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TA B L E O F C O N T E N T S
cover
28
VOL.23, ISSUE 2
story
CHEECH by Benjamin Ricci
Boston’s hardcore stalwarts give us some pro tips on how to record hardcore guitars, and explain how they’ve pushed the genre into doublealbum territory.
Gangstagrass by Heidi Schmitt
18
We recently chatted with Brooklyn-based producer Rench on his dirty fightin’, gator wrestlin’, foot stompin’ bluegrass-hiphop project.
Garrison Starr by Benjamin Ricci
22
Aimee Bobruk by Alex Lane
26
A veteran of the singer/songwriter On switching up her writing process by stripping community, Starr opens up about her out some of the emotion, and stressing quantity creative process, and how she composes over quality for a change of pace. specifically for licensing projects.
D E PA R T M E N T S 5 Obituaries
49 Legal Pad: Protect Your Band’s Trademark
6 Local News
50 My Favorite Axe: Fontez Brooks
13 Tour Stop: Denton, TX
51 Recording: Live FX vs. Plug-ins pt.1
14 Spotlights: Dopapod
52 Studio Diary: Stone Cold Fox
Fonda, Fiction Reform
34 Top Picks: The best in new music
Photos: counter-clockwise from top: Aaron Pepelis, Sean Marshall, Aaron Redfield, Holly Bronko Cover photo by Aaron Pepelis
54 Gear Reviews 56 Flashback: Ampex ATR-102 Tape Machine
46 Berklee Music Industry Jobs Report FEBRUARY 2013 PERFORMER MAGAZINE 3
FROM THE TOP Howdy, y’all!
Volume 23, Issue2
Well, after months of kicking, squirming…and more kicking, my first child finally entered the world on December 19, 2012 at 1:17 am. Annabella Grace Ricci weighed in at a lean ’n mean 6 pounds 14 ounces, and a lanky 20.5 inches tall. Not quite up to her fighting weight yet, but she’ll get there. In the meantime we’re making sure she gets plenty of tummy time and at least 15 minutes of Rocky III every afternoon.
If you think fatherhood is gonna make me soft…well then you know me quite well and I’ll thank you to stop reading my diary. Annabella already has a Kiss hat (damn, Gene, is there anything you WON’T put your face on?) and I’m working on commissioning a custom Slayer onesie. Finding one in stores has been surprisingly difficult. Weird, right?
24 Dane St., Suite 3 Somerville, MA 02143 Phone: 617-627-9200 - Fax: 617-627-9930
Enough talk. Below is a photo of Annabella doing what she does best – looking cute. She’s almost as big as daddy’s Strat now. And who knows? One day, it might be hers…
Benjamin Ricci - ben@performermag.com
-Benjamin Ricci Editor
P.S. – Annabella, if you’re reading this, please know that the guitar will never be yours. Daddy loves you, but the Strat was here first. Also, if you’re reading this, that’s amazing! You’re only like a month old! Gotta figure out a way to make money off that…
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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
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?”
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 FEBRUARY 2013 PERFORMER MAGAZINE
PUBLISHER
William House - bill@performermag.com EDITOR
DESIGN AND ART DIRECTION
Joe LoVasco - scoutco1@gmail.com EDITORIAL ASSISTANT
Alex Lane editorial@performermag.com
CONTRIBUTING WRITERS
Adam Barnosky, Alex Lane, Amanda Macchia, Ben Marazzi, Benjamin Ricci, Brad Hardisty, Brent Godin, Candace McDuffie, Casandra Armour, Chris Devine, Christopher Petro, Elisabeth Wilson, Eric Wolff, Garrett Frierson, Heidi Schmitt, Jason Peterson, John Greenham, Julia DeStefano, Kristian Richards, Lulu McAllister, Matt Lambert, Shawn M Haney, Tara Lacey, Taylor Haag, Vanessa Bennett, Warren McQuiston, Zac Cataldo CONTRIBUTING PHOTOGRAPHERS
Aaron Pepelis, Aaron Redfield, Ashley Anne Jones, Candace McDuffie, Gillian Arndt, Holly Bronko, Jacqui Hendricks, Jen Painter, Jenn Reightley, Jonathan Newton, Lulu McAllister, Matt Lambert, Melanie Aron, Sean Marshall
ADVERTISING SALES
Kathleen Mackay - kathleen@performermag.com Deborah Rice - deborah@performermag.com
EDITORIAL SUBMISSIONS © 2013 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.
Indian Sitar Virtuoso Globally renowned sitarist, and Grammy Award-winning musician Ravi Shankar died December 11 in San Diego, CA, following heart surgery at the age of 92. Responsible for introducing the sitar to western music, Shankar had been called “the godfather of world music” by George Harrison. Living in both California and Bengali, India, afforded Shankar the opportunity to introduce Indian influences to the musical culture of the West. He is remembered by his children Anoushka Shankar (who is nominated alongside her father for a Grammy in 2013) and singer Norah Jones. He will receive the Lifetime Achievement Grammy in 2013.
Mike Scaccia, 47 Metal Guitarist, Ministry Guitarist for heavy metals bands Minstry, Rigor Mortis and The Revolting Cocks, Mike Scaccia died of a sudden heart attack in Fort Worth, Texas on December 23 at the age of 47. Scaccia collapsed on stage while playing a 50th birthday celebration show for fellow Rigor Mortis bandmate Bruce Corbitt. A founding member of Rigor Mortis, and a key figure in Ministry’s development, Scaccia is credited with the influencing and developing both acts. In a recent interview, Corbitt stated the band would never perform again because “Mike Scaccia, deep down, was Rigor Mortis, so it wouldn’t be right.”
Fontella Bass, 72 “Rescue Me” Singer Gospel and R&B singer Fontella Bass, the voice behind the 1965 hit “Rescue Me,” died December 26 as the result of complications from a heart attack. She was 72. Bass was introduced to music early on as both her mother and grandmother were professional gospel singers. She began recording with Little Milton in her hometown of St. Louis, and eventually ended up recording at Chess Records in Chicago. Following mediocre success from her duets with Bobby McClure, Bass recorded “Rescue Me” in 1965, which rocketed to No. 4 on Billboard’s Pop Chart.
Patti Page, 85 “Tennessee Waltz” Singer Singer of “Tennessee Waltz” and “(How Much Is That) Doggie In The Window,” Patti Page died on New Years Day in Encinitas, CA at the age of 85. Page, whose hits crossed genre boundaries, had chart toppers in country, pop and R&B. Having won a Grammy Award in 1999 for her vocal performance on Live at Carnegie Hall - The 50th Anniversary Concert, Page was anticipating a trip to Los Angeles to receive a Lifetime Achievement Award from The Recording Academy. She will be remembered by her two children.
Lee Dorman, 70 Iron Butterfly Bassist Bassist for psychedelic rock band Iron Butterfly, Lee Dorman helped to create one of the genre’s most recognizable hits with “In-A-Gadda-Da-Vida.” Dorman was found dead in Laguna Niguel, CA on December 21 of natural causes. He was 70. The band’s chart topper “In-A-Gadda-Da-Vida” was a Top 40 hit that sold 30 million copies. The song has also been featured in a number of movies and television shows. Dorman founded another band in 1970s called Captain Beyond, but continued to tour with Iron Butterfly.
OBITUARIES
Ravi Shankar, 92
Huw Lloyd-Langton, 61 Hawkwind Guitarist Acclaimed guitarist Huw Lloyd-Langton, who played for bands like Hawkwind, Widowmaker and the Lloyd-Langton Group, died December 6 at home following a two-year battle with cancer. Debuting with Hawkwind in 1970, Lloyd-Langton left the band soon after and played with Widowmaker throughout the 1970s. He rejoined Hawkwind in 1979 and played with the band until 1988, performing on records including Levitation and The Xenon Code. In later years, he would continue to make guest appearances with the band.
Jenni Rivera, 43 Latin Singer Mexican-American music star Jenni Rivera died on December 9 in a plane crash in Iturbide, Nuevo Leon, Mexico at the age of 43. Rivera rose to fame in the Mexican-American music scene with her hit debut album Chacalosa in 1995. Following the success of that record, Rivera’s career developed with a deal with a major label, a number of successful albums and television appearances. Rivera had been nominated for three Latin Grammys over the course of her career. She will be remembered by her five children and two grandchildren.
Sarah Kirsch, 42 Punk Musician Bay Area Punk guitarist Sarah Kirsch, who was best know for her contributions to bands like Fuel, Pinhead Gunpowder, Fifteen and many more, died December 5 following a long battle with the genetic disease Fanconi Anemia. Kirsch had played with a number of groups in the Bay Area and had help to develop the sound of the punk scene in the area. Born Mike Kirsch, she had changed her name when she recently came out as a proud transgender woman.
FEBRUARY 2013 PERFORMER MAGAZINE 5
LOCAL NEWS
AUSTIN
Boutique Production Studio Helps Austin Musicians OCP Takes Creative Approach to Music Videos & Mini-Docs
by Tara Lacey photos courtesy of Onion Creek Productions
Onion Creek Productions is a boutique production studio, which is housed in a humble space on Austin’s artist-friendly South side. Onion Creek takes pride in their independent film work with interests skewing towards musical performance. It seems only natural that the documentarians would find themselves editing live footage into music videos. The company was built on the dreams of Aaron Brown, who knew when he attended college at The University of Texas that he would eventually call Austin home - the studio is what ultimately did it for him. While on an internship for VH1 in New York City, Brown helped to stage and film the largest picnic in the world among a
number of other ‘social experiments’ that gave the young producer plenty of practice creatively coloring outside the lines for film. Brown began working as a field producer for National Geographic, Discovery, and A&E. While still toiling away in mainstream media, he bought a house sight unseen and prepared to move back to Austin for good. He rented the studio space with his brother Jamie Brown and the rest is history. The pair began taping live shows for Austin’s Grupo Fantasma and did so for year; Brown admits they’ve got enough coverage to think of piecing together a documentary one day. When Grupo Fantasma recorded their first English song “Gimme Some,” OCP was charged with the task of
making the music come to life. Grupo went on to win a Grammy that year. Onion Creek Productions works with a handful of carefully selected artists. Brown says it’s all about chemistry. OCP will listen to the band, come and shoot a micro-doc, and will eventually work on a video if the fit is organic between the band and the filmmakers. Onion Creek is currently working with The Wheeler Brothers on a teaser, bio, and two music videos to accompany a new album out this spring. For more visit onioncreekproductions.com
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THE ONLY U.S. MUSIC CONFERENCE 100% DEDICATED TO SONGWRITERS AND COMPOSERS!
TAKE YOUR MUSIC TO THE NEXT LEVEL The ASCAP “I Create Music” EXPO puts you face-to-face with the most successful songwriters, composers and producers who generously share their knowledge and expertise.
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• Celebrity Q & A’s • Master Classes • Songwriting & Composing Workshops • Publisher & Business Panels • DIY Career Building Workshops • Showcases and Performances • Attendee Song Feedback Panels • Networking Opportunities • State-of-the-Art Technology Demos • Leading Music Industry Exhibitors CHECK THE WEBSITE FOR PANELISTS ANNOUNCEMENTS AND THE LATEST NEWS
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LOCAL NEWS
BOSTON
Passim Announces 2012 Iguana Music Fund Grants Over $40,000 Awarded to 24 New England Musicians by Performer Staff ARTIST OF THE YEAR KARMIN ALBUM OF THE YEAR YOUTH COMPANION BY MEAN CREEK SONG OF THE YEAR “HARDER BEFORE IT GETS EASIER” BY DAVID WAX MUSEUM NEW ARTIST OF THE YEAR CAM MEEKINS LIVE ARTIST OF THE YEAR DEBO BAND ROCK ARTIST OF THE YEAR RIBS HIP-HOP ARTIST OF THE YEAR MOE POPE & RAIN POP/R&B ARTIST OF THE YEAR SHEA ROSE AMERICANA ARTIST OF THE YEAR KINGSLEY FLOOD ELECTRONIC ARTIST OF THE YEAR ANDRE OBIN FOLK ARTIST OF THE YEAR CALEB GROH METAL/HARDCORE ARTIST OF THE YEAR CONVERGE PUNK ARTIST OF THE YEAR DROPKICK MURPHYS SINGER/SONGWRITER OF THE YEAR WILL DAILEY FEMALE VOCALIST OF THE YEAR NICOLE NELSON MALE VOCALIST OF THE YEAR CHRISTIAN MCNEILL BEST LIVE MUSIC VENUE ROYALE BEST MUSIC BLOG ALLSTON PUDDING UNSUNG HERO ED VALAUSKAS HUMANITARIAN OF THE YEAR JILLIAN JENSEN
Twenty-four New England area musicians have been chosen from nearly 300 applicants to receive grants from The Passim Iguana Music Fund. The grants, ranging from $500 to $2,000, are awarded annually to musicians in an effort to enhance their careers or aid their community outreach efforts. Grants are made in the areas of recording or manufacturing assistance; publicity & marketing support; equipment & instruments; songwriting retreats; tour support; special projects and other specific activities promoting artistic and/or professional growth. In addition, as part of the Iguana Music Fund Baby Iguana program, Rose Polenzani will receive the second installment of a multi-year grant to help fund the Sub Rosa Three Mile Island Songwriting Retreat, a program she founded that brings together a group of artists for a week each summer to write and collaborate in a secluded setting on Lake Winnipesaukee in New Hampshire. “The 2012 awards cover amazing ground from Natalie Sara Weaver, who will use the grant to fund The SONG Project, a program which introduces songwriting to women who have been marginalized, empowering them to sing their stories to 16-year-old Hayley Reardon, who will bring her ‘Find Your Voice’ in-school program to underfunded schools,” says Matt Smith, managing director of Passim. “Each of these grants allow these musicians the opportunity to fund a project or program that otherwise might not have happened.” Many of the grants
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are being used by the recipients for career development. Kristen Ford will use the grant to fund new recordings. Mark Erelli, Tom Bianchi and Lorne Entress will upgrade their home studios. Jenee Halstead, Laurence Scudder and Matt Heaton will use the grants to purchase new instruments. Gregory Liszt will purchase new video equipment while Antje Duvekot will use the grant to purchase editing software. Brian Webb will develop his own line of vintage style guitar amplifiers while Eric Royer will use the grant to build a new version of his five instruments in one Guitar Machine. “We take immense pride in providing the Passim Iguana Music Fund grants to the performers who do so much for our community throughout the year,” says Dan Hogan, executive director of Passim. “Many of the recipients of the 2012 grants use their amazing talent and creative ideas to give back to people in need. These grants really make a difference in their careers but also help them enrich the lives of so many others.” The Iguana Music Fund was launched in 2008 after an anonymous donor approached Passim with the idea of starting a program to help local artists. With the 2012 awards, the Iguana Music Fund has made nearly $150,000 in grants to more than 80 musicians, including David Wax, Girlyman, Rose Cousins, Della Mae and Kimber Ludiker. In addition to the 2012 grants, in the past year, Passim has made donations to the Kickstarter campaigns of 37 local musicians through the Iguana Music Fund. A concert featuring recipients of the 2012 Iguana Music Fund grants will take place at Club Passim on Monday, April 22, 2013. For more visit www.clubpassim.org/about-fund
2012 IGUANA FUND RECIPIENTS
Kristin Andreassen, Tom Bianchi, David Champagne, Maya de Vitry, Antje Duvekot, Lorne Entress, Mark Erelli, Kristen Ford, Connor Garvey, Jenee Halstead, Ward Hayden, Matt Heaton, Shannon Heaton, Gregory Liszt, Alastair Moock, Aoife O’Donovan, Vinx Parrette, Hayley Reardon, Eric Royer, Laurence Scudder, Bethel Steele, Natalie Sara, Weaver, Brian Webb and Natalia Zukerman
Get to Know Joe Glaser Owner, Glaser Instruments
Connecting Over 4,000 Industry Professionals Nashville Music Pros Helps Artists Find Studio Work
LOCAL NEWS
NASHVILLE
by Brad Hardisty
by Brad Hardisty photo by Sheri O’Neal Photography Joe Glaser was voted Best Repair Tech in the last Nashville Music Pros poll. His client list includes Keb Mo, and John Fogerty, just to name a few. Joe and the Glaser Instruments team were a key part of the team to restore a lot of the Nashville flood damaged instruments owned by musicians like Pam Tillis, Brad Paisley, Vince Gill, Keith Urban and many others. Joe was one of the first Plek Pro experts outside of the Plek company and has years of practical experience with the machine. Although expert handwork is part of day-to-day operations, Joe found that that the Plek machine was even more accurate than the best handwork. Glaser Instruments offers full service guitar repair. Joe makes his own famous Glaser B Bender. Staff includes: Tom Barkstrom, guitar tech and setup, Charley Lonsdorf, acoustic setup and electronics expert, Scott Holyfield, finish and structure expert, Floyd Cassista, fretwork and John Alford is in charge of the Glaser B Bender installations. For more info visit facebook.com/pages/Glaser-Instruments Glaser Instruments 434 East Iris Dr. Nashville, TN 37204 (615) 298-1139
The goal of Nashville Music Pros is to connect those working in the Nashville music business community, and to help all stay connected. “Who should join Nashville Music Pros? Musicians, Engineers, Producers, Singers, Artists, Songwriters, Record Company Executives, Publishers, Studios, Publicists, Managers, Technicians, Photographers, Video Producers, or any professional who makes their living in the Nashville music business community. Here you will find a place to connect, exchange ideas, learn, and share!” proclaims their website. Nashville Music Pros is the largest social networking/hiring site for Nashville musicians for both touring and session work. There are online forums and blogs about everything from songwriting to local musician issues. This is the place to
find other musicians to work with or connect with in the musician community rather than sites like Craigslist in other markets. Membership is submitted and reviewed and it is important to list all qualifications and previous music performances and work history. It is a professional community and although it is not difficult to qualify with some credentials, the site is not designed for somebody who desires to be a musician or in the music business. This is the best site to develop session and touring work when a musician is new to the Nashville community, so hop online and start making connections today. For more visit nashvillemusicpros.com
Nashville Jazz Workshop Connects the Jazz Community by Brad Hardisty
Welcome to Nashville’s community center for jazz, with classes, public performances, and special events. The Nashville Jazz Workshop is a non-profit organization supporting jazz musicians, jazz fans, and the jazz community in Music City. Nashville Jazz Workshop’s Lori Mecham was voted The Best Music Educator in Nashville by Nashville Music Pros in their 2011 poll. NJW has a wonderful staff and is supported by local jazz music stations and other local arts business music supporters. NJW also has an online local jazz artist station, Nashvillejazz Radio, as well as a comprehensive listing of all jazz-related events throughout the year.
