Performer Magazine: November 2012

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TH E M US I C I A N’S R ES O U RC E

NOV 2012 FREE

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

VOL.22, ISSUE 11

28 COVER

STORY CRASH KINGS

by Benjamin Ricci

Tony Beliveau is making some of the hardest, baddest guitar rock today…just without the guitars. We recently chatted with the keyboardist about major label woes and his whammy-equipped clavinet.

The National Rifle

by Andrew Fersch

18

Philly’s indie collective opens up about being DIY by necessity, and how house concerts played an important part in their success.

Rubblebucket

by Amanda Macchia

22

The horn-infused, booty-shaking troupe discusses vintage mics, their wild stage show and what it means to be “yes wave.”

Ty Segall

by Beth Ann Downey

32

We sit down with the San Francisco native to talk about his prolific output, and how trashing his demos led to a creative breakthrough.

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

45 Legal Pad: Band Finances & Accounting

6 Local News

46 Studio Diary: OMBRE

13 Tour Stop: Pittsburgh, PA

48 My Favorite Axe: Teddy Heavens of Rebel Rebel

14 Spotlights: Goodnight, Texas; Go Radio;

50 Gear Guide: Mackie DLM Loudspeakers

Black Marble; Black Moth Super Rainbow

Photos - counter- clockwise from top: Josh Giroux, Jon Stars, Eric White, Annabel Mehran Cover photo by Josh Giroux

52 Recording: Tracking Guitars Part 2

34 Top Picks: The best in new music

53 Gear Reviews

44 Prep Tracks for Music Supervisors

56 Flashback: Lexicon PCM 42 Delay Processor NOVEMBER 2012 PERFORMER MAGAZINE 3

FROM THE TOP Howdy, y’all!

Volume 22, Issue 11

Welcome one and all to my 30th Anniversary!

That’s right, you’re holding in your hands the 30th issue that I’ve helmed as editor, and let me tell you – it’s a doozy. If you’re an artist, we’ve got a ton of great info packed between these covers.

Tips and advice on mixing tracks for music supervisors, how to set up your band’s finances properly (and legally), how to record guitars using amp modeling software, why Mackie’s new speakers are going to revolutionize the PA market, and how to record bitchin’ guitar rock even when you’ve got no guitars. And if all that weren’t enough, we’re still charging the good ol’ price of FREE. You’re welcome.

In other news, as part of my annual Halloween ritual, I dimmed the lights a few weeks back and relaxed with my new Blu-ray copy of The Texas Chainsaw Massacre 2. I watch this film every year; there’s just no beating it. This year, though, I happened to scan through some of the extras, and there was an interesting bit with director Tobe Hooper that made me pause and take note, as he was discussing some of the film’s (notorious) production challenges. He said something to the effect of, “The best idea wins.”

Now, of course he was talking about filmmaking, but that sort of mentality is a great one to have when it comes to music or any other collaborative art form. Because, after all, unless you’re a completely isolated solo singer/songwriter who records, mixes and masters your own albums, you’re going to be collaborating with people on your art.

It’s unavoidable. Band mates, producers, engineers, mastering houses, art directors, label personnel – the list is endless. It’s one of the cool (and sometimes frustrating) aspects of creating music, which also brings its own set of interpersonal challenges. But one of the things to keep in mind (which has gotten me out of a few jams), is that everyone involved typically has the same goal, and that no matter who comes up with it, the best idea should win. As long as you keep an open mind, and remember your common goals, “the best idea wins” mindset can save you a lot of headaches, too.

-Benjamin Ricci Editor P.S. – as Chop Top always says, “M-mm-music is my life. Now get her, Bubba!”

performermag.com

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@performermag

ABOUT US

CORRECTIONS

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.

Did we make a heinous blunder, factual error or just spell your name wrong? Contact editorial@performermag.com and let us know, cuz we’re big enough to say, “Baby, I was wrong.”

MUSIC SUBMISSIONS We listen to everything that comes into the office. We prefer physical CDs, cassettes and vinyl over downloads. If you do not have a physical copy, send download links to editorial@performermag.com.No attachments, please. Send CDs to: Performer Magazine Attn: Reviews 24 Dane St. Somerville, MA 02143

4 NOVEMBER 2012 PERFORMER MAGAZINE

EDITORIAL SUBMISSIONS In the words of our esteemed forefathers at CREEM: “NOBODY WHO WRITES FOR THIS RAG’S GOT ANYTHING YOU AIN’T GOT, at least in the way of credentials. There’s no reason why you shouldn’t be sending us your stuff: reviews, features, photos, recording tips, DIY advice or whatever else you have in mind that might be interesting to our readers: independent and DIY musicians. Who else do ya know who’ll publish you? We really will... ask any of our dozens of satisfied customers.

Just bop it along to us to editorial@performermag.com and see what comes back your way. If you have eyes to be in print, this just might be the place. Whaddya got to lose?

Whaddya got?”

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

Alex Lane editorial@performermag.com

CONTRIBUTING WRITERS

Adam Barnosky, Alex Lane, Amanda Macchia, Andrew Fersch, Ari Goldberg, Ben Marazzi, Benjamin Ricci, Beth Ann Downey, Brad Hardisty, Brent Godin, Candace McDuffie, Carolyn Vallejo, Chris Devine, Christopher Petro, Elisabeth Wilson, Garrett Frierson, Glenn Skulls, Heidi Schmitt, Kristian Richards, Lesley Daunt, Lucy Fernandes, Meghan Pochebit, Melanie Kowalski, Michael St. James, Shawn M Haney, Taylor Haag, Vanessa Bennett, Warren McQuiston, Zac Cataldo

CONTRIBUTING PHOTOGRAPHERS

Annabel Mehran, Ashley Leahy, Ashley-Anne Jones, Benjamin Ricci, Bill Ellison, Brad Moore, Brook Fifer, Candace McDuffie, Carrie Fanning, David Bornfriend, Denee Petracek, D’Licious Chaos Photography, ellenm1, Eric White, J. Gribble, Jon Stars, Jonathan Dueck, Josh Giroux, Rick Carroll, Ron Reiring, Rurik Schtaklef, Seven Fields of Aphelion 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 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.

Singer of “Moon River,” TV’s Christmas Icon Andy Williams, 84, passed away September 25 of cancer-related complications at his home in Branson, MO. The singer, who was most famous for his rendition of Henry Mancini and Johnny Mercer’s “Moon River,” also had written and recorded numerous albums of his own, 18 of which became gold-certified. Williams was also the host of The Andy Williams Show, which showcased popular musical acts and ran from 1962-71. Williams began his solo career in 1953 and was still performing up until last fall when he was diagnosed with bladder cancer.

Sam ‘The Record Man’ Sniderman Founder of Sam the Record Man 92-year-old Canadian businessman Sam Sniderman, died September 23 in Toronto. Best known as founder of the Sam the Record Man, a small set-up started in his brother’s store, Sniderman’s business grew to become one of Canada’s most popular retail record store chains with 140 stores nationwide at its peak. A lover of the arts, Sniderman’s stores held a range of music, from Canada’s most popular acts to underground and independent artists from around the world.

James ‘Sugar Boy’ Crawford “Jock-A-Mo” Composer Iconic singer and writer of Mardi Gras anthem “Jock-A-Mo,” James ‘Sugar Boy’ Crawford died September 15 at the age of 77. Getting an early start in the music industry, Crawford recorded “Jock-AMo” at age 19, taking the song lyrics from well-known Indian chants. Crawford performed and recorded many hit songs during his career, including “I Bowed on My Knees,” and “You Gave Me Love.”

His first hit, “Jock-A-Mo” has been remade by a variety of artists including the Grateful Dead, Cyndi Lauper and the Dixie Cups.

Bill Hecht Inventor of the Soft-Dome Tweeter Founder of United Speaker Systems and Phase Technology Corporation, Bill Hecht died in New York following a brief illness at age 89. Hecht was an innovator of new technologies and manufacturing processes, which evolved the consumer electronic industry. Some of his greatest contributions were the invention of the true soft-dome tweeter, and the development of a manufacturing process for solid flat-piston drivers. Hecht will be remembered for his significant influence in the electronic industry and his passion for music.

Ryan Fujiki-Hastings Candy Bars Drummer Member of the indie trio Candy Bars, Ryan Fujiki-Hastings was killed in a fatal motorcycle accident on September 8. He was 34. Hastings, who was the drummer for the band, had also gone to graduate school for philosophy and religion, had been working full time, and was a new father to a baby girl. The Candy Bars, who are popular in the Southeast, are signed to New Granada Records and had been working on their second release at the time of the accident.

OBITUARIES

Andy Williams

Joe South Grammy Award-Winning Singer/Songwriter Singer/songwriter Joe South died September 5 at his home in Flowery Branch, GA of an apparent heart attack. South, who is most well known for his Grammy Award-winning song “Games People Play,” is also the author of hits such as “(I Never Promised You A) Rose Garden” and “Walk A Mile in My Shoes.” South played guitar on recording sessions for artists including Bob Dylan and Aretha Franklin in the early ’60s. His songs have also been performed by Billy Joe Royal, Lynn Anderson and Elvis Presley.

‘Big Jim’ Sullivan Famous Session Guitarist Well-known session guitarist ‘Big Jim’ Sullivan died October 2 at his home in West Sussex, England at the age of 71.

Born James Tomkins, Sullivan began playing guitar professionally at age 16, and became a famous session guitarist in England. Credited with having played on over 1,000 songs throughout the Sixties and Seventies, Sullivan played on 55 number one singles including the Kinks’ “You Really Got Me,” Marianne Faithfull’s version of “As Tears Go By” and Tom Jones’ “What’s New Pussycat?” He also taught guitar to Deep Purple founder Ritchie Blackmore.

Frank Wilson Motown Producer Motown singer and producer Frank Wilson died September 27 at the age of 71, after a battle with prostate cancer. The vocalist behind hit single “Do I Love You (Indeed I do),” Wilson was also the key producer and co-writer for Motown hits such as “Stoned Love” by the Supremes, “All I Need” by The Temptations, and “Chained” by Marvin Gaye. Later in life, Wilson became a born-again Christian and a minister, and traveled with his wife on speaking tours.

NOVEMBER 2012 PERFORMER MAGAZINE 5

LOCAL NEWS

ATLANTA

Twelve Music’s New Recording Studio Opens 4,000 Sq. Foot Facility Now Ready for ATL Artists

by Performer Staff photo courtesy of Twelve Music

SOUTHEAST

N E W S B I T S Chattanooga-based band The Bohannons kicked off their tour of the South last month in support of their newly released debut fulllength Unaka Rising.

Georgia-based solo artist Daniel Franklin Brewer announced his plan to release a 13-song full-length album.

Miami natives ABIOTIC released their debut album Symbiosis late last month via Metal Blade Records.

Yep Roc Records celebrated their 15th anniversary in mid-October with their event YR15, a three-night concert held in Carrboro, NC.

For all rates and booking, email studio@twelvemusicgroup.com.

MAIN ROOM EQUIPMENT LIST

Founded in January 2011 by business mogul Simon Guobadia and music entrepreneur Dina Marto, Twelve Music Group is an Atlanta-based boutique label and publishing entity. The firm discovers, nurtures, and develops long-term careers for recording artists, songwriters, and producers.

Newcomer Jennifer “Jenny Lee” Nelson and R&B producer Rondeau “Duke” Williams (Bobby V., Hamilton Park) are also signed to the publishing company along with Tommy “Vegas” Doyle, cowriter of Chris Brown’s “Sweet Love.”

To celebrate Twelve Music’s newly-opened recording facility, Atlanta’s own Bryan-Michael Cox rocked the crowd with an eclectic blend of old and new hits on Wednesday, September 12th in the presence of over 150 music industry talent, producers, songwriters, professionals and executives.

Vocal producer Jan Smith (Justin Bieber, Usher and Ciara), Grammy award-winning producer Polow The Don (Chris Brown, Fergie and Christina Aguilera), Twelve Music’s electric violinist Ken Ford, Kwanza Hall, Atlanta City

Councilman and many more were in attendance to tour the new studio and congratulate Twelve Music Group’s founders Simon Guobadia and Dina Marto.

Buckhead Bottle Bar & Bistro along with celebrity chef, Jason Ellis provided hors d’oeuvres and featured Ellis’ famous Lobster & Chocolate paired with Courvoisier Rose.

The evening revealed the studio’s interior, which was outfitted by Simcolifestyle and exhibits a balanced blend of contemporary, funky and glam styling. The kitchen wall boasts a creative showcase of hand-painted names highlighting some of America’s biggest selling hit songs.

While much of the buzz from the evening surrounded the unique aesthetics of the facility, the musical equipment and rooms were most impressive to the producers and talent managers. The Twelve Music Studio is stunningly modern with state of the art equipment, and houses four studio rooms, including three pre-production rooms and a main room with a live room. www.twelvemusicgroup.com.

• Apple Thunderbolt Display (27-inch) • Pro Tools HD Native • HD I/O 8x8x8 • Euphonix MC Mix • Euphonix MC Control • Dangerous D-Box • API 3124

• BAE 1073MP Mic Pre • Tube Tech CL1B Compressor • Avantone Mix Cubes • Akai MPK88 Keyboard Controller • Equator Q12 Monitors • QSC 18″ Subwoofer • Bryston 4BST Power Amplifier

6 NOVEMBER 2012 PERFORMER MAGAZINE

Nashville band the Turbo Fruits released their newest album Butter in midSeptember, and wrapped their tour in early-October.

The alternative-pop group Haunted Device from Nashville released their debut EP worldwide via Vital Records on October 31.

Nashville-based ambient/ post-rock duo Hammock released their fifth LP and first double album, Departure Song, at the beginning of October.

Arkansas group Bear Colony released their first single “Flask Retort” in midOctober, in advance of their sophomore album due out later this month.

Georgia natives Tunabunny are releasing their third album in three years in midNovember.

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MACKIE.COM/DLM © 2012 LOUD Technologies, Inc. All rights reserved. “Mackie” and the “running man” are registered trademarks of LOUD Technologies. Refrain from standing on the DLM after 12 or more drinks. And by “drinks” we mean grape juice.

LOCAL NEWS

BOSTON NORTHEAST

N E W S B I T S Indie-rock duo Brick + Mortar are set to tour with Austin-based Quiet Company beginning late October with dates early in November.

New-England based hardcore group RAINDANCE joined LA-based Animal Style Records for the release of New Blood both digitally and on vinyl on October 30.

The Crystal Ark, a pop project out of New York, debuted a self-titled fulllength with DFA Records on October 30.

Play the Rock N’ Roll Rumble Historic Event Set to Return Again in 2013

by Alex Lane

If you or your band are ready to rumble, submit your music to Anngelle Wood at bostonemissions@gmail.com or: Anngelle Wood Boston Emissions / CBS Radio Boston 83 Leo Birmingham Parkway Boston, MA 02135

New-York based Hospitality released their new 7-inch featuring “The Drift” and “Monkey,” via Merge Records on October 30.

New York natives Midnight Magic are releasing their debut full-length Walking the Midnight Streets via their own Midnight Sun Sounds on November 13.

Boston quartet Mean Creek have released the music video for their single “Young & Wild” and are touring with the Counting Crows starting in October.

Derek Jayson and the Haviland A Capella group, students and alumni from Boston’s Berklee College of Music, had the winning tune in the La La Luden’s Jingle Contest held this summer.

Stars’ sixth full-length album The North was released in September via ATO Records.

STUDIO PROFILE

Anngelle Wood is a need-to-know name if you are an independent artist from New England.

Wood hosts the aptly named radio show Boston Emissions, whose sole purpose is to expose independent artists who hail from Boston and the Greater New England area. She is also the mastermind behind the line-up for the annual Rock N’ Roll Rumble showcase in Boston.

‘The Rumble,’ as its known locally, was established in 1979 as a ‘battle of the bands’ for the artists of Greater Boston. Originally hosted by the now-defunct WBCN, The Rumble is now hosted solely by Boston Emissions following the reorganization of the Boston radio stations and the elimination of BCN. Over the years, the location, format, and hosts have changed, but the purpose has remained the same: to expose and

-Twitter @rocknrollrumble -Facebook.com/RockandRollRumble

support independent artists from the Northeast.

Boston Emissions and its hostess Anngelle Wood are gearing up for the 2013 Rock N’ Roll Rumble, which will be held next April. As an artist, there are a few key qualifications in order to be eligible to play ‘The Rumble.’ Bands must send music in to, and be played on Boston Emissions, they should be actively playing their area, and have new music out within the last calendar year.

The more air time, the better the chances are for an artist being invited to compete.

1876 Recording Studio

Masonic Temple Turned Recording Studio

CONSOLE AND TAPE MACHINE 1973 Sound Workshop Series 1600 Mixing Console, Designed and built

by API engineers. Uses API output transformers, Beyerdynamic Mic Input Xformers -20 Channels -16 Bus -16 Switchable Parametric EQs / 4 Fully Parametric EQs -2 Mono, 1 Stereo Aux Sends -Group VCA faders Tascam MS-16, 1 inch 16 track tape machine PAST CLIENTS Mean Creek, Andrea Gillis Band, Aberdeen City, The New Pornographers , You Can Be a Wesley and more...

CONTACT INFO 1867recording@gmail.com chelsearecordingstudio.com

8 NOVEMBER 2012 PERFORMER MAGAZINE

FOLLOW ON

With a name that reveals the building’s age, and an owner whose business model is secrecy, 1876 Recording Studio is an experience in itself. Guitarist/head engineer/owner Chris McLaughlin has transformed a former Masonic Temple turned movie theater into one of the coolest, least advertised recording studios around Greater Boston.

Following a record deal and tour with his own band Aberdeen City which fizzled out around 2006, McLaughlin began looking for a new practice and recording space for himself when he discovered the building that is now 1876. With a live room that is a whopping 50’x50’x30’, there is plenty of space to get the creative juices flowing.

The location of the studio is never published, and all business comes from word of mouth, creating an air of mystery and exclusiveness. Boasting a client roster that includes both local and national bands, adopting the sort of secret society of the building’s previous inhabitants has clearly paid off.

Between the mystery and hidden stories within the building itself, and the musicianship and talent of its owner, 1876 Recording Studio is a must try for any band looking for a unique recording experience.

