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TABLE OF CONTENTS
VOL.24, ISSUE 2
OFF!
14
by Eric Wolff
Punk legend Keith Morris talks shop and gives us the inside scoop on the band’s latest record, recorded entirely to analog tape.
The Ataris
by Chris K. Davidson
cover story
16
Black Lips
20
Ten years after the breakthrough record So Long, Astoria, John Collura gives us a behind-the-scenes look at the band’s recent reunion tour and performing the record live in its entirety.
by Brad Hardisty Atlanta’s flower-punks take us inside their DIY tour of the Middle East, and give us insight into their new LP, Underneath The Rainbow.
4 Letter From the Editor
28 My Favorite Gear: Jeff Berner
5 Obituaries
29 Recording: Transition Home Recordings
6 Quick Picks:The Best in New Music 11 Vinyl of the Month: Roxy Swain 12 Live Reviews 24 Make Money on YouTube with Audiam
to the Studio pt. 1
30 Gear Reviews: Samson, TronicalTune, Earthquaker Devices
32 Flashback: 1961 Fender Telecaster
25 Use Switchcam to Automate Your Social Media
Cover photo by MICK ROCK
Studio Diary: The Trews by Benjamin Ricci
26
Join guitarist John-Angus MacDonald in the studio as we talk about the making of The Trews' upcoming album, Rise in the Wake. PERFORMER MAGAZINE APRIL 2014 3
LETTER FROM THE EDITOR
Dear venues with corporatesponsored names, I'm calling you by whatever you used to be, so suck it. You’re not the “Comcast/AT&T/Bank of America Thunderdome” or whatever the hell you’ve changed it to this month. And you never will be. You’re the Boston Garden. You’re Great Woods. You’re Harbor Lights Pavilion, dagnabbit. I’m sure it’ll have to be changed again anyway when whatever bank is currently paying you off gets bought by another, similarly crappy sounding bank next week. Until then, however, I say we music fans take a stand against revolving-door naming rights.
I say again: it’s time we take a stand! They may take our tickets, but they’ll never take…our freedom! Wait, sorry, I got a little carried away there... Anyhoo, as you’ve likely noticed, we have a snazzy new format for the mag debuting this month. It’s all jazzed up to be super mobile- and tabletfriendly. So whip out those iAndropads and start Kindling away with the new look. And while you’re at it, keep sending in your music for review and feature consideration. We’re currently in the planning stages of a bitchin’ vinyl compilation to celebrate the best DIY and indie music of 2014 - stay tuned to our social media channels and performermag.com for more deets in the weeks ahead. We’ll need your help (and your tracks) to make it happen! Until then: courage.
Never again shall we attend a concert at the “Staples/T-Mobile/Dunkin’ Donuts MegaDome.”
Volume 24, Issue 2
PUBLISHER
William House Phone: 617-627-9200 bill@performermag.com EDITOR
Benjamin Ricci - ben@performermag.com DESIGN AND ART DIRECTION
Cristian Iancu EDITORIAL ASSISTANT
Bob Dobalina editorial@performermag.com
CONTRIBUTING WRITERS
Sincerely, -Ben Ricci, Editor
P.S. – if any of the above-named corporations are interested in purchasing ad space in the pages of this magazine, we’ll happily take your cash and re-brand ourselves as the “McDonald’s Dollar Menu” Performer or anything else you’d like to call us. Let me make it perfectly clear: we are in no way above selling out for sweet, sweet greenbacks. C.R.E.A.M.
Amanda Macchia, Benjamin Ricci, Brad Hardisty, Brent Godin, Brian Palmer, Chris Davidson, Chris Devine, Christopher Petro, Don Miggs, Ellen Eldridge, Eric Wolff, Ethan Varian, Gail Fountain, Garrett Frierson, Hannah Lowry, Jaclyn Wing, Joshua James Amberson, Julia DeStefano, Lucy Fernandes, Matt Lambert, Michael St. James, Shawn M Haney, Taylor Haag, Vanessa Bennett, Zac Cataldo CONTRIBUTING PHOTOGRAPHERS
performermag.com
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@performermag
Amanda Macchia, Daniela Dawson, Gabriel Burgos, Manish Gosalia, Marie-Celine Vayssade, Michael Charlson, Mick Rock, Molly Kate Lane, Rick Carroll, Simon Filip, Steve Appleford ADVERTISING SALES
Kathleen Mackay - kathleen@performermag.com Deborah Rice - deborah@performermag.com
ABOUT US
CORRECTIONS
Performer Magazine, a nationally distributed musician’s trade publication, focuses on independent musicians, those unsigned and on small labels, and their success in a DIY environment. We’re dedicated to promoting lesser-known talent and being the first to introduce you to artists you should know about.
Did we make a heinous blunder, factual error or just spell your name wrong? Contact editorial@performermag.com and let us know, cuz we’re big enough to say, “Baby, I was wrong.”
MUSIC SUBMISSIONS We listen to everything that comes into the office. We prefer physical CDs, cassettes and vinyl over downloads. If you do not have a physical copy, send download links to editorial@performermag.com.No attachments, please. Send CDs to: Performer Magazine Attn: Reviews PO BOX 348 Somerville, MA 02143
4 APRIL 2014 PERFORMER MAGAZINE
EDITORIAL SUBMISSIONS In the words of our esteemed forefathers at CREEM: “NOBODY WHO WRITES FOR THIS RAG’S GOT ANYTHING YOU AIN’T GOT, at least in the way of credentials. There’s no reason why you shouldn’t be sending us your stuff: reviews, features, photos, recording tips, DIY advice or whatever else you have in mind that might be interesting to our readers: independent and DIY musicians. Who else do ya know who’ll publish you? We really will... ask any of our dozens of satisfied customers. Just bop it along to us to editorial@performermag.com and see what comes back your way. If you have eyes to be in print, this just might be the place. Whaddya got to lose? Whaddya got?”
PO BOX 348 Somerville, MA 02143 Phone: 617-627-9200 - Fax: 617-627-9930
© 2014 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.
Guitarist/Keyboardist, Devo Bob Casale was a musician and sound engineer, best known as a guitarist and keyboardist in the new wave band Devo. After a few line-up changes, Casale would be part of the most popular five-piece incarnation of Devo, which included the Casale brothers, Jerry and Bob ("Bob 2"), and the Mothersbaugh brothers, Mark and Bob ("Bob 1"), as well as drummer Alan Myers. Starting in 1984, Casale was the sound engineer for all of Devo's albums, including Shout, Total Devo, Smooth Noodle Maps and Something for Everybody.
Scott Asheton, 64 Drummer, The Stooges Scott Asheton was best known as the drummer for the rock band the Stooges. He co-formed the Stooges in 1967 along with his older brother Ron Asheton, Iggy Pop and Dave Alexander. The original incarnation of the band released two LPs on Elektra before moving through several lineup changes, releasing a third LP on Columbia in 1973 and disbanding in 1974. The Stooges reformed in 2003, and released a fourth album in 2007. Other than Iggy Pop, Asheton was the only consistent member of the band following the death of his brother in 2009.
Pete Seeger, 94 American Folk Singer Pete Seeger was an American folk singer and activist. A fixture on nationwide radio in the 1940s, he also had a string of hit records during the early 1950s as a member of the Weavers, most notably their recording of Lead Belly’s “Goodnight, Irene.” In the 1960s, Seeger re-emerged as a prominent singer of protest music in support of international disarmament, civil rights, counterculture and environmental causes. A prolific songwriter, his best-known songs include “Where Have All the Flowers Gone?” and “Turn! Turn! Turn!”
Paco de Lucía, 66 Flamenco Guitarist Paco de Lucía was a Spanish flamenco composer, guitarist and producer. A leading proponent of the New Flamenco style, he helped legitimize flamenco among the establishment in Spain, and was one of the first flamenco guitarists to successfully cross over into other genres like classical and jazz. Richard Chapman and Eric Clapton, authors of Guitar: Music, History, Players, described de Lucía as a “titanic figure in the world of flamenco guitar.”
Franny Beecher, 92 Guitarist, Bill Haley & His Comets Francis Beecher was the lead guitarist for Bill Haley & His Comets from 1954 to 1962, and is best remembered for his innovative guitar solos, combining elements of country and jazz. He composed the classics “Blue Comet Blues,” “Goofin’ Around,” and “Shaky.” Beecher continued to perform with surviving Comets through 2006, and in 2012, the Rock and Roll Hall of Fame inducted Beecher as a member of the Comets by a special committee, aimed at correcting the previous mistake of not inducting the Comets with Bill Haley.
OBITUARIES
Bob Casale, 61
George Donaldson, 46 Singer, Celtic Thunder George Donaldson, singer with the popular Irish group Celtic Thunder, was the oldest member of the group and was a wellknown balladeer, guitarist and flautist from Glasgow, Scotland. He released his solo album The World In My Mind in the spring of 2013. Big George, as he was affectionately known, passed away suddenly on March 12 in his home town of Glasgow. He is survived by his wife Carolyn and daughter Sarah.