Nashville session musicians have sought out opportunities to develop chops, learning and performing with the jazz community ever since Hank Garland, one of Nashville’s first guitar superstars, crossed over from country to jazz in the early 1960s, and NJW is there to support those efforts.
For more visit nashvillejazz.org 1319 Adams St. Nashville, TN 37208 Phone: (615) 242-JAZZ (5299) Contact: info@nashvillejazz.org
FEBRUARY 2013 PERFORMER MAGAZINE 9
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
E I
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PORTLAND
S S
PACIFIC NORTHWEST
LABEL PROFILE
Cassingle And Loving It
Cassette-Only Label Focuses on PDX Artists
D A W N S premieres Daytrotter session in support of debut self-titled EP, produced by Danton Supple (Coldplay, Morrissey). Love Cop’s debut tape is currently available at gnartapes.com, and a release show is scheduled at The Crayon Coffin with fellow Gnar Stars The Memories and Jerry Rogers, as well as Jollapin Jasper. Telekinesis returns April 2 with Dormarion. Preorders on CD or LP in the Merge store will receive a free, limited edition flexi-disc of a demo version of “Ghosts and Creatures.”
UNSOLICITED SUBMISSION INFO Although the label doesn’t sign a ton of acts through demo submissions, Cassingle And Loving It Records releases limited edition cassette tapes by indie artists out of Portland, OR. This means that you must be committed to releasing on this format, and be from the general area.
Yardsss, the audio/visual live soundtrack project from Krist Krueger of Southerly and
CURRENT ROSTER
Sndtrkr, recently performed a triumphant all-
Orca Team, Sugar Sugar Sugar, Slutty Hearts, Old Wars, The Happening, Bath Party, Benjamin Schoos, Nucular Aminals and more…
ages hometown at Backspace. Kladruby Gold, a Seattle-based independent band, recently released a new single, “OBC,” from their upcoming full-length LP.
STUDIO PROFILE
Founded in May of 2011 by Rachel Rhymes and Em Brownlowe, the original goal of the label was to release a cassette tape by Brownlowe’s band, The Happening, which then morphed into a “full fledged musical (ad)venture.” Their desire is to connect people with the tangible and the nostalgic quality of cassettes and promote the independent music they have a passion for. Their tapes are sold at the Record Room in Northeast Portland, which is also owned by Rachel Rhymes. They put out limited edition style releases with digital downloads by their favorite budding artists. C.A.L.I. also have a compilation in the works. -Elisabeth Wilson
LOCAL NEWS
N B
CONTACT INFO Cassingle And Loving It Records LLC 8 NE Killingsworth St. Portland, OR 97211 calirecordspdx@gmail.com www.facebook.com/calirecords www.calirecordspdx.com
Toadhouse Recording Studios
PDX HQ for Heavy Recording Projects
Cat Doorman, the new children’s media project by acclaimed illustrator and Portland
EQUIPMENT LIST
indie music scene veteran Julianna Bright,
· Toft ATB 16 Console · Lucid 88192 (2) · Pro Tools 10 · Mac Pro with Quad-Core Intel Processors · Digidesign 003R with Black Lion Signature Series Modification · MCI JH 110 2-Track 1/4” Tape Machine · Reason 5.0 · Mackie HR624 Monitors · JBL 4328 Monitors · Yamaha HS 50 Monitors
released
Cat
Doorman
Songbook
on
January 24th (Night & Day Studios, Burnside Distribution). Calgary, AB alternative blues/ rock musician Matt Blais is proud to announce the release of his new album The Heartbeat on February 26, 2013 to follow up his 2010 debut fulllength Let It Out.
PAST CLIENTS The Seattle-Kobe Sister City Association (SKSCA) is pleased to announce the 9th Annual Seattle-Kobe Female Jazz Vocalist Audition. The SKSCA will send one high school-aged and one adult female jazz vocalist from the greater Seattle area to Kobe, Japan in May 2013 to be a guest singer at the 14th Annual Kobe Jazz Vocal Queen Contest.
Toadhouse Recording Studio is tucked away in industrial North Portland and acts as a personal headquarters for tracking, editing, mixing, and overdubs. It is owned and operated by Adam Pike, who is also a house engineer at Jackpot! Recording - founded by recording engineer Larry Crane of Tape Op Magazine. Pike also offers rehearsal rooms of various sizes, at two different locations in Portland, which are available for a month-tomonth lease at Toadhouse Rehearsal Studios.
48 Thrills, Another Fine Mess, Black Pussy, Clickpop Records, Dog Shredder, Filthy White Trash, Greyday Productions, No Go Know, No Passengers, Rasputin, Red Fang, Source Code, Spectral Tombs, and many more… CONTACT INFO Adam Pike 1303 N. McClellan St. Portland, OR 97217 adam@toadhouserehearsal.com www.toadhouserecording.com FEBRUARY 2013 PERFORMER MAGAZINE 11
DENTON, TX TOUR STOP
photo by Lulu McAllister
Home of the University of North Texas (a school known for its music program), Denton brings a wellspring of young musicians and music lovers into the area at least nine months out of the year. Most of Denton’s venues are within walking distance of the main square, and with a location only an hour north of the Dallas-Fort Worth area, the college town is an easy stop for musicians making their way through Texas. If the small-town charm and rich musical history aren’t enough incentive to check in, perhaps the popular Denton Jazz Festival or NX35 might provide added motivation. –Lulu McAllister
VENUES RUBBER GLOVES REHEARSAL STUDIO 411 East Sycamore St. Denton, TX (940) 387-7781 www.rubberglovesdentontx.com Just outside of the city center, Rubber Gloves Rehearsal Studio caters more to the punk crowd. DAN’S SILVER LEAF 103 Industrial St. Denton, TX (940) 320-2000 www.danssilverleaf.com Pulling in a mixed crowd of patrons, this turquoise-painted former radiator repair shop is a favorite local dive that features a regular rotation of rock, blues, and country. Many Dentonites consider the cozy venue to be the hub of the local music scene. HAILEY’S 122 W. Mulberry St. Denton, TX (940) 323-1159 www.haileysclub.com One-time recipient of The Dallas Observer’s award for Best Music Venue, Hailey’s is the place to go in Denton for dance and electronic music.
PRESS OUTLETS THE BOILER ROOM 101 W. Hickory St. Denton, TX (940) 566-5483 www.theboilerroomdenton.com This 350-capacity venue purports to feature the most diverse line-up of music in Denton. J&J’S PIZZA 118 W. Oak St. Denton, TX (940) 382-7769 Primarily a laid-back pizza place, J&J’s also finds enough space in its self-proclaimed “Dirty Old Basement” to fit in performances by local and touring artists.
DENTON RECORD CHRONICLE www.dentonrc.com You can check out the local music listings in Denton’s official local newspaper. MY DENTON MUSIC www.mydentonmusic.com An all-inclusive website sharing their picks for upcoming shows alongside features on local and touring musicians. The site is also a good place to get tickets.
GEAR/REPAIRS MCBRIDE MUSIC & PAWN 116 W. Oak St. Denton, TX (940) 387-5412 www.mcbridemusicandpawn.com Considered one of the most competent music stores in the area - and located conveniently on the main square - many musicians and music students rely on McBride’s for guitar repair and other musical odds and ends.
SKY GUITARS MUSIC STORE & INSTRUMENT REPAIR 531 N. Elm St. Denton, TX (940) 387-2671 www.skyguitars.com Denton’s largest music store and oldest repair shop stocks just about anything the advanced or amateur musician might be looking for.
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Boston-based experimental funk outfit Dopapod performed more than 150 shows over the past year, and ended 2012 with some of their most substantial gigs to date, including a New Year’s run that had them opening for Papadosio and Moe. “Before I toured like this, I dreamed of a day when I could be in a band that toured and had a van. It just didn’t compute to me the amount of time we would be spending in the van and the lack of days off,” says Eli Winderman. Touring this much alters how a band accesses creativity and composes new tracks. “I write mostly on Logic [using] my Mac in
ALBUM OURSELVES.”
the van from gig to gig. I’ve written at least 20 or 30 new songs this year,” says Winderman. Now that the group is on a three-week hiatus, they have the time to go through their projects, edit them, and make them presentable for the group to learn. The band’s last two records were done in recording studios. “The process was a bit forced because we only had two or three days to finish tracking basics.” Their recently released studio album Redivider was made using a different approach. “Luke Stratton, our light and sound engineer, has a PreSonus board that we use for every show. We realized that instead of paying for studio time,
MICROPHONES AND RECORD THE
we could just buy some nice microphones and record the album ourselves.” The band recorded the album on Tyrone Farm in Pomfret, CT, a property dating back to the mid-1700s. “Every day we would wake up and head over to the barn and track basics until the sun went down. Then, because of sound ordinance reasons, we did overdubs at night. It was a great way to do it. Completely stress-free and incredibly fun.” Redivider is also the band’s first stab at putting vocals to their tracks. “It’s like adding instruments without adding people. It gives us the ability to relay more than music. Words are a powerful tool, and we love singing.”
www.dopapod.com
ARTISTIC APPROACH: Using Logic to write tacks during a rigorous tour schedule.
HOMETOWN: Brooklyn, NY
GENRE: Experimental Funk
by Amanda Macchia / photo by Gillian Arndt
Breaking Free of the Studio to Self-Produce Latest LP
OF PAYING FOR STUDIO TIME,
WE COULD JUST BUY SOME NICE
DOPAPOD
“WE REALIZED THAT INSTEAD
SPOTLIGHTS
SPOTLIGHTS
GENRE: Indie Rock
FONDA
HOMETOWN: Los Angeles, CA
Transatlantic Recording with a Vintage Touch
ARTISTIC APPROACH: Nostalgic sounds captured with modern digital tools. www.fondamusic.com
by Casandra Armour / photo by Melanie Aron Though they shine behind the scenes in Hollywood, putting music to television and film, David Klotz and Emily Cook have been back in the studio with their L.A. indie rock outfit, Fonda, and they’re primed to take center stage again. The band’s fourth LP, Sell Your Memories, is hitting shelves via Chicago’s Minty Fresh label, famous for launching ’90s powerhouses like Liz Phair and Veruca Salt. Apt, as Klotz shared that the era is a tangible presence on the album: “Maybe for the first time ever in my songwriting, I wanted to create the kind of music I listened to growing up,” he explains. “Early ’90s British
imports like My Bloody Valentine - that was sort of the formation of my tastes, that period from high school to college. A lot of that stuff had an influence on me.” But don’t mistake creative nostalgia for an old-fashioned approach to production. Hectic schedules and distance necessitated more modern means. “We were able to get all of the tracks recorded over just a few months. I have a little home studio with a Pro Tools setup. I use that when I’m writing [with] guitars and a drum program so that as I’m coming up with ideas I’m recording everything.”
Fonda took advantage of those digital innovations to weave their dynamic dream-pop sound together from across town, as well as across the pond. “Technology has enabled me to call up someone in England, upload my sessions, and have them add steel guitar and send it back to me. And our drummer recorded all of his tracks from his studio in Burbank. The album was mixed by a friend in Las Vegas. Opening my mind up to work that way has sort of made this possible, given everyone’s lives these days; it’s hard to work in a traditional format.” The band plans to tour to support the album beginning this spring.
“TECHNOLOGY HAS ENABLED ME TO CALL UP SOMEONE IN ENGLAND, UPLOAD MY SESSIONS, AND HAVE THEM ADD STEEL GUITAR AND SEND IT BACK TO ME.”