Noise Pop 2013 Now Accepting Submissions Perform at San Francisco’s Coolest Indie Fest

LOCAL NEWS

SAN FRANCISCO

by Glenn Skulls / photo by Rurik Schtaklef

Noise Pop celebrated its 20th year in 2012, and if that event was any indication, they were only getting warmed up for when they finally become of legal age in 2013! Attracting between 10-15,000 music fans annually in clubs throughout the Bay Area, Noise Pop features the cream of the crop in independent music. The best part is that through their open submission process, all bands have a fair shot at getting booked at the annual event.

Working again with online submissions partner Sonicbids, entries are now open to artists for the 2013 festival. The submissions deadline is January 4, so even if you have a wicked New Year’s hangover, you’ll still have a few extra days to get your info together and submit for a performance

STUDIO PROFILE

slot. Noise Pop is known for its diversity, so acts from pretty much all genres are encouraged to submit their materials for consideration, from hip-hop to EDM to metal.

Exact dates, venues, and national headliners have not yet been announced, but expect the festival to run again in mid-February (usually around Valentine’s Day). Some of the finest bands in America - and now some of the biggest - have played Noise Pop including Modest Mouse, the White Stripes, Death Cab for Cutie, Bright Eyes, The Shins, Jimmy Eat World, The Flaming Lips, The Decemberists and countless others. www.noisepop.com

Tiny Telephone Recording

WEST

Bay Area Studio Owned by Musician John Vanderslice Tiny Telephone was opened in September of 1997 by Bay Area musician John Vanderslice to provide affordable hi-fi recording to San Francisco’s independent music community. In their A room, you’ll find a discrete Neve 5316 and a Studer 827, one of the finest 24-track tape recorders ever made. The studio is about 1,700 sq. ft., with an isolation room, two rock-solid amp lockers, and a Bob Hodas-tuned control room. The A room is packed with well-maintained classic keyboards (Wurlitzer 200A, Rhodes 73, Hammond B3/ Leslie 122, many classic mono and poly synths) and a Yamaha C3 grand piano. Their 1,200 sq. ft.

B room features a Neotek Elite 44 input console, Studer 827, and tons of amazing gear. Both rooms have PT HD, excellent tube amplifiers, and ATR 102 1/2” mix down decks.

EQUIPMENT LIST Multitrack: Studer 827 2” 24trk with remote Console: Neve 5316, all discrete 50 input console, with 30 33114 EQ/mic pre channels, 8 aux sends, 8 groups, 16 monitor (8 aux on monitor also).

Utilizes circuitry of Neve 8078 series consoles; the electronics of 33114s have same topography as 31105 modules.

Pro Tools HD: Pro Tools HD2 with 24 I/O, 3 Apogee Rosetta 800, and Mac Pro, with entire Waves and Massey plugin bundles. The Studer 827 and HD system is fully patchable with the Neve console.

Monitoring: Focal Solo 6 BE, Yamaha NS-10

PAST CLIENTS Bob Mould, John Vanderslice, Death Cab For Cutie, Deerhoof, John Doe, Mike Watt, Nada Surf, Ra Ra Riot, Spoon, Trans Am, Two Gallants and more...

CONTACT INFO 1458 A San Bruno Ave. San Francisco, CA 94110 jv@tinytelephone.com www.tinytelephone.com tinytelephone.tumblr.com

COAST

N E W S B I T S LA-based group Echoes de Luxe released their new EP Hold On October 16, which was produced by Velvet Revolver’s Dave Kushner and veteran producer Ryan Williams.

Faris McReynolds has had a busy year. His band, One Finger Riot, released their second album of 2012 with Fly By Life and he has also released a second solo album.

October was a big month for Ty Segall as he released his new album Twins, announced a 2013 tour, and appeared on CONAN with Conan O’Brien.

NOVEMBER 2012 PERFORMER MAGAZINE 9

PACIFIC NORTHWEST LOCAL NEWS

DIRECTORY

Portland Live Music Venues ALADDIN THEATER 3017 S.E. Milwaukie Ave. (503) 234-9694 www.aladdin-theater.com CRYSTAL BALLROOM 1332 W. Burnside St. (503) 225-0047 www.mcmenamins.com/crystalballroom DANTE’S 350 W. Burnside St. (503) 266-6630 www.danteslive.com DOUG FIR LOUNGE 830 E. Burnside St. (503) 231-9663 www.dougfirlounge.com THE HEATHMAN HOTEL 1001 S.W. Broadway (503) 241-4100 www.heathmanhotel.com JIMMY MAK’S 221 N.W. 10th Ave. (503) 295-6542 www.jimmymaks.com MISSISSIPPI STUDIOS 3939 N. Mississippi Ave. (503) 288-3895 www.mississippistudios.com

The Funhouse Closes its Doors Seattle Punk Club to Shut Down in November

by Performer Staff photo courtesy of The Funhouse

Brian Foss, Funhouse co-owner and booking agent, posted the following note to Facebook: “I am sad to report that it is now official - The Funhouse will be moving from our current location. Our landlords sent us a notice informing us that the building has been sold and we have six months to vacate the property, ending our tenancy on October 31, 2012.

[We] are now going to begin the process of finding another location for our business. Ideally we’d love to find a somewhat central location that can host a bar and live music. In the best-case scenario we’d love to find a place to buy, but barring that, renting another space would be acceptable, too.

When word went out about us possibly losing

our business the public outpouring of support was overwhelming, and while we desire no charity (The Funhouse is a for-profit business, after all), we are hoping to hear suggestions from our supporters about possible new locations.

One of the things some folks were hoping for was getting some kind of landmark status for the building, but my understanding is this happening is way on the outside of possibility. Obviously we’d love some kind of last minute miracle to keep us in our current location, but we must be pragmatic and plan on moving.”

For the latest on The Funhouse’s situation, keep up-to-date at facebook.com/funhouse.seattle.

Vote YES! on #26-146 to Restore Arts & Music to Schools

PDX Musicians & Businesses Support the Arts Education and Access Fund article and photo courtesy of Schools & Arts Together

ROSELAND 8 N.W. Sixth Ave. (503) 221-0288 www.roselandpdx.com WONDER BALLROOM 128 N.E. Russell St. (503) 284-8686 www.wonderballroom.com

For more listings, visit performermag.com

10 NOVEMBER 2012 PERFORMER MAGAZINE

The Schools and Arts Together campaign is pleased to announce that over 300 local bands and musicians, music businesses and workers have joined together to sign on as supporters of the Arts Education and Access Fund (Ballot Measure #26-146).

Portland’s music scene is coalescing behind the movement to create a reliable funding source to hire back arts and music teachers to enhance school arts and music curriculum offerings – an area where Portland has fallen way behind – while also supporting nonprofit organizations city-wide to bring arts, culture and creativity to life for every Portland resident.

The Thermals’ Kathy Foster describes her support for the measure: “What I like about Measure 26-146 is that it creates a dedicated funding stream

for arts and music in schools that can’t be cut, whittled away, or diverted to other programs. Portland needs this more now than ever.”

“We want to send a clear message from the music community that a well-rounded education for our kids is a top priority,” says John Moen, drummer for the Decemberists, and Vernon elementary school parent. “Last year in Portland just two out of ten kids attended an elementary school with an art teacher and more than 12,000 of our students had no art, music, dance or drama in school at all. That’s unacceptable.”

Members of Portland’s music community can lend their name in support by emailing StandTogether@SchoolsArtsTogether.com.

Learn more about the Schools & Arts Together campaign at SchoolsArtsTogether.com.

5 MINUTES WITH...

Chad “Catfish” McMillian Blues Musician

Interview by Brad Hardisty photo by Carrie Fanning Chad “Catfish” McMillian is a harp blowin’, fingerstyle blues guitar player from the home of the blues, the Mississippi Delta, whose biggest inspirations on the guitar are Mississippi John Hurt and Robert Johnson. He has played with great bluesmen like David Lee Durham, John Horton and Paul “Wine” Jones.

Why should we listen to the blues?

I feel like [blues] is an important part of our history in music and should be preserved as such. After all, the blues is the most influential form of music as it has inspired countless country musicians and is the foundation for rock and roll.

The Nashville Blues Society Sponsors Contest and Concerts

by Brad Hardisty The Nashville Blues Society sponsors an annual Blues Challenge that unsigned artists and bands can submit material by mailing to the business address below. NBS also is a part of blues nights every week at Carol Ann’s Restaurant as well as concerts in the Nashville area throughout the year. They are currently accepting submissions this fall for this years’ competition. As a performing member of the society, you can submit tour dates and band information to the NBS through the website for publication for other members on the website as well as in their quarterly publication.

According to Kathy L. Bolmer, President: “We are a new Blues Society, passionate about our mission to promote, preserve, support and advance the tradition and future of blues music.

We realize this is an ambitious task, however we believe the experience of enjoying blues live and via recordings is tremendously rewarding

LABEL PROFILE

Top 3 current favorite local artists?

I really like Modoc. With aspects of folk, rock and blues, it’s like Tom Petty meets Led Zeppelin. At least that’s how I would describe them. The other two would be Don Gallardo and Allen Thompson. Check ’em out.

For more info www.catfishmac.com

CONTACT INFO NASHVILLE BLUES SOCIETY P. O. Box 330986 Church Street Station Nashville, TN 37203 info@nashvillebluessociety.org Please send all gig listings to nbsnews@yahoo.com

www.nashvillebluessociety.org

FnA Records

Raiding the Vaults and Seeking Old School Rock Bands

What are you trying to do in music?

I just want to make real music that moves people. I love the raw emotion of the blues, especially acoustic blues. You can feel it deep down unlike any other style of music. For instance, listen to any Son House track or Etta James vocal and see how that energy and power makes you feel. It’s pretty intense.

Proudest achievement?

Learning the art of fingerstyle blues guitar.

Six years ago I was a hack guitar player, barely able to strum a 12-bar blues, when I met Dan Stevens. I was living in the Virgin Islands and was asked to play harmonica with Dan. I was blown away by his guitar playing and decided that night: this is what I’m going to do.

and helps keep us in touch with the essence of the human heart and spirit.

We wish to accomplish much for the blues in Nashville, the capitol of country music. One of our goals is to increase our membership and the number of local blues fans, and to discover and disseminate information about the local blues community to help bring Nashville-area performers and their potential fans together. We also want to increase exposure to this marvelous music by sponsoring and promoting blues events featuring local and national acts, and publishing this newsletter. We also plan to bring educational programs to schools and community organizations as we progress.

Here you will find gig listings, blues jams, events, and much more. As our site evolves, we will be adding interesting new features and content.

So check back often to stay aware of local blues gigs and events, and be sure to get out and support live blues in Nashville.”

LOCAL NEWS

NASHVILLE

UNSOLICITED SUBMISSION INFO FnA Records accepts unsolicited submissions, but are a niche label. They are looking for ’80s and ’90s metal music buried in the vaults that bands, signed or un-signed, forgot existed, plus unreleased tracks, b-sides, live tracks, pre-productions demos, and especially artists that were a name back in the ’80s and are doing something now. That said, FNA Records is looking for current bands that play music reminiscent of that period of time both from the United States and abroad.

FnA Records is home to eight one-time major label artists, three with connections to Kiss; The Godz, (opening tour band), Gypsy Rose (one of Gene Simmons’ first signings to RCA Records), and Creature, who were managed and developed to be the next Kiss by their manager Bill Aucoin. FnA Records will be opening an online music store beginning in 2013 that will feature vintage memorabilia as well as new designs from current label artists.

FnA Records is considered to be an artist and fan-friendly label and sponsors giveaways on a regular basis.

CURRENT ROSTER 4Fourty, Alleycat Scratch, Badd Attitude, Creature, Dizzy Bitch, Gypsy Rose, Godz, Hawk, Middle Finger Mob, The Stand, Tora Tora and more...

CONTACT INFO FnA Records PO BOX 187 - Madison, TN 37115 tourmanager@aol.com www.fnarecords.net NOVEMBER 2012 PERFORMER MAGAZINE 11

TOUR STOP

PITTSBURGH, PA photo by Ron Reiring

photo by ellenm1

Pittsburgh is a hub of culture that is oftentimes overlooked as a destination city when planning road trips and vacations, but it should not be overlooked if you are routing a Northeast or Midwest tour.

Boasting a population of over 300,000, Pittsburgh is located equidistant from Cincinnati, OH to the West and Philadelphia to the East. Its location, huge population, and unique history have created a cultural experience for both residents and visitors that includes sports, politics and the visual and performing arts. Host to numerous festivals throughout the year, and home to a number of local colleges, the city is populated with an active younger demographic. With a conscious effort in Pittsburgh to expose and support independent artists, this city is ideal when mapping dates between the surrounding major metro areas. –Alex Lane

VENUES

GEAR

CLUB CAFÉ 56-58 South 12th St. Pittsburgh, PA (412) 431-4950 feedback@clubcafelive.com WWW.CLUBCAFELIVE.COM Pittsburgh’s best club for live music, and Sunday Brunch!

SHADOW LOUNGE 5972 Baum Blvd.

Pittsburgh, PA (412) 363-8277 info@shadowlounge.net WWW.SHADOWLOUNGE.NET Committed to good music and expression through art, The Shadow Lounge has been open for 11+ years and features all genres of music.

THE SMILING MOOSE 1306 E. Carson St. Pittsburgh, PA (412) 431-4668 WWW.SMILING-MOOSE.COM Bar with great food and friendly atmosphere with a particular love of music and helping out local bands.

EMPIRE MUSIC 719 Washington Rd. Pittsburgh, PA (412) 343-5299 joe@empiremusiconline.com WWW.EMPIREMUSICONLINE.COM PITTSBURGH GUITARS 1305 East Carson St. Pittsburgh, PA (412) 431-0700 WWW.PITTSBURGHGUITARS.COM PROGRESSIVE MUSIC 316 Fifth Ave. McKeesport, PA (412) 672-9623 WWW.PROGRESSIVEMUSICCOMPANY.COM

RECORD STORE JERRY’S RECORDS 2136 Murray Ave. 2 Floor Pittsburgh, PA (412) 421-4533 WWW.JERRYSRECORDS.COM

RECORDING STUDIOS TREELADY STUDIOS 628 Brown Ave. Turtle Creek, PA (412) 816-0300 info@treelady.com WWW.TREELADY.COM MARKET STREET SOUND 1 Market St. Pittsburgh, PA (412) 281-1541 WWW.MARKETSTREETSOUND.COM

PRESS OUTLETS THE CUT 5000 Forbes Ave. UC Box 122 Pittsburgh, PA WWW.THECUTMAGAZINE.COM Carnegie Mellon’s first music magazine covering the greater Pittsburgh area for all things music.

PITTSBURGH MAGAZINE Washington’s Landing 600 Waterfront Dr. Suite 100 Pittsburgh, PA (412) 304-0900 WWW.PITTSBURGHMAGAZINE.COM A monthly publication featuring everything you need to know about Pittsburgh!

NOVEMBER 2012 PERFORMER MAGAZINE 13

SPOTLIGHTS

GOODNIGHT, TEXAS Self-Recording Appalachian Themes and Coal Mine Dreams

by Heidi Schmitt photo by David Bornfriend

GENRE Ghost Town Folk HOMETOWN San Francisco, CA & Chapel Hill, NC

ARTISTIC APPROACH Crafting authentic folk from faded memories www.hiwearegoodnighttexashowareyou.com

ON TRANSITIONING OUT OF A HARDER ROCK BAND: “I’ve been really

attracted to dark, heavy music with no electric [guitars] for the last year or so.” -Avi Vinocur

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Goodnight, Texas is an actual town that marks the halfway point between the two founders of the band with the same name, Avi Vinocur and Patrick Dyer Wolf. Wolf lives in Chapel Hill and Vinocur is a resident of San Francisco. Despite playing together for several years, the two have maintained their bicoastal lifestyles, a move that Vinocur says has forced them to “use [their] time wisely,” as they recorded their first LP A Long Life of Living in his San Francisco apartment.

According to Vinocur, self-recording saved the group time and money, as they found they “worked better laying down tracks” on their own.

The first single off the album, “Jessie Got Trapped in a Coal Mine” is about a young man meeting his death in a coal mine before he could marry his fiancé. The darkness of the song is a reflection of what Vinocur has been drawn to recently. “I’ve been really attracted to dark, heavy music

with no electric [guitars] for the last year or so. I finally figured it out.” With roots in Maryland and Northwest Virginia, Vinocur was drawn to the storytelling themes lying in Americana music. “Coal mining was an incredibly dangerous but important industry in America as a developing country. This is a story that might have been handed down from that time,” he says. The darkness finds life in other songs by the band, including the seemingly sweet-sounding “I’m Going to Work on Maggie’s Farm Forever.”

If that sounds familiar, it’s because it’s an alternate ending to the Bob Dylan classic. Vinocur imagined what would have happened if the farm worker had never left Maggie’s farm, but instead “did not stop working and just gave up hope.”

He explains that songs of hopefulness are actually heavy issues to write about.

“Revolutions don’t always win, you know.

Sometimes they get squashed.”

Committed to Indie Label Support, No Matter Which Majors Come Knocking

by Carolyn Vallejo photo by Brook Fifer

GENRE Alternative Rock HOMETOWN Tallahassee, FL

“We’ve finally figured out the band we want to be,” says Lancaster. “Instead of four different influences coming together and making one sound, I feel like we’re all on the same page on the sound now.”

It took patience. Lancaster says the band recorded about 35 demos for this album, only 11 of which made the final cut through a meticulous process aided by producer James Wisner (Paramore, Dashboard Confessional). Even still, the album’s release date was pushed back about a month. “We just really wanted to take the time to get everyone on point for this record,” says Lancaster about the delay. “It’s a really important one for us.

Important, says Lancaster, because it’s a serious high point for the band, and one that might not have been reached without their indie label’s backing and care. It’s proof bands don’t need to rush into a major label contract to put out a personal masterpiece. “We’re positive it’s our best record,” says Lancaster. “Not only with this band, but in anything else we’ve done.”

ARTISTIC APPROACH Having the patience to develop a cohesive sound www.wearegoradio.com

“I’m 100 percent positive we would not go to a major label, no matter what our plans are.”

-Jason Lancaster

SPOTLIGHTS

GO RADIO

Go Radio knows having an independent label at their backs is the surest way to reach their fans. Their band-label relationship with Fearless Records is so unassailable, in fact, that Go Radio frontman Jason Lancaster (formerly of Mayday Parade) says the band will “absolutely” stay with the California-based label for the entirety of the quartet’s existence.

“The current way that the music industry is, I don’t feel there’s a need to go above an independent label,” says Lancaster. “I’m 100 percent positive we would not go to a major label, no matter what our plans are.”