Tabu Ley Rochereau, 76 Congolese Rumba Musician Tabu Ley Rochereau was a leading African rumba singer/songwriter from the Democratic Republic of the Congo. He was the leader of Orchestre Afrisa International, as well as one of Africa’s most influential vocalists and most prolific songwriters. Along with guitarist Dr Nico Kasanda, Tabu Ley pioneered soukous (African rumba) and internationalized his music by fusing elements of Congolese folk with Cuban, Caribbean and Latin American rumba. He was dubbed the “African Elvis” by the Los Angeles Times.
Buren Fowler, 54 Guitarist, Drivin’ n’ Cryin’ James van Buren Fowler was a blues/rock guitarist from Atlanta. He was the lead guitarist for Southern rock band Drivin’ n’ Cryin’ from 1988 to 1993, and had previously toured with R.E.M. in the mid1980s, first as a guitar tech for Mike Mills, and later as a featured rhythm guitarist on the band’s tours in 1986 and 1987. Fowler subsequently joined Drivin’ n’ Cryin’, a band that had frequently opened for and toured with R.E.M., and stayed with that group until 1994.
PERFORMER MAGAZINE APRIL 2014 5
QUICK PICKS
Below you’ll find the best new music our writers have been digging this past month. For full reviews and to stream tracks and videos from the artists listed here, please head to performermag.com. Enjoy! CHEATAHS Self-titled London, England (Wichita Recordings) The self-titled debut full-length from UK’s Cheatahs features a more melodic and structured take on the typical British pub rock/shoegaze/motorik onslaught of the past decade. Hypnotic and fully engrossing, Cheatahs will likely replace Arctic Monkeys as your new fave Brit rockers… read the full review at performermag.com/reviews. Follow on Twitter: @cheatahssuck Benjamin Ricci
DAMIEN JURADO Brothers and Sisters of the Eternal Son Seattle, WA (Secretly Canadian)
DEADKILL No, Never! Seattle, WA (Good to Die Records)
Sweet, worldly and remarkably inspired folk painted with the bold vivid hues of the past…psychedelic veins pulse with indescribable variance, one moment a battalion of strings swell and arch (“Magic Number”) then fade, exposing simple guitar fretwork and solemn harmonies (“Silver Katherine”). Brothers and Sisters of the Eternal Son is a sparkling pinnacle for a career filled with timelessness, an easy candidate for album of the year…read the full review at performermag. com/reviews. Engineered & Mixed at National Freedom Studios, Oregon by Richard Swift Produced by Richard Swift Follow on Twitter: @damienjuradok Christopher Petro
Deadkill is among a handful of amazingly abrasive, cocksure, noisy-as-fuck bands from the Pacific Northwest (most of whom have found a home with Good to Die Records). The band’s first full-length, No, Never! is a bombastic affront to your senses. In a word: brilliant. Cop it on vinyl, turn it up full blast and wait for the neighbors to call the cops…read the full review at performermag.com/reviews. Recorded by Matt Bayles at Red Room Studios Mastered by Ed Brooks at RFI Follow on Twitter: @deadkillseattle Benjamin Ricci
HANS CHEW Life & Love New York, NY (At The Helm Records) Compelling, dynamite piano-fronted classic rock…these songs are beautifully recorded and masterfully produced…poetic and creative, this album is filled with surprises during each fresh new listen...rich in color and mood, many other artists will be happy to find it influential in their own songwriting process…read the full review at performermag.com/reviews. Follow on Twitter: @hanschew Shawn M Haney
JOHN THE CONQUEROR The Good Life Philadelphia, PA (Alive Naturalsound Records) Another winner for Alive, the new John the Conqueror record is a hearty gumbo of raw, electric blues-rock at its absolute pinnacle. Gritty vocals bash around grittier, nasty guitar riffs while hypnotic drum and bass grooves thump your speakers across the floor. There’s more soul in the opening 10 seconds of “Get Em” than in most major label output combined in the past decade…read the full review at performermag.com/reviews. Engineered by Joe Boldizar, Jesse Gimbel & Barry Knob Mixed by Jim Diamond Follow on Twitter: @JTCband Benjamin Ricci
TINARIWEN Emmaar Kidal, Mali (ANTI- Records)
DAVID POE God & The Girl Los Angeles, CA (Self-released)
Emmaar is in some ways a return to the understated sounds of the band’s earliest releases. Chanted vocals and deliberate rhythms evoke the open spaces of the desert. The sound is at once ancient and ultramodern, with electric guitars applied to song forms and styles that could be predecessors of American blues…read the full review at performermag.com/reviews. Mixed by Vance Powell Follow on Twitter: @tinariwen Eric Wolff
An examination of the human condition accompanied by mellow acoustics and haunting vocals, “poignant” is the only word fit to characterize the chronology of a record overflowing with emotion, life, and spirituality…primarily a record of reminiscence, the closer of God & The Girl is all about progression: “May we all live as long as we like. May we all be as strong as the wine”…read the full review at performermag.com/reviews. Recorded & Mixed at the Night Kitchen, Los Angeles Mastered by Reuben Cohen Additional Engineering by Yonotan Elkayam Follow on Twitter: @poedavid Julia DeStefano
GET REVIEWED - SEND YOUR MUSIC TO EDITORIAL@PERFORMERMAG.COM 6 APRIL 2014 PERFORMER MAGAZINE
MOTHER A New Life New York, NY (Self-released)
R_GARCIA BAND Demons to Diamonds Atlanta, GA (Self-released)
Matthews is equal parts Tom Waits, Everlast and beat poet… When he isn’t laying down tonguetwisting raps about finding yourself (“Two Ton Feet”) or spoken-word, beat poet-style missives on owning the day instead of letting it own you (“Lockdown”), he is just as likely to add spoons (“Why Not”) or an accordion (“Everything I’m Not”) to the mix… Matthews engages listeners in a no-nonsense civics lesson on how to be honest and authentic; this is one hell of a debut…read the full review at performermag.com/reviews. Produced by Adam Cremona & Josh Matthews Mixed & Mastered by Boutique Recordings Follow on Twitter: @JoshMatth_Music Brian Palmer
Digging into the fresh earth of Mother’s sophomore EP uncovers a rich mix of the rock riffs and vocal ranges loved in the ’80s, with the grungy, wet mud of the bands that rocked emotion in the ’90s… fans of hard-hitting rock that honors its past while forging its future should make plans now to hold on to Mother…read the full review at performermag.com/reviews. Follow on Twitter: @rockyourmother Ellen Eldridge
Electronic rock opus explores fantasy, fun and reality…electronic 8-bit sounds start the first track off like a game, introducing Demons to Diamonds’ ponderous, musical journey through the thin veil between reality and fantasy…read the full review at performermag.com/reviews. Recorded, Mixed & Mastered by Randy Garcia & Kayla Webb at Fort Karate Studios, Atlanta Follow on Twitter: @rgmuse Gail Fountain
KING OF PRUSSIA Zonian Girls… Athens, GA (Minty Fresh Records) The new King of Prussia LP is a swirling, poppy trip that Of Montreal fans (and let’s face it, anyone who loves music from Athens) will eat up in a heartbeat. It’s a sprawling affair, but virtually every track has something to offer, and it’s melodically head-and-shoulders above its indie/folk/ pop/psychedelic brethren…read the full review at performermag.com/reviews. Follow on Twitter: @kingprussiaband Benjamin Ricci
THE SEA THE SEA Love We Are We Love New Haven, CT (Self-released) Endearing, heartfelt acoustic folk harmonies… tracks such as “Guess It Was” are decorated with lovely guitars and harmonies channel the likes Civil Wars, Fleet Foxes and the Swell Season. It’s beautiful to hear touches of piano, with words and lines of freight trains and evening rain, loving through questions and answers…read the full review at performermag.com/reviews. Recorded by Adam Muñoz at Fantasy Studios, Berkeley, CA Mixed by Todd Sickafoose at Earycanal, Oakland Mastered by Alan Douches at West West Side Music, New Windsor, NY Follow on Twitter: @_theseathesea Shawn M Haney
QUICK PICKS
JOSH MATTHEWS A-Sides Philadelphia, PA (Self-released)
TWINK Happy Houses Boston, MA (Self-released)
VARIOUS ARTISTS Secret Project Lowell, MA (Los Wunder Twins Del Record Label)
NICK WATERHOUSE Holly Huntington Beach, CA (Innovative Leisure)
E le c t ro -s y nt h-rock compilation produced by Boston Music Award Winner D -T e n s i o n … S e c r e t Project is a throwback to the old days, a reminder of what it’s like to be young and careless, and desperately in love with rock and roll… Secret Project dives between genres, navigating through a labyrinth of synth pop, post-punk, and alternative rock…read the full review at performermag.com/ reviews. Produced by D-Tension Mixed & Mastered by Brian Redmond Follow on Twitter: @dtension Amanda Macchia