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FICTION REFORM
HOMETOWN: La Habra, CA
Switches Up Their Songwriting Process to Stay Fresh
ARTISTIC APPROACH: Super catchy, female-fronted punk-inspired pop. www.fictionreform.com
by Ben Marazzi / photo by Jenn Reightley
SPOTLIGHTS
GENRE: Punk Rock
“[THIS ALBUM] WAS ALL OUR OWN FROM DAY ONE. WE WROTE EACH SONG AS A TEAM, ONE AT A TIME AT OUR OWN PACE.” Hailing from La Habra, CA, punk rockers Fiction Reform have been making a name in the Southern California scene for a few years now, but their latest record Take Your Truth may graduate them up into the next level of punk’s inner-circle. Fronted by lead-vocalist Brenna Red, Fiction Reform describes their sound as “punk-inspired pop music.” Originally started by members Aaron and Danny (guitar and drums respectively), Brenna was asked to audition in Danny’s car by singing along to instrumental tracks that the two friends had recorded on their own. Shortly after, Brenna was in and began recording vocals for the music Aaron and Danny had already started work on. The resulting album, Revelation in the Palms of the Weak, went on to earn the band two Orange County Music Awards, as well as placements
on Rob Dyrdek’s Fantasy Factory and ESPN’s SportsCenter, airplay on the world-famous KROQ, and a tweet from Noodles (The Offspring). For their sophomore effort, the band took a different approach, this time making the conscious decision to let the album come together organically by writing all of the music as a unit. As Brenna describes it, “Take Your Truth was all our own from day one. We wrote each song as a team, one at a time at our own pace. We weren’t on a race to the finish line like it seemed to be with Revelations.” In addition to the change in writing process, the band also welcomed a new member into their midst. Original bassist Tom Clark was replaced by Danielle Lehman, a transition Brenna describes as “the best thing to have happened to us… she takes the reigns and is never afraid to
speak her thoughts. It’s exactly what we needed.” As for future plans, the group is currently promoting their album and already gaining momentum. They are still in the market for a booking agency, but true to their DIY roots, they’d like their ever-growing fanbase to expect shows all along the West Coast as well as throughout the Southwest this the year. “We’ll keep running until someone notices us and takes a chance on us.” Brenna continues, “Any town that will have us, we’ll get to them. Any magazine that wants to feature us, we’ll give them 110%. We want to make sure that all of our fans and future fans know that we might not have money, we might not have connections, but we have a ton of heart and what we lack in tangibles, we will more than make up for with hard work. We wanna play music for anyone who will hear us.” FEBRUARY 2013 PERFORMER MAGAZINE 17
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by Heidi Schmitt photos by Sean Marshall
Instead of writing what we think of the band, we’ll let them introduce themselves in their own words: “Gangstagrass is a dirty fightin’, gator wrestlin’, foot stompin’ bluegrasship-hop project of Brooklyn-based producer Rench, who has spent the last decade making gritty, soulful country hip-hop music that you will actually like. Yeah, Gangstagrass did the theme song to Justified. Yeah, Rench and T.O.N.E-z got nominated for an Emmy for it. Yeah, this is real bluegrass pickers and real emcees making music. And yeah, we do it live, too.” Fair enough, now on to the interview…
Blending Beats and Banjos: Rench of Gangstagrass Discusses Mashing Up Bluegrass with Hip-Hop
FEBRUARY 2013 PERFORMER MAGAZINE 19
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Gangstagrass Rappalachia Standout Track: “Country Blues”
Where did you get the idea for this project?
Well, it’s really just my actual influences, not so much an idea that came to me. I grew up in Southern California in the 1980s, and so in grade school, it was all about putting down some cardboard during recess to do your back spins to Run-D.M.C. and your breakdancing. And so I listened to a lot of hip-hop growing up. But my dad is from Oklahoma, so when I got home from school, there was a lot of honky-tonk on the stereo. When I became a producer, I started doing beats and stuff for hip-hop tracks, and I was always attracted to using country music samples. And it grew to the point where I was bringing in musicians – fiddle players and steel players and guitar players – to actually do some full-on country/hip-hop hybrid stuff, which I’ve been doing in various forms for about a decade now. I was also listening to a lot of bluegrass and thinking, “Oh this could be remixed really easily.”
There are a lot of bands these days that think they’re playing bluegrass, but they’re not. How do you avoid that and stay true to the genre’s roots?
I’m taking my inspiration from classic bluegrass, and not “newgrass,” where people try to 20 FEBRUARY 2013 PERFORMER MAGAZINE
jam it up a lot. I really stick pretty closely with… stuff from Ralph Stanley & His Clinch Mountain Boys and Bill Monroe and a lot of other classic stuff from the ’50s, ’60s and ’70s. And to do that, I go to bluegrass musicians.
But then you’re putting it with hip-hop, so how’s it still bluegrass?
Well, that’s where my real role in it comes in, in overseeing and coordinating the integration. So my official title is Mastermind. I go about it different ways, which leads to a variety of processes that sound different when they come out. So I might bring the bluegrass guys in, and I might ask them to do just a traditional bluegrass song that’s public domain and might have them do the kind of picking that they would just do in a jam session and record that and use that as the basis of the sample. I’ll loop pieces of that or edit it together into something that will work with a beat. Or on the other end, I might have a rapper with a verse I like that I’m kind of going off of a beat for, then I’ll bring in the bluegrass guys to find some licks that would fit in with it. There’s a certain amount of trial and error, and I’m going through it and making the aesthetic judgments to find the stuff that’s really going to shine through
and make it work right.
Where do the original songs come from?
A lot of it is letting the bluegrass guys and rappers do those parts [they’d normally do]. And that’s part of keeping things authentic – to make sure they aren’t watering anything down or changing it. And we find a lot of it where the hiphop and the country genres share a lot of common archetypes – like the outlaw or the gangster and the hardships and the trials and tribulations – they all fit together quite well. So one song on the new record that’s called “Gunfight Rambler” is an original, but it’s based on a Jimmie Rodgers song, which I used as an inspiration and came up with new words that were along the same lines. But really, you could have just taken that Jimmie Rodgers track and put it over a hip-hop song – he’s talking about gats and stickup kids and all this gangster stuff that is so familiar to what you’d hear in a lot of hip-hop songs.
There are a lot of shared themes between the two genres – is that an additional factor that drew you to bring these two things together? I don’t know if that’s something that draws
“On the bluegrass side, there’s a strong reaction of it being a crime against nature, because you don’t mess with bluegrass like this.”
me to it, but I definitely find as we’re doing it that we’re discovering these common vocabularies. What really draws me, I’m pretty sure, is just the sound of it. I really love the twangy sound of the country stuff, with the bluesy licks and the slides and the banjos and how they have certain qualities. But at the same time, I really love the heavy, thumping beats. I’ve grown up after hip-hop was invented, so all my life, there’s been this concept of a heavy beat, heavy bass. And that really thumping kick and the crisp snare is definitely part of what I like to hear in music. I want to hear both, and in order to do that I’m just making it so I can enjoy it.
What’s the reception been from purists of either genre?
We can talk about some of the strong reactions from purists, but I want to emphasize that that’s a pretty small group within either side. In general, we get really great reactions from bluegrass fans and country fans and hip-hop fans, as well as a huge group of people out there that are eclectic listeners. The truth is, there are a lot of people out there who are already listening to everything already. But there is the small slice of purists that have strong reactions. Especially
on the bluegrass side. The hip-hop purists have more of just a shrug their shoulders reaction. They don’t get it, they just sort of say “I don’t know what this is.” But on the bluegrass side, there’s a strong reaction of it being a crime against nature, because you don’t mess with bluegrass like this. The history of American music is that every kind of music was made by blending previous influences, and bluegrass itself was made by blending the Appalachian folk traditions and some blues and gospel traditions into a new sound and that’s part of the long tradition of how American music progresses. But if they want to talk about preserving bluegrass and not having anybody do anything new with it, then that’s going to just be entertaining for me.
This is bringing together black and white people and black and white music. How does race play into this?
It’s a very interesting aspect of working on this. I’m a white producer of music in a black neighborhood in Brooklyn. I mean, here in Brooklyn, that’s not out of place. But the broader context, to me, is to call attention to the fact that we have this idea that there’s black music and white music. Because the reality is there’s always
been a lot of cross-pollination, at least among the artists and the fans. But the industry has really maintained this idea of some sort of separateness. The earliest country music, like Jimmie Rodgers, was all influenced by black blues singers, by gospel music and combining that with the folk traditions that came from European settlers and Appalachia, so there’s always been this kind of crossing of genres. I mean, rock and roll was black music that white people played, and the lines of influence cross each other all the time. In my opinion, there’s been mostly an industrymaintained illusion that there’s black music and there’s white music. We buy into it, and then we end up with this idea that there’s black music and white music and people making it with that in mind. But Gangstagrass is sort of here to say it’s not so cut and dry. There’s plenty of room for us to talk about American music and see all the ways in which there’s common ground and things can blend together.
www.gangstagrass.com
FEBRUARY 2013 PERFORMER MAGAZINE 21
Embracing Co-Writing and Finding Inspiration in Creative Limitations
GARRISON STARR
by Benjamin Ricci photos by Aaron Redfield
Garrison Starr is no stranger to the music
has made music her day job, and attributes
scene, as she enters her second decade in the
a shift in her attitude to the upward swing of
industry. After all those years, Starr has finally
her career’s trajectory. We recently spoke with
found a place where she’s happy with the
the Southern singer/songwriter about home
direction of her career, and is learning to be less
recording, letting go of past bitterness and how
precious with her songs, as she explores more
formulaic song structures actually inspire new
licensing and co-writing opportunities. Starr
bouts of creativity.
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FEBRUARY 2013 PERFORMER MAGAZINE 23
“Honestly, I got a new perspective and I stopped acting like I had everything figured out, because I didn’t. And that was a big breakthrough for me, just that change in mentality.” I saw you perform here in Boston at Club Passim, where you touched a little on your background growing up down South. I was hoping you could elaborate on that and give us a better sense of your upbringing and how you got started with music.
I grew in up Hernando, Mississippi in a very conservative Christian household, and I was an only child. [That] environment led me to write a lot, spend time alone a lot and entertain myself a lot. So I started at a very young age writing music, just playing drumsticks on my mattress. And I used to record everything on a tape recorder. For the longest time, my mom had those cassettes – she was so frustrated about ten years ago when she realized she had lost them. I also used to record myself, pre-teen, doing sermons and constantly talking and singing and doing this one-woman show. My parents worked when I was growing up, so I had to entertain myself, especially during the day. But I really started singing in the church.
When I saw you perform, there was a really strong hint of gospel; did the church influence your early writing a lot?
I didn’t really notice that…or embrace that as much until I got older. I feel like I really rejected and rebelled against a lot of my Christian roots in my adolescent years because I felt that to be a
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really oppressive set of beliefs. And it was very strict and rigid; there was no room for exploration or gray areas. So initially I was like, “Fuck these people. Fuck church…” in my own way, you know. I’d never say anything like that out loud, but that’s what I was thinking. But as I’ve gotten older and expanded my subject matter more as a songwriter, I feel like I’m growing so much and I’m trying new things and I realized that I was actually grateful that I grew up in a faith-based belief system. I’m re-examining my relationship with God and Christianity and who I am today, but “The Train That’s Bound For Glory” is totally a gospel song about my relationship with God.
I was just bitter and jealous and angry, because I felt entitled. “Why are they getting that stuff? Fuck them, I’m better than them…” You know, that sort of spoiled attitude. Just frustrated with my place in the world…
A little chip on your shoulder?
That’s exactly right. And my friend said, “There’s enough to go around for everybody.” She was really helpful in getting me to see if from a different perspective and showing me the world didn’t owe me anything, and getting in my face to tell me, “You need to get your attitude straight.” After having some more conversations with friends, I started making calls. I asked one friend in particular, Earlier you touched on co-writing and writ- Matthew Ryan out of Nashville, “How are you doing ing specifically for TV and film. How did what you’re doing?” Because he was getting a lot of you get into that, since you come from more placements in TV. And he was really encouraging of a performance background? and put me in touch with his publishing company, I had so many opportunities when I first and I made a CD of what I thought were five of my started out, and I got signed to my first label most license-able songs, so I had a meeting with [Geffen] as they were about to be engulfed in the one of the guys from the publishing company, fully whole Universal merger. I got my first record deal expecting to get rejected, and he took me on. And at 21, and it was a huge deal. But my career was not I’ve been working with them for the past four years. turning out as I thought it should, with the whole Honestly, I got a new perspective and I stopped merger and everything. I really internalized acting like I had everything figured out, because I all that stuff and became bitter and angry…and didn’t. And that was a big breakthrough for me, just begrudged a lot of my new friends for having suc- that change in mentality. cesses. But I had a lot of fiends from Nashville who were signed to my publishing company for licens- As a songwriter, is it difficult to give up ing. At that time I didn’t really know a lot about it, songs that mean a lot to you, personally,
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Garrison Starr Amateur
and have other artists record them or have them placed in TV or a film where they might not have the same relevance to the song you originally wrote?
Standout Track: “Slow Crawl”
As someone who gets checks for those, it’s not hard to give up [laughs].
Fair enough.
I’m protective of songs, but I used to be very precious. And I was that way about co-writing, too. I wanted my name on it 100%. And now, I’ve found that it works for me to cast the net as wide as I can. I’m protective about songs that I want to sing or record on my own record. But I don’t feel uncomfortable at all about putting a song out there and letting it find a place. I’m just happy that it does find a place, and that brings me income that lets me have a career in the music business. Today, that’s one of the things I feel most grateful about when it comes to licensing. I am a working musician who doesn’t have to have another job, and that’s something I took for granted for a long time.
So how do you approach your songwriting? Do you treat it like a job or do you write when the inspiration strikes?
I used to only write when inspiration would come, but now I can write everyday because I have challenges and things to write for, which I actually really love. I think that used to scare me when I was younger, and I had so much anxiety, like, “What if I can’t do it? What if I can’t think of anything today?” But now I enjoy it, because it’s challenging. Now that I’m doing more writing for specific projects, it becomes kind of formulaic, in a way, depending on what you’re writing for. And I actually like that. Because certain things, and certain types of music, do have a formula. Like if you’re writing for pop artists, there is a formula for that. So you do your research and cop the formula, because that’s what gets placed and makes the money. If I’m writing for a specific project, they’ll say, “OK, we’re looking for a song that has these themes, or uses these words, and references these types of feelings…” I think that’s fun; that helps me stay sharp. It makes me more accessible and makes people think of me for jobs – it keeps the revenue coming in and allows me to do what I want to do. I mean, I’m not gonna get a call to write for Flo Rider [laughs], you know? But somebody is, because they do that really well.
Your records are really well produced – what’s your approach to the studio? Do you search for a producer to help craft your sound or do you enter the recording process in more of a songwriter mode?
My approach has always been to go in having a group of songs done that I can choose from. For this record, I chose Justin Glasco to produce, who’s got such a kick-ass work ethic. I love the sounds he can get, and he can play every instrument very well. I knew I’d learn a lot from him going in. And I also wanted to be able to co-produce the record with someone so I could learn about the production aspect of things.
It’s interesting that you mention Justin as a multi-instrumentalist. When I saw you on tour with Adrianne Gonzalez and Maia Sharp, you were quite the multi-instrumentalist yourself, switching from guitar to keyboards to a sweet little Mustang bass. Is that normally part of your process or was that special for the tour?