It’s a paradigm shift from where bands used to place their goals, but one that allows them to obtain label support they might not otherwise receive from the majors. Go Radio recently celebrated their fiveyear anniversary with the release of their second full-length, the emotionally connective Close the Distance. Yet it’s only recently, says Lancaster, that the band has come into their sound, a development nurtured by Fearless’ support.

SPOTLIGHTS

BLACK MARBLE

by Alexandra Lane photo by Ashley Leahy

Record First, Figure Out How to Perform it Later

GENRE Synth-Punk HOMETOWN Brooklyn, NY ARTISTIC APPROACH Trial and error songwriting and live arrangements

“I try not to be constrained by what would or would not be possible to do live. My goal is just to write a good song.” -Chris Stewart

blackmarble.bandcamp.com

Ty Kube and Chris Stewart, the gents behind the synth-inspired, Brooklyn-based duo Black Marble, never thought they would be in a band together. Or at all.

The pair has only been playing together for a year, but has been good friends for the better part of a decade. Meeting by chance at a bar in the Lower East Side, Kube, who hails from Denver, and Stewart, from Woodbridge, VA, became fast friends because of their mutual passion for the arts. Their friendship developed into a musical partnership somewhat unexpectedly, because as Kube says, “Chris has never really done music before. I have only been in one other band; the fact that we are in a band together is kind of 16 NOVEMBER 2012 PERFORMER MAGAZINE

surprising…but good.”

Regardless of their inexperience in the industry, the duo is doing something right. The band signed with independent label Hardly Art before they had even played a show. Found by their demos on SoundCloud, Black Marble was able to release an EP and LP under the Hardly Art label within a few months, as Stewart explains: “The EP that they put out, we re-did it, but honestly it was already ready to go. They had wanted to put out what we had [done] in GarageBand.”

The quality of the music that the band has released online can perhaps be attributed to the group’s primary songwriter Stewart, who says of his writing process: “I try not to be constrained by

what would or would not be possible to do live. My goal is just to write a good song.”

The group’s sound is defined by synthesizers, drum machines and keyboards, and the writing process is “a lot of trial and error,” according to Stewart. When it comes to their live shows, “A lot of our songs, when we play them live, don’t sound exactly the same as what is on the album,” Kube says, because “we sort of figure out, once the song is done, how we are actually going to play it live.”

Black Marble is ready to take their synthpunk sound on the road, and is planning dates both domestically and abroad for the near future.

SPOTLIGHTS

BLACK MOTH SUPER RAINBOW

by Garret Frierson photo by Seven Fields of Aphelion

Tripping Through the Vocoded Forest ON THE BAND’S ASSORTMENT OF ODD GEAR:

“Learn how to take it outside what it’s meant to do. You’ve got to find your own jerry-rig.”

GENRE Vocoder Rock HOMETOWN Pittsburgh, PA ARTISTIC APPROACH Hyper-processed vocals and hypnotic beats www.BlackMothSuperRainbow.com When a band has been around a decade and is popular enough to nearly triple their goal on Kickstarter, you’d expect there to be some sort of information about them available online.

Not Black Moth Super Rainbow. Here’s what’s known: BMSR is written, recorded, and produced by the same man that creates Tobacco; his name is Tom Fec and his latest work, Cobra Juicy, is as great and as weird as anything he’s made yet.

Listening to Cobra Juicy is like tripping through a digital forest. The journey is filled

with vibrant colors and surprises. Part of the magic is how alike sounding the instruments are while remaining distinct. A fuzzed-out guitar could as well be a synthesizer or a wild electronic swoop might be a vocoded voice, layers piling onto each other until the colors blend into a living picture. Some of this is due to the Fec’s recording process. His home recording setup is centered around an MPC, which he uses to record and build his songs before transferring them to the computer for the final arrangements. His axiom is finding what fits personally, “You can’t create something that’s your own by buying what someone else has; you have to buy what’s right for you and learn how to take it outside what it’s meant to do.”

For him, that’s a couple of synthesizers and effects, a vocoder, and one good mic. “You’ve got to find your own jerry-rig.”

His setup creates a distinctive sound

that’s instantly recognizable. The vocoder blends his voice in with the surrounding sonic textures, a haze of words and harmony, just abrasive enough to blend with the rough sounds surrounding it. “We need limitations,” he remarks about choosing to keep his setup instead of trying to keep up with newer and better gear. “We show our personality through our limitations.”

Fec works alone, and after the album has been recorded the rest of the band joins him to figure out how they’ll perform his dense compositions with five members and no computers. Their singular sound has gained a cult following over their last two albums, respectively released on scratch-and-sniff vinyl and a hairy CD. Thanks to their successful Kickstarter campaign, BMSR is releasing Cobra Juicy as a rubber mask with a USB stick jammed in the gum.

NOVEMBER 2012 PERFORMER MAGAZINE 17

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If you were to begin a search online for the NRA and got lazy, you might just stumble upon The National Rifle, and depending on what

by Andrew Lapham Fersch

your idea of a good time is, it might be one of the best mistakes you’ll

photos by Jon Stars

ever make. Although the name stems more from irony than anything else, Philadelphia’s TNR are a shot of energy that you were more likely to see at a Dead Milkmen show twenty years ago than in today’s “let’s stare at our shoes and bore the audience” indie scene. Their first fulllength, a Kickstarter-funded endeavor titled Almost Endless, is the follow up to 2010’s Vanity Press, and is a cocktail of styles mixed with synths and a whole lot of sweat. If heart made for success in the world of music, then The National Rifle would already be selling out arenas.

OK, the new album is Kickstarter funded; why and how did you decide that was the route to go?

Buddy Mazzenga: We decided to use Kickstarter because it was a great way to fund the new album. To us, it’s not much different than working with a label to front the band money to record, but unlike most labels, those offering the money are not doing it for their own profit but to support what they love. We are trying to remain self-sufficient…plus we’re poor.

Buddy: We always want our fans to enjoy our music, and we’re confident in all the songs we record, hoping that they’ll enjoy what we enjoy. Of course, it is unfavorable if our normal supporters dislike the new material, but we won’t lose them as friends or fans.

Jeremiah Sweeney: There’s always the excitement/nervous factor when putting out any new album, for the fact you don’t know how people will perceive the new sound. That is the best part, though!

Is there any concern that the people who supported you won’t like what you created? How would you react to that?

You also seem to be big proponents of the house show. What is it about house shows that you like?

Hugh Morretta: As a new band, house shows were sometimes the only option if we wanted to play to more than just the bartenders on a week night. Promoters aren’t going to book a band if they can’t draw a paying crowd and make the bar money. So we played those places out of necessity, but we also had a lot of fun doing it.

The process of booking shows - do you do that on your own? What are the major differences you see between bars/clubs and house shows?

Hugh: Lynna [Stancato] booked a lot of the house shows mainly through e-mail, like we book anyhow, and they’re a great option on tour where NOVEMBER 2012 PERFORMER MAGAZINE 19

ON MAKING A NAME PLAYING HOUSE CONCERTS:

“Promoters aren’t going to book a band if they can’t draw a paying crowd and make the bar money. So we played those places out of necessity, but we also had a lot of fun doing it.”

we may still have that problem of promoters who won’t take a risk with a smaller band. We also still really enjoy those types of shows because of the freedom to not have to worry about the head count and just play for a few people who are interested in the music. But as our music becomes a little more complex, it becomes harder to do the material justice with two mics and two speakers in a basement. Hopefully we’ll be able to keep a lot of the house show energy while playing the new stuff at places where we can much more easily recreate the sounds we got on the new album.

OK, lots of shirts coming off at shows, lots of overt sexuality; are you all really cocky or is this part theatrics?

Buddy: We enjoy what we do; there’s nothing cocky about having fun.

Lynna Stancato: Some people see it as being cocky and get turned off by how outgoing and energetic we are at shows, but we’re really not trying to act at all. We’re just trying to make each show an exciting event and connect with the audience. It’s all about getting the music across in a live setting. Sometimes that requires something more outgoing then staring at our shoes.

How would you describe each other?

Lynna: I’ll describe the band members: Hugh is the leader in the creative process but also the one who encourages everyone to get drunk at a show. Buddy is serious about the details and sometimes wound a little too tight, but the one you need to worry about when he drinks too much at a show. Jeremiah is the band mascot. Loud, outgoing, the salesman.

Hugh: Lynna is the boss, always needs to get 20 NOVEMBER 2012 PERFORMER MAGAZINE

similar sound. That makes where you’re making music much less important then what you’re making.

How did band’s name come about?

to the show early, takes every roadblock to the band as a personal challenge but always smiling and ready to crack corny jokes.

There’s definitely a feel of intentionally doing things on the cheap (the graphics on your blog are a fantastic example). Was this a conscious decision or not?

Hugh: It’s really out of necessity. We update the website ourselves. We travel in our own 10-year-old van. We try to stay with friends on the road because motels are too much of an expense.

There’s really no other option for us. I know that if we could afford to have people drive us around or create our artwork I’d be pretty happy to let them take over so we could concentrate on the music.

It’s not too much of a DIY-ethic thing. It’s just the way things are.

How has Philly influenced you as a band?

Hugh: I’m not sure Philly has influenced us directly, except that obviously we’re East Coast people and I’m sure that affects our ideas on things. As far as any type of scene, I don’t think we’re really a part of anything going on here. I’m not sure if there really is any type of unified scene at all. Sometimes there’s a few bands that may have similar sounds and be friends but that’s something that’s often short-lived and may not have any lasting effect. I’m one of those people who believes the Internet has made scenes outdated. People living in vastly different areas can easily influence each other and connect over a

Lynna: The name is really just something that we like because it’s playful and maybe a little confusing. It’s great to see reactions from people when they hear the name because they’re really not sure where we’re coming from. We wanted something that’s a little ambiguous, but is obviously more of a sarcastic joke when you get to know us.

How long did you have in the studio for the new LP? What sort of schedule did you prepare for yourselves?

Jeremiah: We really spent a lot of time on pre-production. So, once we got to the studio we were confident and ready. It worked well in that once we were in the studio we had time to really experiment with sounds and bring out the full potential of our songs.

Buddy: I don’t remember the exact length of time, but Kickstarter only funded a portion of the recording. Since we love what we do, we always put in all we can for TNR projects. Having other people help out with the funding didn’t change that. The album has been the most important venture for us in the past two years.

There’s an ’80s feel on some songs, straight up rock and roll on others, and maybe even indie rock here and there. What does your songwriting process look like and how would you explain the diversity?

Hugh: When writing the album, I became more interested in synths and electronics and also changing the singing style to be a little more

The National Rifle Almost Endless Standout Track: “Coke Beat” LISTEN NOW @PERFORMERMAG.COM

dynamic. I didn’t intentionally try to evoke any specific era of music, but with these new sounds added to the band and a new vocal approach it definitely has an ’80s kind of feel.

Buddy: We’ve all also had a huge ’80s influence...I’ve been listening to a lot of Tears for Fears, a-ha, and Bowie in the recent past, but we write music according to how we feel. Jon and Brian [Almost Endless producers] had a big part in creating that sound in the way they introduced us to analog synths and also their use of reverb on the album.

How much does the gear you use matter in your (extremely) energetic shows?

Buddy: Drummers only use what the house allows us to use. Sometimes that means a house kit and some house kits are treated like shit.

Basically, I’d prefer to always use my kit out of

they leave one of your shows?

comfort and sound, but I don’t have the luxury of always using my gear.

Hugh: Although we are really concerned about the energy level at shows, I know we all think that sounding great is the most important part. That’s when it can be really frustrating to play any type of DIY or small bar show where that’s almost impossible. It can really ruin a night for any one of us if we don’t feel our sound is coming across. As far as equipment, for me a Telecaster through a Fender amp is what I’ve been using for a few years and I couldn’t do a show without it. In the synth department, we’re huge fans of analog right now and our [Roland] Juno60 is a really big part of our sound. It’s a must to get that thing sounding great if we want to sound anywhere near the album.

Lynna: I hope they look at us as talented musicians rather than a party band. I think people get that impression of us from how energetic and outgoing we are.

Jeremiah: Extreme music ecstasy!

Buddy: Recently, I hope people appreciate our new music as much as we do. We feel it’s more mature. It shows our new direction. So we hope people connect with it live.

Hugh: We really want to communicate directly with everyone at a show. In a perfect world, we want the songs to speak directly to the audience and have them feel that they’re part of the experience. I think we’re always working toward that goal. Sometimes we have more success than others.

What do you hope people are feeling after

www.thenationalrifle.com NOVEMBER 2012 PERFORMER MAGAZINE 21

R U B B L E

Attacking the Stage with Silver Robots and an Army of Horns

by Amanda Macchia / photos by Eric White

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B U C K E T

NOVEMBER 2012 PERFORMER MAGAZINE 23

ubblebucket has embraced the wave of YES that is crashing onto the shores of New York’s music scene. Just a few years ago the eclectic group could still be seen, although with smaller audiences, jumping off stages into the crowd, dropping onto the grass, and billowing wildly into their brass instruments. Since then, saxophonist and front woman Kalmia Traver has come into her own, embracing the kinetic, interactive live show that Rubblebucket swears by. If you thought they were fun to dance to well before the release of Omega La La, you’re in for even more of a treat now.

Traver used to keep her idiosyncrasies hidden behind a mass of hair and horn. Today, those characteristic quirks are the driving force behind a refined artistic vision that has turned Rubblebucket into an act that can entertain main stage festival crowds and late-night TV audiences just as easily as a basement full of kids.

Their live shows are known to unleash an entire team of party facilitators, led by Neil Fridd of the band Terror Pigeon Dance Revolt!, complete with giant silver robots, light tunnels, light up vests, and much, much more.

It’s been a crazy summer. I think I’ve seen you at every festival I’ve been to!

Somewhere in there you guys were also on Jimmy Kimmel, which is exciting. I remember when you used to play basement shows and small festivals. What’s a favorite moment from back in those early days?

The very early days in Burlington [Vermont] seem like magic now, looking back on them. Just really getting to know each other and hanging out, while walking around town and having eight hour rehearsals in people’s living rooms, cooking dinners together. Sadly, I feel like those times are behind us. I think that there was this crazy sort of chaos that we were just jumping into and excited to be doing. And something about that made

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everything feel scary and awesome at the same time. That totally describes right now as well, but maybe now we’re a lot more jaded. And that’s fine.

That’s just where we are. I think [for] any musician who tours, the road loses its glamour.

How has being on the road so often affected your creative process?

The whole shebang has been shaping me as an artist. Playing on stage in the live setting has deeply informed who I am. I think I’ve learned so much from it, so far beyond the music I want to make, although it really does inform [that], as well. The last time I sat down to write a song I thought, ‘What would I want to be playing on stage night after night? How would I best be able to look everyone in the eye and say LETS GO PEOPLE!’ That’s the song I want to write right now. Being on stage is really special and it has taught me a lot. I think I never had been so brave and bold before then - to just look people in the eye. I’m an introvert and I didn’t real have that much confidence. I have a tendency to isolate myself a little, but you just can’t do that [on stage].

Your job is the exact opposite of that when you’re up there. I feel that by necessity I’ve gotten a lot closer to humanity, what it means to be human, all the different shades of it.

Do you see Rubblebucket as more of a live

act or a studio band, or is that too narrow of a definition?

We’ve really grown to embrace the studio, but we definitely started out as a live band. That was just what worked at that moment. But we love the studio now and recording this last EP, I think, was one of the most powerful studio experiences we’ve ever had. It’s funny because it wasn’t… second nature? It wasn’t first nature! [laughs] I guess the most original nature we had was just to be thrown into it and do it live, do it live, yeah do it live!!! [But] the studio is really fun and really… it’s really powerful. I think that’s when you can

“I have a tendency to isolate myself a little, but you just can’t do that [on stage]. Your job is the exact opposite of that when you’re up there.”

-Kalmia Traver sit back and look at yourself a lot more, and really choose the path that you take instead of being thrown down it.

Did you choose your studio and engineer for Omega La La and for Oversaturated?

Yeah, we did. We had basically self-produced a lot of our stuff before that and we really wanted to work with a producer and see where that would take us. So we found Eric Broucek, and he basically introduced us to the studio, but it was his space and he loved to work there - Plantain Studios - and then in his own spot in Brooklyn.

And for [Oversaturated] we actually met Ryan Hadlock and Jerry Streeter, they’re the production team at SXSW. They heard one of our sets and they kind of...I don’t want to say they flipped out, but they were really excited and came right up to us. And they’re really accomplished producers so it was pretty amazing to be able to meet them.

They also invited us to come crash at their studio if we ever needed a spot in Seattle, so we took them up on it, and that’s kind of what did it…’cause man, that space is so freakin’ gorgeous!

It’s like the most perfect, fertile womb of a studio. It’s this giant beautiful old barn, and there’s

so much spirit in that barn. Apparently James Brown’s ghost haunts it because he never paid his bill there or something. So many people have recorded there. It’s right at the fertile valleys of Seattle, and there’s a stream - the Bear Creek that runs right by it. I spent every day I wasn’t recording walking up and down the creek, picking berries. It’s my ideal recording situation. Not to mention we vibed really well. They brought so much to the project, and I can’t wait to work with them again.

How much is the sound and production NOVEMBER 2012 PERFORMER MAGAZINE 25

shaped by you (the band) in that kind of a situation?

We brought the music in. It was pretty much written and arranged, except for one [track]. “Oversaturated” was actually the one that we hadn’t. We had it basically arranged, but that was crafted in the studio more than other tracks, and the whole band, the core members of the band were all present. In terms of production, Jerry and Ryan engineered it, and then helped us conceive our vision and helped us get really crazy sounds that we wouldn’t have been able to find. You know, they have such a huge array of crazy old vintage boards and synths and amazing microphones and pedals and different rooms to get different reverberations.

Did you have a favorite piece of equipment or part of that studio?

I really, really loved the mic that I was recording on. A Vintage AKG c24 with a Neve 1064 mic pre and a vintage [UREI] blackface 1176. Super money butter, so much fun to sing into. I’ve never ever come up with a mic that sounds as good as that. It was like looking into a mirror but you’re all Photoshopped or something. Every note was perfect. He had some crazy mics and really fun ideas, like, instantly [snaps]… he’s just such a Yes Waver, going with the flow, but he had fun ideas of how to use all of his equipment. One of the mics was apparently the same model that Hitler used to give his speeches. Yeah. He had all these crazy vintage mics that we used for the background vocals on “Pain From Love Reprise” because they had this really tinny [shaping her hands around her mouth] “auhh” sort of sound.