Soul, soul and more soul. A post-surf, raucous party with Motown guts, Nick Waterhouse’s sophomore LP is ridiculously good. It’s no wonder the spectacled Los Angelino has quickly become a fave on the indie pop/soul parade. Sharp, biting tunes and analog production mark another stellar release for the House (we’re trying to get that to catch on)…read the full review at performermag.com/reviews. Produced by Nick Waterhouse & Kevin Augunas Follow on Twitter: @nickwaterhouse Benjamin Ricci
Happy Houses, indeed. No abode painted with the crepuscular blips and gleeful chimes of this 8-song record could help but giggle and bat its lashes in cuteness. Truly, if these walls could talk, they would say “Yay for toy pianos!”…Happy Houses is a wide-grinned blend of chastity and cool, landing halfway between Baby Einstein and electric Kool-Aid…read the full review at performermag.com/reviews. Mixed & Mastered by Chris Blackburn Toys & Electronics by Mike Langlie Follow on Twitter: @toypianoband Taylor Haag
SIERRA LEONE’S REFUGEE ALL STARS Libation Sierra Leone (Cumbancha) Comprised of refugees of a horrifying, decadelong civil war, The Sierra Leone Refugee All Stars have become one of the most successful African bands to crossover to an international audience… Libation is a celebration of West African high life music and heritage. The songs feature Fela Kutiesque Afrobeat rhythms, racing soukous-style guitar lines and uplifting group choruses often sung in one of the band’s six native languages… read the full review at performermag.com/ reviews. Produced by Chris Velan Mixed by Iestyn Polson Follow on Twitter: @RefugeeAllStars Ethan Varian
LISTEN NOW @ PERFORMERMAG.COM/PLAYLIST PERFORMER MAGAZINE APRIL 2014 7
REVIEWS
“Brilliantly moving folk/ pop with lyrical depth and soul”
In 2012, teenage singer/songwriter Hayley Reardon was named Bostonian of the year by The Boston Globe and released her stunning debut Where the Artists Go. Reardon has returned with her newest EP, Wayfindings, which highlights her folk/acoustic/pop sensibilities. At the tender age of 17, Reardon exhibits seasoned lyrical and melodic mastery with a mature approach to the music industry. Wayfindings expresses a more personal, quirkier side of Reardon, resulting in an intimate experience for her listeners. Her lyrics express issues that are important to her and her audience, as well as recognizing the opportunity to have an impact with her music. One of the most talked about songs off the album is “Numb and Blue,” due to its lyrical maturity. Wise beyond her years, Reardon says, “As much as it’s a song about trying to hold on to a person who is clearly slipping through your fingers, it’s even more about trying to hold on to yourself with someone who doesn’t understand you.”
Hayley REARDON
Produced Lorne Entress Engineered by Chris Rival & Lorne Entress Mastered by Mark Donahue at Soundmirror – Boston, MA
Wayfindings
Boston, MA (Kingswood Records)
Follow Hayley on Twitter: @hayleyreardon
by JACLYN WING / photo by DANIELA DAWSON 8 APRIL 2014 PERFORMER MAGAZINE
REVIEWS
Bright Fire is a hazy, dream pop album driven by carefully paced tempos, intricate harmonies and robust compositions. It is the long awaited debut from California natives The Honey Trees. For years now the duo has been making music on the West Coast but has only just recently compiled their work into a captivating and driving full-length. The album is full-bodied and complex; there is no sense of urgency but rather a decision to be intentional. Through layers of instrumentation and thoughtful lyricism, soft string notes float behind Becky Filip’s soft vocals and perfectly-timed percussion drives horn sections and bursts of synthetic keyboards. Many tracks amble gently, composed of layers of soft guitar plucks, tambourines and gradually building percussion while others feature deeply personal and minimalist moments. Bright Fire is the result of years of dedication and commitment to crafting meaningful and deliberate music. It demonstrates a deep understanding of composition and lyricism and willingness, perhaps even desire, to grow and evolve. The Honey Trees have spent years cultivating a prolific catalog of music that is moving and poignant, and Bright Fire is the fruit of their labor. Produced by The Honey Trees & Jeremy Larson Engineered & Mixed by Jeremy Larson Mastered by Reuben Cohen at Lurssen Mastering
“Introspective dream pop driven by full-bodied layers of strings, percussion and more…” by VANESSA BENNETT / photo by SIMON FILIP
Follow the band on Twitter: @thehoneytrees
The Honey TREES Bright Fire Sacramento, CA (Big Cartel)
PERFORMER MAGAZINE APRIL 2014 9
REVIEWS
Ages and Ages pull off their sound so well that it makes one wonder why more bands aren’t playing secular power pop revival songs. There’s no arguing that Divisionary is an extremely impressive album. It’s rhythmically exciting, able to be both technical and playful, and has carefully understated production that does the band’s live sound justice while also being big and expansive. The two tracks that kick off the LP show the potential for this band to start a dance party.
“Undeniable power pop tent revival music”
Ages AND AGES Divisionary
Portland, OR (Partisan Records)
The album’s opener “Light Goes Out,” with its sharp changes and pulsing bass, sounds like what would happen if Of Montreal covered The Louvin Brothers. Most of the record lingers in mid-tempo pop songs that have a slight country edge. The tracks are mellow, but not too mellow. Put simply: they’re undeniably addicting songs that work really well together. But the moments when Ages and Ages go into hyper-drive are when the band is at its best. Produced by Tony Lash and Rob Oberdorfer Mastered by Alan Douches Recorded at Jackpot! Studios and The Magic Closet
Follow the band on Twitter: @AgesandAges by JOSHUA JAMES AMBERSON 10 APRIL 2014 PERFORMER MAGAZINE
REVIEWS
VINYL OF THE MONTH Roxy Swain
Restless Hearts Chicago, IL (Spade Kitty Records)
Roxy Swain’s new LP is like a great big stew of Big Star, Fleetwood Mac and Rilo Kiley. The Chicago natives open up Side One with the killer leadoff track “Tonight,” featuring rollicking, jangly guitars and big ’70s pop choruses. The next few songs play out like California sunshine - ironic since the band is from the Midwest. Things slow down a bit on the haunting ballad “Tidal Wave Away,” and the rest of Side Two is a little more subdued than its flipside. That’s not a knock; in fact the change of pace allows the tracks to more slowly envelope you. Any of these songs would have fit perfectly in an Empire Records montage: think ‘90s alternative at its peak.
Ending with the superb male/female duet “Lexington East,” Restless Hearts is a great return to form for Roxy Swain, as well as their label Spade Kitty (releasing their first vinyl in almost two decades). Highly Recommended. Produced by Chris Harling Engineered & Mixed by Jeffrey Altergott at Bearhaus Mastered by Mike Hagler at Kingsize Sound Labs Size: 12-inch Speed: 33 1/3 rpm Color: Translucent Orange Vinyl Limited Edition: 500 Units
“The long-lost Empire Records soundtrack”
www.roxyswain.com by BENJAMIN RICCI / photo by MOLLY KATE LANE PERFORMER MAGAZINE APRIL 2014 11
REVIEWS
Big Gigantic House of Blues – Boston,MA February 20, 2014 Harnessing the sensory experience of light & sound. photos and review by AMANDA MACCHIA
B
Follow the band on Twitter: @BigGigantic
12 APRIL 2014 PERFORMER MAGAZINE
ig and gigantic are two great words for this Colorado jazz-tronica duo. While the band is only two people deep, they've managed to create a stage show that is as big as they are small. Big Gigantic harnesses the sensory experience of lighting. Massive, brightly lit screens that serve as pedestals for the band to play on, loom tall in the middle of the stage. Surrounding the pedestals is a backdrop of blinking, colorful lights and screens that flash green, yellow, red, and blue, while projecting images of televisions and psychedelic knots of color. It's easy to Ooh and Ahh at pretty lights. There are plenty of electronic acts out there with alarmingly elaborate light shows. And yes, they all do the same thing. Raging build-ups, and dope, dirty drops. Yet, Big Gigantic, a band rooted in jazz, offers EDM audiences something different. The melodic nature of their music, combined with the band's collaborative onstage chemistry, makes them much more than your typical electronic act with amazing lights. Armed with only a saxophone (not exactly EDM's go-to instrument), a drum kit, and a keyboard, drummer Jeremy Salken and producer Dominic Lalli are constantly harmonizing and layering sounds on stage to make their set rich, dynamic and full. The effect is akin to the sound that having a live band on stage produces, but Big and Gigantic - full, textural, melodic jazz-tronica, with just a touch of the rage.
