Performer Magazine: August 2013

T H E M U S I C I A N ’S R E S O U RC E

AUG 2013 FREE

Special

Collector’s Issue CELEBRATING THE VISUAL ART OF INDEPENDENT MUSICIANS

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

VOL.23, ISSUE 8

Right: Peelander-Yellow, pg. 22

Opposite Page:

AG (Adrianne Gonzalez ) Understanding (2010) Acrylic on Canvas Twitter: @byaginc Web: www.byaginc.com

What does this piece mean to you? This piece was a message to the Universe, when I had begun to lose hope that I would find the person that I’m meant to be with. Art for me is generally inspired by desperation, when I’m on the edge of giving up; it saves me every time.

How does your art relate to or influence your music? To me, it’s just a different form of the same expression. I paint word art primarily, and many times they are song lyrics, or phrases that sound like they could be sung instead of spoken. I think that I experience a different kind of letting go when I paint, as I tend to let inspiration take me where it wants. What I find most challenging and inspiring is when you have to work around that brush stroke, and make it work FOR you rather than against you. Painting teaches me a lot about songwriting, as I take these same principles with songs.

SPECIAL ART IN MUSIC ISSUE

14

In this issue, we take a look at (and celebrate) the varied and beautiful visual art being creating by independent musicians. Here you’ll find an eclectic mix of paintings, found objects, digital renderings, abstract woodblocks and much more. We hope you enjoy, and are perhaps inspired to get a little creative yourselves…

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

48 Studio Diary: Shook Twins

6 Local News

50 My Favorite Axe: Don Miggs

13 Tour Stop: Salt Lake City, UT

51 Recording: Quantity vs. Quality pt.1

34 Top Picks: The Best in New Music

52 Gear Guide: Wireless Microphones

44 Record Jacket Packaging With DoradoPKG

54 Gear Reviews

46 A Closer Look at Google Play All Access

56 Flashback:

47 Legal Pad: Streaming Royalties

Cover illustration by Tony Hollums

Vintage Heidelberg Letterpress AUGUST 2013 PERFORMER MAGAZINE 3

FROM THE TOP Volume 23, Issue 8

Howdy, y’all!

In case you haven’t noticed, you’re holding in your hands our very special “Art in Music” issue – hopefully the first in a long line of collector’s issues to come. Hey, if you’re still gonna be in print, might as well make it special.

Am I right, folks?

This issue in particular was inspired by a friend of mine that I used to work with named Tony Hollums. Tony’s an incredible artist, but I knew him first as a bass player. When I first saw his paintings and illustrations, I was utterly blown away. It (eventually) inspired me to hatch this harebrained idea of devoting an entire print issue to other musicians and the art they create. So, we opened up submissions and

were floored by the sheer number of amazing pieces of art we received for consideration.

We’ve chosen about two dozen to feature in this issue, including our most amazing cover ever, courtesy of Mr. Hollums. Those that we dug but couldn’t find room for will appear on the site at performermag.com.

This issue wouldn’t be possible without the enthusiasm and participation of our readers, and for that, I’m truly thankful. You remind us why we continue to keep the printing press rolling, and why we’ll keep doing it as long as you’ll have us.

PUBLISHER

William House Phone: 617-627-9200 bill@performermag.com EDITOR

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

Joe LoVasco - scoutco1@gmail.com EDITORIAL ASSISTANT

Glenn Skulls editorial@performermag.com

Enjoy.

CONTRIBUTING WRITERS

-Benjamin Ricci, Editor

P.S. – after the trifecta of gaffes in the May print issue (see: corrections in the July issue’s “From The Top” letter), we were pleasantly surprised to receive zero reports of egregious typos in the June and July issues. Either we’re killing it (hooray!), or y’all are terrible spellers and grammarians and simply aren’t picking up on our mistakes. I’d like to believe it’s the former, so just give me a moment while I pat myself on the back…

Adam Barnosky, Alexandria Sardam, Ben Marazzi, Benjamin Ricci, Brad Hardisty, Brent Godin, Candace McDuffie, Chris Devine, Christopher Petro, David Pier, Eric Wolff, Gail Fountain, Garrett Frierson, Hannah Lowry, Jillian Dennis-Skillings, Joshua Broughton, M. Wisnewski, Matt Lambert, Meghan Pochebit, Michael St. James, Shawn M Haney, Tara Lacey, Taylor Haag, Tory Summers, Vanessa Bennett, Warren McQuiston, Zac Cataldo CONTRIBUTING PHOTOGRAPHERS

performermag.com

/performermagazine

@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 PO BOX 348 Somerville, MA 02143

4 AUGUST 2013 PERFORMER MAGAZINE

Aimee Kersey, Brad Hardisty, Candace McDuffie, Curtis Wayne Millard, Guillaume Ohz, Guisepi Spadafora, Ken Falcon, Matt Lambert, Trinity Foreman ADVERTISING SALES

Kathleen Mackay - kathleen@performermag.com Deborah Rice - deborah@performermag.com PO BOX 348 Somerville, MA 02143 Phone: 617-627-9200 - Fax: 617-627-9930

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.

Drummer, Devo Alan Myers was an American drummer.

He was the third and most prominent drummer of the band Devo. Myers joined Devo in 1976 and replaced Jim Mothersbaugh. He left between 1986 and 1987 after the album Shout. According to the book We Are Devo, Myers cited a lack of creative fulfillment as his reason for leaving the group, something he had felt since Devo’s move to Los Angeles in the late 1970s.