That was special for the tour, but I’ve definitely gotten more confident playing more instruments. Working with people like Justin, who allows me the freedom to try new things, gave me that confidence. As a female in this business, I will say that I’ve noticed the politics between men and women. Especially in the studio, working in the past with male producers, they just want to take care of you. “Oh, we’ll get so and so to play this. And we’ll get so and so to play that part.” And it was usually a man they’d bring in. And I remember I worked with this producer on my first record who was very condescending, and said some very shitty things. He didn’t build me up as a musician, he just brought me down. That was just his bag, that’s just who he was…
I’ve heard that from a number of female artists, who are treated like that by producers
even today. Like it’s the 1950s, and they don’t listen to what kind of record they want to make…
That first Geffen record is unlistenable to me in a lot of ways. Because I hate the way my voice sounds, it was so brittle. I think it’s a good record, musically, but for my second record I took the bull by the horns and did it more as a labor of love, as opposed to a label saying, “Hey, it’s time to make another record.” So that was a much better experience for me at that point in my career. But again, I don’t really think about being a woman until it’s thrown in my face.
Is there a style of particular genre that you haven’t tapped into that you’d like to pursue in future projects?
There’s something that’s been gnawing at me, artistically. In the back of my mind, I really want to make a true gospel record. Write real gospel songs and make a real gospel album. Or make a real stripped-down record, a truly inspired record that I can make in my house, because I have a setup that I like, and just because I want to.
Do you do home recording now?
I do. I turn in a lot of stuff for licensing that I record at home. I’m learning how to use Pro Tools, just becoming more self-sufficient. It’s more cost efficient to do things that way, and it’s a fun way to learn. I want to know more about it, and I’m speaking the language now.
Any last advice to fellow artists?
My advice is to stay open to the possibility that someone might know more than you. Know your business right away. Don’t leave it to business managers and agents. Have meetings with them and ask them questions. Really know your business.
www.garrisonstarr.com FEBRUARY 2013 PERFORMER MAGAZINE 25
A I M E E BOBRUK Stripping Emotion From the Creative Process & Leading Spontaneous Studio Sessions by Alexandra Lane photos by Holly Bronko
Aimee
Bobruk,
the
artist
behind the sultry, folk-rock album /ba.’brook/ is not your average songwriter. Most of her recent music is the result of games; she tries not to include emotion, and she is a proponent of quantity over quality when it comes to songwriting.
26 FEBRUARY 2013 PERFORMER MAGAZINE
Having studied violin as a child, Bobruk was familiar with written music but never had formal vocal training. In fact, following high school, she was following a totally different artistic path…as an actress. Her freshman year of college was spent at North Carolina School of the Arts for acting. An experience she recalls as a unique one where she spent eight hours a day in a studio, had to wear all black almost all the time, and was practicing constant control (unlike some of her peers). As a student, one of the main concepts she was taught that year was, she says, “how to remove your identity in a space so you could learn to react in the most honest way.” This practice of removing her emotions from her art is something she has implemented in her recent release. Whereas a lot of musicians utilize their emotions at capacity in order to inspire and
write music, Bobruk is using a different method: the songwriting game. She says of her perspective, “There’s this myth that in order to write a good song, I have to be inspired. In part that’s true. If you’re just sitting there, not wanting to write, feeling grumpy about it, it’s probably not going to come out to great. So the game allowed me to play with it…it gave me a little less emphasis on the feeling. Which I think, helped me find a balance between that in my writing. Usually I think about things from a philosophical perspective, which can get me in trouble sometimes with songwriting,” she says. The game was a tap into her creative juices, and “it really opened the doors for me to think about songwriting in a different way.” And it worked, as all but two of the songs off of her latest album were generated through the game. The game has become not only a huge part of
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Aimee Bobruk /ba.’brook/ Standout Track: “Two of a Kind”
the creative process for Bobruk, but also a means for open communication with friends and fellow songwriters. She has been able to stay in touch, and gather advice from fellow musicians saying that “one of the best pieces of advice that one of my friends in the game gave me, [is] that it’s a very freeing thing that happens when you stop looking at your songs as you babies.” That wasn’t always her outlook on musicianship. Bobruk’s earlier release The Safety Match Journal came from a much smaller body of work when she was “still newer to songwriting, and it was really my first experience with recording.” The songs on that earlier album have a sense of levity, and not the hint of experience heard on / ba.’brook/. Bobruk indicates that her life experiences are the cause for the difference in sound, saying, “I put down my instruments for many, many months, and I didn’t perform. So when I did pick it back up again, it felt like it was coming from a new place.” The backbone of /ba.’brook/ was her use of the songwriting game, but Bobruk was able to not get caught up in the writing process by
keeping her emotion out of the equation. Her opinion for any songwriter is “quantity over quality. And this is going to sound backwards to a lot of people. It’s like in a pottery class, if you tell students to make 10 good pots. Students that ended up making 75 pots ultimately ended up making better pots because they were doing it more often. That’s my frame of mind for writing songs. Keep the water running.” That is exactly what she did with drummer Dony Wynn, and producer and bassist Brian Beattie. The three musicians worked endlessly on this recent record, sparing nothing to make the album sound its best. Bobruk says of their studio time, “[We] treat it song by song, and spend about a month on each song. It wasn’t uncommon for us to spend an entire day on drums, or on one bass track.” She continues, “I never want to feel pressured, that I have to finish something because I’m racing the clock because of money.” On most of the tracks off her album, Bobruk says “it was very rare that we ever took more than eight takes per song,” and that in order to get the right sound, “we
would rehearse through a couple of times, just to get the feel and the vibe, and then we would start recording and figure out what works.” Seeing the positive outcome of unrushed, spontaneous songwriting, Bobruk got involved with the Austin-based House of Songs, an organization that brings together musicians from different cultures to collaborate on songwriting endeavors. Bobruk worked with a number of different Danish artists through the organization, and as a result is “looking into some opportunities in Denmark.” Bobruk also plans to teach during her time in Denmark, saying, “they have programs, sort of like Berklee, and I’ll be doing some guest teaching there.” Aimee Bobruk is changing the way artists think about songwriting from start to finish, and doing it successfully. She has found a way to be feminine in a gritty, unapologetic way, all from a little town in Texas.
www.aimeebobruk.com
“I put down my instruments for many, many months, and I didn’t perform. So when I did pick it back up again, it felt like it was coming from a new place.”
FEBRUARY 2013 PERFORMER MAGAZINE 27
CHEECH has been a fixture on the New England hardcore scene for over 15 years, remaining true to their DIY roots each step of the way. The band is set to release its most ambitious album to date this spring, and we recently sat down with guitarist Joshua Bottomley to talk about the group’s songwriting process, how to track hardcore guitars, and what distribution means to independent bands in a post-label world.
by Benjamin Ricci / photos by Aaron Pepelis
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On DIY Values, Punishing Guitars & Pushing Hardcore Into Double-Album Territory FEBRUARY 2013 PERFORMER MAGAZINE 29
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“Instead of buying a guitar for , buy six guitars for $1,000 and see what you can come up with. It’s more of a songwriting tool than anything.” So we were just talking about the recording mixed so much. I guess New York still has a New off axis on the cone. One was a [Shure] KSM44 I process for the new CHEECH release. Full- York sound, with bands like Madball. But then think, because it was in a figure eight pattern that you have bands like H2O and Sick Of It All who we put right above it, maybe 18”-2’ above the cabs, length or EP? It’s going to be a full-length. It was actually going to be a double LP. When we did our last record, it was a six-song EP. I had the idea to, instead of writing ten songs and putting them out as a record, write 15 songs or 20 songs and then pick the best ones. And then as we got close to that, we were like, ‘Well how far can we push this?’ Once we got to around 28, we were like, ‘Alright, we can record this and do the double album.’ And then after recording the drum tracks for all those songs we realized what a project that was going to be!
are hardcore bands that don’t sound anything like Madball. Like we played with Sworn Enemy the other day, and Sworn Enemy is almost like a thrash metal band now. But they are still considered a NYHC band. The title doesn’t differentiate the sound so much; it’s just to let people know where you’re from.
That’s kind of the thing, not that we are trying to branch out of being a hardcore band. Because I think CHEECH will always be a hardcore band. But once we started to write the songs, we started to branch out on what we were defining as hardcore.
stacks, which people say seems pretentious, but you actually get a different sound from each one. Different wood, different sizes, different speakers. So I find that it creates a more well-rounded sound. When you have a slant cab, it naturally has a more treble-y sound because it has less wood. So when we were tracking, I said that we should use both cabs because that way we can mic both individually. Then we can put a mic right above the cabs, so we caught room that way and were able to get some of the reflections. Then we actually put a PZM mic about six feet away that we taped to a baffle. So we had each cab close mic’d on speakers
but close still, to catch some of the sound coming up and around the room. And then the PZM came back off of it to catch the distance.
So you had a bunch of different tones that you could work with in the mixing process… Yeah, and we double tracked them, too.
You had mentioned to me that you were You double tracked both guitars? having some guitar issues. How do you go Yeah, so we had four guitar tracks with four about doing the guitar tracks for something mics each. like CHEECH? For this we used four mics. Each of us used Do you track both at once or do them It’s a bit of an undertaking, to say the least. Especially for a hardcore band. ‘Shorter is our head and our rack system, and ran it through individually? two cabs. Because now we are playing out of We do them individually because we don’t better’ is usually the motto.
What differentiates Boston hardcore from standard punk rock or standard hardcore music?
I don’t know if it really does so much anymore. Back in the day you had bands like Slapshot - they had a Boston sound. But now everything is
want to worry about mic bleed. We’ve done stuff where we tracked in the same room, and it’s cool for demos, but when you are doing the record… especially now with this record, it’s technically a lot more challenging than anything else that we’ve done. We had done some stuff where we were pushing our envelope, but, just naturally, over the past three and a half years all of us got exponentially better at our instruments. As cool as that is, it’s a lot harder to try and pull it off live in one take.
FEBRUARY 2013 PERFORMER MAGAZINE 31
performermag.com
Listen Now
CHEECH Beast From The East Release Date: Spring 2013
So lets talk guitars. I’ve seen you live, rocking a Gibson SG. Are you still sticking with the SG? Yeah, I still got that. I’m trying to find something that I like that can compare, but between the sound, the feel, the weight…the weight is probably the most important thing for me.
You mean it being lighter than most guitars?
Definitely. I played a Les Paul for so long…I mean it hurt. Especially if you’ve seen us live, I jump around a lot.
You can get a pretty sparkly sound out of an SG, too. A lot of people think humbucker equals crunch, equals gain, but not all the time. Anything special about your SG? Any mods, custom pickups or anything like that?
No. It’s all stock. Gibson makes good stuff, man, I can’t complain. But part of writing this record, was stepping out of our box a little bit, with a little cleaner stuff. Like I said, I’ve been looking for a new guitar to play on stage, because I have been playing my SG for eight years now. I started buying cheaper guitars just to play at home. I got a Squier Tele for like $180, and I’ll never play that on stage, because it’s noisy and doesn’t stay in tune, but you can sit at home and get that Tele twang. And when you’re playing that guitar, you’re going to play it differently than you would play an SG. So I found myself writing stuff that I would never write if I was sitting at home playing my SG. So I come up with these ideas, and then I record them and bring them to the guys. But at practice with the SG, turn up the volume and you take that idea and it changes. It’s been incredibly helpful. Instead of buying a guitar for $1,000, buy six guitars for $1000 and see what you can come up with. It’s more of a songwriting tool than anything.
Can you break down how the band works as a songwriting unit?
I think in essence, any band is going to end up being collaborative. Unless you go in and play all the instruments yourself, each one is always going to have somebody’s tag on it. I would say
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a majority of this record, the main ideas or riffs, came from me and my other guitar player Kevin. But it all just becomes something completely different once you start playing it. We’ll go in one way, change it once everybody throws their two cents in, and it becomes something totally different.
Do you guys prefer to write before you record? Or is there still writing going on once you hit the studio?
I don’t think we ever did before, but this time we definitely did. We always had things ready to go into studio. This time, it was all done, but there were things that hadn’t been finalized. There was one part where the guitar line and the drum lines weren’t mixing together, so when I was playing the scratch tracks, and the drummer was doing his, the other guitarist was like, ‘This doesn’t really fit.’ So when we overdubbed the guitars, we ended up changing the riff to match the rhythm that he had laid down.
So how’d you got a thicker sound on the vocals – did you double track everything?
Yeah, I mean we’ll end up riding one over the other. You sort of naturally end up with a chorus effect even if you have the timing right; the tone is a little bit different. We also found that you can use a little Pro Tools magic [to help], because you’ll smoke your voice if you do it over and over again.
The bass sound on the new recordings is pretty thick, as well. Are you recording direct, or is he placing a mic on the cab?
Both. He ran the signal directly into Pro Tools, but then we split the signal and mic’d a combo amp. And that gave us a lot of growl. We mic’d it up, and it sounded really cool, and now we are starting to do it live, too. The bass amp was having some issues, and we had an old Marshall JCM 2000 head that we weren’t really using. So we plugged that into his bass cab one day and it sounded really good. And you know, Lemmy does it.
Hey, if it’s good enough for Lemmy… Yeah…[laughs]
The band has been together for 15 years now, and has been DIY for most of that time. Do you wish that you had support from a label, or big time firm, or do you enjoy being DIY because it’s part of the CHEECH mentality?
We’ve always wanted the help. This album we actually are getting help on, it’s going to come out on a label based out of the Netherlands. I think the label help now is maybe different than it was eight years ago. Our first full-length came out in 2003. And that we put out ourselves, and did the whole 1,000 CD deal. For any band, once you get those packages and see what 1,000 CDs actually looks like, you realize that it’s a bad idea. You have no idea until you have to carry them up a flight of stairs. When we did our second record, we did that ourselves, because we couldn’t get anyone to put that one out. I thought it was going to be kind of easy, because the first record had done pretty well and we had gotten some interest. But in the end it took forever to put out because we didn’t have a deadline or anyone else pushing it. When you write an album, and are rehearsing an album, and are booking your own shows, and going out and playing the shows and doing the leg work that way, and you’re doing all your own artwork, trying to get everything together, it’s really, really hard on the back end to promote a record. Once you finish [it] you just want to put the whole thing to bed, and work towards the next thing.
Where do you see the future of the band going?
I don’t know, man. We’ve been getting really good reception from this album, and like I said, with this album I think we definitely stepped out of our comfort zone and took some chances. And they might not be audible chances to everybody. But to us, artistically, there were definitely some ‘Can we do this?’ moments on there. So far, we haven’t been playing all the songs live yet, but the stuff that we have brought out, people really like. And the people that have heard the tracks now really like it. We have the label, we have distribution with them that will be predominantly in Europe, but you’ll be able to get it pretty much everywhere.
“Once we started to write the songs, we started to branch out on what we were defining as hardcore.”
That’s the other thing - does distribution really even matter anymore?
We’ll find out. I don’t know, like we try to track Bandcamp and stuff like that, but most of the material that we have up there is pretty old. More or less it’s going to be an experiment. We tracked 25-28 songs, and I think we’re going to finish 18. Maybe all 18 will make it, but I think it’s going to be closer to around 15-16. We’re trying to just make it tighter, do some self-editing.