You describe yourself as Yes Wave. What is Yes Wave?

Yes Wave to me, or at least what it has been to us, is basically when you’re driving around Brooklyn and you get a green light, and then, like, the rest of the lights turn green…and they’re all just turning green. That’s [snaps] what a Yes Wave is. We’re not claiming any musical descriptors.

You used to be in Boston. How do you 26 NOVEMBER 2012 PERFORMER MAGAZINE

Rubblebucket Oversaturated Standout Track: “(Focus) Oversaturated” LISTEN NOW @PERFORMERMAG.COM

compare Boston to New York City as a working musician?

It’s funny because before that I actually lived in Burlington, and they’re all different sizes.

Burlington is the smallest, and they all really have their merits. In some ways I really miss living in Burlington or Boston because it’s a more tight-knit community and it’s just a little bit more manageable. New York can get so overwhelming, and you have to work a lot harder, and it takes more time to find your social spot and to not get swept up in the insanity. Just being in the industry, though, there’s so much opportunity. Not necessarily for gigs, per se, because when we were in Burlington we had gigs every single night. But it’s not really about the gigs, I guess.

For me, being in New York is about all these amazing people. All different kinds of talented people. I mean there’s artists, and poets, and filmmakers, and fashionistas, and everyone’s on the ground level just wanting to make something pop, and wanting to collaborate. And they can hop in on a project at the drop of a dime; they’re just ready to go.

What was it like working with Marco Benevento on his new album?

It was just a lot of pure fun. It was so uninhibited. Awesome happiness. We got along really well and we were able to embrace each other’s ideas really easily on the fly. In “This Is How It Goes,” [Marco] wrote all those words in the melody and just wanted a voice to come sing it. It ended up being a really fun recording experience.

He had Stuart [Bogie] and I come out to his house for “Limbs of a Pine” and that was just

a crazy writing night! We stayed up all night, and we had a million different sweet mics, and all these crazy amps, and we just tracked over and over. By the end of the night we were like, ‘We know this is sick. We don’t know what it is, but we know it’s fuckin’ cool.’

And then Marco mixed it all and arranged it.

Lo and behold it’s pretty cool. We just did the video for that a few weekends ago.

You and Alex [Toth] do most of the writing, but do you send things back and forth between your band members or do you all get together and flesh it out?

Alex and I are a writing team and we’ll do a lot of work individually. But almost always it passes through the other person. We do a lot on GarageBand. I just got Logic and I love Logic, but GarageBand is easier. So, sometimes he’ll send me a demo in GarageBand that’s like a perfect jewel and it’s done. And other times it’s not so perfect and we’ll just go back and forth, the two of us.

And usually whenever we reach a certain state of done-ness, we’ll send it out to the band, and then have a rehearsal and we’ll learn the parts.

In the rehearsal we’ll really just feel out those parts and see if they work, and maybe we need to write more, or maybe we need to take something away or change something.

What does the future of Rubblebucket look like?

I think that we’ve really, really come into our sound. It has been an evolution, but we’re really excited about where it is now. We just want to keep working with these sounds, and these people, and these producers, and just make it better and better, and hopefully more and more valuable to the universe.

I think that with time off these days I just crave writing more than anything. Even though it’s hard to make it work in this day and age because there’s no such thing as making money off records – the heartbeat, I think, is writing and recording beautiful music. www.rubblebucket.com

NOVEMBER 2012 PERFORMER MAGAZINE 27

CR A SH KINGS

GUITAR

ROCK

SANS

GUITAR

Originating from the…well, let’s face it, non-musical hotspot of Andover, Massachusetts, Crash Kings have made a name for themselves by becoming one of the coolest guitar rock bands in the country. Thing is, they don’t actually have a guitar player, and have no intentions of adding one to the lineup. Bandleader Tony Beliveau rocks a particularly badass clavinet, an electro-mechanical instrument that’s essentially an electric guitar played as if it were a keyboard – whammy bar and all. We recently had a chance to speak with Beliveau about his unique instrument, his band’s major label woes and the eventual release of the next Crash Kings record.

28 NOVEMBER 2012 PERFORMER MAGAZINE

PICTURED: TONY BELIVEAU

by Benjamin Ricci photos by Joshua Giroux

NOVEMBER 2012 PERFORMER MAGAZINE 29

started Crash Kings. The whole idea was to be as heavy as possible without any guitars.

So that was fundamental from day one, not having guitars?

Well at first my brother was like, ‘Maybe I can play some guitar and be the multi-instrumentalist in this band.’ But then when we started playing with our first drummer we were kinda like, ‘Wow this is really full,’ as if adding any more instruments was going to take away more than it was going to add, so we just kept it the way it was.

Can we talk about your clavinet for a bit?

First of all, it’s not electronic, it’s electric, so you don’t plug a clavinet in. I want to make that clear. The clavinet is essentially an electric guitar that is set up inside a keyboard. So inside you’ve got 60 strings, guitar strings, and on mine there’s a bit of a back story to it.

I was waiting tables at a restaurant and one of the owners was telling me about some Juno106 synth that he had, and I was like, ‘Oh yeah I really want that!’ and he was like, ‘Oh, I’ll just give it to you.’ So we went to a storage unit and he was looking around and couldn’t find the synth. But standing up on its side I saw this clavinet and I was like, ‘Ah, that’s cool. You have a clavinet!’ and he was like, ‘If you want that thing you can just have it. It’s just been sitting there for 15 years. It’s got some whammy mechanism on it.’

Were you familiar with the clavinet when he gave it to you?

ON PITCH BENDING WITH THE CLAVINET:

“When you’re down low it’s not going to bend the note as high, and when you’re up at the highest end of the keyboard you are going to bend the note as much as a major third.”

How did you get your start in music?

I started playing piano when I was about five or six, and I started writing music when I was in middle school. I continued taking lessons through sophomore year in high school and then I quit and just kept playing on my own and focused a lot on writing. I ended up at North Texas University for about a year and a half. Jazz piano mostly - that’s where I was introduced to true jazz. I was there when Norah Jones was there, before she was well-known. And then I dropped out of North Texas and moved back to Boston, where I’m originally from.

Oh, Performer’s hometown.

I grew up in a little town called Andover, actually. So I went back, worked for about a year, and then started Berklee when I was about 22. My brother and I had been playing music since we were in middle school; he took up the bass and 30 NOVEMBER 2012 PERFORMER MAGAZINE

went to Berklee first, even though he’s younger than me.

How did Crash Kings get started? Was that after Berklee?

Yeah, so in Berklee we had an organ trio that was really instrumental. I didn’t sing at all. I had sung in some other bands, but I didn’t really like my voice that much. Then I moved to New York and then to L.A. and then after graduating my brother stayed in New York. He was like, ‘Yeah I’m just gonna stay here, and we’re going to do our own thing.’ I ended up finding my voice and started writing more music. Then I sent my brother some tracks and I was like, ‘I’m singing some rock and roll!’ And he’s like, ‘Dude, when did you learn how to sing like that?’ and I was like, ‘I don’t know! It just… happened.’ So then he says, “I gotta play bass in this band’. He basically packed up and about a week later moved out here and we

I didn’t really know anything about clavinets at this point. So he gives it to me and I bring it home and it’s barely playable. It has missing strings and the hammer tips on it are completely shot. I go online and do some research, and what happened was in 1978 there was a guy named Buddy Castle who decided to retrofit clavinets with whammy bars. And he started this company called Castlebar. They did a run of maybe 20 of them and apparently eight of the chassis were no good; they just weren’t working properly so they were thrown away. So only 12 ended up lasting.

He started this company with the idea that you could send your clavinet to him and he would outfit it with this whammy bar.

How long did that last?

The company didn’t do very well. There weren’t enough people with clavinets really interested in this kind of thing, so nothing really happened with it. The only person before me that was known to use it extensively was George Duke.

But he used it as more of a gimmick…

Yeah, exactly, kind of a gimmicky sort of thing.

So, anyway, I go online and I start learning where I can buy clavinet strings, and then find out where I can buy clavinet pickups. And then I figure out how to restring this thing. So I ordered

“The whole idea was to be as heavy as possible without any guitars.” the strings and the pickups and it takes me about three or four days to restring the whole thing.

Then the strings go out of tune, so you gotta tune it, you know, 10 to 15 times. Then once I finally got it tuned I was like, ‘Alright, I’m going to bring this out to my studio and plug it into a tube amp.’

Because in my head I thought, ‘It’s got guitar strings, its got pickups…’

So you’re thinking it’s gonna sound like a guitar?

It should sound like a guitar! And now that I can pitch bend I should be able to isolate each note with enough distortion to be able to do this. But I had no idea, so I brought it out and sure enough it was doing exactly what I wanted it to. If you wanna bend up to E, you have to hit a D. So if you want to hit the E, you have to think D, and then bend up to E and vice versa if you want to bend down.

And when you say whammy bar, you’re not talking about a pitch wheel like on an electronic keyboard.

No, no, it’s coming out of the top of the keyboard, just like a guitar’s whammy bar. You have to press down, and where all the strings normally flatten at the end of the clavinet there’s a chassis and the string kind of hooks around onto this bar and then there’s a whole mechanism to make it work. So when you press the bar down you’re tightening all 60 strings simultaneously.

I gotcha.

When you’re down low it’s not going to bend the note as high, and when you’re up at the highest end of the keyboard you are going to bend the note as much as a major third.

There’s definitely a learning curve to playing it. And then with the overtone series and the overdrive, learning not to play too many notes and figuring out how many notes to play before it gets too muddy.

Does the clavinet pose any challenges on the road, as far as maintenance goes?

No, not really. Surprisingly, clavinets were really well built. D’Addario even made custom strings for it. They worked with Ken Rich, my keyboard tech, to take the original clavinet strings and improve upon them. So yeah, now when I’m touring it’s really easy. It’s doesn’t go out of tune as much as you’d think. And it’s very simple, so as long as your pre-amp is saturated well, you’re in pretty good shape. The worst thing that could happen is some lighting rig falls on it, you know?

But I just took it on a plane and checked it in a flight case, and it’s all good.

Right. Which is unfortunate that it’s taken a long, long time and a lot of our fans don’t understand how the business works. A lot of things are just out of the band’s control.

We would have loved to put this record out last year. We would love to put this record out now!

I know that you guys had an album out through a deal with Universal. Where do you stand with them now? I was under the impression that you’re no long on the label? What’s the situation?

Do you guys think you’ll be releasing it yourselves or are you looking for an independent label to help you out?

Did you guys not get a full explanation?

So the record IS coming out at some point.

Can you at least tell us a little bit, stylistically, what to expect?

We were on Motown with Sylvia Rhone, who was the head of Universal. Something ended up happening with her and she left the label and the label ended up not folding, but just they became… not so much a label anymore. I don’t really know exactly how to describe that. To be honest, I still don’t know exactly what happened.

I think what happened was that her contract was up and then they offered her something else, but she didn’t like it so she left. And then, what we were told is the label folded, but I don’t know that that’s actually the truth. That’s just what we were told, that Motown was no longer going to be a label. This happened last year when we were in the middle of making our new record…

Which is always a fun time to find out about that.

Exactly. We’re recording this record and we didn’t have any A&R…

But at that point, you don’t really need that, did you?

We were kind of just left to our own devices for the most part. On the first record a little bit less, because Linda Perry, who had signed our band, took on the A&R [duties], which was cool. On the second record there was literally nothing. Sylvia came in after, in the middle of the record, and was like, ‘Wow, this is exactly what I had wanted for you guys. This is amazing. Keep doing it.’ Then she’s out of the picture and we’re like, ‘What’s going on?’ Our management calls us and lets us know that Universal Republic is taking on whatever bands they want; so then they take us on. But I don’t want to get too much into this because…it basically just didn’t end up working out.

Fair enough.

They went from being, you know, the biggest record label in the world. And a band like us, obviously, we’re not gonna get the attention that we need, so we had decided that with the kind of record we were going to be making, that we wanted to go the more independent route. That’s sort of where we’re at right now.

But that’s all behind the scenes. Fans don’t understand why there’s such a lag between records.

I think I would love to release it by myself, but I have no idea which direction we’re going to take.

We have a bunch of offers on the table. Universal Canada has made it abundantly clear that they’re super excited about the record. We’re gonna do different deals independently worldwide; that’s our goal.

I think what to expect is a really different sounding guitar-rock record, one that sounds like there are a lot of guitars but actually has no guitars. They don’t sound like the guitars that you hear today on alternative rock radio. We actually tried to steer away from the radio thing, oddly enough.

It was so funny because we had all this success at radio and then we were like, ‘You know, we really just want to build an audience from the ground up.’

We wanna get the grassroots audience. So that was the record we were going in to make.

We were lucky enough to have the major label budget to make the record that we wanted to make. And we wanted to really feature the clavinet, of course. The first record was like, ‘Let’s make a piano rock record. Let’s just mic the piano in so many different ways and use tons of different pianos and really geek out with the piano.’ And for the second record, we wanted the mastering engineer to say, ‘Wow, I really like those guitar tones’ and then for the producer to say, ‘There’s actually zero guitar on this entire record.’

Can you touch upon your songwriting process a little bit?

Usually when I sit down, it really varies; it depends where my mind is at. But for the most part when I’ve written songs, it’s all about the chorus. Finding a chorus first, not trying to start with a verse and just hoping you’re going to get to this big chorus. The songs that are a little bit more wild, I have to give my brother a lot of credit because I’ve sat down with him after writing a lot of stuff and he is so good at producing the songs that I write and helping me think of different ways to sing a part. Being brothers, it’s like having a writing team where we’re not afraid to tell each other how it is. www.crashkingsmusic.com

NOVEMBER 2012 PERFORMER MAGAZINE 31

Ty Segall

by Beth Ann Downey photos by Denee Petracek

Demo. Trash. Repeat Until Perfect.

Ty Segall is a Gemini.

The symbol for his zodiac sign - a twin - is meant to represent the Gemini’s dual nature: complexity and inconsistency.

Even on the surface, Segall seems to embrace his astrological characteristics. A laidback, slow-talking California native, Segall doubles as a hard-working, neo-psyche garage rocker who tours constantly, and has released five studio albums in a four-year career.

With his latest release, out now on Drag City Records, Segall wanted to leave behind the more stripped-down, sentimental nature of his acclaimed Goodbye Bread. Consistent with a Gemini’s inconsistency, he aimed to shake things up, show progression and keep people guessing.

Of course, the new record is titled Twins.

“After I was finishing it, I realized that’s what the theme was…It’s kind of about split personality disorder in a way,” Segall says in our phone interview, just one day after the Twins track listing is released. “Twins, the good and the bad, that’s what it’s referring to. A lot of my music is kind of internal, just problems I have with myself and stuff. So I think [the theme] is mostly about me, but it’s definitely about everyone and dual personalities. I think everyone has both sides to them that come out in different ways.”

This thematic complexity is the growth from the songwriter who brought us the short, surftinged rock n’ roll spurts of Melted in 2010. But musically, Twins was also spawned from a simple goal.

“I just wanted to make a fuuuzzy pop record,” Segal says. “I have this fuzz pedal called an [Ultra Lord] and it’s like my favorite pedal I have. I just

wanted to put that pedal on every song.”

The fuzzed-out tracks on Twins emit their own tinges of both good and evil. The bright, shiny openers “Thank God For Sinners” and “You’re The Doctor” are balanced with the dark metal moments from middle tracks like “They Told Me Too” and the breakdown of “Handglams.”

“I wanted to write songs that we could play live really well and have it be more of just a 1,2,3 punch, where each song is kind of more immediate and more how we sound live,” Segall says.“[They’re] punchy; less concept and less mellow, definitely.”

Though Segall wanted to stick to the fuzz, one acoustic track, “Gold On The Shore,” did make it on the end of the record at the behest of Drag City – an ode to the softer side he showed with the Goodbye Bread title track. But Segall wanted to release “The Hill” as the first single, which features guest vocals from Brigid Dawson of fellow hardworking rockers and tour mates, Thee Oh Sees.

“That song is pretty different,” he says.

“We’ve never had a song with female vocals on it.

That’s definitely the reason I wanted to [release] that song, and maybe throw people off a little bit.”

Segall himself has come into his vocal abilities since Melted, which he believes to have developed simply through experience and gained confidence. Working with San Francisco-based producer and friend Eric Bauer over the years has helped him to see the benefits of cleaning up his vocals, Segall adds.

“He was always like, ‘Try this, try a little of this, try it a little cleaner, try this mic,’” Segall says. “So over time we kind of cleaned it up. I don’t

know, I think it’s just circumstantial that I got a little bit more confidence because of how much we play. But I still definitely don’t think I’m the best singer in the world.”

As a multi-instrumentalist still credited as a member of multiple bands - The Traditional Fools, Epsilons, Party Fowl, Sic Alps, The Perverts, and his own Ty Segall Band – Segall says he doesn’t think any musician ever really reaches their maximum potential. But when it comes to recording, Segall is a perfectionist.

“I do a lot of demos and multiple versions of songs before I lay them down,” he says. “Even in the studio while recording, I’ll always do a version, trash it and do it again.”

It’s a wonder Segall could bring us Twins, the third release he’s worked on this year, which also includes the Ty Segall Band debut Slaughterhouse and Hair, a collaboration with White Fence.

Segall says recording is probably his favorite thing about his career.

“It’s cool because now it’s my full-time job, so I kind of get to treat it like a job,” he says. “I’ll record during the day or work on songs during the day while everyone else is at work.”

After touring to support Twins, Segall says he will be taking some time off. What that stuff is, Segall hasn’t really figured out yet.

“You know, I haven’t even had time to think about it,” he says. “I just want to do normal stuff like, I don’t know, maybe surf more, visit my family for a few weeks and hang out with my sister - stuff like that. I’ve been touring too much. I need to fill out the other side of it, balance out. That’s my goal.”

“I do a lot of demos and multiple versions of songs before I lay them down. Even in the studio while recording, I’ll always do a version, trash it and do it again.”

