TONE HEAVEN July 2020
How to Write a Song In 6 Easy Steps
Honne
Exclusive Interview
Taylor Swift Talks Sexism, LGBTQ+ Support, and The Lover Era (Details Inside)
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Taylor Swift
Talks Sexism, LGBTQ+ Support, and The Lover Era
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Contents Contents Contents 13 Contents Contents Page 7 11 Contents Contents Page 9
Mitski:
The Cause of Songwriting
The Iconic Fender Stratocaster Guitar Turns 60
Exclusive Interview with
Honne
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Gear You Need in
2020
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Taylor Swift Talks Sexism, LGBTQ+ Support, and the Lover Era By Patrick Hosken
It was kind of devastating to realize that I hadn’t been publicly clear about that. 3
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n Thursday (August 8), Swift was revealed to be this year’s Vogue September issue cover star, a designation she now famously shares with the likes of Lady Gaga, Beyoncé, and more. The accompanying interview bounds from topics ranging from sexism to her LGBTQ+ allyship to the sale of Big Machine to Scooter Braun, and more. And unlike during the Reputation album cycle in 2017, Swift has opened herself up to talking about all of it. “It was either investing in my past or my and other artists’ future, and I chose the future,” she said in the interview after “her whole body slumps with a palpable heaviness” when asked about the Big Machine sale, of which she was critical in a Tumblr note posted in June. (It’s true: Swift signed with Republic/Universal in 2018, a statement of looking ahead, not backward.) This year has also seen Swift’s unequivocal support for LGBTQ+ issues, most notably in her colorful, cameo-filled
video for “You Need to Calm Down.” The vocal directness, she says, came partly from her pal (and collaborator) Todrick Hall asking her what she would do if her son was gay. “The fact that he had to ask me... shocked me and made me realize that I had not made my position clear enough or loud enough,” Swift said in the interview. “If my son was gay, he’d be gay. I don’t understand the question.” “If he was thinking that, I can’t imagine what my fans in the LGBTQ community might be thinking,” she continued. “It was kind of devastating to realize that I hadn’t been publicly clear about that.” In a particularly revealing moment, Swift also gives a reason for why she chose to amplify her pro-LGBTQ+ message now, given that she’s long been supportive: “I didn’t realize until recently that I could advocate for a community that I’m not a part of. It’s hard to know how to do that without being so fearful of making a mistake that you just freeze. Because my mistakes are very loud.
When I make a mistake, it echoes through the canyons of the world. It’s clickbait, and it’s a part of my life story, and it’s a part of my career arc.” Other gems from the cover story reveal some interesting tidbits from the filming of the “You Need to Calm Down” video, including that the song was never played on set (“for security reasons”) and that the crew was made to wear ear buds to further prevent any leakage. Swift also directly addresses the Kim Kardashian/Kanye West feud that defined much of her 2016 and 2017 public image, as well as the damage being “cancelled” did to her psyche.
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Pen and Paper
How to Write a Song In 6 Easy Steps By Rory Seydel
Do melodies float in your head? Do you see lyrics, not words? It’s time to start writing a song! But, where do you start? And more importantly, how do you finish? The best way to craft the perfect song is to know the songwriting basics. This guide will give you everything you need to start and finish your songs. Already have some song inspiration? Perfect! Let’s get started! 5
Step 1: Where to Start
Step 2: Make a Rough Draft Knowing how to write a good song means finding a rough idea to build around. Take your instrument of choice, hit record and start sketching. You’ll be surprised how quickly a song idea will pop up. You don’t need to have a fully written song in your head before you start writing.
If there will be lyrics in your song, start with writing a few ideas out. It doesn’t have to be in song structure, but a few basic concepts will help get you started. A great tool for lyric ideas is a rhyme dictionary. Write out your lyrics with the instrumentation in mind. Sitting by a piano or with a guitar can help you to understand your lyrics better. The best way to write lyrics is whatever feels right for you.
Tips
Stay aw ay from writing ‘parts’ immed iately. O nce you ha v it’s sim e a sketch, ple to g o back and fin d that so the parts unded good.
Step 3: Find Your Song Idea
Step 4: Song Structure
Go back to the sketches you recorded or wrote down. Find the parts of a song that spoke to you the most. Songs are usually born from random ideas that you build around. ‘
Now that you’ve found your main song idea, and you know the song form basics, it’s time to beef it up a bit. In this section you’ll learn how to turn your rough draft into a structured song.
There are 3 main parts of a song: The verse, chorus, and bridge. They are the building blocks of song writing. But there’s a couple other parts you need to know before you start writing such as the key, melody, and basic music theory. Take some time to research into these. Knowing these is vital for success when it comes to songwriting.
The most important parts to start with are your verse and chorus. Get to know those first then move on to other sections. There’s one structure that’s simple and gives songs a nice sense of narrative and suspense. That is: Intro, verse, chorus, verse, chorus, bridge, chorus, and outro.