REVIEWS
pictured: Public (left) / The Yugos (right)
review by LUCY FERNANDES / photos by RICK CARROLL
Public with The Yugos MOTR Pub - Cincinnati, OH, February 15, 2014
A
Two tasty, strongly-grounded indie acts on one melodic bill.
s an abnormally nasty winter this year slogged on, the area’s diehard music fans still managed to defiantly turn out to see these two bands at one of Cincinnati’s favorite indie clubs. The Yugos, comprised of brothers Christian (lead vocal/guitar) and Jordin Gough (drums), plus Jeremy Graham (bass) and Jackson Deal (guitar), know how to craft catchy, jangly pop tunes. Largely reflecting male/female relationship angst, the group’s material showcased Christian’s often urgent, and sometimes sweetly melodic vocals. Jordin’s polyrhythms and Graham’s solid bass work rounded out the strong rhythm section, while reverb-laced guitar from Deal completed the mix. Lots of hooks for the crowd to sink their teeth into and sing along with added to the lively atmosphere this group exuded. Culling songs from their newest effort, Life is Awesome and Then You Live Forever, standouts included the bouncy “Close Your Eyes” and the yearning “12 -13.”
Headlining band Public features a stellar lineup of three young but experienced area musicians that evolved from a schoolyard friendship between John Vaughn (lead vocal/guitar) and local fingerstyle guitarist virtuoso (seated behind the drums for this project), Ben Lapps. Joined later by Matt Alvarado on bass, they began to really come together as a group. Their music is complex: featuring atonal melodies, tasty reverb-washed rhythm guitar breaks, and unexpected percussive timing, all of it coupled with looping bass lines that provided a unique framework for Vaughn’s tenor vocals. Often breaking into a surprising falsetto, his voice carried a lilting urgency in songs like “I Need You.” “Honeybee,” a gem of a pop single from their current EP, was an infectious highlight. These two groups afforded a rewarding musical respite for the winter weary, and were well worth tackling the pesky, weatherimposed traveling inconvenience.
Follow the band on Twitter: @publictheband
PERFORMER MAGAZINE APRIL 2014 13
INTERVIEW
Punk Legend
OFF!
KEITH MORRIS
on DIY Analog Recording by ERIC WOLFF photo by STEVE APPLEFORD
14 APRIL 2014 PERFORMER MAGAZINE
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just set up, you place the mics in front of the equipment, and you go. You don’t take two weeks to get a kick drum sound. You don’t do the Metallica thing. You don’t do the Beatles thing where you live in the studio. You just set up, turn the volume up, look at each other, and then you go. That recording for us was so fresh, it was almost effortless. So, for Wasted Years we thought, “Lets strip it down.” Basically, we wanted to record a glorified demo. You recorded the whole album on an eight-track tape machine. Most bands these days will use eight tracks or more just on the drums! How did you use your eight tracks? I believe we had four tracks for the drums. In a small room you get a lot of bleed from guitar and bass. We were really fortunate that the mics that we were using didn’t pick up a lot of that stuff.
“That’s the way that rock and roll should be recorded: you just set up, turn the volume UP, look at each other, and then you go!” Wasted Years, in just two weeks. They took the music straight to their practice space and recorded the album live, to eight-track tape, capturing the music in single, uncut takes. From his home in Los Angeles, Morris shared tips for analog practice studio recordings and talked about writing an album in such a short timeframe.
Tracks five and six were for guitar and bass. I would do a vocal run and then there was one track left over that was going to be used for a second guitar. When you’re recording like that, it’s very important to keep notes.
Why did you choose to record Wasted Years in your practice space instead of a professional studio? We had done a couple of studio recordings before and some of us weren’t that pleased with how they came out. Then, when we were in England on a European tour, we did a session with Daytrotter. They recorded us in the basement of a church in London, which was really exciting for me and Steven because our roots are in the basement of a church in Hermosa Beach.
What kind of notes were you keeping? The notes about the vocal tracks were the most important. After the first six instrument tracks were recorded, there were two tracks remaining: seven and eight. Track seven was set aside for vocals. The majority of the vocals were taken straight from track number seven, but occasionally I would do an overdub on track eight. Then the second guitar would have to be recorded on track seven. So, the second guitar would switch back and forth between tracks seven and eight. That’s why taking notes was so important: so we wouldn’t record over the vocal track we wanted to keep.
So we recorded in this church, and I believe it took more time to unload our equipment, place it in the studio, and put it back in the van than it took to do the actual session. But the recording was so great! That’s the way that rock and roll should be recorded: you
Some of it was “learn as you go.” We had some stuff erased, which was frustrating, but it was all part of the learning process. Now we know what we’re going to do the next time we use Whiskey Kitchen Studio. That’s what Steven McDonald calls the studio: Whiskey Kitchen.
What was it like writing this album with Dimitri Coats? For this album we set aside a lot of time to write, but we got the chance to do a South American tour two weeks before we were supposed to record and we weren’t gonna cancel a South American tour; none of the guys had been to South America. I had been there once and I knew that you gotta go, especially when somebody is paying for your flight.
INTERVIEW
F
or OFF!’s Keith Morris, DIY is a way of life. His credits include Black Flag and the Circle Jerks, bands whose signature sounds were built on Morris’ powerful vocals and legendary stage presence. Although decades have passed since Morris helped found these projects, their relevance has hardly diminished. The DIY ethos that these groups embodied continues to inspire countless musicians, and music fans, as evidenced by the fact that last year, not one, but two rival groups of Black Flag members were packing venues around the nation. With his newest project OFF!, Morris is using DIY methods to create hardcore music for a new century. OFF! is a bona fide supergroup consisting of Morris, Dimitri Coats (Burning Brides), Steven Shane McDonald (Redd Kross) and Mario Rubalcaba (Rocket From The Crypt). These seasoned veterans are creating some of the most vicious new music around, and after returning from a South American tour, Morris and Coats wrote the band’s latest release,
So we got back two weeks before we were supposed to record and I had developed a lung infection on the tour so I was running a fever and couldn’t sleep. I was getting more and more run down. We always place ourselves in the situation where we have two weeks to write 20 songs. We always wait until the last minute. What advice do you have for young hardcore musicians? I believe that it’s about the spirit and the soul of the music. There’s a lot of plastic, phony stuff out there. The best advice that I can give would be don’t do it. Just kidding.
Follow the band on Twitter: @offofficial
OFF! WASTED YEARS STANDOUT TRACK: “HYPNOTIZED” LISTEN NOW @ PERFORMERMAG.COM PERFORMER MAGAZINE APRIL 2014 15
INTERVIEW
BLACK LIPS
Explain How to Book a DIY Tour in the Middle East by BRAD HARDISTY / photos by MICK ROCK 16 APRIL 2014 PERFORMER MAGAZINE
INTERVIEW PERFORMER MAGAZINE APRIL 2014 17
INTERVIEW
B
lack Lips are set to release Underneath The Rainbow [Vice Records] hot on the heels of taking indie music where it has never gone before with tour stops in Egypt, Lebanon, Dubai and Iraq - all captured in the film Kids Like You & Me. The band was all set to work again with Producer Mark Ronson after the success of 2011’s Arabia Mountain when scheduling conflicts left the door open to work with Dap-Kings guitarist Tommy Brenneck, as well as Patrick Carney from The Black Keys. Black Lips’ bassist/vocalist Jared Swilley had a lot to say about the band’s Middle East tour and what led up to the group’s latest recording in our recent interview. Did you pick the director for the film Kids Like You & Me? Bill Cody was actually the guy that initiated the We Fun: Atlanta, GA Inside Out (2010) project. We stayed in touch with him and we started talking about how we wanted to play in Iraq and just go over to the Middle East. Cody taught film over in Iraq so we asked if that would be a possibility, kind of joking at
Lebanon could still be problematic. The week after we left, there was a car bomb that exploded that killed the Vice President just a few blocks from the hotel that we were at. The proximity to Israel and Syria makes for a volatile mix, but culturally it is really liberal and a really cool city. I’m surprised that more bands don’t go there. If other bands wanted to go over there, what do you suggest they do? Connect through Facebook? Yep, Facebook. I booked our first show in Israel by connecting with people through Facebook. It’s really awesome that you can send a random message to somebody on your page when you see where they are from and say, “Hey, what would be the possibility of setting up a tour if we go over there?” and just taking it from there. What about gear? Was there a rental company over there? In Cairo, we used a couple of rental companies. In Iraq, we didn’t have anything. We just plugged straight into the PA and used a couple of suitcases and trash cans for a drum set. In Beirut we borrowed equipment from our friend’s band.
up setting it up. I mean, really, the whole thing was pretty mind-blowing. It was pretty surreal. I couldn’t believe we actually pulled it off and everyone was really nice to us. Did you get the feeling that the kids appreciated you? A lot of kids were really appreciative because we came over there with no agenda at all. I feel like people were really going out of their way to make sure we were happy and having a good time and we were really appreciative of that. When did recording start on the new record? We started pre-production before we went, but it didn’t really start till late [last] spring; Mark Ronson was suppose to do this record but schedules didn’t really sync up so he ended up wanting to re-schedule for later. A couple weeks later, we played in Mexico City…we ended up arguing over one of our hotel rooms and ran into The Black Keys. We talked to them and told them that Ronson wasn’t available and Patrick Carney was just like “Oh, I would love to do it.”