32 NOVEMBER 2012 PERFORMER MAGAZINE

www.ty-segall.com

Ty Segall Twins Standout Track: “The Hill” LISTEN NOW @PERFORMERMAG.COM

NOVEMBER 2012 PERFORMER MAGAZINE 33

TOP PICKS

LIVE SHOW

MUSIC MIDTOWN 2012

Atlanta, GA / September 21-22, 2012

review by Lesley Daunt photos by J. Gribble

AFTER A LONG HIATUS, MUSIC MIDTOWN RETURNED FOR A SECOND YEAR, BRINGING IN MORE BANDS AND MORE FANS TO THE BELLY OF ATLANTA’S PIEDMONT PARK. The expanded two-day, twostage festival united a multi-generational range of music, bridging pop, rock, folk and tinges of metal together with rap and DJ music. Friday kicked things off with a lineup that included Van Hunt, Joan Jett and the Blackhearts, T.I., The Avett Brothers, and Foo Fighters. Saturday was a sellout of one-day passes as fans crammed into the Meadow for acts like Florence + the Machine, Ludacris and Pearl Jam. Atlanta-based soul artist/songwriter Van Hunt opened Friday’s show with his refreshingly unique combination of blues, soul, rock and punk backed only by drummer Ruthie Price. Starting the set off with a cool reggae-funk remake of “Mrs. Robinson,” Van Hunt accomplished the task of sounding larger-than-life for a simple duo.

Next to hit the stage was Joan Jett, who at 34 NOVEMBER 2012 PERFORMER MAGAZINE

54 still looks as hot and rocks as hard as she did decades ago. Jett and her gents got the crowd moving with favorites like “Bad Reputation” and “Cherry Bomb.” The crowd then passionately sang along to “Do You Wanna Touch Me?” before throwing down the gauntlet to the anthemic “I Love Rock & Roll.”

North Carolina’s The Avett Brothers, a rock group with folk instrumentation, took the “Great Southeastern Music Hall Stage” around 7:30. Playing in support of their new album The Carpenter, the brothers seemed to be one of the most anticipated acts of the festival. An extensive, 19-song set appeared to be not enough for these die-hard fans, bringing the band out for an additional two-song encore.

The final band of the evening, Foo Fighters, closed out a long and wonderful afternoon filled with great music. Front-man Dave Grohl is a master entertainer who undoubtedly knows how to rock an audience. Insanely loud and with a high-octane performance, the entire festival

was ablaze with hits like “The Pretender,” “Best of You,” and “My Hero.” Alongside such classics as “Learn to Fly” and “Monkey Wrench,” the band also included a few covers, such as Van Halen’s “Everybody Wants Some,” Pink Floyd’s “In the Flesh,” Tom Petty’s “Breakdown” and Joan Jett’s “Bad Reputation,” bringing Jett on stage to sing along.

Atlanta’s O’ Brother kicked off Saturday’s show with a guitar-heavy and vocally aggressive performance, reminiscent of older Soundgarden, followed by the pop-rock trio out of South Africa, Civil Twilight.

The next act to play was one of the surprise standouts of both Music Midtown days; the songwriter-turned-performer Laura Pergolizzi (who goes by L.P.). Looking like a rock star, and touting a new band, L.P. has taken off in a huge way thanks to the Citibank commercial featuring her song. The fact the commercial is played a zillion times a day certainly doesn’t hurt this powerhouse vocalist. Not one to disappoint, she

HL

Indie rocker L.P. holds her own alongside the icons as 50,000+ fans cram in for two days of music in Atlanta’s Piedmont Park

was on fire. Ukulele in hand, working the stage, engaging the audience, it is easy to see why her fan base keeps growing. Her performance was memorable with unique vocals and a more rocked-out version of her single, “Into the Wild.” A showstopper was her powerful take on Beyonce’s “Halo,” with upright bass and strings. When she was done with her set, it was clear she had charmed Atlanta, and every man, woman and child was putty in her hands.

Another phenomenal female vocalist followed when Shirley Manson of Garbage came striding onto the stage, delving into a barrage of old hits including “Stupid Girl” and “Queer.”

Speaking of old, Adam Ant then took over and things got a little strange. His pirate getup seemed a few sizes too small and bound him like a straight jacket as he attempted to bounce along, but his band was super cool. “The Good, The Mad and The Lovely Posse,” a visually entertaining bunch including a pair of drummers, did him justice as he performed almost all of his new-wave classics.

Saturday night hit the mark with the everamazing Florence + The Machine and headliner Pearl Jam. The Machine’s Florence Welch is a one-of-a-kind artist, whose presence on stage is not only riveting but commands an audience’s attention as if she were royalty. Watching as she sings “Rabbit Heart (Raise it Up),” “Shake it Out,” and her last song “Dog Days Are Over” is like experiencing the richness and flavor of a rare chocolate. And than, to end it all, Pearl Jam hit the stage playing songs that, believe it or not, are now 20 years old. Didn’t matter though, as they’re still as relevant as the day they were written.

Eddie Vedder can still invoke tears and provoke thoughts, and is still the quintessential poet along with his merry band of musical laureates. Simply complex in their quiet loudness. Simply amazing.

All in all, Music Midtown proved to satisfy one’s musical appetite while leaving us hungry for next year’s buffet.

TOP PICKS

HIG

T IGH

Artists left to right: Florance + The Machine Civil Twilight Foo Fighters Garbage

www.musicmidtown.com NOVEMBER 2012 PERFORMER MAGAZINE 35

LIVE SHOW

DIAMOND RINGS

Paradise Rock Club – Boston, MA September 21, 2012 review and photo by Candace McDuffie

HIG Opening for Stars can be a bit of a daunting task - the forceful and beguilingly wisky indie gems are almost impossible to outshine. Unless, of course, you’re Diamond Rings. Donning an all-white ensemble with hair just as luminous, John O commanded the stage with such feverish energy that you would have thought the man was on fire. The off-kilter electronic beats that dominate his debut album Special Affections were even more infectious when brought to life onstage. Party starters like “Something Else,” “You & Me” and (ironically) “It’s Not My Party”

HLI

GHT

Feverish energy, Bowie-inspired synths and manic hedonism

evoked steadfast gazes from even the most apathetic audience members.

John O’s aura was overwhelmingly effervescent - the Bowie inspired synth-kid totally owned his eccentricity and as he careened through his latest single “I’m Just Me,” everyone in the venue inevitably followed suit. The live backing band naturally wasn’t as gaudy as their frontman, but did become more ambitious as the night went on.

Although they did their best to keep a straight face - which shouldn’t have been that challenging since their sunglasses never came off - cracked

smiles were often seen as John O’s dancing went from excited performer to that of sheer lunacy.

Although his movements might have not possessed any operatic agenda, the passion with which he delivered his songs did. By the end of the night, it was clear to see that Diamond Rings is a glittery, musical manifestation of high notes and hedonism--which in turn made for one hell of a party.

www.diamondringsmusic.com

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.

The Big Cats The Ancient Art of Leaving: Two Parts Little Rock, AR (Max Recordings)

“Arena rocking returns to its Little Rock roots ” Originally formed in 1993, The Big Cats are solid. Big rock guitars, paired with catchy lyrics and a shoe-gaze indie-rock mentality. This album is up-tempo enough to be played in teenage bedrooms, but still moody enough not to be scoffed at over the loud speakers of a coffee shop. Style-wise, the latest offering from The Big Cats is sort of AllAmerican Rejects mixed with Weezer (post-Green Album). This is actually part 2 of a two-album set that the group has released (the first came out last December).

A catchy and shiny collection of songs from a band that’s been through it. Trivia time: this is actually the band of Jason White, who’s known in certain circles as “the other guy” in Green Day. This record is proof that this touring musician, who spends most of his time just outside the spotlight, has a lot of his own pop sensibility to throw around.

That Starbucks reference really isn’t a joke. Get this record placed in one of those cardboard stands next to the cash register and it will sell. Enough rock for anyone who bought Dookie in ’94, but sensible enough for the commute to work.

Produced by The Big Cats and Barry Poynter

vocals and lyrics that are, for the most part, blended fully into the mix and difficult to decipher (but that’s OK).

The album opens with a mid-paced tune featuring a crunchy guitar and brassy but soft robotic vocals that range in severity and intensity throughout the entire album. In some songs, the effect has a lullaby-like effect, like on the droning, dreamy “Psychic Love Damage.” Other times, the multitonal vocals seem darker and heavier like on the chorus for the laser-laced track “Hairspray Heart.”

Admittedly, as the album plays on, the songs do begin to blend with one another, making a few tracks sound like one long outtake, but there are striking moments on the album including the dance-y “Gangs In the Garden,” complete with ticking 808, metallic vocals and endless layers of gauzy, wavy synths.

Recommended for fans of cohesive Animal Collective and Flaming Lips tracks, a range of Daft Punk-level robotic vocals and repetitive, yet likeable, synth loops.

on the 13-song album and its contagious tracklist, which becomes more and more infectious each time through.

Standout tracks include the pounding, anthemic “You Are Not A Riot,” the minimalist, melancholy track “Violet” and the upbeat, driving opening number, “The Magic Clap.”

www.blackmothsuperrainbow.com

Since the birth of the Bay Area four-piece in 1994, Deerhoof has become one of the most prolific, inspirational and experimental domestic indie rock bands. Breakup Song is their tenth full-length and strikes as one of the band’s most frantically unpredictable releases. It erupts with jittering guitar strokes, quixotic electronic bursts and Greg Saunier’s renowned busy stick-work.

Singer/guitarist Satomi Matsuzaki makes her lyrical frays through the jutting textures and clattering instrumentation with odd polarity. Her voice takes a contrastingly sweet posture, stark considering how Breakup Song returns most dramatically to their Reveille days. One highlight, buoyant with discerning melody and Matsuzaki’s self-harmonization, “Flower” has a sensational breakdown with inescapable prophesy for anyone recently outside a relationship, repeating, “Let it go / Leave it all behind.” The song isn’t too unstructured and relentlessly busy and, dare it be said, it’s pretty. “Flower” is cut by an industrial sized wall of guitars/keyboards, “To Fly or Not to Fly,” another sensational mushroom cloud that resolves between chugging rhythms and the noisy, foreboding instrumental gauntlet.

The album is an incontestable work of creativity and a diamond in the extensive Deerhoof catalogue, a worthy jolt for both new and veteran fans.

-Kristian Richards

The Coup Sorry To Bother You Oakland, CA (ANTI-)

“Funky, political hip-hop for fans of Outkast”

Mastered at Chicago Mastering Service by Jason Ward www.thebigcatsmusic.com -Ben Nine-K

Black Moth Super Rainbow Cobra Juicy Pittsburgh, PA (Rad Cult)

“Vocoded indie rock with psychedelic flair” It’s coming up on a decade of solid musicmaking for experimental band Black Moth Super Rainbow and their new 11-track album is bursting with the deliberation and breadth. Bouncing between psychedelic lounge music from the future and perky electro-pop tunes, their vocoder-heavy album features undulating notes, highly-affected

For those who have been waiting, it’s been a long six years since The Coup’s last studio release, but for their sixth album Boots Riley, Pam the Funkstress and the rest of the gang are back with an undeniably energetic effort that highlights their talents not only as a political hip-hop group, but also as accomplished genre-jumpers with a cause and something to say.

The album features some of the predictable ingredients of great hip-hop album: steady, earcatching beats, features from other good artists and attentive, thoughtful lyricism from an intelligent, commanding frontman. But, instead of just fulfilling the expectation, The Coup upped the ante by taking some creative risks, like incorporating kazoos in the zany track “Your Parents’ Cocaine” and playing around with a cool, lazy Sunday rock sound on “My Murder, My Love.”

The first listen might confuse new Coup fans, but it’s hard not to appreciate the range of sounds

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OUR PHILOSOPHY ON REVIEWS

www.facebook.com/TheCoup -Kristian Richards

Deerhoof Breakup Song San Francisco, CA (Polyvinyl Records)

“Breaking up made easy with shredding guitars, blasting percussion and speaker-melting surprises”

Engineered, Recorded, Mixed, Mastered & Produced at Greg Saunier’s house in San Francisco, CA

by Deerhoof www.deerhoof.net -Christopher Petro

NOVEMBER 2012 PERFORMER MAGAZINE 37

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Diamond Rings Free Dimensional Toronto, ON (Astralwerks)

“In a Free Dimensional world, John O finds comfort in his own skin” Some say Toronto’s Diamond Rings (aka John O’Regan) defies the laws of time and space. Having just released his second full-length album, Free Dimensional, John O makes music that exists outside specific eras, distilling electro-pop from days past into what seems relevant now, continually striving to reach the widest possible audience.

From the buzzing tones and astral layers of “Everything Speaks,” leading into the synth-pop feel of “All The Time” this Diamond Rings project feels like a classic John Hughes film, stirring up memories reminiscent of Pretty in Pink. The electro-fuzz number “Runaway Love” rings of bands like the Killers and Arctic Monkeys, from the quirky vocals to swooshing guitars layered with trademark ’80s-sounding keyboards.

The lead single, “I’m Just Me,” underscores John O’s goal to present the best possible version of Diamond Rings on Free Dimensional. “That song is about owning this idea of who I am,” he says. “Now I’m getting older, I’m getting bolder, comfortable in my own skin...I’m just me,” John O sings, his message as powerful as the Lady Gaga anthem “Born This Way.” John O co-produced the 10-song LP with Damian Taylor (Björk, Austra, Robyn, Killers) adding elements sprinkled throughout that hint at genres or artists that have inspired him, but synthesized in a wholly unique, timeless manner. This is, after all, a world where everything old is new again.

Produced by Damian Taylor & John O’Regan www.diamondringsmusic.com -Lesley Daunt

Dinosaur Jr. I Bet On Sky Amherst, MA (Jagjaguwar)

“The Pride of Amherst can’t help but make other ’90s reunion bands look stale” I Bet on Sky instantly delivers on the promise of that oh-so-suitable-for-framing cover.

Bilious waves of warm psychedelia welcome you on opener “Don’t Pretend You Didn’t Know,” wherein Dinosaur Jr. brings out their inner John Paul Joneses and throw some Mellotron on top of everything else and, as usual, bring the ruckus. It’s 38 NOVEMBER 2012 PERFORMER MAGAZINE

a warmer, more open sound than what we’ve heard before. The guitar part, with chords played high on the neck, could very well be a U2 riff with the echo turned off.

It seems unfair to call Dinosaur Jr.’s new resurgence a reunion anymore.

After it was proven that initial, um, reunion album Beyond (2007) was more than an uninspired excuse to tour (see: A Different Kind of Truth), it should be noted that they have developed a mastery of all the things that made them great in the first place: big drums and constant soloing that doesn’t overpower the song (which themselves flirt that hard edge between “The Song Remains the Same” and “Cowgirl in the Sand”). This album is a step forward for the group, albeit not exactly a huge one. But do you really want DJ to be Wilco or My Morning Jacket and drastically change with each album? When was the last time you listened to “Highly Suspicious”? Know thyself.

Django Django boldly turns the strange, tribal persuasions into digestible anthems. www.djangodjango.co.uk -Christopher Petro

Forest Sun Just Begun San Francisco, CA (Painted Sun Records)

“Simple, pleasant record about finding happiness in the moment”

Forest Sun does not write music for cynics.

There is no irony on his latest album Just Begun, just some really great Americana songs about living in the moment. It’s a nice breath of fresh air. The theme is set in the title track, which focuses on our Produced by J. Mascis mortality and how small we are in the universe: www.dinosaurjr.com “Anything can happen and I hope it will / We could -Warren McQuiston die tomorrow and the world would still go on.”

The desire to seize the moment continues with “Not Waiting,” in which the singer encourages us Django Django not to save our love for a rainy day, because “you only get more when you give it away.” Sun describes Django Django a lovely reunion with an old friend on “It’s Good to Edinburgh, Scotland See You,” but there is a hint of melancholy in the (Ribbon Music) song, as he reminisces with his friend and asks, “How did we get this old? / How did time go so fast? / Are we the same two souls that used to lay around “Masterful, celestial Brit-pop with catchy, in the grass?” Sure, it’s a little hippie dippy and hook-filled tribal underpinnings” simplistic, but it’s a nice, comfortable album for the Django Django has unquestionably delivered times when you’re not in the mood for something a 2012 masterpiece. The self-titled album beck- heavy and soul-bending. ons from the laurels earned from the Guardian Recorded at WaveLab Studios, Tucson, AZ (4.5 out of 5) Pitchfork (7.2 out of 10) and NME Produced by Forest Sun & Craig Schumacher (8 out of 10). The Edinburgh-by-way-of-London Mastered by J.J. Golden at Golden Mastering quartet offers an inspired, sophisticated (but www.forestsun.com not elitist) and thoughtfully produced debut of -Heidi Schmitt psychedelic, yet highly approachable gems.

Storming the gate with the flourishing “Hail Bop,” the song is tensioned by a synthesized, Godspeed You! science fiction intro giving way to a throbbing, Black Emperor rakishly harmonized verse. The result is a bit Alleluja! Don’t tongue-in-cheek, yet achieves high, both poetiBend! Ascend! cally and sonically, on nailing the futuristic Montreal, QC target; plus, it rocks with classic guts.

(Constellation) “Hail Bop” flows seamlessly into the first single, “Default,” which carries on the chugging “A breathtaking journey into the dark, the stride. “Default,” like all songs, is rhythm-heavy light, and the shades in between” and boasts Brit-pop coupled vocals ( as on other standouts: “Firewater” and “Waveforms”) After 10 years, Godspeed You! Black Emperor electric guitar chugs, flying-saucer effects and has returned with its fourth album, Alleluja! hammering percussion.

Don’t Bend! Ascend! And, while its album packagSeveral critics acknowledge African rhyth- ing isn’t rife with politicized messages or artwork mic influences (“Lovers Dart”), which steer the that calls for rising up against the 1% (Yanqui and album into the avant-garde, but truly triumphs Lift Your Skinny Fists, respectively), the conflict from serving the influence with incomparable that lies within all of Godspeed’s music - darkness listenability. Even when artists like Animal and hope and how it pushes and pulls against each Collective infuse foreign beats, the result is other - is still present. often unapproachable for the common listener.

And they haven’t missed a step.

Cincinnati, Ohio September 27-29, 2012

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MIDPOINT MUSIC FESTIVAL

review by Lucy Fernandes photos by Rick Carroll

Artists left to right: The Cincy Brass, Ben Lapps, Automagik

EACH YEAR THIS INDIE MUSIC EVENT MANAGES TO TOP THE LAST. Now in its

eleventh season, with the addition of two more fine stages and an increased focus on the historic Over-the-Rhine area downtown, the MPMF offered something for every stripe of music lover, and every budget. A newly refurbished, picturesque Washington Park accommodated the more sizeable outdoor audiences, and a newly renewed and soundperfect Emery Theatre joined the growing ranks of new venues. There was a “free” stage at the closed-off Midway 12th Street section, too. Thursday’s opening night attracted the largest first day crowd ever, and attendance over the three days was expected to eclipse last year’s mark. With just short of 200 acts performing on 16 stages throughout the area, the musical choices were plentiful.

www.mpmf.com

On Thursday, Best Coast headlined Grammer’s Stage outdoors, and Bethany Cosentino’s bouncy, melodic pop vocals had the tent crowd feeling pretty happy. Later on, the energetic duo of Brown James at the Blue Wisp rocked a tasty mix of rap, DJ HLI HIG beats, and dance rhythms with some hellacious drumming and guitar to boot. The variety of instruments added extra punch to their lively stage show. Closing the night, Space Capone at the Blue Wisp was worth the wait. Tongue-in-cheek ’70s retro appearance belied the funky R&B grooves this group dished out, complete with prerequisite falsetto chops.