Is the new record coming out on vinyl? Or is that to be determined?
It’s to be determined. I think that’s the other thing with labels these days, people in the hardcore and punk communities love that vinyl. But vinyl is expensive. [Our record deal] is strictly CD and digital, but we have the option to go elsewhere with vinyl. We are trying to make a splash with this
record, and I think it’s going to happen based on a lot of people’s reactions. So we are hoping that based on the initial reaction that someone will come along and be interested [in releasing a vinyl version].
Any last words?
I don’t know if we’ll ever go the double album route again, because that was a lofty goal. We wrote 25 songs, and went in and recorded them all. Maybe we could have gone in and self-edited, but at the same time, a lot of the songs that we wrote towards the tail end didn’t have lyrics yet. We sort of knew the direction that we wanted to go…or we had lyrics written and hadn’t gotten around to practicing them yet. And those are the songs that are going to end up being the best ones. So you never know what’s going to happen, but just writing a lot of music is the best way. And to challenge yourself physically, to play the best you can play, and play a lot. Because I found
that when you’re doing a lot of stuff and playing in a band, sometimes you only play when you’re at band practice. Everybody gets in a funk where they don’t play their instrument a lot. But buy cheap instruments, because then you’ll be inspired to play. I have them hung on my wall so I can just walk by and say, ‘What do I feel like playing today?’ If you play a lot, you are going to write a lot of songs, and the ones you end up picking are going to be the best ones. And you’re going to get a better reaction from it. We have some one-minute long punk songs, but they’re not going to make the record because the three-minute long, more grandiose songs are just better tunes.
CHEECH.bandcamp.com
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LIVE SHOW
THE STARTING LINE The Paradise – Boston, MA December 27, 2012
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review and photos by Matt Lambert
since The Starting Line released their first iconic full-length album, Say It Like You Mean It, and that caused for a celebration for a sold out and completely engaged Paradise Rock Club crowd on December 27th. Frontman Kenny Vasoli began the show by reading a piece of paper that ended up being the allmusic.com review of the album, stating how successful it was planned to be (albeit a bit sarcastically). The paper was quickly crumpled up and thrown to the side, disregarded. Then they started right into the album. The
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set was great; all songs played like the band hadn’t really taken the multi-year break from regular touring. Although Vasoli talked about performing the “deep cuts” of the album, the set wasn’t surprising as the entire album was played from beginning to end. After the flawless album performance, the crowd switched up from the usual chant of “One more song!” and immediately started a much more personal “10 more years!” As the band re-took the stage, Vasoli joked that they would play the next record, Based on a True Story, and
given their energy level, they could have pulled it off. Instead, they played a five-song encore set of classics, with Vasoli thanking everyone for growing up with them. Opening the show was Washington D.C.’s fairly new funk/rock foursome RDGLDGRN (managed by The Starting Line’s guitar player Matt Watts) and Florida’s punk outfit Fake Problems. It was a great night of rock, and a great show to end 2012.
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IT’S BEEN 10 YEARS
www.startinglinerock.com
Flawless, rocking front-to-back performance of a classic album.
FEBRUARY 2013 PERFORMER MAGAZINE 35
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OUR PHILOSOPHY ON REVIEWS
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. Listen to the music featured in this issue @performermag.com
All The Locals All The Locals Atlanta, GA (Self-Released)
“Soul food for the funk-pop mind” On their debut release, the Atlanta-based sextet harnesses gregarious gaits with smooth croons and grafts in fluid bass lines with juicy tom fills that’ll send flappers flying. Gospel rhythms team up with call and response vocals to generate a vivacious, highly danceable, yet endearing sound. The blend of sincere lyrical content and lush musicianship has the band boasting an echo that captures the cool cadences of Michael McDonald meets Maps & Atlases. Such traits are particularly evident on the EP’s median track, “Shade of Blue,” with the chorus asking, “Can you feel as it walks all over you? / ’Cause when the sun comes up I’ll be a different shade of blue.” The EP’s production chimes as crisp as a Caribbean sunset, with each cracking snare complementing even the softest whispered lyric. Pulling from the major threads of funk and pop, the release also splices in shoots of rock and world music to create a dynamic blanket of soulful, feng shui jams.
Like Merle Haggard or Johnny Cash, the husband and wife duo Big Harp knows how to write a simple, straightforward song that’s sadder than it has any right to be. Guitarist and lead singer Chris Senseney’s voice is world-weary and passionate, and serves as the centerpiece of the record. Unlike most singers who turn to their upper register for emotion, Senseney is haunting when he pushes the lower end of his range. The other half of Big Harp, Stefanie Drootin-Senseney, supports her husband with background vocals and anchors the songs with her fuzz-drenched bass lines. Unfortunately the album’s mix hides her contribution, especially on the record’s most upbeat tracks “Outside In The Snow” and “Good News,” which still grooves despite its odd meter, 11/8. However, a close listen reveals a great interplay between the similar sounds of Stefanie’s fuzz bass and Chris’ gritty baritone. The duo is supported by drums and guitar overdubs, as well as cameo appearances by organ and orchestral strings, lending the album a full and more conventional sound - perfect for a bar, or wherever you happen to be drinking away your troubles. www.bigharp.com
Brand New Trash Brand New Trash San Francisco, CA
-Taylor Haag
(Self-Released)
(Saddle Creek)
“Drinking songs for drowning sorrows” If you ever find yourself sitting alone in a half empty bar that’s just a little too quiet, caught somewhere in between romance and tragedy, you might ask the bartender to put on Chain Letters. 36 FEBRUARY 2013 PERFORMER MAGAZINE
Cashed Fools Cashed Fools Brooklyn, NY
“Rock without the radio-edit”
www.allthelocalsmusic.com
Los Angeles, CA
-Ben Nine-K
(One of These Records)
Recorded at Sonica Studios
Chain Letters
www.brandnewtrash.com
-Eric Wolff
Mixed and Mastered by John Briglevich
Big Harp
another fuzzy-rock rock band. Fans of Jack White’s moodier tunes will eat this record up. Fronted by the Dewald brothers (formerly of Bay Area act Buxter Hoot’n), the haunting guitar and vocal ebb and flow sets this record apart from a lot of other groups trying to achieve a similar sound. As mentioned earlier, the group currently covers “Brenda’s Got a Baby” and somehow simultaneously does the song incredible justice while also reminding us of the sometimes forgotten poetic genius of Tupac Shakur. With laid-back drums, fuzzed out guitars, and a haunting harmonica, Brand New Trash makes “Brenda’s Got a Baby” sound like a contemporary of Tom Petty’s “Last Dance with Mary Jane”… and surprisingly we thank them for it.
“Midwest transplants brings L.A. hip-hop to Bay Area blues” Gaining notoriety from a cover of Tupac’s “Brenda’s Got a Baby,” Brand New Trash has been ripping up the Bay Area scene with their signature sound, which is surprisingly un-trashy. Identifying themselves as “trash pop,” BNT is actually more blues than garage rock. The music, although groove driven, is heavily blues influenced, and concise. At times it does possess a lot of jam elements, but the songwriting and certainty with which the group delivers this set of tracks makes them into much more than just
On their self-titled debut record, Cashed Fools reawakens the idea that rock can be fleshed out and multi-dimensional. The new album is all at once a dedication to punk, metal, funk, blues, and psychedelic rock. If you like Primus and miss the ’90s, you will relish in this record’s diversity, its soul, and its dedication to awakening rock music. Opening track “Madness” bangs to a start with quick-witted punk rock drumming, tumbling immediately into head-thrashing guitar melodies. The album’s vocal style harks back to the days of Chris Cornell and Scott Weiland, with hints of tomfoolery in the mix. The layered vocals and lost noises throughout the record are simultaneously gritty, harmonious, and quirky. One of the best tracks on the album, “Hobble Bobble,” showcases Cashed Fools’ propensity for oddball vocals, and their upbeat, fun-loving sensibility. The track harnesses the power of deep, dirty bass, popping drums, and Hendrix-infused riffing all
HOMETOWN THROWDOWN 15 House of Blues – Boston, MA / December 29, 2012 by Vanessa Bennett
The House of Blues was a sea of plaid on Saturday, December 29th. The venue lit up with the pulsating, invigorating, in-your-face sound of ska as the Mighty Mighty Bosstones continued their three night Hometown Throwdown concert series. There was barely room to move as each level of the venue was packed to the brim, despite Mother Nature’s raging winter storm outside. The night opened up with sets by The Slackers and Have Nots. It was a bombardment of bass, punk-infused brass and fierce percussion. Each performance raised the bar on intensity and added to the anxious excitement of fans to see their hometown favorites storm the stage.
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From the moment the Bosstones took the stage, the sea of fans began to surge and riot of sorts ensued. The eight members, who have been at this for over two decades, haven’t lost a bit of their edge. Dicky Barrett’s vocals were coarse and gritty as they belted the lyrics to favorites like “Where’d You Go” and a strong cover of The Clash’s “Rudie Can’t Fail”. The pounding percussion of the drums matched the intensity of Tim Burton’s saxophone notes and the razor-sharp guitar riffs. With old favorites like “Someday I Suppose,” “I Want My City Back,” “She Just Happened” and the seminal “The Impression That I Get,” fans were treated to all the glitz and
glory that is this Beantown group. This performance demonstrated the longevity and talent of these eight musicians. They’ve had a lengthy career and yet still manage to perform with originality and intensity typically reserved for newcomers. The Bosstones gave a performance brimming with feverish chord progressions, intricate harmonizing, and powerhouse presence.
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LIVE SHOW
MIGHTY MIGHTY BOSSTONES:
www.bosstonesmusic.com
A raucous, roaring welcome home for the
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heroes of New England ska.
under the guise of a relatively catchy tune. Other notable tracks like the “New Heavy” and “FursDJam” are both strikingly reminiscent of ’90s-era alternative while capturing the diversity of today’s musical landscape. Produced by Cashed Fools Recorded at More Sound Studios in Syracuse, NY Mixed by Andrew Grecian Mixed and Mastered by Jocko www.cashedfools.com -Amanda Macchia
Chris Darrow Artist Proof Claremont, CA (Drag City)
“Country-rock lost-classic from Ben Harper’s mentor” If J.J. Cale is a musician’s musician, Chris Darrow is the musician/record collector’s musician. Fluent in the many stringed instruments he found at his grandparents’ music shop, Darrow built a reputation as a member of Jimmy Page’s favorite group Kaleidoscope, and as a session musician (James Taylor, Leonard Cohen). In
these roles, Darrow fused disparate vernacular musics (Arabic and old-time? Why not?) for close to five years before Artist Proof, his solo debut, was released in 1972. A 2009 reissue of his long lost second and third solo albums, Chris Darrow and Under My Own Disguise, respectively, brought overdue accolades to Darrow. Now Drag City, independent label extraordinaire, is reissuing his longer-lost debut. Darrow’s solo material of the time was influenced philosophically by groups like Fairport Convention and Steeleye Span, who were taking the vernacular music of their homelands and making it rock. For Artist Proof, Darrow drops the world music and psychedelia of Kaleidoscope and focuses on American music, namely country, Sun Records rock ‘n’ roll, blues and old-time. Much of the record sounds like Gram Parsons backed by the New Lost City Ramblers, with pedal steel, acoustic guitars, mandolins and fiddles taking the spotlight. Unlike other polished country-rock from So-Cal (i.e. The Eagles), Darrow leans closer to a Folkways recording than a Bill Szymczyk record, keeping things loose and not too slick. Opener “Beware of Time” is as good a representation of what rock can add to country and bluegrass. When his scratchy Chubby Wise-style fiddle kicks in on the chorus, you start to wonder about why some albums aren’t commercially successful, why some are and how
important publicists can be. Produced by Denny Bruce Recorded at Crystal Sound Studios Engineered by John Fischbach www.chrisdarrow.com -Warren McQuiston
Darling Norman Phantom “Ahh” EP Atlanta, GA (Self-Released)
“Frenetic, fiery New Wave, with a dash of Strokes & Stones” “Parkour” is a song that is built and performed to bring the house down. A flamethrower of a track, it opens this Atlanta band’s EP with great flair. The record is an epic look into a great new Southern indie/New Wave band that plays and writes with uncanny experimental flair and expression. Utterly creative, this group rocks it out like a squadron of fighters with plenty of fuel to burn. “Love is a Bolt” is a fiery, frenzied track of punk and indie roots, full of ferocity and passion, complete with heavy continued on 38 FEBRUARY 2013 PERFORMER MAGAZINE 37
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Darling Norman (continued) reverb-drenched, fuzzy guitar licks, dazzling percussive grooves and brooding bass. Conjuring up feelings of teenage rebellion, love and heartbreak, this song delivers the message of how love can not only be so exciting and compelling, but leave you helpless as well. The accents are riveting much like the sounds of The Strokes (from the first LP) and early Green Day. The vocals are charismatic and full of life. “Serious” uses many layers of guitars, blending in smoothly and cohesively with beautiful percussion, leading into powerful verses and choruses. The bass line is clearly defined, and as a quartet, Darling Norman pulls off a catchy and delightful style much like golden-era Rolling Stones. One can here in the “ooh’s and ahh’s” and lead vocals Jagger-like impressions. With only three songs to listen to on this tiny EP, one will not go away feeling unsatisfied. The production values are high, as each song is glossy and audibly anthemic. This is such a treat to listen to when you have just 15 minutes of free time.
effort that showcases their buttery vocals, which float through the speakers like lush, liquefied goodness. The album opens up with a layered, mid-paced track with percussion pulsing in the forefront, then sails into a few slower tracks and is bookended with a quiet, acoustic number featuring a simple and melancholy melody. The album starts out strong, plays through easily and is generally likeable with fun, standout tracks like “You’ve Got A Life of Your Own,” “Last Goodbyes” and “Moving Forward,” which demonstrates their knack for creating their own brand of that dream pop sound without sounding too recycled or rehashed. And while the consistency is appreciated and well-executed, there are times throughout the album where tracks begin to sound repetitive, but that’s a minor complaint on an otherwise fantastic outing.
Jim James
-Shawn M. Haney
(ATO Records)
(Minty Fresh)
“Catchy, lush dream pop with purpose and personality” Emily Cook and David Klotz make up Fonda, the melodic Southern California duo self-described as a “colorful, blissed-out, reverbdrenched kaleidoscopic wall of sound.” And they aren’t too far from the truth. The boy-girl duo has been making music together for well over a decade after a fortuitous meeting on a Los Angeles movie set and although they decided to keep their day jobs, they didn’t let that stop them from making music. Sell Your Memories is a solid, consistent
WANT TO BE FEATURED AS A TOP PICK?
Matt Hudgins Better Days Are Coming (Self-Released)
Louisville, KY
Los Angeles, CA
-Jason Ashcraft
Athens, GA
www.darlingnorman.com
Sell Your Memories
www.jimjames.com
-Kristian Richards
Regions of Light and Sound of God
Fonda
Produced by Jim James
www.fondamusic.com
Additional Engineering by Greg Partridge
Mixed by Richard Salino at Chase Park, Athens, GA
There’s also the sensual crooning on “A New Life,” which starts one way and ends another, the smooth and sultry progression of “Actress” and the uplifting instrumental “Exploding,” which provides further depth to the album. Any song on this record - to the untrained ear could easily be mistaken as a new MMJ song. And although that’s not really the case, it was, however, crafted by the one musical wizard behind all of them.