Among all of Devo’s drummers, he is the one most associated with the band.

Bobby Bland, 83 “The Lion of the Blues” Bobby Bland was an American singer of blues and soul. Bland developed a sound that mixed gospel with the blues and R&B. He was described as “among the great storytellers of blues and soul music... [who] created tempestuous arias of love, betrayal and resignation, set against roiling, dramatic orchestrations, and left the listener drained but awed.” Bland was inducted into the Blues Hall of Fame in 1981, the Rock and Roll Hall of Fame in 1992, and received the Grammy Lifetime Achievement Award in 1997.

Cory Monteith, 31 Singer, Drummer, Glee Cast Member Cory Monteith was a Canadian actor and singer, known for his role as Finn Hudson on the Fox television series Glee. Born in Calgary, Alberta and raised in Victoria, British Columbia, Monteith had a troubled adolescence involving substance abuse from age 13, and he left school at 16. Following his success on Glee, Monteith’s film work included the movie Monte Carlo and a starring role in Sisters & Brothers. In April 2013 he again sought treatment for addiction; he was found dead in a Vancouver hotel room in July.

Hugh Maguire, 86 Violinist, London Symphony Orchestra Hugh Maguire was an Irish violinist, leader, concertmaster and principal player of the London Symphony Orchestra and the BBC Symphony Orchestra (1962-1967), leader of the Melos Ensemble and the Allegri Quartet, a professor at the Royal Academy of Music, and violin tutor to the National Youth Orchestra of Great Britain. Later in life, he was professor at the Royal Academy of Music in London and artistic director of the Irish Youth Orchestra, as well as violin tutor to the National Youth Orchestra of Great Britain.

J.D. Mark, 43 Guitarist, The Haunted Hearts According to NOLA.com, “Born in Flint, MI., Mark moved to New Orleans in 1992.

He had formed a friendship and played bluegrass with the country music scholar Bill Malone. After relocating to Oxford, Miss., Mark continued to visit New Orleans often; he performed with a number of bands in the region, including Jack Oblivian’s Tennessee Tearjerkers…the Cowboy Killers, the Belvederes, Jeffrey Evans, [and more]. Mark performed in New Orleans most often as a member of the Haunted Hearts, a group that played…in the traditional country, rockabilly and swamp pop genres.”

OBITUARIES

Alan Myers, 58

Jim Foglesong, 90 Record Executive, Capitol, MCA, ABC Jim Foglesong was an American country music producer and executive based in Nashville. He began his career at Columbia Records in 1951; over the next 20 years he worked for RCA-Victor until moving to Nashville in 1970 to head the A&R division at Dot Records, where he helped lay the foundation for the country music boom in the 1990s. As president of Dot, ABC, Capitol and MCA Records, he signed popular artists, among them Barbara Mandrell, Don Williams, Garth Brooks, Reba McEntire, the Oak Ridge Boys, Tanya Tucker and more.

Lil Snupe, 18 Rapper Addarren La’Keith Ross, also known by his stage name Lil Snupe, was an American rapper; he was signed by fellow artist Meek Mill to his label, Dream Chasers Records, in late 2012. Lil Snupe was murdered on June 20, 2013. After losing a video game gambling bet to the rapper, an acquaintance allegedly shot Lil Snupe twice in the torso. During his brief career, Lil Snupe release two official mixtapes, 16 & Runnin Tha Mixtape and R.N.I.C.

Slim Whitman, 90 Country Singer, Toured with Elvis Slim Whitman was a country singer, songwriter and instrumentalist known for his yodeling abilities and his threeoctave falsetto. He stated that he had sold in excess of 120 million records, and in the 1950s Whitman toured with Elvis Presley. Although once known as “America’s Favorite Folk Singer,” he was consistently more popular throughout Europe, and in particular the United Kingdom, than in his native United States. For 36 years, his 1955 hit single “Rose Marie” held the Guinness World Record for the longest time at number one on the UK Singles Chart.

AUGUST 2013 PERFORMER MAGAZINE 5

LOCAL NEWS

AUSTIN

Sour Bridges Brings Browngrass to Texas Making Bluegrass Dirty, and That’s a Good Thing

by Tara Lacey photo courtesy of Jessie Riley

Central Texas’ only self-proclaimed browngrass band, Sour Bridges, is preparing to release their sophomore album Catfish Charlie on August 13 to a national audience. In case there was any confusion, brown-grass is like bluegrass, just a smidgen more on the dirty side of the strings.

Catfish Charlie has plenty of Texas flair to top it off, making it more country crossover, slightly more grown up, and a little less grass than their debut LP released in 2010.

In late May, the Austin-based band celebrated the local release of the new album to a crowd of over 300 at Austin’s historic Scoot Inn. As a result of the band’s tireless efforts, and the hustle of manager Jessie Riley, Sour Bridges are picking up steam all over The Lone Star State.

After the recent announcement of the new album, it seems like they are popping up everywhere from private events to food and wine festivals, to Austin’s best music venues. In short, Austinites won’t go much longer without knowing Sour Bridges - much like the phenomenon behind the locallyacclaimed bluegrass crooners Whiskey Shivers.