Some of Friday’s highlights included Kentucky Knife Fight at the Main Event. Twangy, plaintive vocals from singer Jason Holler dominated the guitar-soaked, garage-rockabilly sound of this group. Let’s just say this band’s name is a perfect fit with their slightly seamy lyrical topics. On a different note, Automagik totally owned the crowded Below Zero floor. Bratty, loud, and fun to watch, their whirlwind antics onstage never let up. Vocalist Zach Evans is a natural rock star. After that blowout performance, it was on to the hypnotic drone of Cold Showers at Motr Pub. The people were tightly packed in up to the door, mesmerized by the dreamy synth washes and monotone vocal incantations reminiscent of ’80s Joy Division.

And to top off the night, F. Stokes worked his crowd expertly at the Blue Wisp. A hip-hop artist billed as “an American poet,” he told his truths to a close throng who shouted his lyrics along with him.

A Saturday gem was a remarkable performance by Ben Lapps at the Blue Wisp. The youngest festival performer, he belied his 18 years with a stunning mastery of guitar fingerpicking. Dexterous, rhythmic, and dynamic, his deft hands commanded the attention of everyone in the room.

Later on, The Cincy Brass partied down with an outrageous mix of songs for what was basically a marching band complete with tuba; no vocals, just horns of all kinds, and a drummer. From “War Pigs” to “Immigrant Song” and finishing up their set with a rousing “Frankenstein,” these guys had the whole crowd up and shaking it.

So, yet another success is on the books. And now that it’s all over, can the anticipation of what next year’s Midpoint might bring be far behind?

GHT

NOVEMBER 2012 PERFORMER MAGAZINE 39

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LIVE SHOW

TWIN SHADOW Paradise Rock Club – Boston, MA September 30, 2012 review by Candace McDuffie photo by Ashley-Anne Jones

HIG Twin Shadow’s George Lewis Jr. sure knows how to wear narcissism well. When he isn’t busy plastering his face all over his fan apparel, he’s keeping cardboard cutouts propped up nicely by merch tables to serve as a rousing reminder of being so in-demand, he simply can’t be everywhere at once: even at his own concert. Confess has definitely been a catalyst for his insatiable popularity. His sophomore record is a witty and wry portrait of what Lewis exemplifies best collective ’80s cool. And while his inescapable

Godspeed You! Black Emperor (continued) This latest release shows just how tight Godspeed can be. Opening track “Mladic” takes five minutes of setting the scene (quite beautifully, too, featuring guitars that emulate the sound of seagulls circling above, tinged with desperation), but it soon launches into a full attack. By the time we’re able to rest from the onslaught of distorted guitars, strings and booming percussion that holds it all together, we’re then thrown into the final movement that proves what a wrecking ball Godspeed can be when they’re all playing in lockstep with each other. It’s absolutely devastating.

Rising-action-to-climax is old hat for Godspeed, but there is a real sense of dynamic storytelling going on here with Allelujah! The beautiful “We Drift Like Worried Fire” provides the perfect balance to the frantic chaos of “Mladic” by giving the listener hope, reminiscent of “Gathering Storm” from Lift Your Skinny Fists.

It seems crazy to say that Godspeed “matured” on this latest release, but it isn’t too far off the mark. This nonet had nothing to prove to anyone, but with this album, they’re saying a hell of a lot.

Produced by Thierry Amar, David Bryant, Efrim Menuck, Mike Moya, Howard Bilerman www.brainwashed.com/godspeed -Rich Coleman

40 NOVEMBER 2012 PERFORMER MAGAZINE

HLI

GHT

Cockiness, ‘80s cool and charming sing-alongs

arrogance could have easily induced nausea, it only made for an unforgettable performance.

Lewis has a knack for executing perfect synthpop flavored ballads, and his live show completely celebrates this. Recorded, “Five Seconds” is a shameless four-minute thrill ride. Live, it possesses a gravity that is sometimes lost in the grandiosity of Confess. “Run My Heart” and “When The Movie’s Over” were just as dramatic, but the real fun occurred when tunes from his debut album Forget reared their heads. The title track, as well as

Ken Stringfellow Danzig in the Moonlight Paris, France via Hollywood (Spark & Shine)

“Holy God, ‘Doesn’t It Remind You of Something’ will crush your broken soul with twang alone!”

“Slow” and “At My Heels” made for well-timed singalong moments. Lewis even had the audacity to tell the audience members to remove their shirts and swing them around their heads - Petey Pablo style - as he eased out of “Castles in the Snow” and into a rendition of Queen’s “Under Pressure.” Between his charming quips and even more charming halfsmiles, Lewis proved that cockiness isn’t always a bad thing.

www.twinshadow.net

Something”. Throughout the album, Stringfellow evokes a richness of sound on tracks like “Drop Your Pride,” “Jesus Was an Only Child” and “Superwise,” which the artist attributes both to the quality of the studio as well as his own preference to record live, one-take tracks. Recorded essentially over the course of 12 days last winter, this record promises to have at least one jam on it for everyone.

Recorded at ICP Brussels Mixed by TheLAB www.kenstringfellow.com -Melanie T. Kowalski

A former member of The Posies, R.E.M. and Big Star, Ken Stringfellow has had a diverse and respected career both as a performer and producer.

His latest solo effort, Danzig in the Moonlight, provides a clear demonstration of his breadth, diversity and depth in songwriting. [editor’s note: this would also make a great title for any Misfits “best of” compilation.] Let’s be clear: this album has a lot going on in terms of musical style and production. There are accordions and guitars and pianos (oh my!). Each track has its own unique (and sometimes dominant) style, making this album a musical resume rather than a singular thematic concept.

Stringfellow explores a variety of styles, ranging from the classically big-American-soul horn section on “Pray” to the simplicity of a traditional country-blues duet with The Head and The Heart’s Charity Rose Thielen on “Doesn’t It Remind You of

Old Time Machine Old Time Machine Whitehorse, YT (File Under: Music)

“The narration of a not-so-simple country life”

Take this record and give it a second listen – it’s not what it seems. Initially, you feel the deadening grass and chill winters of Old Time Machine’s Canada. The multitasking duo is rustic, but they created an album that does not rest on the simplicity of country life’s first impressions.

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VINYL OF THE MONTH

ROGER MILLER

“Mission of Burma co-founder drops seven inches of art rock”

Big Steam/Dream Interpretation Boston, MA (Good Road) Size: 7-inch Speed: 45 RPM Color: Black Vinyl Engineered by Brian Arnold and John Panagiotidis Produced, Mixed and Mastered by Michael Bierylo and Roger C. Miller Art by Trevor KARMA Gendron www.rogerclarkmiller.com photo by Bill Ellison

Big Steam is the first release for Good Road Records, and if it’s any indication, we can expect a lot of great things from them in the future. Roger Miller’s history is pretty well documented as a founding member of Mission to Burma, but it’s his new solo work that’s turning out to be more interesting than the Burma reunions of the past decade or so.

The A-Side (“Big Steam”) unfolds with a stanky, vintage sounding guitar, bass and drum combo as Miller’s vocals howl out as if processed through a bullhorn. Imagine an art rock band from Manhattan being forced to play a rowdy roadhouse – this would likely be the opener to their set list. Angular guitar

lines, tom-heavy percussion and an overall smoky atmosphere envelope the track until its messy finale.

Flipping over to the B-Side, we’re greeted by blippy, staccato guitar noise and experimental organ attacks. The song’s title (“Dream Interpretation”) gives us some insight into the track’s meaning, as wildly shifting textures and musical patterns blast out in stereo. Fuzz bass starts to take over as things slowly wind down and fade away. Then, bizarrely, a more standard rock riff enters the mix, as if it was itself awakened from a dream.

Fans of art rock and post-punk will enjoy the instrumental trip. -Benjamin Ricci NOVEMBER 2012 PERFORMER MAGAZINE 41

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Old Time Machine (continued) What begins as Ryan McNally’s Lou Reed vocals sliding around opener “Sun Burns Out” travels into the soul of baritone territory on “Mountain Shack.” Strings waver between the leading, repetitive melodies of a banjo on “Pouring Rain” to the striking, rhythmic sixteenth notes of a mandolin on “Tearing Me Down.”

What appears to be a working man’s soundtrack on “Doin’ All I Can Do” evolves into the storytelling of heartache through novelistic imagery, colored by Kyle Cashen’s tone development - “Through The Window” details the betrayal of even the most saintly women in the album’s first mention of a lost love, even making a turn towards damnation, heightened by its religious, monk-like chanting.

Percussion will either subtly, sparingly chime in or take its giant stomps across compositions. Backing vocals heard on nearly every track change from apparent filler to haunting emphases on daunting themes. The beginning measures of Old Time Machine are not indicative of what this album brings; it isn’t until you’ve reached the end and begin again that you realize how the scenery has changed down the paths you’ve traveled.

pianos and horns with a tangy, humorous vocal approach.

“Wait It Out” opens with stunning guitars and powerfully moving strings. The vocals again are raw, earthy, and nakedly genuine.

The percussion comes in, and one is taken away with the spirit of an array of charming violas.

A gorgeously produced record, Plume Giant creates an extraordinary piece of art, surely winning over listeners by the thousands with each town to travel to. A pleasure to listen to, either passively or actively. Many surprises awaken one’s ears and heart with each repeated listen.

Produced by James Frazee & Plume Giant Engineered and Mixed by James Frazee Mastered by Warren Russell-Smith at The Magic Shop www.plumegiant.com -Shawn M. Haney

The Royalty Lovers El Paso, TX (Victory Records)

Produced, Engineered & Mastered by Jordy Walker oldtimemachinemusic.tumblr.com

“Indie rock with powerhouse female vocals”

-Carolyn Vallejo

Plume Giant Callithump New Haven, CT (Self-released)

“Angelic harmonies and joyful, alluring indie folk sounds” A beautiful mixture of folk and indie with slices of ’60s harmonies, Plume Giant is a trio of musicians that first met at Yale University, working together to release their first EP, Plume Giant in 2010.

Their sophomore release, entitled Callithump, blends together carefully crafted harmonies with introspective lyrics and breathtaking arrangements. Oliver Hill (guitar, viola, voice), Nolan Green (guitar, harmonica, voice) and Eliza Bagg (violin, harmonium, trinkets, voice) contribute dazzling sounds with great energy and fervor.

Using intricate sounds of tambourines, harmonicas and melodicas to accompany their vocals, Plume Giant took their hometown of New Haven, Connecticut by storm and look to brighten the moods of listeners as they continue their 2012 fall tour.

“Kensico Dam” is soothing and joyful.

One cannot help falling in love with the warm sounds of “November,” a delightful and alluring love ballad. “We Got it Made,” a song of the wonders of summer, features sparkling 42 NOVEMBER 2012 PERFORMER MAGAZINE

Signed last year to Victory Records, The Royalty has put out a must-hear debut for fans of powerful female vocals and stirring indie rock.

Vocalist Nicole Boudreau captures the spirit and bluesy intensity of Amy Winehouse and the crushed-out earnestness of girl groups of the ’60s. The opening, soul-shaking “Bartender” is raucous, sexy, and sweet all at once, with Boudreau singing “Oh look at him go, he’s my bartender / And his heavy hand, it tells me that he loves me, too.” This track makes you love the band immediately.

The ’60 s influence is also heavy on “How I Like ’Em.” Boudreau refers to herself as a “fallen angel fool,” singing, “Everyone warned me / I didn’t listen / Just seems like the rebels are better at kissin’.” Her incredibly distinct vocals are backed by solid, exciting indie rock, with drummer Joel Quintana really bringing it home with hard-hitting, inventive beats. “Mr. Hyde” features some serious rock ‘n’ roll but with the same, great, girl-group style vocals and lyrics. Wrapping up with the bittersweet “Witchcraft” and the slow, piano-driven ballad “Won’t Be Long,” this impressive debut has something for everyone.

Produced by Cameron Webb Engineered and Mixed at Maple Sound Studios in Santa Ana, CA Mastered by Alan Douches at West West Side in New Windsor, NY www.theroyalty.net -Elisabeth Wilson

RULE RULE EP Boston, MA (Self-released)

“Maiden and Priest fans, it’s time to bust out your old denim…”

Do you love old Def Leppard records and denim jackets with the sleeves cut off? Do you frequently place umlauts over vowels that don’t require them?

Do you wish Steel Dragon was a real band? Of course you do, dummy. And if you’re tired of butt rock and nü-metal garbage being rammed down your throat, it’s time to man up and cop the new release by RULE. Lead singer Mike Soltoff hails from Boston’s own Bang Camaro, which should tell you right there that this is gonna be a lean, mean, ass-kicking 6-song EP. Fueled by cigarettes, boozy Les Paulmeets-Marshall-stack riffs and thunderously aggressive drumming, RULE’s EP comes out of the gate strong, as Soltoff’s vocals soar above the mix like Myles Kennedy’s recent work with Slash.

Harkening back to a time when metal was metal, and the Sunset Strip was the only place to be if you wanted to make it on MTV, RULE...well...rules.

Bringing with him some of the larger-than-life choruses that Bang Camaro was famous for, Soltoff and crew (or should I say crüe) hit their stride with the chugging “Clinging to Life” before dialing back the tempo and dimming the lights for the gin-soaked “Bloodletter.”

The only thing that could make this EP better would be to release it on cassette, so we could listen to it in our ’83 Trans Am. Oh well…

Mixed by Benny Grotto at Mad Oak Studios Additional Mixing by Mike Quinn at Moontower Studios Mastered by Jeff Lipton at Peerless Mastering rule.bandcamp.com -Benjamin Ricci

Ruptures DECA San Gabriel Valley, CA (Self-released)

“Post-punk sizzling with emotion and angst” Filled with sizzling energy, Ruptures deliver the goods with an authentic look into post punk and screamo. Their music can easily startle listeners of softer genres, yet their approach is powerful, and the message they send can certainly reach many who feel their vision. The overall themes reflect echoes of pain, loss, rebirth and new hope. DECA is a collection of nine songs, cohesive and masterfully orchestrated to attract

www.rupturescollective.com -Shawn M. Haney

Simon McBride Crossing The Line Belfast, Northern Ireland (Nugene Records)

“Belfastest” The holy trinity of Belfast rock and roll – Van Morrison, Rory Gallagher, and Gary Moore – might be on the verge of becoming a four-leaf clover.

Taking up the mantle of blues guitar extraordinaire after Gary Moore’s death last year, Simon McBride takes his gunslinging across the pond for his blistering U.S. debut (and third album overall), Crossing the Line.

It seems every few years there’s a new 8-yearold prodigy shredding at a state fair somewhere on YouTube who’s going to be the “savior of blues”… and then that’s the last you hear about him. Simon McBride was that prodigy. The man can flat out play - with a precision and speed that could have been destined for indulgent YouTube novelty - if it weren’t for his rock-solid songwriting and variety.

Simon McBride is more than a blues pyrotechnic. Like later Jimmy Page, the fireworks are built around the songs, rather than an excuse for them.

And the songs are often as indebted to an ’80s metal swagger or a Ted Nugent sneer as they are to blues.

As such, Crossing The Line has plenty of crossover potential to give an American rock audience a stiff shot of Irish blues.

Ireland: home of whiskey, shamrocks, Blarney stones – and searing, face-melting blues-rock guitar – naturally.

Produced by Richard Pravitt Mastered and Mixed by Peter Denenberg www.simonmcbride.net -Ari Goldberg

Some Army

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an audience yearning for something with an edge and attitude.

From San Gabriel Valley, California, Ruptures spill their souls and hearts to create a sound that is unmistakably post-punk, yet they are original and express a unique, trademark sound. “Junegloom,” “MECA” and “Circles” are the highlights here. Each song is filled with angst, and perhaps each track is just the right length, clocking around two minutes. Albums like these are great to exercise too, perfect for releasing stress and letting off steam. Certainly DECA is strong enough to be used for a cop movie or action movie soundtrack.

The production quality is strong; each instrument played is executed with great precision, and the vocals are spot on. A great album for the post-punk genre, certainly Ruptures as a band will turn the heads of many as they continue their fall tour.

Some Army EP Chapel Hill, NC (Self-released)

“Gorgeous group of indie hymnals” The latest release by the Chapel Hill sextet of astral indie rockers, this self-titled EP is a parasol of sentiment and kindly cultivated refrains that protect the heart and entertain the ears.

Song after song is packed with gentle, hyperpalpable melodies that drift along like cubozoa in the tide, wherein comforting couplets sway like favored letters from home. The group’s explorative use of space, cascading chords and nostalgic tones serves as an aide-mémoire towards the ideals of organic rock, and the manner with which it is adorned with grace and shadows conjures up the sultriest pathos.

The EP’s closer, “Children of the Maiz,” is a mid-tempo stroll adorned with dreamy slide guitars, elevated organs and heavy-hearted croons.

Singer Russell Baggett gently pipes “I know I’m just a razor blade among so many knives, but I bet that I could cut you if I tried” as the verses softly coast by, before riding up a marching crescendo of unfeigned dissonance.

This collection of authentic artistry is an ardent swipe that serves as evidence to the immense praise for talent the group has gotten whilst teasing listeners till the beauty of a full-length.

Rayna Gellert Old Light: Songs From My Childhood & Other Gone Worlds Swannanoa, NC Genre: Singer/Songwriter

Philistines Therewolves!

San Francisco, CA Genre: Rock and Roll

Recorded by Russell Baggert in the Spirit Lodge Mixed by Andrew Kinghorn and RB Mastered by Nick Petersen at Track & Field somearmy.bandcamp.com -Taylor Haag

Blessed Feathers Peaceful Beasts In An Ocean Of Weeds West Bend, WI Genre: Indie Folk

LISTEN TO MUSIC FROM THIS ISSUE @PERFORMERMAG.COM

WANT TO BE FEATURED AS A TOP PICK? SEND US YOUR MUSIC! EDITORIAL@PERFORMERMAG.COM

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

NOVEMBER 2012 PERFORMER MAGAZINE 43

LICEN S I N G

Make DIY Projects Stand Out to Music Supervisors

Hiring Outside Help to Mix Home Recordings

When I wear my music licensing agent hat, one of the most frustrating parts of the job is listening to hundreds of songs that sound horrible.