“MMJ vocalist drops perfect fusion of classical, jazz, funk & soul on solo debut” If you’ve ever listened to a My Morning Jacket album, you may have wondered where all that diverse musical inspiration originates from. A singular source or more of a collective effort from all band members? This album, perhaps, answers that question as MMJ’s bearded frontman perfectly fuses prodigious sounds of classical, alternative rock, folk, funk, soul and jazz into a singular cohesion of climatic musical joy - just as many MMJ albums have done. The piano-led opener, “State of the Art (A.E.I.O.U)” emanates James’ curiosity of life and his ability to harmonize vowels to a progressive, funky bass rhythm. The album’s first single, “Know Til Now,” is a trippy 6+ minute jam whose random arrangement reminisces MMJ’s “Touch Me I’m Going to Scream Pt.2” and is equally contagious to all the senses.
LISTEN TO MUSIC FROM THIS ISSUE
“Songsmith’s mission to find hope through trials, struggles” “Better Days are Coming,” the title track off this deep and riveting album of prose and promise by Matt Hudgins, is filled with color and metaphor, and chock-full of the honest brutality of getting through tough days and years. Hudgins sings with sincerity and a humble heart - “Better days are living says the mother to the child, when she wonders where the next meal’s coming from, every day’s a battle, they just take ’em as they come.” The album is simply produced and mixed in a lo-fi manner, as Hudgins haunts at the helm, vocally. The acoustic guitars are beautifully orchestrated, and the backing harmony vocals give it great color and balance. Recorded with the hiss of audio tape in the room, Better Days Are Coming features songs with both strong and dark themes of love and loss, insomnia and gun control, battling through life’s tough struggles, days and nights of jail time, dying young, the sirens of police cars, sons and daughters of the South, God, souls and seeking mercy, and just about everything else you can pack into a brilliant singer/ songwriter album. The chords and arrangements are simple and immediate, bringing forth the most of emotion and meaning as each line of verse echoes from the stereo into the listener’s soul. It’s a delightful listen by an Athens music legend, worth revisiting throughout the year, season to season. Think of it as a 10-song album of Southern lullabies, ready and available to ponder along with, and calming and easy enough to fall asleep to when needed… Mixed and Mastered by Drew Vanderberg at
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Chase Park Recorded to 4-track cassette at House of Horrors www.hudginscountry.com -Shawn M. Haney
38 FEBRUARY 2013 PERFORMER MAGAZINE
The Royal Room - Seattle, WA / December 18, 2012
The Rainbow Girls almost didn’t make it to Seattle. The 12-passenger van that was their home during their week-long tour of the Northwest slid off an icy road on the way to Port Townsend. “We’re just glad that the bus is fine and no one was hurt,” said Erin Chapin, describing the accident on stage at the Royal Room. Despite the mishap, the band didn’t miss a beat, warming up the winter night with a set of raucous, foot-stomping folk music and luscious four-part harmonies. Taking turns on lead vocals, the Rainbow Girls showcased four very different voices that still blended beautifully in
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harmony. On her song “Tin Tang Game,” Vanessa May combined her soulful alto with Cheyenne Methmann’s singular quavering croon, creating a gorgeous and haunting effect. The show reached a high point when the frenetic folk jams gave way to a moment of a cappella harmonization, captivating the audience with a psychedelic siren song. The band’s vocal abilities are matched by their musicianship. The five women played a total of eleven different instruments that night, including washboard, accordion and ukulele. Caitlin Gowdey’s soloing was especially impressive and emotive, like Jimmy Page on the accordion, and
Rainbow Girls warm up Seattle with psychedelic stop-folk.
drummer Savannah Hughes drove the band. Between songs the band played an entertaining game of musical chairs as they switched instruments and positions on stage. Taking such a dynamic show to faraway venues can’t be easy (forget about a good monitor mix), but the Rainbow Girls are clearly undaunted by the challenges of the road. It’s a safe bet that they’ll be bringing their unique brand of stompfolk to your city soon.
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RAINBOW
by Eric Wolff photo by Jacqui Hendricks
www.rainbowgirlsmusic.com
GIRLS LIVE SHOW
FEBRUARY 2013 PERFORMER MAGAZINE 39
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BAD RABBITS LIVE SHOW
Brighton Music Hall - Boston, MA / December 31, 2012
THERE WAS REALLY ONLY ONE WAY TO RING IN THE NEW YEAR 40 FEBRUARY 2013 PERFORMER MAGAZINE
right - and for many local music fanatics it was at Brighton Music Hall with the hardest working band in Boston: Bad Rabbits. Despite selling out the venue (which is a usual occurrence for them) and being backed by a horn section, the show felt remarkably intimate since the audience was full of experienced concert-goers whose musical appetites were just as insatiable as the first time they saw BR. Playing on our fervor, they indulged us by opening their set with “We Can Roll,” their latest single, which masterfully balances hypnotic rock rumblings with soulful stirrings and yearning vocals.
by Candace McDuffie photos by Ashley Anne Jones
But everyone in attendance was patiently waiting for the classics. And of course, the boys delivered with a looser and less deliberately stylized approach. “Neverland” was an effortless sing-along, “Girl, I’m Like Damn” was infused with a brash sort of energy, and “Can’t Back Down” was highlighted by fans running onstage only to crowd surf right off. By the end of the night, covered in our sweaty, post-coital performance glow, we all were reminded of one thing: ain’t no party like a Bad Rabbits party, ’cause a Bad Rabbits party don’t stop.
www.badrabbits.com
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Intimate, horn-infused party to usher in the New Year.
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FEBRUARY 2013 PERFORMER MAGAZINE 41
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VINYL
Twin Cities Funk & Soul
MONTH
Lost R&B Grooves From Minneapolis/St. Paul 1964-1979
OF THE
Minneapolis, MN (Secret Stash Records)
“Heaven-sent compilation of unjustly forgotten, Midwestern soul gems” Truth be told, I nearly shat my pants upon opening this LP. Eric Foss, whoever you are, God bless you, sir. You, along with your label mates, have compiled what has to be the greatest collection of soul, R&B and funk tracks ever assembled. And no, I don’t mean just the greatest collection of lost or rare tracks. Or just Midwestern tracks. The best soul, R&B and funk. Period. What we’re treated to is a true labor of love, and make no mistake, you’re in for an incredible treat. Twin Cities Funk
& Soul is four sides of velvety smooth audio gold, mixing unjustly forgotten musical gems that will no doubt serve as the soundtrack for Quentin Tarantino’s next blaxploitation film. “She’s A Whole Lot’s A Woman” by Mojo and his “Chi 4” is undeniably funkier and hotter than anything Motown was putting out during the same period. Other classics include “There Goes My Used To Be,” a melancholy track by Wee Willie Walker that out-Temptations the Temptations, even without the harmonies.
And that’s only disc one! Also included is a 32-page newspaper compiled by the label that includes biographical info on the artists, more tidbits on the scene itself and tons of rare photos from the time period. Even through the fidelity varies from track to track, it simply doesn’t matter. Taken for what it is, Twin Cities Funk & Soul belongs on every serious music fan’s turntable, and is what every re-issue from here on out should strive to be. Drag City, are you listening? -Benjamin Ricci
Size: 2x12-inch Speed: 33 RPM Color: Purple Vinyl (limited edition only) Extra Content: Bonus 45 included with limited edition, deluxe gatefold sleeve, 32-page newspaper with info on artists and rare photos Remastered by Cory J. Wong Produced by Eric Foss Compiled by Will Gilbert, Eric Foss & Danny Sigelman Newspaper design by Eric Foss www.secretstashrecords.com
42 FEBRUARY 2013 PERFORMER MAGAZINE
SEND US YOUR MUSIC! EDITORIAL@PERFORMERMAG.COM
The Milk Carton Kids The Ash & Clay Los Angeles, CA (ANTI- Records)
“Gorgeous folk music driven by explosive vocals and powerful compositions” The Milk Carton Kids are reviving folk music. With a contemporary twist on the genre and the incorporation of simple, yet enticing harmonies, the pair has crafted a sound that is not only beautiful but also seamlessly constructed. Their latest album, The Ash & Clay, is a further example of the duo’s ability to create songs that are both intimate and powerful, bittersweet and inspiring. There is a sense of nostalgia on this latest endeavor, as darker images are set to stirring melodies. The ballad “Snake Eyes” presents a complex duality between memory and forward movement while “The Jewel of June” is acceptance and introspection. The soft harmonies of twin acoustic guitars and delicate vocals of Kenneth Pattengale and Joey Ryan fuse together into something utterly captivating. As each track progresses, there is a need to listen intently to everything the pair does. The folk music “revival” has gained substantial momentum as of late, but The Milk Carton Kids take it another level. Their unabashed honesty and naturally flowing sound is hypnotizing. The have an exceptional knack for crafting heartbreaking songs and skillful compositions that serves them well on The Ash & Clay.
love for music and creativity. Their debut selftitled album blends together vibrant sounds with more pared-down musings and deeply introspective lyricism. Franc Castillejos and Tim Hoyt are the duo behind the name and they took a unique approach to the creation of their debut album. Rather than recording in a fancy studio, they headed to the mountains of Guatemala and the entire endeavor came to life in a vacant orphanage. The album opens with “Lion or the Bee” and is instantly captivating. Sound is layered in a complex and engaging fashion, creating a rich and unique perspective. As the album progresses, tracks like “Miles to Welcome” and “When You Have Money” convey a sense of acceptance for the struggles in life and a willingness to embrace whatever comes up. Castillejos’ lyrics are poignant and even when shrouded in metaphor, speak truthfully to the adventure of life. The composition of the album is impressive. Castillejos and Hoyt play every instrument and the recording process was a simple, bare-bones affair. The result is an organically flowing and raw musical journey that emphasizes their passion for their craft. Many bands have taken the DIY path before, but not always ended with a result as impressive as Mountain Sounds. This pair is driven by a passion for music and a love of their craft. Their dedication and willingness to take risks has paid off and left listeners with album that is an entertaining and thought-provoking journey.
The Next Best Thing Charlotte, NC
“Avett brother joins friends for latest Americana journey”
(Self-Released)
“Collision of cultures, recorded in an abandoned Guatemalan orphanage” Mountain Sounds is driven by an undying
Mixed by Douglas Williams and Robert Childers www.overmountainmen.com -Heidi Schmitt
Pissed Jeans Honeys (Sub Pop)
(Ramseur Records)
mala & Portland, OR
Produced by David Childers and Bob Crawford
Allentown, PA
Mountain Sounds San Lucas Sacatepequez, Guate-
that they frequently perform to massive audiences, who often scratch their heads, wondering why they haven’t heard of David Childers before. (The Avett’s bassist Bob Crawford is a member of Overmountain Men, along with guitarist Randy Saxon and drummer Robert Childers.) Perhaps the band will be less anonymous with the release of their sophomore effort, The Next Best Thing, an album filled with melodic selfexplorative songs like “All Out of Diamonds” and historical odes in “Halls of Glory” (about Teddy Roosevelt’s rise to leadership) and “Alexander Hamilton” (about, well, Alexander Hamilton). Childers’ songwriting and the album’s instrumentation harken back to retro country in the spirit of Waylon Jennings, but influences of folk and rock appear, especially on the title track. Duets with Charlie Lowry on “Hard Loving You” and “Smoke and Mirrors” fill out the romantic portion of the album, but stick around for the last song, “Twilight Road,” which is a beautiful description of love that never quite seemed to manifest.
-Vanessa Bennett
Overmountain Men
Mountain Sounds
@PERFORMERMAG.COM
www.mountainsoundsmusic.com
www.themilkcartonkids.com -Vanessa Bennett
LISTEN TO MUSIC FROM THIS ISSUE
David Childers, the lead man of Overmountain Men, has gained respect and acclaim in the North Carolina folk/Americana scene. The Avett Brothers have made a cover video of his bittersweet song “The Prettiest Thing,” a track
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“Spray paint the walls, piss on your jeans” Pissed Jeans is what most would consider “classic hardcore,” meaning their simple, stripped-down approach to hardcore has more to do with black coffee and SST than it does with flat irons and eyeliner. Comprised of four angry dudes, Honeys is the group’s fourth album, and third for Seattle label Sub Pop. Opening up with a one note, 20-second bass solo from hell, Pissed Jeans smashes through their opening number “Bathroom Laughter” with the intensity and neurosis that will make this album a instant hit with any fan of Henry Rollins. Although there are a few low moments (“Cafeteria Food” and the way continued on 44 FEBRUARY 2013 PERFORMER MAGAZINE 43
Ted Russell Kamp
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Pissed Jeans (continued) too Danzig-ish sounding “Loubs”), Pissed Jeans should prove a treat for their longtime fans, as well as anyone looking to fill the void of the OFF! LP only being 15 minutes long. Again, if you are down with early-’80s sludge rock, this is your new favorite band. It’s like going into your old record collection and all of a sudden finding out your favorite band has a new record you never knew about. Don’t believe it? Go listen to Pissed Jeans’ song “Cat House.” Right? Exactly. www.whitedenim.com/pissedjeans -Ben Nine-K
Steph MacPherson Bells & Whistles Vancouver, BC (Cordova Bay Records)
“Surrender to achingly sung vocals & infectious country”
Night Owl Los Angeles, CA (Poetry of the Moment Records)
“A timeless, carpe-diem appreciation of Mother Earth and its inhabitants” The ability of an artist to so accurately and richly capture a moment in time has long been a testament to their creative prowess. A celebration of the rural countryside in the realm of Fleetwood Mac, down-home simplicity shines throughout the Americana stylings of Night Owl. “I wanna be the first in the morning to see the sun, and the last man standing when the day is done, ” songwriter, bassist, and producer Ted Russell Kamp sings throughout “The Last Drop,” a perfect representation of his character. When this sensibility is combined with tracks that evoke the desire to ride with the top down (“Right Down to the Wire,” “Another Love Song”) and to sit fireside (“Fireflies,” “Santa Ana Winds”), the result is timeless, something that could only be put forth by a gifted storyteller. Even the album’s opener, the Will Hoge co-written “Smile Alone, ” has the potential to be an anthem for romantics, with its weaving of elements of Levon Helm and 1970s-era Eric Clapton, to the chorus of: “We’re never gonna be those kids we used to know, but I wanna try it with you ‘cause I’d rather cry with you than smile alone.” Night Owl is destined to have a profound impact on listeners and remain with them throughout the passage of time.