The band sums it up nicely themselves: “Sour Bridges took your sister to the prom, treated her real nice and got her home just before curfew. They called your sister the next day and even winked at your dad as the screen door closed. “ Sour Bridges is comprised of artists from different corners of the country, with a sound that embodies a combination of traditional Texas folk music, Appalachian bluegrass, classic rock and roll, and that unmistakable Texas twang. They were featured at UTOPiAfest 2012 and are aiming high for 2013 and beyond.

For more info, visit sourbridges.com

Local Venue Thrives in Face of Suburban Development Backstage at The Backyard at Bee Cave

by Tara Lacey photo courtesy of Live Nation

The Backyard first opened its door in 1993 and quickly became an Austin legend – it lives on today as ‘the new’ Backyard at Bee Caves even after suburban development threatened the quaint little musical hideout in the trees. As much as possible, the venue stays true to its roots, providing a large yet intimate space: only now there are strict noise ordinances, a curfew for hard stops, and a nearby strip mall. Notable alumni include Bob Dylan, David Bowie, Paul Simon, The Allman Brothers, and Willie Nelson (who may as well be an honorary owner, as it’s often dubbed “Willie’s Backyard”).

With stacked lineups and shows with 6 AUGUST 2013 PERFORMER MAGAZINE

locally-celebrated artists, The Backyard has managed to not only survive the wave of suburban changes near its 20-year-old, once secluded location which (about 20 miles outside of Austin), but it is still known across the country for some of the area’s most anticipated music performances and its intimate Texas hill country, wooded and natural environment.

Though it has had to evolve with suburban development, The Backyard at Bee Cave remains a one-of-a-kind venue that hosts shows as varied as the people who reside in Austin. They book their own shows and allow outside promoters to come in

and pull out all the stops – all except for the curfew of 10:30 pm (11:30 on weekends).

The Backyard takes extra steps to adhere to their green initiatives so that it can remain a special hideaway. Now that the city has grown out and around The Backyard, it’s more important than ever for them to maintain their place as Austin’s musical venue equivalent to the celebrated greenbelts and springs the city holds dear.

For more info, visit thebackyard.net

P P

ERFORMER R E S E N T S

At l a n ta @ The Drunken Unicorn Au g u st 1 6 f e at. H u n x & H i s P u n x and Hunters D o o r s at 9 : 0 0 p m $ 1 0 - A L L AG E S San Francisco @ G r e at A m e r i c a n M u s i c H a l l Au g u st 3 1 f e at. R i n T i n T i g e r French Cassettes a n d P i c t u r e At l a n t i c D o o r s at 8 : 0 0 p m $ 1 5 - A L L AG E S

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LOCAL NEWS

BOSTON

The Nines Festival Offers New Performance Opps Q&A With Event Organizer Adam Lewis

by Benjamin Ricci

The Nines is shaping up to be one of the coolest New England festivals in recent memory, with performances scheduled for Dr. Dog, K. Flay, Kid Koala, Delta Spirit, Explosions in the Sky and a ton more – plus stand-up comedy and visual art exhibits. The event takes place August 10 in Devens, Massachusetts, and we recently got to chat with one of the organizers, Adam Lewis, all about the festivities.

What was the genesis for the festival?

The genesis came from 3Rivers Arts. 3Rivers is built on the nearly four-decade legacy of the former Groton Center for the Arts. 3Rivers Arts, an Ayer, MA-based non-profit regional arts organization, has the stated mission of “engaging the humanities for artful living in central Massachusetts by connecting artists with audiences in a variety of creative forms and expressions” through quality arts education and events. They approached us, Great Northeast Productions, Inc. [because of our] history producing large-scale festivals, including the seminal Phish Millennium show in the Florida Everglades, Lemmonwheel, Clifford Ball, Great Went, It, etc - which provided a blueprint for many of the large festivals today.

What’s your booking process like? How can non-headlining, independent artists get involved?

We made a commitment in the beginning that we would extend an opportunity to regionally-based performers and to emerging artists, wherever they are from. Local, regional, signed or unsigned - we were open to it all. We are partnering with Sonicbids to also allow for artists to apply to perform at the festival. We want this festival to 8 AUGUST 2013 PERFORMER MAGAZINE

For more info, visit www.theninesfestival.com provide opportunities to regional and national acts - and to help nurture developing artists.

What sets the Nines apart from other summer festivals?

I don’t think that there are any that are supporting emerging and independent artists the way the Nines is. Boston Calling and Life is Good are not focused on that. Our slogan is Music, Art, Discovery. There are aspects to The Nines that are not covered by other festivals: art, quality crafts, comedy and a non-profit angle in the future.

Will this be a one-off event or are there plans to make this an annual fest?

There are plans for a 2-day and hopefully 3-day event in the future. We would like to expand the hours, stages and number of artists over time.

This is a boutique festival; we’re not trying to be something for 75,000 people. It’s about community and creating something special.

Why did you select this location for the festival?

This is where 3Rivers Arts was invited to consider as a site, because Devens is in a transition from a quasi-town and former military base to a town - so it has these tremendous assets

including large and beautiful athletic fields that lend themselves to large scale multi-art venues.