ON PERFORMING IN BEIRUT: “THE PROXIMITY TO ISRAEL AND SYRIA MAKES FOR A VOLATILE MIX, BUT CULTURALLY IT IS REALLY LIBERAL AND A REALLY COOL CITY. I’M SURPRISED THAT MORE BANDS DON’T GO THERE.”
first, then it started becoming more and more of a reality. He knew a Lebanese band called Lazzy Lung and they toured with us over there. Could you see yourself going back and play bigger venues? Yeah, we will definitely go back to Beirut and Cairo. Our shows were pretty big in Cairo, I mean bigger than some we played in the U.S. even. Beirut and Cairo have indie music going on already. Iraq, that was cool that we got to go but there is not really a music scene there. For some people…it was the first rock concert they had ever been to. That was kind of cool because usually when you play overseas it’s like they’ve already seen everything, but over there it was like playing during the fifties and sixties. It was like rock and roll was just invented, so it felt like [musical] time travel. 18 APRIL 2014 PERFORMER MAGAZINE
It was really cool. A lot of kids didn’t like know how to mosh or how to dance really, so they were trying to figure it out. It’s like they were thinking, “I don’t know what to do with this, but the music makes me want to jump around.” What was the most mind-blowing experience when you went over there? Just that fact and that the whole tour went off without a hitch. Everything went pretty smooth except for some minor setbacks. Our show in Jordan got cancelled a few times because every time a promoter would find out we had been to Israel before, they wouldn’t work with us. We finally got that sorted out and Jordan ended up being a good show. The Iraq show was supposed to be a government sanctioned show because we went through the Ministry of Culture, but then they saw one of our videos and they pulled the plug. So, through Facebook we met some random British girl teaching over there and she had access to the community center and ended
What did you record with Tommy Brenneck? He was the one who came in and got all the drum tones. Mark uses him in his studio when he re-records in New York; Tommy Brenneck did some of the Sharon Jones stuff and all of the Charles Bradley stuff. Also, there is Daptone Studio. That is where the Dap-Kings do all their stuff they are kind of like in the same family of studios. We just played there when we would do horns. Was any of the new album inspired by your trip? I would say that I got a lot of writing done there. A lot of times we travelled to different places that were out of our element and I got more inspired [by them]. I ended up coming up with a lot of ideas, so probably indirectly. There was a song called “Smiling” that I remember putting together in Dubai. I was in the hotel because I thought I had broken my ankle and I couldn’t
INTERVIEW
“In Iraq, we didn’t have anything. We just plugged straight into the PA and used a couple of suitcases and trash cans for a drum set.” -Jared Swilley
really skateboard around anymore. So, I [had a lot of time] to get stuff done. You are playing dates with Natural Child but you don’t have any dates in Nashville yet. It’s weird because we used to not play Nashville, like a long time ago Nashville was kind of a so-so stop. We did Memphis all the time but now Nashville, over the past few years, has blown up so much. I mean, as far as rock scenes go, it definitely has Atlanta beaten by far right now. I mean Atlanta is awesome but, as far as a rock scene goes, it’s a little quiet right now. I guess everything goes in waves.
Follow the band on Twitter: @theblacklips
BLACK LIPS UNDERNEATH THE RAINBOW STANDOUT TRACK: “BOYS IN THE WOOD” LISTEN NOW @ PERFORMERMAG.COM PERFORMER MAGAZINE APRIL 2014 19
INTERVIEW
by CHRIS K. DAVIDSON / photos by MICHAEL CHARLSON
THE ATARIS 20 APRIL 2014 PERFORMER MAGAZINE
INTERVIEW
Celebrating 10 Years of SO LONG, ASTORIA with John Collura PERFORMER MAGAZINE APRIL 2014 21
INTERVIEW
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he Ataris have grown up since “In This Diary” and the cover of Don Henley’s “Boys of Summer” heated up the airwaves in 2003. Since then, they have endured several personnel changes and album delays much to the chagrin of fans. However, the original lineup came together once again to play their breakout album So Long, Astoria in its entirety this spring. We recently spoke with one of the main guitarists on the album, John Collura, about that reunion. So you’re touring with the original So Long, Astoria lineup for the 10th Anniversary. When did that idea come to fruition? It was March of last year and I had gotten a call from Aaron Lewis, the band’s longtime manager. I had not spoken to him in a couple of years…I had not been in the band for six years at that point. He just called me out of the blue and said he had been talking with some people and they had discussed getting the original lineup back together and doing a tour. I was not going to say no off the bat, but it was possible. I hadn’t spoken to those people in years. They contacted each of us separately. It just made sense. It had been ten years since So Long, Astoria was released in 2003. At first, we thought we would just do a set of songs from the past, but we then decided to go and ahead do the full thing, even though we knew it was not a completely 22 APRIL 2014 PERFORMER MAGAZINE
original idea. I know it’s now the eleventh anniversary, but since we thought of it together, it just made sense to do it. I remember getting that album a year or two after it was initially released. Both Taking Back Sunday and Motion City Soundtrack have done these types of shows. As a performer, how does the way you approach these songs evolve throughout the years? It’s funny. I haven’t listened to the record in so long that it sort of feels fresh to me. Yes, I was a part of it and was a fan of it. I really feel like if this record came out tomorrow, it would still be relevant. We haven’t played half of these songs since we recorded them. I feel like that’s typical of most bands. I find it refreshing to come back to it. It feels new again to me. When I started rehearsing for it, I thought it would be difficult because I haven’t played these songs in so long, but it didn’t take long for me to get into the groove. There are some songs that I forgot that we had on there. It really was not much of a challenge. I was watching the Replacements documentary and one of the interview subjects said, “It’s good when you make a record that sounds timeless because you don’t want to make a record that someone can
pinpoint the exact time you recorded it.” You want to make a record that you can pick up and still sounds fresh today. I know that I’m biased [since I was] involved in this. We know that we weren’t inventing anything when we made this. I think we were nervous when we were writing and recording this record just because it was our first major label record and it was going to be the record that would be heard by more people than ever before. We just wanted to try and keep it simple. “In This Diary” was definitely the breakout song, but why did you all decide to go for the Don Henley number [“Boys of Summer”]? It was really Kris Roe’s idea. He had grown up going to Florida every summer to visit his grandparents. The year that song was released, his grandmother would take him to a record store and she would let him buy whatever he wanted, which happened to be that record that summer. So Long, Astoria was themed on nostalgia. It was really that simple. So we sped it up and we just put it on the record as track ten. Most of your big singles are songs one through four. You never hide your big single as track ten. It was honestly a mistake; at least we thought it was. I think the record company knew once they heard it that they were going to promote it as a single. It wasn’t against our will, but it definitely wasn’t something in the initial plans.
INTERVIEW
On the band’s reunion: “I was not going to say no off the bat, but it was possible. I hadn’t spoken to those people in years.” -John Collura I don’t necessarily love it or hate it. It’s just one of those songs that you hear in a grocery store or gas station all of the time. What were some of your favorite moments during that peak time of that record? For me, it was the Reading Festival. There was something about that show that was really awesome. I didn’t really know anything about Reading and had never played it before. I honestly did not know much of the history. We played on a Warped Tour-like stage and there was a big crowd there. We were lucky enough to play fairly late, probably around 7:30 or 8 o’clock. That show
Follow the band on Twitter: @theataris
went off and there was a crowd. I felt like it was one of the coolest things that we had done. Not long after that show, we were still in Europe and we wound up somehow opening for the Red Hot Chili Peppers in Germany. It was not a festival show; it was their tour. I don’t know how we got it,but that was the biggest show I ever played, easily over 30,000 people. It was a little weird because it was summer time, but it was really late and pure daylight and [there were] 30,000 German people with their arms crossed. It ended up okay; we got them to applaud a few times. But that was definitely a wild moment for me.