Achingly beautiful, channeling infectiously bright melodies and well-arranged lyrics, Steph MacPherson dazzles on her debut LP, writing with the pen of a powerful voice. From British Columbia, this touring Canadian star is making a statement in 2013, and tunes such as those on Bells & Whistles should not fail to deliver commercial airplay in the New Year ahead and beyond. With bright choruses, uplifting anthems like “Bent & Unkind,” “Bells & Whistles” and “This Produced and Mixed by Ted Russell Kamp & Charles One,” the artist displays a voice clear and unre- Berolzeimer strained, packed with emotion and color. Each Mastered by John Golden track is compellingly produced, with gorgeously www.tedrussellkamp.com lush instrumentation in both light rock and coun- -Julia R. DeStefano try fashions. “Something in You” breathes easy with a slow tempo, heartbreaking vocals, and resonating Todd May pianos that pound at the chest with its melodic fists. “The Distance” provides meaning to a rough Rickenbacker Girls world, blending in the soft touch of sustained Columbus, OH electric guitars matched with MacPherson’s (Peloton Records) moving voice. The track is powerful, in that no other instruments are involved. Her style is immediate and fresh. The “As good as Americana gets” instrumentation never fails to satisfy, its quality undeniable. Steph’s songs are sung with a Todd May’s journey to solo record-dom has seasoned, confident voice similar to artists such as Sheryl Crow, Sarah McLachlan, and Colbie had quite a few twists along the way. The singer/ songwriter, whose main gig is as a guitarist for Caillat. Truly a treat to listen to. Lydia Loveless, got his start in the ’90s fronting Produced, Engineered & Mixed by Jason Cook The Lilybandits, an acclaimed Southern soul/ Mastered by Joby Baker punk band that disbanded before getting its comRecorded at Baker Studios, Cook Studios & Nimbus Studios mercial due. May has gone on to front Fort Shame Mixed at Infiniti Studios as well and the Mooncussers (both currently www.stephmacpherson.com recording and performing), but it’s with his solo -Shawn M. Haney 44 FEBRUARY 2013 PERFORMER MAGAZINE
debut that he truly comes into his own. May’s previous work as both a frontman and a sideman serve him well here, as Rickenbacker Girls is filled with both confident vocals and tasteful guitar work. With a voice reminiscent of Steve Earle at his jagged best, May delivers 11 songs filled with nostalgia (the title refers to the military brats he met as a boy near Rickenbacker Air National Guard Base in Ohio), yearning, and wistfulness. If Rickenbacker Girls is any indication, Todd May’s prolific output should include more solo ventures. www.pelotonrecords.com/toddmay -Jason Peterson
The Trews …Thank You and I’m Sorry Toronto, ON (Bumstead)
“High energy rock fronted by raspy words, driving guitars and good times” [Editor’s note – The Trews are the best rock band in music today. Period. ]
This EP is a relief for those of us that gave up on rock n’ roll when seemingly overnight the laptop became an instrument. Canadian quartet the Trews pick up the baton of rock and carry it forward, spitting beer in the faces of the sissy rock plaguing our radios. Since ’97, the Trews grit the definitive rock trinity (guitar, bass and drums) with singer Colin MacDonald’s charismatic and signature rock growl (think early Soundgardenera Chris Cornell). Storming the gates with the EP’s strongest track, “The Power of Positive Drinking” recalls the first time anyone’s father spun Zeppelin’s “Rock and Roll.” A jutting riff blisters through a foot-stomping beat, MacDonald’s hooky chorus, with the best sounding drums in ages - the power of high production. The three minute anthem is defiant to settling down, “Say what you will / Leave if you must / I won’t expect you / Will get back your trust / We can’t pretend that none of this ever happened.” All seven tracks blister along with strong listenability and classic rock n’ roll cadence, baring widespread appeal. …Thank You and I’m Sorry will surly be one of the strongest rock n’ roll releases of 2013. Engineered by Gordie Johnson and Jason Dufour Recorded at Revolution Studio, Toronto Mixed at Pedernales Studio, Spicewood, TX by Gordie Johnson Mastered by Howie Weinberg Produced by Gordie Johnson and John Angus MacDonald www.thetrewsmusic.com -Christopher Petro
ARAABMUZIK
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EDITOR’S PICKS
The Middle East – Cambridge, MA / December 13, 2012 review and photo by Candace McDuffie
LIVE SHOW
The Gashers Law Is Not Order Las Vegas, NV Genre: Punk
Elim Bolt Nude South Charleston, SC Genre: Croon Rock
The Pine Hollows Something My Heart Understands New York, NY
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Precision drum machine mastery and
Genre: Pop Rock
captivating stage presence.
The Middle East has become notorious for their frequent hip-hop shows put on by Leedz Edutainment, which manages to balance more well known national acts with perfectly unpolished local talent. On this particular evening, the man of the hour happened to be AraabMuzik - a legendary producer and a god when it came to commanding the MPC. But Boston MCs were on hand to represent, as well. Big Nate had a ominous stage presence, and Quarter Block riled up the crowd with their very own “Beantown Anthem.” Juice and Della even had their own cheering section that stood their ground, just inches away from the stage. But after AraabMuzik took
the stage, fans slinked away from hazy grinding to being completely captivated by the young titan. His precision when it came to maneuvering a drum machine was mind blowing. The man was so focused you could barely get a glimpse at his face since he couldn’t peel it away from what he was doing - not even for a second [editor’s note – and not even for photos]. The next time he comes through Boston, the adulation he will receive will be greater than ever before.
www.araabmuzikmvp.com
FEBRUARY 2013 PERFORMER MAGAZINE 45
CAREER GUIDE Prepared by The Career Development Center at Berklee College of Music reprinted with permission
As many of our readers are not only professional musicians, but also artist managers, recording engineers, agents, entertainment lawyers, etc, we felt the information provided in the report would be of particular value and usefulness. The study shows salaries trending upwards for certain positions (orchestral musician, assistant professor, public relations specialist), while others are seeing a decline (commercial jingle 46 FEBRUARY 2013 PERFORMER MAGAZINE
Editor’s note - At the end of 2012, Berklee College of Music published a comprehensive report detailing salary ranges for professions within the music industry, as well as a flowchart for negotiating music job offers, resources that
provide more information, and a study on artist revenue trends. The following pages reprint, with permission, some of the information found in the report; it can be downloaded in its entirety as a PDF from the following address:
www.berklee.edu/pdf/pdf/studentlife/Music_Salary_Guide.pdf
composer, A&R representative, music education administrator). Some changes are due to more comprehensive data collection, but market factors are also at work. “It’s important to remember, despite our best research efforts, all salaries represent only ranges, dependent on numerous variables,” says Peter Spellman, director of Berklee’s Career Development Center. “There is downward pressure on many music performance salaries right now due to
the slowing global economic recovery, changing perceptions of music’s value, and hyper competition,” Spellman continues. “Thus, all the more reason for musicians to expand their repertoire of both musical and professional skills in this transforming industry.” - Benjamin Ricci Editor
CAREER GUIDE FEBRUARY 2013 PERFORMER MAGAZINE 47
CAREER GUIDE 48 FEBRUARY 2013 PERFORMER MAGAZINE
LEGAL PAD
Protect Your Band’s Identity
Trademark Basics
YOUR BAND NAME IS A BRAND NAME, PLAIN AND SIMPLE. Registering your band’s name and logo with the United States Patent & Trademark Office is the most effective way of protecting your band’s intellectual property for years to come. Registration is relatively inexpensive and can be accomplished online, without all of the paperwork and formalities required only a few years ago. Here’s what you need to know to get started: BASICS: A trademark is a word, phrase, or other symbol used in commerce to identify your brand, product, or identity. In the music industry, a trademark exists for the protection of bands, labels, related businesses, and consumers by giving the creators and/or owners of products or services exclusive rights to use a certain name, word, or image to identify their products or services (and prevent others from using them). In addition, it protects consumers by ensuring that when they buy a product (for example a concert ticket or piece of merchandise), they know they’re getting the real thing. Trademarks also help protect bands by ensuring that their brand isn’t tarnished by other groups touting themselves as the original. Before describing registration, you should note the difference between a “trademark” and a “service mark.” A trademark is used in regards to goods (albums, merchandise), where a service mark is used for services (performances, ticket sales). While these terms are regularly
ABOUT THE AUTHOR
referred to as one and the same, make sure you know which one applies before you register. HOW TO REGISTER FOR A TRADEMARK: Your band may have already acquired trademark protection through common law (which is harder to determine and by no means foolproof); however, formal registration is hands down the way to go. The advantage of registration is that (1) it puts other groups on notice that your band’s name is “taken” and (2) it allows you to sue in federal court if a dispute arises. There are some qualifications you will need to check off prior to registering. First, have you participated in “interstate commerce” (i.e. toured or sold your music in several states)? Second, do you have proof that your name has been used in commerce? If you’ve answered “yes” to both of these questions, you may begin the registration process. STEP ONE: Make sure your name and any designs are locked down. First, go to http://tess2. uspto.gov and conduct a search at the online database for similar marks. Note that your search results may include marks that have expired or are no longer in use. It’s worthwhile to dig around for a while. Second, once you have solidified your name (and logo if applicable), make sure you have any related pictures in JPEG format and have it in the property form.
Adam Barnosky is a Boston-based attorney and writer. For industry trends, legal updates, or to request an upcoming Legal Pad topic, find him on Twitter @adambarnosky.
STEP TWO: Prepare for filing. We strongly recommend looking through the application process step by step at http://www.uspto.gov/ trademarks/teas/new_teas_plus.pdf, which has screen shots of all the questions and information needed throughout the process. Even with small trademark filings, there is a good amount of information to gather and submit to the organization, which includes: owner of the mark (this could be an individual, partnership, or corporate entity), full contact information, type of mark, date of first use, date of first use in commerce, etc. Also have a credit card ready for electronic filing, which is currently $325. STEP THREE: File away! Go to http://www. uspto.gov/trademarks/teas and start the process. If you find a few hiccups along the way, don’t hesitate to look up it up - there are dozens of sites (including YouTube tutorials) dedicated to each step of the process. For an affordable rate, you can also have a professional guide you at www.directlegal.com. Finally, if you want the assurance that it’s completed properly, hire an attorney specializing in trademarks. Once you officially register your band name, you are presumed the lawful owner in the United States. Good luck!
DISCLAIMER: The information contained in this column is general legal information only and should not be taken as a comprehensive guide to copyright law. Consult your attorney for all specific considerations.
FEBRUARY 2013 PERFORMER MAGAZINE 49
GEAR
my FAVORITE AXE
Got a favorite instrument you’d like to share? Email us at editorial@performermag.com.
FONTEZ BROOKS OF BABY BABY
BACKGROUND
I play guitar/lead vox in a band hell-bent on saving the world. I’m not the greatest guitarist, but I feel it in my soul. MAKE & MODEL
2006 Fender Squier Telecaster with pink sparkle swag. WHY THIS GUITAR?
I never owned an electric until I bought this one. I knew I wanted something funny, a bit random, with a humbucker and that was a Telecaster. And here we are... WHY PINK SPARKLE?
I feel like when people see the pink they underestimate how hard it’s gonna rock. Being a black guitarist, I always feel like people underestimate how hard I’m gonna rock their ducking faces off! photo by Jonathan Newton
WHAT IT SOUNDS LIKE
A wall of filth playing chords that lift the spirit. It’s a Squier so it’s not the ‘real deal,’ but it has a humbucker that I play through a Big Muff…so... yeah...you know what it is. SPECIAL FEATURES
I switched out the stock humbucker with a DiMarzio Tone Zone. CAN BE HEARD ON
The new BABY BABY video, now on YouTube! VISIT FACEBOOK.COM/BABYBABYLOVESYOU
50 FEBRUARY 2013 PERFORMER MAGAZINE
Live FX vs. Plug-Ins
Part 1 of 2
RECORDING
Pros and Cons
SPLIT DECISION If you’re a musician that “plugs in,” then you know that the sound you hear coming out of your amp can either inspire you or make you want to hang up your guitar or bass in disgust. And yeah, this article is mainly written for electric guitarists and bassists because so much of these instruments’ sonic character is attained through amps, amp modeling and effects. You know what I’m talking about – there’s a thrill of getting that perfect tone - when it’s right, you just can’t stop playing. In this article, we will discus the pros and cons of recording live versus applying software plug-ins during post-production. And who knows, we might even discover a method that satisfies both sides of the aisle… CAPTURING THE LIVE PERFORMANCE We are so lucky now to be living in a time when amp modeling has really hit its stride and when digital effects are plentiful and cheap. In the 1980s, you’d be lucky to find an amp with anything more than spring reverb built in. Today many amp manufacturers like Vox, Fender and Line 6, just to name a few, include amp modeling circuitry and a host of digital effects like chorus, flange, echo, delay and reverb. Or you can use your favorite amp with a pedalboard to get virtually unlimited sounds. So the question that comes up all the time in the studio is: “Should I record with my effects or dry and add the effects later?” We always answer that question with a question (because we’re enigmatic and mysterious). “Do you have a sound that inspires you, that feels good and is integral to the song?” If he answer is “yes,” then record that sound because it will affect your performance. And recording is largely about capturing great performances. If you aren’t happy with the sound from your amp, then you can record “dry” and we can then hunt around for tones and effects that fit the mix after tracking. But let’s be honest here – the best feeling in the world is when you nail a take with that perfect tone, rip off your headphones and flop down on the control room couch while the rest of the band grovels at your feet. VOCALS Okay, we said this article was about guitar and bass but we do want to mention that often
pictured: Stone Cold Fox (flip the page for a full Studio Diary with the band) / photo by Jen Painter vocalists like to have some effects (usually reverb) on their voice when they record. But it’s often the case that this effect wouldn’t be appropriate later in the final mix. So we will often use an “aux send” on the recording console to feed reverb into the headphone mix of the singer, even though s/he is being recorded dry. That way they can perform with a big sound that inspires them, and can help wring out a few extra ounces of sexiness and emotion without being stuck with too much (permanent) reverb in the final mix. THE DRY ADVANTAGE The obvious advantage to recording an instrument without effects (dry) is that you can then apply effects to any degree using software plugins after the track is recorded. You can always add reverb, distortion, echo, etc., later but you
can’t reduce it. Recording dry often works fine when the part being recorded is an overdub and is not integral to the foundation of the song or when an idea comes into your head and you don’t want to lose the inspiration while tinkering with sounds. Just hit record and capture the moment, then go back and dial in the right tone and effect. DO YOU EQ? EQ is a bit different than most effects, in that you can continue to add or subtract EQ even if you’ve adjusted the tone knobs on your amp. In fact, you should get your EQ settings as close as you can prior to recording, even if you’re not 100% pleased, since you can continue to tweak EQ later. [Editor’s note – read part 2 in the March print issue and online at performermag.com]
ABOUT THE AUTHORS 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. He is also a talent scout at Black Cloud Productions. Reach him at brent@blackcloudproductions.com.
FEBRUARY 2013 PERFORMER MAGAZINE 51
STUDIO DIARY
In The Studio with STONE COLD FOX
Moving Beyond Self-Production for Sonic Inspiration
interview by Benjamin Ricci / photos by Jen Painter
album info
Stone Cold Fox, Seventeen (single) Recording Studio: Studio G 5000, Brooklyn, NY Label: Self-Released Release Date: February 2013 Produced, Engineered & Mixed by Joel Hamilton Assisted by Francisco Botero and Michael Jinno
key gear
· Custom Thinline Telecaster · 1972 Rickenbacker 4001 Bass · Epiphone Casino · Fender Silverface Twin Reverb · Supro Model 24 · Korg Delta · Eurorack Modular Synth · Echoplex Tape Delay · Coles 4038 Ribbon Microphone · Soundelux U95 Multi-Pattern Tube Condenser Microphone
PRE-PRODUCTION What was your pre-production like on this project?