This is a fantastic location that is only 35 miles from downtown Boston and is easily accessible and directly off Route 2. It’s a short ride from Worcester and Southern NH - even Providence and Northampton. The area has so much natural beauty and so much to offer in terms of hotels, inns, bed & breakfasts and other activities like hiking, camping, and more - yet it is still all so close to Boston. There are a lot of folks that live in the 495 area that find that going into Boston is a major event. This serves them greatly with an option to see national touring artists.

What part of the event are you most looking forward to?

Really looking forward to the reaction of the audience to this wonderful experience and setting. This is in the country. It’s the breadbasket of New England. To experience this event on grass and not on concrete, like other festivals - I think folks will love the acres and acres of nature and will love seeing the bands in that setting. If the weather is good and the sun is setting behind the stage while the bands play, what could be better than that?

Get to know...

Devin Lamp Band Member, The Ascent of The Everest

Monkey Ink Design

Providing Total Band Packaging in Nashville

by Brad Hardisty interview by Brad Hardisty photo by Guillaume Ohz What’s the background of your band?

The Ascent of Everest is a psychedelic electrical chamber orchestra complete with cello, violin, guitars that rarely sound like guitars, electronics, drums, bass, male and female vocals. The band draws from postrock, minimalist classical, space rock, shoe gaze, and ambient influences to create a sound all their own.

What’s your position in the band?

I am a composer/songwriter/singer/guitarist/ keyboardist/ringleader of this circus.

What label are you on?

We haven’t settled on a release plan for our double LP, which we’re planning on releasing in the fall. But we’re hoping to find a new US/ EU label or release it on our own label, Meltface Records.

Why should we know you?

We are about to release our third full-length record in the fall, after which we’ll be touring the States and mounting our fourth European tour. We just completed an original score for the independent film Devil’s Damned to Try, going to festivals worldwide this fall.

What are you trying to do in music?

It may sound selfish, but we’re making the music we want to listen to; I wish there were more bands using the sounds and feelings that we tap into.

For more info, visit www.facebook.com/theascentofeverest

Nashville has no shortage of great designers, but the folks at Monkey Ink are quickly becoming some of the most sought-after artists by independent and national bands alike, creating tour posters, t-shirt designs and various other branded items with a keen eye for masterful graphic design.

“Monkey Ink Design is named after Alicia’s rescue cat Monkey. A year after we started working under the name, it came to our attention that there’s another poster designer out there who goes

by Monkey Ink (sans Design.) In fact, there are a lot of businesses out there with the name Monkey Ink! However, most of them have actual monkeys

VENUE PROFILE

as their mascots and ours is a cat named Monkey, which has the irony we happen to be a fan of. Thus, we’ve also started going by MID to make things a little less complicated,” says MID artist Drew Binkley.

MID has done varied silkscreen design for artists in a number of genres, including Soundgarden, The Black Keys, Dr. Dog, the Civil Wars, Black Mountain, The Apache Relay, Mastodon, The Avett Brothers, Eric Church and Justin Townes Earle.

Most recently, the team of Drew Binkley and Alicia Waters designed and printed the official tour poster for Emmylou Harris, Rodney Crowell, & Richard Thompson Electric Trio. In addition, MID put together an entire package for Josh Ritter including the tour poster, tour shirt and banner for his spring and summer tour.

Upcoming projects include Jason Isbell’s tour poster in support of his latest recording Southeastern as well as album artwork for Jasmin Kaset’s upcoming release Quite Machine. The actual printing is done at Grand Palace Silkscreen, which Drew Binkley co-owns as well.

LOCAL NEWS

NASHVILLE

CONTACT INFO Email: hello@monkeyinkdesign.com Phone: (865) 742-3672 Web: Monkeyinkdesign.com

The Stone Fox in West Nashville Music City’s Latest Indie Haven

ABOUT The Stone Fox in West Nashville stands in an area that has been relatively untouched by the Nashville Music venue scene until now.

Regular nightly acts just started a few months ago and already there has been sold-out shows including Boston’s Jonathan Richman in June.

“We are very proud to take good care of our artists. All touring bands get a free meal and drinks and we have a house nearby that we rent with facilities for bands to stay, do laundry and shower.” – Reece, Venue Manager GEAR & SOUND FOH Console: Yamaha MG32/14FX. Mains: 2x EV full range 15”, 1 side fills Yamaha powered 12” Sub: 18” JBL Monitor mixes: 2x JBL JRX112M; 1x drum EV wedge.

Mics: SM 57s and 58s for vocals and amps.

Drum mic package w/ kick and tom mics.

In-house sound engineers and house drum kit available (does not include snare, cymbals or kick pedal)

The Stone Fox is an 18+ venue with an eclectic menu from specialty burgers to vegetarian dishes as well as a full bar and indie music - both local faves and national touring acts. The Stone Fox is hosting a free all day block party called Nashville Outlines on August 3rd featuring JEFF The Brotherhood, The Ettes and a dozen other bands.

BOOKING INFO Contact - booking@thestonefoxnashville.com for all booking inquiries. For more info, visit www.thestonefoxnashville.com.

STAGE STATS Stage dimensions: 19’ wide, 13’ deep, 16” tall.

Lighting: general stage wash - no lighting board.

Capacity: 185 AUGUST 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

get

published

WRITE FOR PERFORMER MAGAZINE contact editorial@performermag.com

Get to know...

Peter Norman Band Member, Technicult

Breathing Life Back into Atlanta’s Festival Scene?