Step 5: Build From Song Ideas
Step 6: Finishing a Song
Now that you know the parts of a song and song structure, it’s time to start writing! No matter where you decide to put your first idea, deciding where it fits in your structure will help you to build around it. For example: if you use your main idea to build your first verse, then it’s easier to flow into the first chorus. Each part is a stepping stone that leads to the next.
So now you have your song idea in place, you know all the parts you need and you’ve picked a structure. Superb! At this point there is infinity ways to reach the finish line. It’s the magic that makes songwriting so special: there’s no ‘best’ way to do it. When it comes to song writing, Bruce Roberts couldn’t be more right. The best songwriting process is YOUR OWN process. Remember that it won’t always be easy. Sometimes songs flow right out. Other times they need some coaxing.
“You can’t say ‘how do you write a song?’ It just comes out. Everyone has their own process.” -Bruce Roberts
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HONNE
Interview
Speaks on the ChalLenges of Making a Third Album Sharing Thoughts on Touring Asia and The Status of the 3rd Album
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By Ambrose Leung
ritish pop/electronic duo Honne, made up of producer James Hatcher and singer/producer Andy Clutterbuck, have had quite the year. Quickly gaining traction from their debut album Warm on a Cold Night, Honne continues to garner streams in the millions, and with their growing popularity came the demand from their fans for a global tour.
most fans are asking — what comes after Love Me / Love Me Not?
We caught up with the duo in Asia and during our time with them, we learned of the importance of having a live band at their performances, the difficulties in touring in different countries, and we also learned the answer to the question that 7
James Hatcher: We’ve never played a show here and I don’t really know why Hong Kong was never included, but it is now.
HYPEBEAST: Your name Honne is derived from a Japanese word, and one of your biggest records “Someone That Loves You” was filmed in Tokyo — so it’s a given that Tokyo would be a main stop on the tour. How were the other locations decided on, and how did Hong Kong end up being included in the tour?
Andy Clutterbuck: It’s long overdue. James: I mean we came here ages ago for a promo trip, and our label has a major hub here so it’s easy to get to. HB: How does touring in Asia differ from touring in Europe? James: It varies even within this tour. You kind of have to have five or six different shows because there are limitations depending on where you go. For instance, in America, you have to be able to take it all on a bus or trailer, and over here (HK), a lot of places will provide the LED screens, some won’t. Some will install them, some won’t. It’s a big job for our tour manager.
it’s just not going to have the same magic. This is why a lot of artists are nervous for their second album. You just gotta start fresh all over again.
Andy: It’s always exciting playing in Asia because the fans really get into it and sing along to the songs. HB: Do you believe as an artist, you should experiment with your sound like one would experiment with their “look,” or do you think it’s advantageous to be recognized for a distinct sound? Andy: That’s always in the back of our minds. Even writing for our next album, we’re thinking of how we can change things up, but also not go too far. People fall in love with what you’ve already been doing, but at the same time, we don’t want to regurgitate the same stuff. It’s a fine balance. James: I feel like our fans were quite shocked by the difference between our first and our second album. It’s easy to underestimate how much change people are willing to accept, but also you don’t want to play it too safe. That can be a lot of artists’ downfall because if you just try and recreate the success of your first album by just making the same thing,
HB: Let’s talk about the next album. How’s it coming, and where do you go after Love Me/Love Me Not?
Andy: We are still very early HB: You guys always perform stages. We are working on with a live band. Why is that? different songs, and some of Do you think having that “live” them are more dancy, some feeling still sets music apart are darker, and some are even with the technological really chill. We’re not quite advances in digital music? sure where it’s going to go right now. We are not sure if it Andy: The two exist sideis going to be an album or EP… by-side. You have artists like so we’re just writing and seeDisclosure who have laptops ing what happens. and some pads, and it sounds great. Live instruments just James: What normally hapcomplement the music. pens is that one song we really like becomes the blueprint. James: There are positives and So for the first album, it was negatives to it. One positive is “Warm on a Cold Night,” we that it allows for musicians who said, “This is how we want the can’t afford to take a full band album to sound.” with them all over the world, allow fans to see them live HB: So back to what you were when they normally wouldn’t saying about finding the balbe able to. We play with a full ance between making a new band because we thought in sound and keeping the fans the long term, we wanted it to happy, how does that work be like this, so we are putting with the third album? out best foot forward. Andy: You just try and put out the same level of music that you did in the past.
HONNE - Love Me / Love Me Not album
James: I want it to be unique. I want someone to play any song from the first album and know that it was from the first album, and then play a song from the new albums and say, “well I know that could not have been on the first album.” Do you know what I mean? If it’s indistinguishable, we might as well have released it five years ago. It needs to show development. 8
The iconic Fender Stratocaster guitar turns 60 Photos by Matt York Jimi Hendrix made it shriek. Buddy Holly made it swing. Stevie Ray Vaughn made it snarl. Some of the most legendary guitarists in music history have elicited unforgettable sounds from the Fender Stratocaster, the distinctive double-cutaway guitar born in a small Fullerton, Calif., workshop 60 years ago this month.It’s far from a musical relic: It remains an essential tool for some of today’s top guitarists. Vince Gill relies on it so much he calls it an “extension of my hands,” while blues virtuoso Robert Cray calls it a workhorse. As shredder Yngwie Malmsteen put it: “There is no substitute.” As this iconic guitar celebrates its 60th anniversary in April, The Associated Press takes a visual journey into the creation of the iconic guitars, and explores why it’s still a fixture on concert stages today.