Ariel: The pre-production process involved us recording a demo and bringing it to our producer Joel Hamilton for opinion and critique. With his insight and direction, we would go back to our home studio and rework out parts and arrangements on the demo. This went back and forth a couple of times before we hit the studio.
52 FEBRUARY 2013 PERFORMER MAGAZINE
“We always like to indiHow did you choose the studio?
Ariel: The summer after my junior year in college (2011), I was in search of an internship with Studio G (now referred to as Studio G Classic). Instead of finding myself in the studio, I was recruited to help construction of their new space: Studio G 5000. I spent a summer helping to turn a 5,000 square foot warehouse into a stateof-the-art recording complex, consisting of three studio rooms, so it only made sense that we went back to record there.
vidually track for recording purposes, but we have everyone playing together for the performance and feel.”
HAVE A UNIQUE STUDIO STORY TO SHARE? EMAIL EDITORIAL@PERFORMERMAG.COM
What kind of sound were you looking for and how did you achieve it?
Kevin: We were looking for a rockier sound. The instruments were more rhythm-driven and we used the vocals to carry the primary melody. We also decided to only use live drums instead of incorporating programmed drums.
How does it compare to your last release in terms of style and the creative process?
Kevin: It’s angrier. It’s not like the EP songs, which are about home and growing up. It comes from a much more visceral, emotional place of breakup and withdrawal. It’s like the difference between walking down a hill and jumping off a cliff. Let’s just say it was a difficult time [laughs].
Did you use any special gear or recording techniques on this one?
Ariel: Yes, yes, and yes. Joel [Hamilton, producer] has a command-station’s worth of “special gear” and is an audio wizard of sorts. One of the notable chains was running guitar with an EarthQuaker Devices Organizer [Polyphonic Organ Emulator] pedal into an Echoplex [tape delay].
What was your philosophy on live, fullband takes versus individual tracking?
ended up being resolved on the first day in the studio. Also being the producer and engineer for everything up to this point, it was a challenge to consciously relinquish some control and entrust to the producer.
What did you try to accomplish in the studio that you’re not able to do live?
Kevin: I’m really used to working with Ariel as the producer, and we’ve developed a certain routine of yelling at each other in disagreement for days. We really come from different places so it takes us a while to lock down the final say, but it usually comes out balanced and we both end up happy. It was definitely different working with Joel because I had slightly less control. We really just had to put our trust in Joel to find the right take, the right sound, and the right mix for the song. Though it was a jarring experience, the song came out amazing and working with Joel proved to be extremely educational and frankly inspirational.
Ariel: We always like to individually track for recording purposes, but we have everyone playing together for the performance and feel.
Kevin: We really concentrated on finding the exact sounds we wanted to represent the song. We wanted to experiment in certain parts, as well, and we really needed to sit down and observe it, rather than playing it live. The live version is like a caricature of sounds; we have our pedals and tones that give the general idea of the sounds we want, but it wasn’t until we sat down and observed each sound that we really discovered what the song needed.
What were the toughest challenges you faced?
Ariel: In regards to recording, it was one of the smoothest and most enjoyable recording processes I have ever been a part of. We did have conflicted feelings in the songwriting and arrangement in a section of the song during preproduction, which
STUDIO DIARY
PRODUCTION
Any funny stories from the sessions that you’ll be telling for a while?
Kevin: On one of the more experimental sections of the song, we had an ongoing joke about finding “just the right amount of heroin.”
“Being the producer and engineer for everything up to this point, it was a challenge to consciously relinquish some control and entrust to the producer.” POST-PRODUCTION How did you handle final mixing and mastering?
Ariel: We spent two days in the studio and Joel was able to give us a final mix by the end of our second day.
What are your release plans?
Kevin: We are releasing the single along with a music video, which I will be directing, in early February - right in time for the Valentine’s Day. So we can all be depressed and pissed off together!
VISIT www.stonecoldfoxmusic.com FEBRUARY 2013 PERFORMER MAGAZINE 53
GEAR REVIEWS
GENZ BENZ Shuttle 6.2 600W Bass Amplifier - $679 (head only)
FEATURES Weight: 3.75 lb. Power Output: 375W/8 ohms; 600W/4 ohms Preamp: Analog 12AX7 tube
PROS
Great sound, tons of volume, portable, lightweight and compact.
CONS
Limited speaker connectivity.
EQ: Active w/parametric mids Speaker Output: Speakon Direct Out Interface: Full XLR Footswitch: Available (not included)
Since the earliest days of the electric bass guitar, players have desired a balance of portability and sound. Genz Benz’s Shuttle 6.2 captures those qualities in a modern package. It’s quite small, about 3/4 the size of a rack unit, and weighs in at under four pounds. Its Class D design is very efficient, meaning high audio quality with a small size. There’s plenty of power; at 8 ohms, it’s pushing out 375 watts, at 4 ohms, 600 watts. A 12AX7 is in the preamp stage warming up the signal. The front panel features a mute switch, gain and volume controls, while a 4-band active EQ provides sound sculpting. The two center mid frequency
controls are parametric, and can perfectly adjust the mid frequencies that can make or break a bass sound. There is also a “shape” selection: low frequency boost, a mid scoop or a high frequency attack selection. The rear panel has an effects loop, aux in, tuner out, headphones, and a footswitch connection for the signal shape controls. The XLR DI out has plenty of options with a pre- or postEQ out, and line level or mic level output, giving it plenty of flexibility in a live setting or in the studio. With a flat EQ setting, there’s plenty of fullness, and adjusting the EQ for the room, type of music, and bass, is easy. It’s hard to get a bad sound out of it. Even an inexpensive bass sounded
MACKIE DL1608 16-Channel Live Wireless Mixer - $999
high-end through this unit. There’s a great balance of warmth and clarity, and plenty of useful low-end frequencies. The shape controls are a great feature, eliminating the need for external boosters or EQs to get a low-end sound to stand out in the mix. The only downside is the choice of speaker connections. While the Neutrik connections are lockable, which is nice, forgetting or losing a specialized cable, especially when you need it, with the inability to use a regular 1/4” speaker cable is also a bummer. Overall it’s a very nice, modern bass system. It’s quite portable, size and weight wise, and delivers a fantastic sound. Highly recommended for any live or studio bassist. -Chris Devine
FEATURES Mic Preamps: 16 Onyx (12 x XLR, 4 x Combo) Line Inputs: 16 (12 x XLR, 4 x Combo) Main Outputs: 2 x XLR Send/Return I/O: 6 x TRS sends Phantom Power: Switchable (one switch for all channels) EQ: 4-band fully parametric per channel,
PROS
CONS
Effortless wireless mixing, iPad integration, Onyx preamps, price.
31-band graphic master bus
None whatsoever.
FX: Compression, Reverb, Delay
Aux Sends: 6
Rackmountable: Yes, with optional kit
Okay, let’s start with the negatives…there are none. So let’s get to all the good stuff, shall we? Mackie’s new DL1608 live mixer is the killer app for the touring band that wants great sound, and the ability to control and shape that sound, onstage, in any live setting. Featuring 16 Onyx preamps (plenty for most live acts), sound quality was exceptional at volumes across the board. At first, we were a bit wary of how well the iPad would integrate with the mixer, but once we fired up the Master Fader app and paired the units, usability was seamless and thankfully incredibly easy. In short, it just works. 54 FEBRUARY 2013 PERFORMER MAGAZINE
The big selling point of the DL1608, though, is its wireless mixing capabilities. We ran a number of tests, including one where (with even a weak WiFi signal), we were able to mix a 4-piece band using the iPad clipped to one of the group’s mic stands. They performed several songs and were able to, onthe-fly, control the mixer through the iPad’s touch interface. Need a vocal boost? With the Master Fader app, simply slide that virtual fader and you’re good to go. No need to wait for the club’s sound guy to stop hitting on that girl by the door in order to actually pay attention to the board.
Now, the Master Fader app has a ton of controls and parameters that we don’t have the space for in this review. Suffice to say, however, that the software/hardware integration works perfectly out of the box, and the learning curve is basically nonexistent if you’ve ever used an iOS app and/or live mixer before. We were pleasantly surprised at the unit’s ease-of-use, sound quality and the freedom the DL1608 affords bands and live sound engineers at the club level. The DL1608 gets our highest recommendation. -Benjamin Ricci
MAXON DB10 Dual Booster Pedal - $299
FEATURES
Clean Channel: +20 dB of flat boost Vintage Channel: +20 dB of mid boost Close-Proximity Switches: To operate both channels simultaneously Power: 9-volt battery or 9-18 volt DC adaptor
on cramped pedal boards, as it’s roughly the size of an MXR Phase 90. Simple controls, a level for the Vintage boost, and one for the Clean boost, with 1/4” jacks for each. Two true-bypass switches are the only other variables. It’s quite simple in function; plug a guitar into one of the channels, and its output to an amp, or the next pedal in line. There is a neat
way to link both channels together; run a cable from the output from the clean channel into the input of the vintage channel, and then out to the rest of the signal chain. For even more tonal choices, place another overdrive in that loop. Each channel offers up +20 dB of boost, which is a lot, and the ability to create unique overdriven combinations is very nice. The sound of the clean channel is just that, a pure boosted signal of the guitar. Depending on the guitar, amp and other overdrives in the signal chain, it may feel a bit brighter than the vintage channel, which is a touch warmer. The signal is just as strong, but it rounds out the sound a bit, while still cutting through the mix nicely. Both channels are great sounding and do exactly what they’re supposed to, and when combing them either in series and/or with another overdrive pedal, you’re really given a lot of tonal choices to play with. -Chris Devine
Diamond Guitar Pedals are designed by a technologist and an electrical engineer working on a PhD in Psychoacoustics, so expect innovation and some twists on classic pedal designs. Founder Michael Knappe worked as a signal-processing expert for many years before deciding he wanted to combine his expertise and his love of music to start a company focused on expanding the range of the guitar and improving the sound quality of guitar signal processing. Their pedals often combine features you’d expect in separate fx boxes, combined with modulation
from unexpected sources over parameters you don’t normally get to mess with. For example, the Halo Chorus combines delay, pitch, and phase modulation, giving you the sound of traditional chorus pedals but also the ability to create unique spatial tones by combining and modulating the different types of chorus. Check their website for a complete rundown of all their pedals and where you can buy them. Added bonus, they’re North American made; all Diamond Guitar pedals are designed and built in Halifax, Nova Scotia.
PROS
Plenty of boost options and combinations.
CONS
Footswitches are a bit close to each other.
In the days before the days of channel switching amps, boosters were the best way to get a guitar to sing over the mix, boosting the signal, and driving the amp harder. Now they’ve become standard items in multi-channel rigs, to provide not only a signal boost, but to change the overall tone. The new booster from Maxon fits neatly, even
Builder Profile
Diamond Guitar Pedals Signal Sans Noise www.diamondpedals.com
GEAR REVIEWS
True Bypass: Switching for each channel
Memory Lane Junior - $279 First came the Memory Lane, the first analogue delay with tap tempo. Then came the Memory Lane 2. Now there is the Memory Lane Junior, which uses the same variable sample rate concept as analog bucket brigade modulation and adds custom filters and companding to recreate the essence of the original pedal in a much smaller package. Going digital means that even though the box is smaller, the Junior more than twice the delay time, extended frequency response,
and can be run by standard 9v power. The engineers at DGP made their own anti-aliasing and reconstruction filters, leaving the digital engine dedicated to reproducing and delaying the signal with no manipulation to get the cleanest delay possible. The entire signal path, with the exception of the sampling engine, is analogue. Memory Lane Junior is perfect for anyone in search of a unique and useable delay, that is also affordable and fits easily into a touring bag. -Garrett Frierson
FEBRUARY 2013 PERFORMER MAGAZINE 55
FLASHBACK
AMPEX ATR-102 Tape Machine YEAR Originally built in the 1970s HISTORY This unit was originally built by Ampex - they were known as some of the best 2-track recorders and the best sounding machines. The specific ATR-102 that I used belongs to Paul Stubblebine a colleague and great mastering engineer located in San Francisco. In general, this particular type of tape machine was used for mixing down to stereo mixes. Nowadays, there are people that still exclusively use tape in their recording projects, but they’re also used as an effect - almost like a plug-in. You can loop material through it just to impart the quality of sound that you get from tape. Tape is basically a kind of compression. It deals
“Fitted with custom tube electronics built by Esoteric Audio Research”
56 FEBRUARY 2013 PERFORMER MAGAZINE
with transients like drums and percussion and smooths it out in a very musical way. So using [this machine] is a way to get back to this sound that many agree is the most musical way of dealing with compression. It’s much nicer than listening to a Waves L3 ultramaximizer. HOW IT’S USED I used the ATR on the latest Sistema Bomb record, which I mastered up in San Francisco and which was nominated for a Grammy this year. The thing about the 1” 2-track format is that it has this big fat bottom end, especially at 15 ips. The ATR helps it to knock a bit better and gives it a thicker, lowend texture. The other aspect to it is that the tube electronics in this machine have this nice 3-D thing that they do - giving material some depth. The tube
electronics are producing an interesting texture on the higher frequencies, as well. In fact, you can just run stuff through the tube electronics and not even touch the tape and you get a nice effect from that, too. MODERN EQUIVALENT There really is no modern equivalent, but the Universal Audio ATR-102 plug-in was modeled after this machine. They took a picture of the exact unit and even copied its quirks - like the razor marks where I’d cut tape. ABOUT THE AUTHOR John Greenham is a Grammy Award-winning mastering engineer. He currently works out of Infrasonic Mastering in Echo Park, California. FOR MORE INFO VISIT www.johngreenham.com
PERFECT MATCH DLM12
SIMPLY ADVANCED DL1608
• 2000W • TruSource™ Technology • DL2 Integrated Digital Mixer • Ultra-Compact & Lightweight
DL806
• Wireless Mixing • Total Control From Your iOS Device • Onyx Mic Preamps • 24-bit Cirrus Logic® Converters • Powerful Selection of Plug-ins
DLM12S
DLM8
DIG INTO THE TECHNOLOGY BEHIND THIS INNOVATIVE SYSTEM
Some things are truly greater than the sum of their parts. Contemplate the perfect balance achieved when pairing Mackie DL mixers and DLM speakers. Never before have power, technology and portability delivered so much ultra-compact harmonious goodness. Wow, our self-improvement books have really paid off. Namaste.
MACKIE.COM/SIMPLY ADVANCED ©2013 LOUD Technologies Inc. All rights reserved. “Mackie.”, the “Running Man” figure. and TruSource are trademarks or registered trademarks of LOUD Technologies Inc. All other trademarks are property of their respective owners. During yoga the dials should be set to 11.
Sound Better.
TR ACKING LIVE EFFECTS VS. PLUG - INS
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•
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•
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All at a price point previously unheard-of for loudspeakers of a similar pedigree. Visit your local Electro-Voice dealer for a Live X demo today.
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