Music Midtown & Its Dismissal of Local Acts

by Joshua Broughton / photo by Aimee Kersey

interview by Joshua Broughton photo by Ken Falcon Technicult confines itself to the dark spaces between the glamour world of today’s dance music and the homesickness – or maybe punch -- of rock and roll. Their sound coalesces from menacing low-end synthesizers, partners with distorted vocal samples, and finishes with a loud, aggressive acoustic drum kit. Technicult’s debut EP Gracefully Surrendering the Things of Youth is out on iTunes now.

What’s different about Technicult?

First and foremost, we have absolutely no guitars or bass; we are virtually all synthesizers. That is something that has confused many a sound guy. Troy, our drummer, helps round out the sound live with acoustic drums. We have always loved the sound of acoustic drums over drum machines.

Music Midtown began in 1994 (nearly twenty years ago!!) as a two-day musical extravaganza, housing six stages - each sponsored by one of Atlanta’s cabal of radio stations. At its peak, Music Midtown taught more than 300,000 people how to dance over the course of one summer’s weekend each year.

The festival was created by Atlanta business partners Peter Conlon and Alex Cooley and ran for nearly ten years with unchecked growth until 2005, when it ran into trouble. The festival was sold to Clear Channel and moved from May to June, the height of Atlanta’s sometimes unpleasantly hot and humid summer. Ticket prices

STUDIO PROFILE

For more info, visit technicultband.com

For more info, visit musicmidtown.com

Thunderbox Studios

The Finest in Atlanta Rehearsal

What’s the goal?

We just want to play music full time. That is the ultimate goal of every musician. We work very hard and will spare no expense to do so.

What’s your writing process like?

It can get a little crazy. We have so much to work with so sometimes it is difficult to know where to start. We can gel so seamlessly one minute and then just hit a wall.

When everyone is clicking on all cylinders, you can really tell in the music.

What’s next for the group?

We just got added to IMR Music Festival, and we’re touring and writing a full-length record. We want to write an electronic concept record comparable to Pink Floyd’s The Wall. We try to set the bar high.

nearly doubled, and the 2005 festival was the last before a six-year hiatus.

Conlon and Clear Channel brought the festival back in 2011, moving towards a single-day model, and scoring huge national talents the Black Keys and Coldplay to headline. The oneday event brought in 40,000 people, and was endorsed by Atlanta Mayor Kasim Reed. The strong rebirth of the festival lent legitimacy to a two-day event in 2012. The talent was stellar: the Foo Fighters, the Avett Brothers, Pearl Jam, Joan Jett, Adam Ant and many more agreed to play the multi-stage event, now moved to the milder month of September.

As the 2013 festival approaches, Atlanta is left comparing the two distinct iterations of Music Midtown. The pre-hiatus festivals were filled with non-national Atlanta bands, the six stages ringing with SlowEarth or Echo 7 or any of a number of local Atlantans. The new iteration of Music Midtown - with its continued upward trajectory of ticket prices - lacks the small-time acts, opting for more big-ticket moneymakers. This can be an exciting time for ticket-sellers, but the boots on the ground in the musical ecosystem of Atlanta aren’t quite as excited.

LOCAL NEWS

ATLANTA

Nestled in the heart of downtown Atlanta, Ted Lathangue’s (Manager, Properties Department) Thunderbox Studios presents a humble, and deeply hip, façade. Its unassuming, wonderfully graffiti-ed brick walls and corrugated metal loading bay doors house an incredible tapestry of Atlanta’s flavor and influence.

PAST CLIENTS Alumni of the studio includes Mastodon, Sleep Therapy, the Hot Rods, the Hawks, Envie, Slow Motion Crash and a great many other bands from the history of the city.

FACILITIES This is no ordinary, grungy rehearsal studio: Thunderbox is the brainchild of over 20 years of experience in the rehearsal studio realm, hosting rooms as small as 240 square feet all the way to 400 square feet, as well as a fully operational tour-rehearsal, stage-ready room for larger acts. The prices are affordable, the area is secure (replete with 24-hour video surveillance), and it’s a very short drive to Atlanta’s most bustling venues, regardless of genre or stripe. All the rooms are furnished with heavy locks and padlock bays, and the main entrance is controlled via an electronic keypad. Each room houses two commercialgrade 20 amp power circuits and the building is fully climate-controlled.

CONTACT INFO Phone: (404) 876-4868 Facebook: /Thunderbox.Rehearsal.Studios Web: www.avatareventsgroup.com

AUGUST 2013 PERFORMER MAGAZINE 11

TOUR STOP

SALT LAKE CITY, UT SALT LAKE CITY (SLC) has always seemed like a wavy mirage to a tour bus on I-70.

This once sleepy town is starting to wake up. The dance scene is exploding (electro-indie Neon Trees), the rock and punk scene is complemented by a kick-ass roller derby team, and the liquor laws have finally been relaxed. Promoters and venues are actively seeking local and touring bands, so pack up the van and rock the place. Welcome to the Wasatch Front. -Michael St. James

VENUES BURT’S TIKI LOUNGE 726 S. State Salt Lake City, UT (801) 521-0572 www.facebook.com/burtstikiloungeut “If it’s loud, you’ll hear it at Burt’s” is the local saying, so for all of those bands who struggle playing through the 9 o’clock dinner set, this club is for you. Bring a sticker. For booking inquiries, contact Jerm – send messages through the Facebook page.