Sometimes they’re sub-par performances, but the vast majority of the “bad” ones just sound...weak.

They sound lifeless, out of time, tired, or even jumbled. The sound gets in the way of the song.

Here’s the truth: if your song doesn’t sound fantastic or better, you are simply out of the running - regardless of that killer bridge and lyrical hook.

We’re at a place in the independent community where you have a real chance of making money from your music, but if you’re pushing some unmastered, shoddy Pro Tools home recording with a smiley-face EQ mix, it ain’t gonna happen.

The harsh reality in today’s music business is that songs don’t really matter as much as recordings of songs do. This comes down to how, with whom, and where a song is recorded. In many cases, the magic is really in the choice of how a song is mixed and mastered. Most independent releases have the same person filling all of those shoes, except for maybe, mastering - which has traditionally been a separate process.

Recently, I am seeing mixing being treated much more like mastering; songs are sent out to a specialist not involved in the recording. I tracked down two of the mixers doing great work in the independent community - who have also worked on big stuff - to get some insight on what they do, and why you should choose an outside mixer.

I spoke with Justin Peacock of The Hook Factory (thehookfactory.com) and Joe Costable of C-List Productions (joecostable.com). Justin 44 NOVEMBER 2012 PERFORMER MAGAZINE

has done live mixing for John Mayer, Ladysmith Black Mambazo as well as others, and just finished up work with Carbon Choir. Joe mixed Good Charlotte’s Cardiology, and just finished mixing the debut for a band called Thorne. Both started out as assistant engineers and eventually (after constant learning, training and hustling), worked their way into producing their own projects. They are now both at the forefront of outside mixers, and here are the highlights of those interviews.

What’s your definition of what a mixer does?

Costable: The way I explain it to people who don’t know anything about the process is that I take every instrument and put the puzzle together. I have to make a spot for everything and create that crystal clear imag Peacock: Technically, a mixer balances instruments, shapes the sound of individual elements as well as the whole, and fixes problems.

Artistically, however, a mixer should dig into the core and bring out the energy, emotion and groove of the song. It’s a lot more than just the right snare drum sound.

Why do you think more artists are considering outside mixers rather than in-house?

by Michael St. James photo by Benjamin Ricci

person do it all is that the producer and artist might be tired of the project to a degree. Or they’ve just heard it so many thousands of times. It’s hard to give a fresh and exciting approach to something you’ve been living with for who knows how long.

Costable: The downside of having the same person produce and mix can be the act of being so involved with a project that you’re not able to take a step back. You become so attached you’re never quite happy with it. You really need a professional to make your recordings shine, and as much as I hate the term, get the “industry sound.”

What makes a great mix?

Costable: Making sure nothing steps on anything else or speaks louder than it needs to. Once you have that, the different textures that create the emotion or “vibe” of the song can really come through. If you close your eyes you can almost see every instrument as if it were on a stage in front of you.

Peacock: It is exciting. It grooves harder, feels deeper. It captures and enhances the spirit and emotion of both the song and the performance. A band that recently chose my mix out of three others they auditioned said that it just “felt better.”

That’s what it’s all about.

Peacock: The disadvantage to having one

USEFUL INFO FOR HIRING OUTSIDE MIXERS: -It usually takes one day per song for a good mix.

-Prices are always dependent on the project, but generally, can range from $200-$500 per track for independents.

-Normally, a mixer needs the exported consolidated audio files (ask your studio engineer). Even better, use your own external hard drive, and send it when tracking is complete.

-Most mixers utilize Skype, live streams, and other online tools to keep you in the loop from anywhere in the world.

-Mixers can point you to great mastering houses. Do not forget this step.

LEGAL PAD

PAY UP

photo courtesy of Warner Brothers

Setting Up Your Band’s Finances, Paying Professionals & The Law WHETHER YOU’RE PLAYING AT LOCAL CLUBS OR TOURING THE REGION, NATION, OR BEYOND, paying the professionals who help you along the way is part of the cost of doing business. But what are the best practices to implement when paying those people? Here is a quick list for setting up your band’s business and payment plans, with some legal considerations along the way: BAND BANKING: 1) Set Up Your Business: To get a business bank account, your best bet is to establish a formal company - which is not as complicated as you might think. The most popular entity for bands is the Limited Liability Company, often used because they are less complicated to maintain and provide liability protection against you personally. An LLC is coupled with tax advantages less formal than corporations. LLC requirements vary from state to state, but can often be filed online at the Secretary of State website. To check out options for forming an LLC where you live, go to www.nolo.com, search “LLC” and click on your state.

2) Get an Account: To set up a business bank account, you’ll need a Federal Identification Number (like a Social Security Number, but for your business), which is easy to do and required for a checking account, line of credit etc. Go to www. irs.gov and click on “Apply for an EIN” under “Online Services”. It only takes a few minutes.

Select the option for obtaining your letter online as a PDF. Bring this document and your LLC filing to your local bank and they’ll get you set up.

3) Keep it in the Bank: Once you have your bank account set up, it should be the destination for all revenue earned by your band. Although most small venues deal in cash, it’s wise to deposit everything in your business bank account before paying for expenses. Your manager and other business professionals will be paid on a percentage of your gross or net earnings, so a detailed record is key. Make a record of any expenses you make in the course of your business operations. For tax purposes, categorize your business expenses (i.e. travel, gear, promo, food, etc.), as this will make itemizing your deductions easier down the road.

HOW & WHEN TO PAY: When and how much you pay people who work for your band will depend on many factors. While there are a variety of tradesmen, professionals, and artists that you will hire, they will generally fall into only a few categories: Servicers: In most circumstances, this will include everyone from your lawyer to your manager to your accountant. These professionals should be paid out of your bank account like you pay any service provider in your personal life (guitar repair tech, plumber, mechanic). No special tax forms or employee arrangements will apply (but more on that later). Simply cut a check from your band’s checking account and keep track of the expense.

Keep in mind that many of these individuals work off a percentage of your income (manager: 15%, agent: 10%, business manager: 5%). An important consideration is when the fee will be paid to these professionals: monthly, quarterly, semiannually, or “by-the-gig.” The more consistent your revenue, the more consistent your payment will be (i.e. if your group plays all year round, setting up a quarterly payment schedule should be easy. However, if your gigs are sporadic, a more specialized payment structure should be arranged). No matter what your system, make sure your payment percentage and timeline are committed to in writing at the outset of your business relationship.

Employees/Independent Contractors: Throughout your career, there will be a multitude of individuals who you hire who will be classified in one of two camps: “employees” or “independent contractors.” The distinction is important because it determines how you pay the individual and includes a variety of tax consequences.

There is a gray area between the two, but the IRS generally looks at three factors to distinguish: behavioral control, financial control and relationship. Employees are told when, where and how to work. Employees have set hours and are paid an hourly wage or salary. On the other hand, independent contractors work on a project-by-project basis, and can take as much time as they need to complete the project for a set fee. Employees will have vacation days, sick leave, and will likely use equipment or office space provided by your

business. Why are these distinctions important to you? It’s dollars and cents. For each employee, your band will have to pay federal payroll taxes, unemployment taxes, deduct applicable state/ federal income taxes, and provide tax forms to the federal government. For an independent contractor, you simply pay what amount is owed and, at year’s end, provide the individual with a tax form called a 1099. A great example is a photographer.

Hire them for a tour, and they’re probably an independent contractor. Hire them for an indefinite amount of time, covering your day-to-day (recording, interviews, tours, promotion, leisure time) while providing them with equipment and space to edit, and they’re likely an employee.

Partners: Your “partners” are your bandmates and, for better or worse, you split what is left over after all the necessary expenses, servicers, and employees/independent contractors are paid. If done the right way, there should always be a good amount left (at least proportionally) once overhead is paid. You can pay the partners directly from your band bank account. The income will be taxed through your personal income at years end, with each band member filling out an IRS K-1 form. So who gets what? As part of your LLC - as discussed above - you’ll want to create an “Operating Agreement,” which is essentially a rule book for the partners to abide by. An operating agreement lays out an understanding of how money is raised, profits are split and partners bought-out. Specific to partner payments, make sure to include terms in percentages and timing.

It’s also important to determine what money will be kept in your band’s account to front overhead expenses for the next pay period.

Adam Barnosky is a Boston-based attorney and writer. For music industry news, entertainment law updates, or to suggest an upcoming Legal Pad topic, find him on Twitter @adambarnosky.

Disclaimer: The information contained in this column is general legal information only. Consult your attorney for all specific considerations.

NOVEMBER 2012 PERFORMER MAGAZINE 45

STUDIO DIARY

Vintage Synths, Tons of Guests & Setting Up Shop at Home

interview by Benjamin Ricci photos by Jonathan Dueck

IN THE STUDIO WITH OMBRE MEMBERS: Julianna Barwick and Roberto Lange (aka Helado Negro) ALBUM NAME: Believe You Me RECORDING STUDIO: Island Universe Space - Brooklyn, NY RECORD LABEL: Asthmatic Kitty RELEASE DATE: August 21, 2012 RECORDED AND MIXED BY: Roberto Lange

PRE-PRODUCTION

What was your pre-production like on this project?

Roberto Lange: YouTube and eating and laughing…

How did you choose the studio?

Lange: It is conveniently located inside [my] house.

PRODUCTION

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

Lange: We were just trying to put together a palette of sounds we were both comfortable with through song ideas and cycles.

Julianna Barwick: We were looking to make a record that was fully collaborative, bits of you, and bits of me. I think we won. We weren’t sure where it would go or what it would sound like.

How does it compare to your last release in terms of style and the creative process?

Lange: This is actually our first release as a collaborative group.

46 NOVEMBER 2012 PERFORMER MAGAZINE

- Deagan Vibraphone - Danelectro Baritone Guitar - Slingerland Drums - Fender Stratocaster - Blacet Modular Synths - Moogerfooger Analog FX Module

HAVE A UNIQUE STUDIO STORY TO SHARE? EMAIL EDITORIAL@PERFORMERMAG.COM - Maestro Echoplex - Akai MPC 1000 and 2000 XL - Ableton Live - MDA Plug-ins - Arp Odyssey Synth - Andromeda Autonomous Bassline Generators

- Bugbrand BoardWeevil - Korg Monotron - Teenage Engineering OP-1 - Scully 280 1/4” Tape Machine

STUDIO DIARY

KEY GEAR

“We were just trying to put together a palette of sounds we were both comfortable with through song ideas and cycles.”

Did you use any special gear or recording techniques on this one?

Barwick: I used my gear, what I’m used to my loop station, my laptop - to create some of the sounds at home, then I’d bring them to Roberto’s studio and we’d use his setup to put it all together.

We recorded a ton of stuff live in his studio.

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

Lange: I think whatever services the idea you have the best. Nothing is greater than the idea you are trying to realize.

Any special guests?

Barwick: Yes we had different sessions players come in [for the recording]. Jacob Wick (trumpet), Matt Crum (drums and percussion), Shelley Burgon (harp), Matt Bauder (saxophone), Shannon Fields (clarinet, Omnichord, Casio keyboard), Mario Schambon (percussion), Jason Ajemian (double bass), Jamie Reeder (violin), Jason Trammell (electronics and percussion), and Ahmed Gallab (Mellotron and Moog).

What were the toughest challenges you faced?

POST-PRODUCTION

How did you handle final mixing and mastering?

Lange: It was mixed at my studio, Island Universe Space in Brooklyn, NY.

Lange: Coming up with solutions to some of the song ideas. How things would begin and end...

Barwick: Roberto and I had a tendency to talk a lot and show each other stuff on the Internet. We had to really harness in our concentration to get stuff done.

Lange: It was released August 21st via Asthmatic Kitty Records.

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

Lange: Yes, a gatefold LP with spot-varnish printing, beautiful photos and design work by Paul Coors, Carlos A. Lange and Jonathan Dueck.

Barwick: I quite enjoyed when Roberto exposed me to the magic that is Marvin Sease.

Who are you releasing this through?

Any special packaging?

For more, visit asthmatickitty.com/ombre.

NOVEMBER 2012 PERFORMER MAGAZINE 47

GEAR

MY FAVORITE AXE

with Teddy Heavens of Rebel Rebel photo by D’Licious Chaos Photography

BACKGROUND

WHAT IT SOUNDS LIKE

I am the founding member of the Los Angeles shock rock band, Rebel Rebel, as well as the GG Allin/Iggy & The Stooges punk rock cover band, The Los Angeles Death Dolls.

Thick, rich and full!!! This model cost over $3,500 when it came out, so the construction, materials and craftsmanship are top notch. The guitar will stay in tune from rehearsals in Los Angeles to a gig in Europe and return still in tune. The body is heavy ash and it has a smooth rosewood fretboard.

MAKE AND MODEL 1984 Roland G-707 guitar synthesizer, used only as a regular guitar.

WHAT IT MEANS TO ME This guitar has been with me for over 25 years and has played every gig (300 plus) all around the world - from San Diego to Paris.

48 NOVEMBER 2012 PERFORMER MAGAZINE

PICKUPS This guitar has standard Roland humbuckers and one bridge synth pickup.

Perfect for heavy rock and roll.

BODY MODIFICATIONS The only changes are the stickers and wear and tear from playing gigs over the years. Plus a pick holder on back of the headstock.

CAN BE HEARD ON A Rock In The Face: The Best of Rebel Rebel, available on iTunes, as well as all Rebel Rebel releases.

VISIT www.rebelrebel.org.

Got a favorite instrument you’d like to share?

Email us at editorial@performermag.com.

P R E S E N T S

Give a HOOT. Go see these shows. And there was also something about polluting...which I seem to have forgotten...

ATLANTA

@The Drunken Unicorn November 21 feat. Qurious Feast of Violet Easily Suede Doors @ 9:00 pm $8 - 18+

Brought to you by:

SAN FRANCISCO @ Slim’s November 8 feat. The Sea and Cake Matthew Friedberger (from The Fiery Furnaces) Doors @ 8:00 pm $21 - ALL AGES

GEAR GUIDE

MACKIE

Unveils Revolutionary New Loudspeaker Series A Conversation with John Boudreau, SVP Marketing & Product Development

by Benjamin Ricci photos courtesy of Mackie

DL1608 DIGITAL MIXER

Back in August, we flew out to Mackie headquarters in Seattle for a mysterious product announcement and unveiling. Now, we knew it had something to do with loudspeakers, but we weren’t prepared for this: the new, ultra compact DLM Series 2,000W Powered Loudspeakers. Three models were introduced:

DLM8 POWERED LOUDSPEAKER

DLM12 POWERED LOUDSPEAKER

DLM12S POWERED SUBWOOFER

Incredibly powerful, Mackie DLM Series loudspeakers deliver premium sound in the most compact, professional portable loudspeaker series ever. We had a chance to ask John Boudreau, SVP Marketing & Product Development, a few questions about the new loudspeakers, and their place in the market. An 11-year Mackie veteran, Boudreau offered a wealth of information for musicians.

How did you fit so much power into such a small enclosure?

Getting 2,000 watts of power into such an ultra-compact design wasn’t easy. We aimed to create an amp platform for the entire range of DLM speakers and therefore the dimensional restrictions of the incredibly compact DLM 8 became the target. Mackie has been designing small, powerful amps for powered speakers ever since the HR824 and SRM450. We have a couple of incredible amp designers in Cam Jones and Rene Jaeger who have a combined 50+ years of amp design between them. They were excited about the challenge and used their combined expertise to design this next generation ultra-efficient class D amp platform for the DLM line. It is certainly their most impressive design work to date.

50 NOVEMBER 2012 PERFORMER MAGAZINE

Why did you decide to integrate a mixer into the speaker enclosures?

Since we were designing a new digital mixing platform for the DL1608, it was a natural idea to consider what a micro-sized digital mixer and processor could do for a powered speaker. The DL2 mixer has a variety of connection types so a person can mix, say, an acoustic guitar and vocals without even needing a DI box. Then, there are 16 great-sounding effects they can apply, including a variety of reverbs and delays. The built-in feedback eliminator and speaker voicing also take the guesswork out of dialing in a great front-of-house and monitor sound. So, while there’s ample processing that will surely be helpful for just about any venue, we had the musician in mind when creating the DL2 mixer.

Will this make front-of-house mixers obsolete for clubs?

Absolutely not. After all, more than a couple of inputs are typically needed for any live performance beyond a singer/songwriter or DJ. Again, this is where the new DL1608 comes in as the DL/DLM products were designed to be a next-generation PA system for the small to mid-sized live music venue. But, for situations that only call for a couple of inputs like an acoustic café or DJ-centered club, DLM’s system processing and digital mixing make it a superb stand-alone solution.

Will you be able to control the new system via the iPad or Android devices?

No. However, the companion DL1608 digital

GEAR GUIDE

You can go all the way back to 2007, when EAW had launched their MicroWedge Series of stage monitors which incorporated a verticallyaligned transducer. At the show, there were a few high-end manufacturers using this type of transducers. The immediate thought was that we have an inherently better-sounding transducer that is significantly smaller than a traditional transducer set. If properly implemented, it would be portable powered loudspeaker gold. Once [several] critical design hurdles had been overcome, it was a 12-18 month project.

When can we expect these to hit the market, and what are the price points?

DLM8 POWERED LOUDSPEAKER

mixer is controlled by an iPad and can even mix wirelessly.

There is a lot of advanced functionality in the new loudspeakers usually reserved for larger touring rigs. Will this be aimed at DIY and independently touring artists?

Even though DLM packs some serious DSP power and a bunch of mixing tools, one of the major design goals of DLM was to make it easy to use. For instance, our implementation of TruSource DSP provides powerful acoustic correction that delivers sound quality on par with high-end touring rigs, but there’s zero setup for the user. Since it’s built-in and finely tuned, a DIY’er just plugs in an instantly has extremely high-end sound quality. After a ton of market research and user feedback, we designed the DL2 digital mixer to navigate much like a car stereo.

The way that you scroll through parameters is intuitive and the learning curve is practically eliminated. It’s a great way for people who might not be familiar with mixing tools to use them. The feedback eliminator alone is going to help a lot of people make their gigs sound better.

As an artist, why would I choose this system over another loudspeaker currently on the market?