THE ATARIS SO LONG, ASTORIA STANDOUT TRACK: “THE BOYS OF SUMMER” LISTEN NOW @ PERFORMERMAG.COM PERFORMER MAGAZINE APRIL 2014 23
MUSIC BUSINESS
How to Make Money on YouTube with Audiam
T
An Interview with CEO & Founder Jeff Price
here’s a music site with 30-35 billion “spins” of music a month. It has over a billion users each month, 40% of those listen on mobile, and 80% of them are outside of the U.S. It’s not Spotify, or Pandora, iTunes, or any or the newcomers. Guessed it yet? Take the word “spins” and replace it with “views,” and now you might be able to guess the named of the world’s #1 site for streaming and sharing music. It’s YouTube. Understand that these aren’t just music videos; they are videos with music in them. Wherever there is video, there is audio, and usually music. So, to understand the future of music, you need to understand video. Even though only half of those “spins” currently generate revenue, they generated $1.3 billion in music revenue of which, 90% went to major music companies. Until now, only the major music companies made revenue based on music used in other people’s videos. Enter Audiam, the brainchild of former TuneCore CEO, Jeff Price. Price is a music business disruptor who has been an advocate for independent musicians his entire adult life. Audiam may be his most impressive effort yet. We highly suggest you look at Audiam.com/faq; it’s perhaps the best FAQ we’ve ever seen. Also, Audiam.com/how-it-works for a primer on music rights and YouTube. Performer Mag: Give me the elevator pitch on Audiam. Jeff Price: We get artists paid when their music is used on YouTube. We do the technology behind tracking where their music is being used, collect money from ad revenue, and pay you. PM: What’s the cost? JP: Nothing; no upfront costs and no loss of 24 APRIL 2014 PERFORMER MAGAZINE
ownership. You get 100% of the money from views on your own videos. In addition, Audiam gets you money when other people use your music on YouTube. PM: How exactly does Audiam help artists monetize their music on YouTube? JP: YouTube is a sponge; if you squeeze it right it drips money. They’re a technology company, not a music company. So, to effectively find and monetize videos with music used in them is not something they spend time and money developing. Audiam is a system built on top of YouTube. We use a handful of tools to digitally fingerprint your music and then search and index every video where it’s being used. We then help you authorize YouTube to place shared-revenue advertising around it, collect the revenue, and pay you. PM: This model is based on ad revenue, how often banners are clicked, or video ads watched; is it more than people assume? JP: I can provide six billion examples of how often that happens [editor’s note: dollars in YouTube ad revenue]. I am stunned at the amount of revenue coming out of the system. PM: Can you share some early numbers on how many artists are participating and the revenue generated? JP: Sure, we launched in July of 2013, and have a few thousand users. When I put this together I really thought we’d hit maybe $20,000 in revenue our first year. We exceeded $500,000 in the first five months! I was blown away. To be clear, even though we now work with big artist catalogs like Dolly Parton, Trent Reznor, James Mraz and others, that revenue was all independents: just like [Performer] readers. That’s important, because it isn’t dependent on stardom.
PM: How do instrumentals work? Does a song have to have lyrics to be used? JP: Compositions with just music can be used. Also, if you have an instrumental mix of a song that also has vocals, we just need two separate audio recordings and we can work with them both [to track spins]. PM: How do our readers get started? JP: Go to Audiam .com and create a free account. Upload your recordings (or link to Soundcloud), send a list of your songs and lyrics, and what share you own of those compositions. That’s it. Then we get to work. PM: How about some examples of how Audiam can leverage revenue for independents? JP: YouTube is a mashup culture, increasing the probability of your music in any video. There was a video of a timelapse pregnancy in Peru. The creator used the music from a band called Uniform Motion. That video was tagged by Yahoo, and resulted in millions of views and revenue for the band. Think bigger. Perform a live show and tell your fans to record a song and upload it to YouTube. Tell your fans to create and upload covers of your songs. Tell your family to use your music in their videos. This is the biggest opportunity for unsigned artists today to make real revenue. We’re excited to be leading it, and hope your readers will give us a chance to get them paid. ABOUT THE AUTHOR Michael St. James is the founder and creative director of St. James Media, specializing in music licensing, publishing, production and artist development.
Y
A Conversation with Brett Welch, Founder and CEO
our band is killer, and your live show is hot. You know this because you can see your fans whipping out their phones taking pictures and videos. But what happens to those posted pictures and videos? What if you could gather all of that content, and automatically repost it to the rest of your fans? What if you were able to see your most active fans, and also see what points of your live shows are working best? Introducing Switchcam. It’s being used by the likes of John Legend and others, and backed by Marc Cuban; it’s the real deal. There is amazing technology behind it that I won’t bother you with; put simply, Switchcam does a lot of your social media work for you, utilizing photos and videos, and provides you valuable data to make better decisions. We recently spoke with with Brett Welch, Founder and CEO of Switchcam, to delve a bit deeper into how this can help independent musicians.
Performer Mag: What’s the impetus behind launching Switchcam? Brett Welch: Fans are already creating buzz, sharing photos and videos on Instagram and YouTube, telling their friends about the show on Facebook. It’s difficult to find and gather all of that content from different platforms. So, we made it easy for a band to gather just the best content, and then provide them a simple way to create and post a gallery back to all of their fans. We also think its important that musicians get analytics on that data. There’s multiple layers to it, but basically, we help musicians better understand - and better engage with - their fans. PM: I’m amazed we don’t see more posts of video with Instagram and Vine. Are photos still king? BW: Yes, as far as capturing a moment at shows, absolutely. We’ve found that fans share photos 10 to 1 more than videos. But it is growing, and we’re already built for both.
determine relevant content only to the band, and then bubble that to the top. We separate the signal from the noise, and provide bands meaningful analytics and data. PM: What can you tell me about the “Excitement Index” algorithm? BW: The modern response at a cool event is, “I need to take a photo or video of this moment.” What if we could use technology, an algorithm, to find the time when the most number of people were posting the most photos and videos? We start off at a show level - like location, venue, and time - and then we can look inside the show for the moments of multiple shares, finding highlight moments. PM: So how can a band use that information? BW: Using Switchcam’s dashboard, a band can compare their setlist to times where the excitement was very high. The band can then see which songs really connected with the audience. It may be different in various cities, so bands could adjust their shows, radio campaigns, and publicity to take advantage of it in real time. PM: Sounds fairly complicated; can musicians use this themselves, or is it geared for social media managers? BW: That’s the trick. This is basically an automated social media manager that drills down to what’s important to your fans, and data important to your band, with just a few clicks. Anyone can use it. PM: It seems like Facebook is very intertwined in this. Is there room for Twitter or Vine, too? BW: We're built for it, and that will roll out. But we are focused where the content is most shared
by fans, and that is Facebook, Instagram, and YouTube.
MUSIC BUSINESS
Your Band’s Automated Social Media Guru PM: Do you have any insight on how musicians can use Facebook better in concert with Switchcam? BW: Definitely, Facebook works by sharing the most relevant posts to users. First, it bases what is shown by consistent frequency of posting and looking at how often a user likes the content (an Affinity Score). Artists need to post content regularly that their fans engage with. That order is: photos, videos, links, and then just text. When trying to attain a high Affinity Score, visual content is the king. A useful feature we just released allows you to automatically share a daily photo or video from your gallery; this makes creating momentum simple. PM: How can bands start using Switchcam right away? BW: Choose a hashtag and publicize it, even if it is the band’s name; it provides a focal point for social media, and especially for fans. Signup at Switchcam.com and use "Gallery" for free. For deeper engagement, use the analytics dashboard to gain insight. Lastly, get out there and do a great show, while encouraging your fans to take photos and videos of the show and tag them, then share every day! ABOUT THE AUTHOR Michael St. James is the founder and creative director of St. James Media, specializing in music licensing, publishing, production and artist development.
As a special bonus for PERFORMER readers, sign up with the code “vip-trial” for one month of FREE analytics.