URBAN LOUNGE 241 S. 500 E Salt Lake City, UT (801) 746-0557 www.theurbanloungeslc.com This is the hot place to play in SLC. Voted the Best Hipster Hang AND Best Rock Hip-Hop Mash Up - you get the idea. Music nearly every night of the week. For booking inquiries, contact Will Sartain at will@sartainandsaunders.com.

PRESS SALT LAKE CITY WEEKLY www.cityweekly.net SLC’s only free alternative newsweekly. Bands can contact Arts & Entertainment Editor Scott Renshaw at scottr@cityweekly.net.

GEAR

GUITARZIP 645 South 300 W. Salt Lake City, Utah (801) 322-4100 www.guitarzip.com The story begins and ends with Guitarzip. There’s SLUG (SALT LAKE UNDERGROUND MAGAZINE) this guy, might be Jake, that says they fixed his ’94 (801) 487-9221 Strat with a ’76 neck and charged him the normal www.slugmag.com price after he pointed it out. Why? It sounded betThis is the one for the kids. Especially if you are ter and they didn’t want to ruin it. Enough said. punk or harder, this is the mag for you. They also do Drummer friendly. showcases around town.

JACK’S DRUM & GUITAR SHOP 2154 Highland Dr. Salt Lake City, UT www.jacksdrumshop.com Sure, all of these guitar guys get stores, but what about the groove masters? Jack’s got you covered.

They have strings, too, and a great vibe.

LIQUID JOE’S 1249 E. 3300 South Salt Lake City, UT (801) 467-5637 www.liquidjoes.net Wednesdays and Fridays are live music nights.

Capacity rides at about 390 but if you can open for a local band and bring a few fans as well, 250 looks really good in here. For booking inquiries, fill out the simple form on their website for best results.

KILBY COURT 741 South Kilby Ct. Salt Lake City, UT (801) 364-3538 www.kilbycourt.com You always know a true original music club when they post a message like this: “No covers. We do not pay licensing fees.” Kilby Court has held it down for the all-ages crew since ’99. They also have a sweet little label going on, worth checking out. For booking, email Will Sartain at will@sartainandsaunders.com.

AUGUST 2013 PERFORMER MAGAZINE 13

WELCOME TO OUR SPECIAL ART IN MUSIC ISSUE!

Sherri DuPree-Bemis Down the Rabbit Hole (2013) Ink on Bristol

Band: Eisley Twitter: @SDuPreeBemis Web: society6.com/SherrisInk

What does this piece mean to you? Alice in Wonderland was very influential in shaping my imagination growing up, so it’s important to pay homage to those things – a way of thanking past creators for creating.

How does your art relate to or influence your music? The most important thing when creating is having an open mind and pushing your imagination to the limits. I try to make sure all of the art I create, whether music or illustration, has an element of whimsy and magic.

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I’ll keep this brief and let the art speak for itself. This issue is all about celebrating the visual art created by independent musicians. Over the next 20 pages or so, you’ll be introduced to works that will make you think, make you laugh, and perhaps inspire you to pick up a brush. We hope you appreciate the artistic creations featured in this issue, and encourage you to visit performermag.com to view even more submissions we weren’t able to fit in print. Enjoy!

-Benjamin Ricci, Editor

Gregory J. Del Deo Dotty (2012) Digital

Band: Wig Party Twitter: @wigparty Web: www.gregorydeldeo.com www.wigpartymusic.com

What does this piece mean to you? This piece embodies pure jubilation.

How does your art relate to or influence your music? To me, art and music come from the same place and follow the same rhythm.

AUGUST 2013 PERFORMER MAGAZINE 15

Rudy Temiz The Bushwick Hotel (2013) Collage Screenprints on Paper Maps, Latex Paint, Spray Paint & Tempera.

Band: The Bushwick Hotel Twitter: @Bushwickhotel Web: www.thebushwickhotel.com

What does this piece mean to you? It makes me feel like I inhaled Brooklyn and vomited it out.

How does art relate to or influence your music? I don’t consider them to be mutually exclusive.

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Blair Breitreiter Smart Verses Collide (2013) Digital | Photoshop

Band: Absinthe Junk Twitter: @junobean and @absinthejunk Web: mypieceofjunk.com and starcrossd.net

What does this piece mean to you? This is actually a panel out of my long-running graphic novel, Star Cross’d Destiny. [It] is special to me because it includes three things I love dearly: my bandmates, my characters who’ve been with me for over a decade, and my favorite city.

How does your art relate to or influence your music? I see our music visually before I even start writing it. For our recent release, Death in the Afternoon, I painted each song across a broad spectrum of both traditional and digital media.

When you can visualize songs in such a way they almost become their own characters and through that, I’ve discovered so many different ways to express them vocally and instrumentally.

AUGUST 2013 PERFORMER MAGAZINE 17

Shannon Shaw Sweet Prince (2013) Watercolor, Graphite, Gold Foil

Band(s): Shannon and the Clams // HUNX and HIS PUNX Twitter: @shanandtheclams Web: shannonshaw.moviehopping.org What does this piece mean to you? I tried to capture an alternative side to Chris Farley, who has been a major influence in my life. He is always thought of as a funny, fall-down fat guy who died tragically, whereas I wanted to preserve a version of how I see him: sweet, childlike yet secretly regal.

