are recommended when a wooden stud cannot be found.

It’s a simple design, and the retractable gates add a wow factor while still being functional. It’s a lot safer to have instruments mounted on a wall as opposed to a floor stand (which can easily get knocked over), and these Halos definitely add some coolness when displaying your favorite instrument.

-Chris Devine

Assembling a quality set of microphones that sound great together and on their own can get expensive and time consuming, Audix has everything covered with their FP7 Kit. The overall construction is excellent, with steel grilles and a nice, durable finish on all of the microphones, as well as gold XLR connectors for corrosion resistance. Clips are included for each microphone (the tom and snare mics come with DFLEX rim mount clips), and everything comes packed in a heavyduty aluminum carrying case.

The set contains a good selection of microphones, primarily selected for a drum kit (as well as other musical applications). Their F5 is optimized for snares, guitar cabinets, and vocals. For floor and rack toms, the kit includes three F2s. They have a really great range of frequency responses, and can handle a floor tom’s low end with ease. The F6 mic is designed to be used with kick drums, but can handle any other low-end frequencies, such as bass cabinets. Overheads are a must, and two F9 condensers are included, which also work well with acoustic stringed instruments.

When miking up a drum kit for recording, this set works really well together; very little EQ is needed to get a good drum mix, and the condensers capture the overall kit nicely when used as

GEAR REVIEWS

AUDIX FP7 DRUM MIC KIT $675

PROS

CONS

Great selection, construction, price.

Plenty of applications.

None.

overheads. They all have a crisp sound on their own as well as a collective unit.

Drummers will appreciate a nice selection of well-built microphones, which work well live and in the studio. For home recording, this is a great way to get a good selection of mics at a great price, without having to wonder how they’ll interact with each other! For additional mic placement videos and tips, visit www.audixusa.com. -Chris Devine

IN THE BOX -One F5 dynamic mic -Three F2 dynamic mics -One F6 dynamic mic -Two F9 dynamic mics -Six D Clips -MC1 clip -Aluminum carrying case with foam inserts

MANUFACTURER PROFILE

ZVEX Studio in a Stomp Zachary Vex was a recording engineer who had ideas about improving the tools he used in the studio and squeezing them into a package small enough for guitar players to take on the road. In 1995, he founded ZVEX and started bringing his ideas to life. “I try to make my pedals sound as if there’s an engineer working with you,” says Vex. “I see guitar pedals as production tools.” These pedals are for players looking for tight control of their sound so they can lead it into ever more inventive territory. ZVEX stomps sound good out of the box, but will be at their best after you take some time to get know them. 31 effects range from classic (Fuzz Factory), to inventive (Lo-Fi Loop Junky), to intriguing (the Probe series of Theremincontrolled pedals). Each pedal is hand painted

by American artists to make sure it looks as unique as it sounds. Enhance your rig or transform your playing style, ZVEX goes above and beyond expectations for what a pedal can do. www.zvex.com

ZVEX Double Rock FX Pedal $369 ZVEX’s Box of Rock is a pedal that’s earned a reputation for recreating the classic sounds of a dimed Marshall JTM 45. That wasn’t quite loud enough for J. Mascis, so he asked ZVEX to make a pedal that had two Boxes of Rock in one.

This got them thinking, and soon enough they produced the Double Rock, two independently controlled Distortion circuits in series that can also be converted into separate Super Hard-On

circuits. This means that one Double Rock can function as a Distortion, a Super Hard-On, two Distortions cascaded, two Super Hard-Ons cascaded, a Box of Rock with boost, or a Super Hard-On going into a Box of Rock. For those of you keeping score, that’s six pedal combo possibilities in one. If you ever need more distortion than that, may God have mercy on your soul.

-Garrett Frierson JULY 2012 PERFORMER MAGAZINE 55

SPOTLIGHTS FLASHBACK

Channel Strips from Tangent 3216A Mixing Console Used to mix the ’70s hit “Dream Weaver” YEAR: 1979 HISTORY Tangent was a California company that existed briefly in the late 1970s. It would appear that they were one of the first to do everything with ICs and, at the time, were quite proud of the fact that their boards were “transformerless.”

HOW YOU ACQUIRED IT One of our competitors was using one as their “secret weapon” to get some amazing drum recordings. Naturally, I had to have one. As luck would have it, the Tangent previously owned by Gary Wright (of “Dream Weaver” fame) became available. I bought 4 channels of this board for $50 each, so I knew I wouldn’t be out much if the whole thing went bust.

PROBLEMS ENCOUNTERED This was our first experience dealing with a piece of gear that was no longer attached to its power supply or routing mechanism.

This meant that we had to build something to house these four channels and figure out the pin out on the channel strip. Luckily, the four channel strips arrived with a couple of schematics that told us what the connectors expected to see, which was basically nothing more than IN, OUT, POWER, and GROUND. We could ignore everything related to routing and phantom power, since we planned to use this just for drums and with dynamic microphones.

UNIQUE FEATURES The Op-Amp of choice in these channel strips was the National Semiconductor LF351 and I had the option of replacing those Op-Amps with something more modern or keeping the originals. A little bit of research showed me that the LF351 had a fairly quick response time and an aggressive overshoot. These strips respond quickly to what is going on - reducing smear, but not very accurately as they report a much bigger initial transient. Given that there are 21 of these Op-Amps per channel strip, it doesn’t take long before these channels begin to act less like a mic pre/EQ and more like a transient shaper.

LESSONS LEARNED Semiconductors used in all modern solid-state microphone preamps are of much better quality than what was available in the ‘70s. But these very same design flaws make it such an interesting piece of gear - especially for anything percussive. You would need expensive plugins to achieve what this board does naturally.

ABOUT THE AUTHOR Robert Wainscott is the Co-Owner and Designer of Black Box Analog, a Ventura, CA-based design firm dedicated to handcrafted, American-made audio equipment. Wainscott’s Black Box Analog Microphone Preamp has been used on albums for artists like Aerosmith, Fool’s Gold and 50 Cent.

For more information, visit blackboxanalog.com.

56 JULY 2012 PERFORMER MAGAZINE

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