DLM loudspeakers are, on average, a third smaller than and 20% lighter than traditional 2-way loudspeakers. And since they deliver 2,000 watts of power in such a compact form factor, any artist who transports their own PA is likely to get excited at the thought. Never before has there been a loudspeaker system that can easily

DLM12 POWERED LOUDSPEAKER

fill a medium-sized venue with such premium sound that you can pack into the average compact car. We didn’t sacrifice a drop of sound quality and we’ve also added a ton of amazing mixing tools and processing. We’ve played the portability game before, but DLM loudspeakers take it to another universe.

As a club owner or sound engineer, why would I be interested in this system over my existing setup?

A club owner is going to love the sleek look and small size of the DLM series. The high-output DLM12S subwoofer is incredibility small considering it delivers 2,000W of deep low end. You can easily fit these under a stage. The small size of the DLM top boxes is also great since they are easily flown or wall-mounted with simple accessories.

Saving space on stage is great for bands. Saving space on the floor is great for owners. Add in the iPad-controlled Mackie DL1608 digital mixer and things get really interesting. Engineers can get rid of their snake and mix from anywhere in the venue. Actually, club owners might like this, too. Maybe room for another two-top or space for someone to sip a $14 drink?

Was the DL1608 live mixer designed as a precursor to this system?

Actually, the DL1608 and DLM loudspeakers were [conceived] at the same time. Our approach was to advance the idea of the live sound system with these two product lines.

How long has your engineering team been working on the new speakers?

These will be available globally throughout Q4.

DLM8 - $879.99 MSRP ($699.99 U.S. street) DLM12 - $1059.99 MSRP ($849.99 U.S. street) DLM12S - $1249.99 MSRP ($999.99 U.S. street)

How do you foresee the future of loudspeaker technology being affected by the new announcements?

It is a growth market and the technology becoming available to employ in these products is very exciting. We are happy to be leading the pack, bringing pro-level tools and sound quality into more affordable designs. We’re sure there will be imitators; there always have been. But that won’t stop us from looking ahead at the next generation of technology and doing our part to make it affordable for anyone who wants to have the best possible sound.

How has the development of these new products affected your own R&D efforts?

It’s a big win for Mackie’s design team to overcome all the challenges and deliver the compact powerhouses that DLM are – 2,000 watts, TruSource fidelity and digital mixing and processing in the smallest form factor ever. Same for our popular DL1608 digital live mixer. While we can’t divulge what’s in the pipeline, with these new technologies in our bag of tricks you should look for other products that take advantage of their benefits. We are dedicated to creating technology that drives the industry forward.

Will you be demoing the new speakers at Winter NAMM in January?

Of course. Come visit Mackie upstairs in Demo Room 209A/B during NAMM to hear the DLM system in action alongside the DL1608.

For more information: www.mackie.com/products/dlmseries

NOVEMBER 2012 PERFORMER MAGAZINE 51

RECORDING

Recording & Mixing Guitars in the Studio Part 2 of 2

What’s the best way to record and mix electric and acoustic guitars? We have found that there is no “one way” to do anything in the studio, but here are some tried and true methods that are usually good places to start. One thing we have learned over the years is that a cheap electric guitar can sound great but an acoustic guitar is an entirely different beast. There’s no covering up for a crappy acoustic. No amount of processing and/or mic placement can make up for the lack of depth and soul that a well-crafted guitar like a Taylor or Martin exudes.

In Part 1, we covered mic placement, fattening up your tone, recording dry and with reverb, double tracking rhythm parts and panning guitars in the mix. Part 2 continues below. [editor’s note – catch up on what you missed in “Part 1” by reading the October issue online at performermag.com.]

OPENING THE MIX When layering acoustic and electric guitar parts, it’s important for each to reside in their own space: usually expressed as depth (reverb/ delay), panning and frequency (EQ). Often we’ll try hard panning (70 – 100%) the two guitar parts (one left, one right) to see if they create a nice stereo spread. Remember to also pan any effects sends like reverb that you have on the guitar, as well. If it just starts sounding like mud, then we’ll try something else. If it works though, this stereo spread can open up the mix for the lead vocal, bass, kick and snare, which usually reside in the middle and share many of the same frequencies. You can also try reversing the phase of the doubled tracks, which can often create a neat stereo phase effect, also leaving room for vocals in the middle of the mix. We’ll almost always do a low frequency roll-off (starting around 80Hz) to the guitar tracks because there isn’t any useful information down there 52 NOVEMBER 2012 PERFORMER MAGAZINE

anyway. When the vocals are cut, we’ll start to do some subtractive EQ on the guitars, as well (usually starting our search around 500Hz with a fairly wide Q) to make room for the vocals. All of these adjustments are best done while listening to the full mix, NOT the guitar soloed.

GUITAR AMP PLUG-INS If during your rough mix session you still aren’t pleased with your guitar sounds, try using a guitar amp plug-in (we like Native Instruments Guitar Rig, pictured). It’s like having every possible pedal board and amp combination at your fingertips (take that 9-volts!) Remember when we urged you to record your guitar tracks dry?

Amp simulator plug-ins generally don’t sound very good when the input track is already wet. In fact, they tend to get muddied up pretty quickly.

It’s fun to scroll through the presets and then fine tune once you’ve found something that fits.

Feel free to run your signal through all those

vintage Fender, Vox and Marshall simulators, but be sure to choose a final plug-in that’s still appropriate for the track you’re cutting.

ANTI-INTUITIVE KNOB TURNING What if the guitars just aren’t doing it for you in the mix? It’s not about science. It’s about what sounds good. Try to mix with the levels as low in the control room monitors as you can. We know it’s not as sexy as blasting it, but loud monitoring usually creates mixes that fight themselves, not to mention create severe ear fatigue. Get a good rough mix going and then throw out some of the “rules” and start turning some knobs (or dragging your mouse around) and try not to watch the screen or think too much while you’re doing it. Just listen and take notes. You can always “undo” what you did (ah, my friend CTRL+Z), so let your creative brain have fun and tell your rational brain to chill out for a while. Some of the best mixes have come about through “mistakes,” so don’t be afraid to push the envelope.

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.

Reach him at zac@nighttrainstudios.com.

Brent Godin is a bassist/guitarist and engineer/ producer at Night Train Studios and talent scout at Black Cloud Productions. Reach him at brent@blackcloudproductions.com.

FEATURES Input Impedance Output Impedance Power Consumption Signal to Noise Ratio Frequency Response

PROS

CONS

Small size, great tone, very adjustable.

No English manual provided.

Most bassists rarely use effects, but HAO’s Bass Liner Preamp may be seen in front of more bassists’ feet in the future.

While an English manual isn’t provided, the unit is pretty simple to use. It’s got a lot going on in a small package, including five individual EQ knobs controlling the frequency spectrum from 50 Hz to 12 kHz. The level and input gain controls are front and center. The two switches are

a mute, and a simple on/off switch. There are two outputs, one that is a typical signal out, as well as a direct out. Hooking up a tuner to the direct output, and using the mute switch enables silent tuning. The other option is to run this signal to a separate channel or mixer to switch the two signals. It runs on a 9v battery, but will work with 9 and 18V power adapters. The 18v gives a lot more headroom and is a bit quieter.

>20K ohm >30K ohm 9V battery 45mA, 18V DC 52mA 82dB 10Hz~120KHz

GEAR REVIEWS

HAO Bass Liner (BL-1) Preamp Pedal - $299

Regardless of the pickup type, it sounds great, and even with passive single coils, the sound is rich and full. The EQ is quite flexible, and the input gain gives grit, not overdrive. Boost the mids for more punch, or drop the highs for a warmer tone, without getting any flubbiness.

When boosting the lower frequencies, it does just that; it doesn’t mess with the other EQ spectrums.

For a bass player who really wants to sculpt their tone, this is perfect! Using it as a boost to jump out of the mix when needed, such as the rare times there’s a solo or breakdown, and the sound guy can’t be counted on to adjust the mix.

For a bassist “on the go” this pedal is well worth it; the ability to control the tone, regardless of the amp being used, is a godsend, and considering it’s small enough to fit into a gig bag, the price is well worth it. -Chris Devine

DYNAUDIO DMB50 Studio Monitors - $499 each- $299 FEATURES Frequency Response (+/- 3 dB) 46 Hz - 21kHz Idle 5.8 W Power Consumption Max 94 W Tweeter 50 W Amplifier Power Woofer 50 W 39 Hz Resonance Frequency 1,500 Hz Crossover Frequencies 28 mm soft dome Tweeter 7.1 inches Woofer 16 lbs Weight 9.1” x 13.7” x 13.2” Dimensions

PROS Great sound, good design, excellent flexibility.

CONS None.

Monitors are the ears of every studio, and when it comes time to mix, it’s not a place to cut corners. Dynaudio’s angled DMB50 Monitors offer up a new design that makes you think, “Why hasn’t someone else thought of this?”

They’re a decent size, but won’t clutter any studio’s desktop space. The speakers are angled upwards, meaning that they don’t need to be mounted on monitor stands or an elevated shelf for optimum playback. The drivers are handmade, with a 1” tweeter, and a 7.5” woofer. The rear panel has XLR and RCA connections, as well

as a series of filter switches, allowing the speakers to be tuned for the room that they’re in. At 50-watts each, they can pump out up to 117 decibels. A stand-by mode also allows the speakers to be “on” while not emitting sound.

Sound-wise, they are simply fantastic. Low frequencies are crisp and powerful, and the high end is tight, but not harsh. It really doesn’t matter what kind of music is going through them. The ability to adjust the filters, mixing to whatever frequencies that might be under scrutiny in a mix, as well as adjusting to the room,

is excellent. A lot of studios use multiple sets of monitors, which have varying specialties for mixing various frequencies. A set of these bad boys could end that practice, and easily unclutter a studio at the same time.

Overall, for a home studio, they’re a bit pricey, at roughly $500 a piece, but they’re a professional piece of gear, and monitors are one place where spending a few of extra bucks is well worth it, especially when they sound this good!

-Chris Devine

NOVEMBER 2012 PERFORMER MAGAZINE 53

WASHBURN WCG25SCE Acoustic Guitar - $1069

GEAR REVIEWS

FEATURES Body Style Top Sides Neck

PROS

CONS

Excellent construction, playability and sound.

A little expensive compared to other imports.

Washburn’s been making guitars for over 100 years, and even though acoustic guitars haven’t changed much in basic design, the features on their new acoustic give it a modern edge.

The WCG25SCE (quite a mouthful) is a single cutaway auditorium style, meaning it’s a bit smaller than a dreadnaught, with a solid spruce top and rosewood sides and back. The interesting design is complemented by mahogany binding, as well as the ergonomic bevel on the side, right where most other acoustic guitars’ edges dig into the player’s forearm. A nice maple and mahogany rosette detail on the sound hole gives it a classy modern look. The satin-finished 25.5” scale neck is mahogany and is capped with a beautiful rosewood fingerboard.

This model is equipped with Fishman’s Isys 501T preamp with an internal microphone and undersaddle transducer, as well as a built-in tuner.

The controls are placed where they’re easy to get to, and don’t clutter the aesthetics of the instrument.

The fit and finish is excellent, with the application of fine tone woods for sound and appearance.

It’s definitely a professional-level instrument, with a crisp and modern sound that doesn’t lack any low end or fullness. Each note seems to jump out of the sound hole. Chords are rich and dynamic. It’s one of those acoustics that seems to have the songs already in it, which are just begging to come out Playability is perfect, the fretwork and satin finish are fluid. The neck shape isn’t a traditional

Fingerboard Bridge Tuners Scale Nut Width Frets Electronics

Grand Auditorium Cutaway Solid Spruce Rosewood Satin Finished Mahogany w/TwoWay Truss Rod Rosewood Mahogany Bound Rosewood Bridge Die Cast Chrome Washburn Tuners 25.5” 43mm 20 Fishman Isys 501T w/ Tuner/Mic/ Undersaddle Transducer

acoustic shape, a bit thinner, but still has beef to it. Electric players would have no problem transitioning to this, even with its higher setup. The electronics are top notch, and it still retains the excellent tonal character of a classic acoustic, with great playability and full tone.

It has a suggested retail price of $1069, which is a little expensive for a guitar made in China. But the workmanship is certainly on par with some other American-made models. With its top-notch construction, features, and sound, it’s an acoustic that certainly won’t let anyone down.

-Chris Devine

ERNIE BALL Everlast Coated Acoustic Strings - $15 per set

PROS Great sound, long life, feels great.

CONS None

54 NOVEMBER 2012 PERFORMER MAGAZINE

FEATURES Guitar Type Core Material Winding Material Winding Type Coated

Acoustic Steel Phosphor Bronze Round Yes

Ernie Ball is the father of modern guitar strings, and one of the first companies to offer custom gauge string sets. The current trend is coated strings, and they’re not going to be left out in the cold with their Everlast strings.

The latest offerings come in .10, .11, .12, and .13 sizes, and in phosphor bronze and in 80/20 bronze alloy versions. The coating isn’t something you really feel, but over time they resist moisture, and more specifically, sweat. The oils in a player’s hands can cause corrosion and take the tone away from a guitar’s strings very quickly. The bronze strings feel a little darker than the alloy version, but this can vary depending upon the guitar’s construction and wood. The overall feel and tone is excellent, and the consistency between sets is fantastic.

Overall, they’re great; strings on an acoustic are a huge part of its overall tone, and old strings really detract from the instrument’s natural sound, playability, and the ability to stay in tune. Dead strings can make a great guitar sound worse than an “OK” guitar with new strings. Ernie Ball has their bases covered in making a modern acoustic string. Players that really sweat a lot will really notice the difference, not only in the tone, but also in playability and string life. -Chris Devine

ARE TW SOF F I L E O PR

NATIVE INSTRUMENTS KOMPLETE 8 - $559

GEAR REVIEWS

NATIVE INSTRUMENTS The Future of Sound

Native Instruments is one of the premier software instrument developers in the world. They create samplers, sample libraries, synthesizers, and effects that have revolutionized genres and are used all over the planet. Their three main product lines, KOMPLETE, MASCHINE, and TRAKTOR each cater to a specific kind of artist, but are often combined by artists exploring new performance possibilities. The KOMPLETE product line is NI’s suite of tools for the modern musician with software synthesizers, samplers, and effects. MASCHINE is designed for producers focusing on beat-based music, with a unique workflow and extensive sample library. TRAKTOR is a revolutionary digital turntable system, helping DJs become more mobile and creative in the way they mix. Native Instruments is well known among hip-hop and electronic music producers and is increasingly used in pop, rock, and R&B, and is becoming more common in commercial production studios. Founded in 1996, they’ve continuously been on the cutting edge of digital synthesis and production, with a reputation for listening to their customers to keep up with changing demands in a quickly evolving world.

Native-Instruments.com

Native Instrument’s Swiss Army knife of production, KOMPLETE 8 gives you everything you need to make professional quality music in almost any genre. All told, there are 27 products to explore in the KOMPLETE package including synthesizers, samplers, reverb and FX plug-ins, amp modelers, and drum machines. The Massive and FM 8 synthesizers are common in pop and dance production, used to create a wide variety of sounds and textures. Massive has become a key tool for many dubstep and electro producers, known for its big sound and wobble capabilities. Kontakt is a

customizable sampler with an extensive library of instruments and a built-in audio editor for creating new instruments whenever you like. Guitar Rig is Native Instruments’ wildly powerful and creative amp modeler [editor’s note - see this month’s Recording Column on pg 52 for more], capable of reproducing many famous tones or creating wild new ones with its huge selection of amp models and FX. There is much more to the package, and each item is available for individual sale, but for a complete production solution there is no better deal than KOMPLETE 8. -Garrett Frierson

RADIO PROMOTION (terrestrial, satellite, internet)

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 NOVEMBER 2012 PERFORMER MAGAZINE 55

SPOTLIGHTS FLASHBACK PROCESSOR

Lexicon PCM 42 Digital Delay “Classic ’80s Mono Delay Unit” YEAR: 1981-82 CATEGORY: Enhanced Signal Processor BACKGROUND: The Lexicon PCM 42 was designed by Gary Hall in the early 1980s and is still one of the most prized and sought-after delay processors. They are no longer made and still sell for between $700-1,000 used. It is a mono unit that offers up to 2.4 seconds of delay (4.8s if you have the added memory). It has a very distinct sound, due to the proprietary A/D converters used by Lexicon as well as the two stages of limiters on the input. PCM 42s are most commonly used on vocals, but also sound amazing on guitars.

MODERN EQUIVALENT: PSP makes a plug-in version of the PCM 42, but it just doesn’t capture the tone imparted by the hardware version’s dual stage limiter on the input.

ABOUT THE AUTHOR: Terri Winston is the Founder and Executive Director of Women’s Audio Mission, a San Francisco-based non-profit dedicated to the advancement of women in music production and the recording arts. Dissatisfied with the representation of women in pro audio (less than 5%) Winston established WAM in 2003 during her tenure as a professor and Director of the Sound Recording Arts Program at City College of San Francisco.

-Original Promotional Material

HOW IT’S USED: The PCM 42 especially shines on vocals. If you push the input, the limiters on the input really add a distinct character and if you engage the x2 button, this lowers the bandwidth and makes it almost sound like a tape echo.

There is really no other delay like it.

56 NOVEMBER 2012 PERFORMER MAGAZINE

Today, WAM seeks to “change the face of sound” by providing hands-on training at their San Francisco studio, as well as experience, career counseling and job placement to women and girls in media technology for music, radio, film, television and the Internet.

WWW.WOMENSAUDIOMISSION.COM

Make Your Gear Work For You! MAKE MONEY

•Rent out gear when you're not using it •Sell your recording services •Expand your network and client base

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•Book studio time •Rent gear from members •Hire studio musicians

Try audio.StudioShare.org for FREE! Use Coupon Code: PERFORMER What is audio.studioshare.org?

audio.StudioShare.org is an online business platform where musicians and audio professionals can exchange equipment and services to fully utilize their own resources and those owned by other members. It allows you to schedule studio sessions and gigs, automatically bills for services and equipment rentals, and delivers a check to you each month.

StudioShare Online, LLC | Toll Free (888) 321-6974 | http://audio.StudioShare.org

N

Sound Better.

Designed for the most demanding live performances, the new Live X family of powered and passive PA loudspeakers sets new standards for portable sound.

Everything Electro-Voice has learned making audio systems for the world’s biggest events is built into Live X: •

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©2012 Bosch Security Systems, Inc.

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4/13/12 1:16 PM