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How does your art relate to or influence your music? My favorite art is turn-of-thecentury symbolist art, which was often used for illustrating fairy tales. I write songs in a similar way, where I turn a true experience into more of a tale. Sometimes being straightforward is dull.

Jared McCloud Heaven (2012) Oil on canvas

Twitter: @jaredmccloud Web: www.jaredmccloud.com

What does this piece mean to you? This was the first painting where I felt like I had accomplished everything I wanted to with it. It remains my favorite.

How does your art relate to or influence your music? I decided that when writing songs, if I was going to sing about a girl, I would always sing about the same girl, and give her the same name try to have a little continuity. I landed on “Maria,� which sounds pretty heavenly to me, so I gave her a face, and made her an angel.

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John Renaud Priscilla (2005) Watercolor and Gouache on Illustration Board

Band: Bridgework Twitter: @bridgework Web: www.bridgeworkmusic.com

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What does this piece mean to you? This simple little painting represents a special period in my life. After moving to Los Angeles in 2003, I started playing open mics, making new friends, going out to support a lot of the people I had met.

One of those people was Priscilla Ahn. This painting is from a photo I took of her performing at The Mint in Los Angeles; it reminds me of the circle of friendship I had at that time.

How does your art relate to or influence your music? I was an art major in college, and always applied everything I learned with the visual arts to what I was doing musically. I think about making music in a very similar way as I do to making a painting.

Lee Herrera Old Clown (2012) Ink and Watercolor on Paper

Band: HRVRD Twitter: @HRVRDMusic Web: HRVRDmusic.com

What does this piece mean to you? It embodies sorrow. It is sad to me that people can spend their whole lives doing what they think they’re supposed to be doing and be completely miserable, even if their job was to make other people laugh...like a clown.

How does your art relate to or influence your music? When I created this piece, I made it overtly dramatic; I felt that the two songs on the release for which this was made carried a heavy message of “self” and “existentialism.”

AUGUST 2013 PERFORMER MAGAZINE 21

Peelander-Yellow Umpire (1998) Rubber Cut Print with Oil Ink on Paper

Band: Peelander-Z Twitter: @peeyellow Web: yellownoppp.tumblr.com

What does this piece mean to you? [It’s] one of my friends.

How does your art relate to or influence your music? Friends make me happeee!!!!

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Natalia Zukerman Lulu (2012) Acrylic and Violin Neck on Canvas

Twitter: @zukertweets Web: www.nataliazukerman.com www.offthewalldesign.com

What does this piece mean to you? I was commissioned to make a painting for violin maker Paul Wargaski, who has a beautiful shop in Chicago. I asked my father, violinist Pinchas Zukerman what, in his opinion, was the quintessential piece for violin; he named Berg’s Violin Concerto. It is incredibly haunting and beautiful.

I started researching and was so taken with the story of the creation of this piece. At the time, Berg was writing his opera Lulu, a very complicated story about an artist and his muse. Feeling pressed for time and needing the money, he abandoned writing his passion piece and concentrated his efforts on finishing the concerto.

But Berg died before he could return to the writing of Lulu and so that opera remains unfinished to this day. I was so taken by the notion of patronage, our passion as artists and often what we are required to do, personally and professionally

instead of what we truly desire. In this sense, the violin concerto killed Lulu. I tried to convey all of this in the portrait.

How does your art relate to or influence your music? I create a lot of art based on song lyrics mine and others. I also write from a very visual place; I am more interested in what a feeling LOOKS like - tell me about the setting, the color, the light and I’m immediately drawn in.

AUGUST 2013 PERFORMER MAGAZINE 23

Faris McReynolds Vague Architecture (2013) Oil on Canvas

Band(s): ExDetectives and One Finger Riot Twitter: @postplanetary Web: www.farismcreynolds.com

What does this piece mean to you? This painting is about taking the simplest marks I can make and using them to create a space somewhere between abstraction and representation. It was an abstract painting until I put in a line that looks like a shadow; now the rest of the space is unclear.

How does your art relate to or influence your music? Making music and making art are both about piling up all of the marks you make, either

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with sound or on paper, and arranging them in a way that is entirely your own, even if some of them come from direct influence. If you sing out of key, that’s your voice and it’s beautiful. The same goes for visual art. Make something wrong, and it’ll be more “you” than anything you could make by trying to do something right.

John Albert Bonnel Transplants (2012) Pen and Ink on Paper

Band(s): Swingin’ Utters, Filthy Thieving Bastards and Druglords of the Avenues.

Twitter: @jpeebucks Web: www.absolutearts.com/portfolios/j/johnalbert

What does this piece mean to you? It was inspired by Rob Aston, a singer for The Transplants, a great friend and artist in his own right.

How does your art relate to or influence your music? My art is a visual to all the lyrics I write and music is the most important inspiration for my drawings.Â

AUGUST 2013 PERFORMER MAGAZINE 25

Matthias Sturm Gitarrero (1997) Monotype on Japanese Paper

Twitter: @matthias-sturm Web: www.matthias-sturm-art.com

What does this piece mean to you? This piece of art represents a two-faced issue: one head is speaking in the ear of another, but they are one.

It’s about duality of life: the Good and the Evil in a more poetic discourse.

How does your art relate to or influence your music? As a mid-career artist, I was starting out as one of the talented, young East German artists after the break of the Wall.