PM: The core “Gallery” function is really cool. This also seems valuable for data analytics. BW: Absolutely, the data is important. The “rocket science” is the way we rank the content, especially with a bigger band. For instance, there’s a band called Foals. If you do a search for the band on Instagram, you’ll find horses (foals) too, and some artist content. Granted, there are some great horse photos, but it would take a long time to hand-filter just the band’s photos. We’re able to PERFORMER MAGAZINE APRIL 2014 25
STUDIO DIARY
How to Incentivize Fans to Get Involved in the Recording Process
In The Studio with John-Angus ALBUM INFO & CREDITS Artist: The Trews Album: Rise in the Wake (tentative) Recording Studio: Noble Street Studios, Toronto Record Label: Bumstead Records Release Date: May 13 2014 (tentative) Producer: Gavin Brown Engineer: Lenny Derose Mastering: Peter Letros Artwork: jd and Garnet Armstrong at re:form [avw] inc., Toronto
KEY GUITAR GEAR Wizard Amp Morris Amp Marshall Silver Jubilee 25/50 Diesel Amp Bernie Amp 1976 Les Paul Custom Gibson Les Paul Standard Historic re-issue 1970s Les Paul Jr. Fender "crispy chicken" Telecaster
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PRE-PRODUCTION What was your pre-production like on this project? We began writing for this record in January of 2013 at our rehearsal space in Toronto. We wrote and demoed there on and off until about May when we started looking for a producer. Once we settled on Gavin [Brown] it was just a matter of wading through the 30+ demos we had and whittling them down to a list of about 12 that we all felt were the strongest. How did you choose the studio? Gavin works almost exclusively at Noble these days. He's very comfortable with the setup there and has it running like clockwork. It's a great studio so it was a no-brainer. PRODUCTION What kind of sound were you looking for and how did you achieve it? We wanted it to sound big and heavy at moments and stripped down and intimate at others. At the end of the day, you want the songs and recordings to leave you with some kind of feeling, so you do whatever it takes to achieve the feeling. How does it compare to your last release in terms of style and the creative process? The creative process was completely different. For Hope and Ruin we wrote in the studio and
“We wanted it to sound big and heavy at moments and stripped down and intimate at others.” recorded as we went. It was a different atmosphere out at Bath. We had, what felt like, limitless studio time to develop the ideas. On this record the songwriting and recording were like church and state - totally separate. Did you use any special gear or recording techniques on this one? We used a lot of delays and reverbs on the guitar to create sonic tapestries that ran in the background throughout many of the songs. We were combining two rack-mounted Line 6 delay units with analog Fender Space echo units and other reverbs. We would multi-track several performances of harmonics, feedback and loops to create layers of spacy-ness. It was really fun to do and was something I don't normally do on guitar. What was your philosophy on live, fullband takes versus individual tracking? We tracked everything live off the floor but with complete sonic isolation which gave us the option to fix things and/or redo any element of the performance. That way at the core of every track you
STUDIO DIARY
s MacDonald of THE TREWS interview by BENJAMIN RICCI / photos courtesy of LARRY WANAGAS
have live performance no matter how many overdubs or fixes you end up doing.
Recording is much more like making a movie where you can work away at each element until you feel you've gotten the emotion right.
Any special guests? We had Serena Ryder come in to sing on a song A play is gone forever after it is performed once called “In the Morning.” She is such an amazing and all you have left is your memory of it - or singer and it really added a lot. camera-phone video : ) - whereas a movie has to
“ON THIS RECORD THE SONGWRITING AND RECORDING WERE LIKE CHURCH AND STATE TOTALLY SEPARATE.” We also had Anne Bourne come in to play cello on three songs. For “65 Roses” and “In the Morning” she created an ambient tapestry to go with the guitars by overdubbing multi performances on long, drawn-out notes of harmony and unison notes that run throughout the tracks. For “Living the Dream” she played a more classical "Beatles" style. What did you try to accomplish in the studio that you’re not able to do live? For us they are completely different animals. I like to use the analogy of a play verses a movie. Playing live is like performing in a play where you have one chance to get it right and there's a unique energy and exhilaration to each performance.
hold up to the scrutiny of closer inspection and repeated viewings. Any interesting stories from the sessions that you’ll be telling for a while? We funded this record using Pledge Music and one of the items up for grabs was handclaps and gang vocals. Towards the end of the session, we had a group of friends and fans come in and record handclaps and gang vocals on about six songs. It was a ton of fun to watch these people record in a studio for the first time and everyone was a good enough singer that we kept everything we recorded - it's what you hear on the record!
POST PRODUCTION How did you handle final mixing and mastering? Lenny Derose, who engineered the record, did the mixes under the supervision of Gavin and myself. The mixes were done in the B room of Noble on an SSL console. Lenny killed it! Mastering also came through Gavin via Peter Letros; he's a Toronto guy who Gavin uses quiet often. What are your release plans? Planning for a May release. We'll probably be on the road for most of the spring/summer and fall in support of it. Any special packaging? We're still in the middle of this but it's coming along nicely. We're gonna need a lot of real estate as we're personally thanking every backer who pledged $100 or more in the liner notes!
Follow the band on Twitter: @thetrews
Have a unique studio story to share? Email editorial@performermag.com PERFORMER MAGAZINE APRIL 2014 27
MY FAVORITE AXE
Jeff
BERNER photo by MANISH GOSALIA
BACKGROUND
I’m the guitarist for Psychic TV as well as Chris Cubeta and The Liars Club. I’m also a producer/recording engineer at GaluminumFoil Productions, having produced records for tons of NY bands! MAKE & MODEL
2002 Fender American Fat Telecaster WHAT IT MEANS TO ME
After 11 years of playing and recording full time, this is still my go-to guitar; it never fails to feel great and always gives me what I need in the moment. WHAT IT SOUNDS LIKE
It goes from a classic bright Tele chime to something approximating a dinosaur eating cars; it really is the Swiss Army knife of guitars. SPECIAL FEATURES
Neck humbucker with a five-way switch! I've never been too hot on Tele single coil neck pickups, so the neck humbucker is a nice touch. Keith Richards had it right. CUSTOM MODS
Replaced the stock tone knob with a (shorter in height) Gretsch knob so I don't accidentally knock it while doing volume swells with my pinky. PARTING THOUGHTS
This guitar has been all over the world with me, so any scrapes, scratches, and bruises are of my own doing...forget lame "relic" finishes, get a guitar you love and play the hell out of it.
LISTEN NOW @ jeffberner.tumblr.com
Got a favorite instrument you’d like to share? Email us at editorial@performermag.com
28 APRIL 2014 PERFORMER MAGAZINE
RECORDING
How to Transition Your Home Recording Project to the Studio part 1 of 2
L
et’s face it; it’s hard to record a full drum kit in a bedroom. Even if you can physically fit the kit, you then need room for all the mic stands and then there’s the neighbor downstairs to contend with – the last thing you need is a police officer interrupting your take, right? Not to mention that you need lots of cables and a multi-track interface with at least 8 inputs to capture the performance. But since you can record lots of other things at home with just a mic or two, why not complete many of your songs’ tracks in-house and then bring that project to the studio later?
KEEPING THE BEAT
So let’s say that you have a song that you want to start recording at home. The first big question is whether or not to record to a click. To answer that question you have to answer two more questions: 1) can your drummer play to a click and 2) can you perform to a click and get the right feel? Playing to a click for many drummers is a challenge (read – not going to happen). We’re not passing judgment, we’re just saying that in our experience the majority of drummers don’t have this skill, so when they try to do it for the first time in the studio, you either don’t get anywhere or you get a very stagnant performance. Many drummers will even have trouble laying down tracks to a pre-recorded mix of the song, either because they are used to being followed by the band or because they have trouble recording with headphones. Having the right headphones and headphone mix can sometimes solve this last problem but many drummers just don’t know why it’s not working – it just doesn’t work when they get into the studio to try it for the first time. So do some “homework” and have your drummer try to play along with a song mix with headphones in their own rehearsal space before you spend money and time
photo by MARIE-CELINE VAYSSADE in the recording studio. Make sure you record this practice performance (even if it’s just with one or two mics) and then listen to it carefully with critical ears. See if there are any rough spots (does the drum track stay tight through the fills?) and keep rehearsing while making slight adjustments to the headphone mix until everyone is happy. Now to the second question – can you perform to a click? Would it be better to find a MIDI or audio drum groove and spend a few minutes laying out the parts so that you have fills at the right places and drums that “feel” right when you record your parts? We like Submersible’s Drumcore and XLN’s Addictive Drums plug-ins because they capture performances by real drummers but still allow the user to change the tempo and drum sounds/ mixes. In fact, you might be able to eliminate going into the studio to lay down drums altogether using these tools. Wait, did we as recording engineers just tell you that you don’t need us? There will always be times when you need to record real drums, but these tools are great for some projects.
KEEP IT CLEAN
The whole idea of recording at home and then finishing in a studio is to get the best of both worlds. You can sing those vocals when your voice is prime in a comfortable setting without any pressure. You can run that guitar solo a hundred times if you want to, without having to watch the clock. But the mistake that we see all too often is that those tracks may not be recorded up to “studio standards” and there’s only so much magic that can be done. So follow a few simple rules and you’ll be off to a good start.
POP-BLOCK
Invest a few bucks in a microphone pop filter and use it (we like double screened 6-8” screens
like CAD EPF 15A for about $25). A plosive “P” on a vocal take can usually be cleaned up in the digital realm but it takes valuable time. The less “pops” on your takes, the more time you have to focus on other aspects of the mix. You can even add a foam mic windscreen or turn the mic about 15% off axis if a pop screen still isn’t cutting it, as some of us are more plosive than others. Another great accessory is the Auralex MudGuard ($100), which mounts behind the microphone to help deaden early reflections in a sub-standard recording space.