Fender Stratocaster electric guitar bodies are sanded at the Fender factory in Corona, Calif.
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The nut is filed on a new Fender Stratocaster electric guitar in the Fender Custom Shop in Corona, Calif.
A Fender Stratocaster electric guitar head stock is sanded at the Fender factory in Corona, Calif.
Fender Stratocaster electric guitar necks are prepared for assembly at the Fender factory in Corona, Calif.
Freshly-painted Fender Stratocaster electric guitar bodies are stacked at the factory in Corona, Calif.
A Fender Stratocaster head stock is sanded in the Fender Custom Shop at the factory in Corona, Calif.
An original 1954 Fender Stratocaster, left, is shown next to a 2014 model at a studio in Scottsdale, Ariz.
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Eastman SB55/v Eastman‘s latest may be an indication of a single pick up guitar renaissance at work. The SB55/v-SB takes its inspiration from the classic Les Paul Jr for its silhouette, $999.99
Epiphone Les Paul Special Gibson turned more than a couple of heads when it announced the latest collection for sub-brand Epiphone. $739.00
Orange Terror Stamp Orange had good news for fans of its Micro Terror and Micro Dark amps. Combining the best of both amps, They introduced the Terror Stamp, a pedalboard-friendly 20-watt class A/B amplifier. $399.99
Boss Waza-Air Boss has taken things up a notch . It has unveiled the Waza-Air, which is a digital modeling amp in wireless headphone format. Touted as a “personal guitar amplifier system”, the Waza-Air wirelessly connects to your guitar and offers five amp types from the brand’s Katana series. $399.99
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Gear You Need
Harmony Comet The Comet is not only the latest addition to Harmony‘s growing lineup of guitars, but it’s also the rejuvenated brand’s first semi-hollow guitar design.
in 2020
$1,299.00
Taylor 324ce Joining Taylor’s stellar Builder’s Edition line-up is the 324ce, a Grand Auditorium in urban ash with a mahogany soundboard. $2,199.00
Walrus Audio Mako D1 New from Walrus Audio this NAMM is the D1 High-Fidelity Stereo Delay, the forerunner for its brand-new Mako line of effects pedals. $299.00
Blackstar Sonnet The Blackstar Sonnet is the brand’s first foray into the acoustic guitar amplifier market, and is touted to deliver “the most natural possible response”. $399.00
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Mitski: The Cause of Songwriting
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By Anthony Carew
ggy Pop recently referred to singer and songwriter Mitski Miyawaki as “probably the most advanced American songwriter” he knows. High praise from the former Stooges frontman and punk rock legend, who was speaking on BBC radio. Singling out 27-year-old Miyawaki, who uses only her first name professionally, came just prior to the release of her new album and follows her breakout fourth long player in 2016, Puberty 2. It was quite
the compliment from Pop, but does Mitski, herself, feel like she is an advanced songwriter? “I know for a fact there are much better songwriters out there,” Mitski says. “I’m not the most advanced songwriter,” she adds with a laugh. But Mitski also appreciated Pop’s praise dovetailing with her ambitions for her new album, Be The Cowboy. Feeling that descriptions of her past works fell into female-artist cliches, her hope, this time, was to move her songs away from classic pop-song form into headier territories. “I don’t think people realise how gendered it is to portray my music as something that
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flows out of me without much refinement,” Mitski says. “I was conscious, with this album, of making it clear that I am creating something, I am writing something, I’m thinking deeply about it.” Be The Cowboy was recorded in breaks during Mitski’s hectic tour schedule. She’s sanguine about this requirement of the job, saying “musicians don’t make money off our music ... we have to tour as long and as hard as we can to milk an album” and amused she travels so much. Her father’s job involved constant movement; meaning her family lived in 13 different countries. “I grew up moving
around so much that I swore to myself, I would finally find one place to live and stay there. And here I am, doing more travelling than I ever did.”
get a free pass on life... I never thought that being a musician exempted me from being a working person.”
It was in university, in upstate New York, that Mitski set about making music. Her early albums, 2012’s Lush and 2013’s Retired From Sad, New Career In Business, were orchestral albums free from the distortion that has defined later songs, but they introduced Mitski’s lyrical preoccupations with money, employment, making a living as artist.
There’s a conflict, she says, between the financial realities of doit-yourself art versus the cultural need to romanticise the artist. “People have always needed theatre, people have always needed spectacle, people have always needed symbols, to make sense of their world.
“A lot of my time in New York when I was trying to be a musician, what I was thinking about was money and how I needed it,” she says. “Artists exist in the world. They don’t
“It’s healthy for people to come to a show and, even for an hour, see me not as a fellow person, but as something to project onto, to work through their emotions,” she
says. “[But] there has to be an acknowledgement, at some point, that artists are also fellow working people, having mundane lives.”
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