DIGITAL DISTORTION
Put on that engineer hat and keep the trim for the pre-amp within reach as you get levels. We recommend getting a compressor and using it as a limiter when tracking so that you won’t have to worry as much about levels. Without a compressor, if you belt out an amazing performance, you might end up with digital distortion on the peaks and those just can’t be corrected. If you set the levels too low to accommodate that big belting part, you might have a track that is so soft that later when you boost it in the mix you might get too much ambient noise (read: refrigerator). A solid choice for this job is the 2-channel DbX 166xs Dual Compressor/ Limiter ($239) which has XLR and 1/4” inputs and outputs. Stay tuned next month for part two! 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. PERFORMER MAGAZINE APRIL 2014 29
GEAR REVIEWS
SAMSON Expedition Express Portable PA - $199
A
PROS
Small, portable, battery powered, Bluetooth enabled. CONS
None.
s time passes by, technology makes things smaller and better. Back in the day a portable PA system would still take up a large amount of space in the trunk of a Buick. Samson’s Expedition Express delivers sound that can fit into a Smart car. It’s really not that much bigger than a shoe box, and it clocks in at just 10 pounds. The ported enclosure holds in a 6-inch woofer, a 1-inch tweeter, and a 3-channel mixer that can handle XLR, 1/4”, 1/8” and Bluetooth inputs. The EQ is pretty basic, just a set of high and low controls. The enclosure is designed to be used in the angled up position, like a monitor, or mounted on a standard speaker pole. A handle has been molded into it as well. The whole package is made even more portable, as it can be powered by an internal battery that’s rechargeable, or plugged into a traditional outlet. Sound-wise, it’s a decent personal PA. Busking on the subway, or any place where power could be questionable, it’s perfect for just plugging in an instrument and a microphone. There’s plenty of useable, clean volume for a small location. Yes you can go bigger, but for the size and sound it works fantastically. The portability is really hard to beat with a street price just shy of $200. The Bluetooth is a nice touch, to pipe in music for a break, or backing tracks, and to eliminate cables in tight spaces. For small venues like bookstores or coffee shops, this can do the trick quite nicely, and not take up a ton of space while filling the room with sound. Chris Devine
SAMSON MediaOne BT3 Speakers - $99
W
PROS
Inexpensive, decent sound. CONS
Bluetooth requires both speakers to be connected to each other.
2-way speaker enclosure with 6-inch woofer
2-way active monitors with rear-vented, precision-tuned port enclosures
1-inch high frequency driver
Bluetooth connectivity
3-channel mixer
3-inch copolymer woofers
XLR-1/4-inch combo input for line level or microphone level devices 1/4-inch input for guitar and line level devices
FEATURES
FEATURES
Bluetooth connectivity to connect wireless music sources
e get a lot of speakers to review, and they vary from exotic highend units to inexpensive models that won’t break the bank. Samson’s MediaOne BT3’s fall into the latter category. They’re not huge, housing just a 3-inch woofer and a 1-inch tweeter. The business end is in the back, with power and speaker connections. The only real controls sit on the front: a volume control, headphone out, and aux in. Everything is encased in the industry standard black satin cabinet. The real bonus is that these are Bluetooth enabled, meaning the option to go wireless from the sound source is available. The only downside is that the speakers need to be connected to each other, just not the sound source. The pair retails for $100, and is meant to be used as a multimedia speaker, meaning for home recording, as well as a set for an entertainment system. So for that first set of speakers for someone looking to get into home recording, it’s the perfect gateway. For home studios, they are reminiscent of the old Yamaha NS-10’s that used to be the industry standard for recording. For tracking they make a great set of reference monitors; knowing if your mix sounds good on these, you’re on the right track. For an entry-level studio, it’s a good deal. When being used as part of a home audio system, the sound quality is decent; as always, EQing to taste depending on the music and application makes a difference. The only real downside is the Bluetooth function requires the speakers to be connected to each other. Chris Devine
1-inch silk dome tweeters 15 watts per channel RMS, 30 watts per channel Peak
1/8-inch MP3 input
Front panel LED indicator, level control, headphone output & stereo input
Integrated 1 3/8-inch speaker stand mount
Passive crossover design for linear response from bottom to top
30 APRIL 2014 PERFORMER MAGAZINE
TRONICAL TronicalTune Self-Tuning Guitar System - $329
EARTHQUAKER DEVICES Handmade FX Pedals from Akron, OH
The legendary guitar sounds of yesteryear were created by artists and brands that pulled inspiration from every corner of the world. Pioneers like Les Paul weren’t afraid to try the weird and unexpected in search of new ways to play the guitar, and it is in that great tradition that EarthQuaker Devices works to push the guitar in new and incredible directions. Their pedals aren’t afraid to explore the stranger depths of audio and encourage players to add a bit of the unexpected to their rig. The world’s first guitar arpeggiator pedal? Done. A one-of-akind dirt machine based around hard-to-find germanium transistors? You got it. A pedal to transform a guitar into a pipe organ? Why not! The more time spent digging through their catalogue, the more one begins to believe that if a sound can be dreamed, EarthQuaker Devices can make it into a pedal. These devices transform the average pedalboard into a unique sounding rig that will turn heads and leave an impression. All EQD Pedals are true-bypass and handmade in Akron, OH.
GEAR REVIEWS
Builder Profile
For more, visit www.earthquakerdevices.com.
S
PROS
Interesting technology. CONS
May require modifications to an instrument, difficult to understand control system, expensive, not entirely necessary.
elf-tuning guitars kind of fall into the category of self-parking cars, an interesting concept, but how practical can they be? We were shipped a set for a Fender guitar that included tuners, mounting hardware, a base plate that has the controls, and a battery pack. Unfortunately the base plate’s holes didn’t quite line up on our test Strat, however they did fit better on a partscaster guitar, but it was still a struggle to install. The bass string tuners are geared in the opposite fashion, versus the treble strings. The controls are a little counter-intuitive, however a more in-depth manual is available online from Tronical’s website. String up a guitar, pluck an open string, and the tuners will bring the strings up to pitch. It can save alternate tunings like drop-C as well. If the battery dies, the tuners can operate manually, like a normal tuner. Practically speaking, they do work, but it can take some getting used to, especially the bass tuners going in the opposite fashion; navigating the onboard menu and controls may also require a crib sheet in the beginning. For the cost (street price of $329), and the possibility of having to modify an instrument, it kind of begs the question: why? If modifying a guitar, a set of locking tuners and the combination of a properly cut nut, smooth bridge saddles, and a clip-on tuner would serve the same purpose (and cost hundreds less). One of those modifications alone would improve any guitar’s tuning stability, and its value. Any decent musician should be able to tune their instrument on-the-fly, and while technology is a good thing, these just seem like a crutch, and not a great one at that. Chris Devine
REVIEW Bit Commander Guitar Synthesizer The Bit Commander’s four octaves of square waves transform a guitar signal into a fat mess of dirty, analog synth goodness. Its straightforward interface makes it easy to combine the sub, octave down, base tone, and transformer-based octave up tones into sounds ranging from sweet and playful to extreme distortion. Unlike most modern guitar synths, the Bit Commander is 100% analog, so it tracks most accurately above the 7th fret, but can yield unexpected and wild results back at the top of the neck. The individual octave control allows sound customization and, if just dialing in the base control, can be used as a harmonic-rich fuzz pedal. The Bit Commander is perfect for the player looking to add a bit of the retro-future or intense synth noise to their set. Garrett Frierson
$175
PERFORMER MAGAZINE APRIL 2014 31
FLASHBACK
1961 FENDER TELECASTER Used to record “Pretty Woman” & other Nashville hits...
BACKGROUND The ’61 Tele is a special piece. The neck is slightly different than other years and I can’t explain why it plays so easily. WHAT IT SOUNDS LIKE Ever heard “Pretty Woman” by Roy Orbison? Exactly like that. INTERESTING FEATURES This guitar is, in fact, the one used on “Pretty Woman” and many other hits out of Nashville where it was owned by a successful studio musician. CUSTOM MODS? Never modify a vintage guitar, I say. FUN FACT Andy Summers of the Police bought this model for $200 in 1977 with some interesting modifications. Coincidentally, I have one of his custom shop ones - brilliant! The neck feels very different to me. ABOUT THE AUTHOR Don Miggs is a singer/songwriter/producer and fronts the band miggs (Elm City/Capitol Records). His love affair with vintage instruments and gear only presents a problem when he’s awake. More at miggsmusic.com, @miggsmusic, and thelalamansion.com.
photo by GABRIEL BURGOS
32 APRIL 2014 PERFORMER MAGAZINE
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WE’VE TAKEN DIGITAL WIRELESS TO THE NEXT LEVEL . . .
THE FLOOR
SYSTEM
STOMPBOX
DIGITAL 2.4 GHz HIGH-F IDELITY WIRELESS Combining advanced 24-bit, field-proven performance, easy setup and clear, natural sound quality, our System 10 Stompbox delivers the ultimate wireless experience. With the tap of a foot on the rugged, metal Stompbox receiver, guitarists can toggle between dual ¼” balanced outputs or mute one output without affecting the other. And, since the System operates in the 2.4 GHz range, it’s free from TV and DTV interference. You can also pair multiple UniPak® body-pack transmitters with a single receiver to easily change guitars. So go ahead, give it a try – we think you’ll be floored.