My artwork is part of some more important art collections, such The Collection Deutsche Bank, Neuer Berliner Kunstverein, Staatliche Kunstsammlungen Dresden, MAK Vienna and the Westheimer Family Collection (Oklahoma City Museum of Art), just to name a few. Music was a longtime, but covered love before I started out as an international recording and touring artist.

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Walter Sickert FINDERS (2013) Reference piece made from squid-ink and unicorn-blood-water-color and ink on paper photographed with a Rolleiflex 2.8 FX Medium Format Twin Lens Reflex Camera. Printed on Canson Infinity High Gloss Premium ResinCoated Archival Paper. Scanned to create a locus and then burned.

Band: Walter Sickert & the ARmy of BRoken TOys Twitter: @WalterSickert Web: www.armyoftoys.com

What does this piece mean to you? FINDERS is a study in how two people can be incomplete apart, but create a whole entity together. The left side is music; the right side is art. Pieces are both missing and added for each of them, but when they come together, they create one unified whole. The song that goes with this piece begins as a lonely oceanic love song sung into the fog, but ends on a mountain overlooking the Universe.

How does your art relate to or influence your music? Music and Visual Art are one in the same for me; one cannot exist without the other and I can’t exist without both.

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Tony Hollums Blues (2012) Water Color & Ink on Paper

Band: Formerly of Stereogrove. Currently solo.

Twitter: @tonyhollums Web: www.tonyhollums.com

What does this piece mean to you? It was a movie cover for an upcoming short film about a piano player named Shabazz; his story revolves around letting music create his world as opposed to society and the perils that come with those decisions.

How does your art relate to or influence your music? I try to take a musical approach to art, for example using simple colors underneath intense line work to me is like using a simple drumbeat underneath a complicated guitar solo.

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AUGUST 2013 PERFORMER MAGAZINE 29

Jason Alexander Cruz Sleep Walker (2013) Oil on Canvas

Band(s): Strung Out // Jason Cruz and Howl Web: www.amerikanblackheart.com

What does this piece mean to you? Just a dream I had‌ How does your art relate to or influence your music? I paint songs and sing paintings.

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Ilan Laks Number 11 (2011) Mixed Media on Birch Panel

How does your art relate to or influence your music? Being able to paint non-representational paintings allows me the space needed for the What does this piece mean to you? It means I clarity to tell a story well. When I paint these can use art to travel through the networks of the enormous paintings, it is like a long sea voyage in the days of the great explorers. A shanty or two collective unconscious. will be written.

Web: www.ilanlaks.com

AUGUST 2013 PERFORMER MAGAZINE 31

Sam Cohen Songs From The Vanished Frontier (2013) Collage

Band: Yellowbirds Twitter: @yellowbirdsbk Web: www.yellowbirdsmusic.com

What does this piece mean to you? It represents the title of the album, Songs From The Vanished Frontier, in a few different ways. The cliff house, to me, is a symbol of the end of westward expansion - this house hanging over the edge of land and water - so that’s a literal boundary to the frontier. The sky is a painting I cut out 32 AUGUST 2013 PERFORMER MAGAZINE

of a book years ago to use in a stop-motion collage video. It’s got a 4th dimensional quality. I like the horizon between that painting and the photographs. It’s the edge of the literal, perceivable world, and something parallel. The characters on the beach are children and musicians. Both have a way of tapping into another world through creativity or naivety, where there are unexplored possibilities.

How does your art relate to or influence your music? The art usually responds to the

music rather than vice versa. I make album covers and videos, both of which respond to music I’ve already made. It’s a chance to expand on the thought and infuse more ideas for people to connect with, hopefully.

Matthew Crane Between Takes (2012) Acrylic and Ink

Band: The Albrights Twitter: @Albrightsband Web: www.thealbrightsband.com

What does this piece mean to you? Silence is as important to a musician as it is to the music itself.

The challenges of playing in a working band lay in finding serenity in the space between notes: the moments between takes. My greatest challenge is finding balance in an otherwise unbalanced lifestyle. This piece reminds me to breathe.

How does your art relate to or influence your music? Art has influenced our band immeasurably. We even named our band after the Buffalo, NY Contemporary Art Gallery: The AlbrightKnox! Our music is about creating dialogue, culture and community. Like music, visual art is just another way to spark conversation.

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TOP PICKS

LIVE SHOW

BONNAROO ‘13 Tucked away on a vast farm in rural Tennessee, a select group of mid-level bands have lots to gain. With an attendance of 80,000 music thirsty, dehydrated folks, even the first acts of the day draw in several hundred new pairs of ears - it is a place for the casual fan or curious attendee to sample dozens of acts he or she might typically pass on or be skeptical about seeing at a local tour stop.

TOP PICKS ARTISTS PICTURED: The Revivalists (opposite page) Cults (above, left) Maps & Atlases (above, right)

June 13-16, 2013 Manchester, TN review by Taylor Haag photography by Trinity Foreman

Indie upstarts snag unclaimed ears at massive fest.

In tune with this notion was an array of acts from across all genres, almost all of whom had timeslots prior to four o’clock. One such group was New Orleans-based soul-rockers, The Revivalists. The sextet wooed a moderately sized crowd at the smaller Solar Stage, with an energetic blend of home-cooked bayou soul, ripping through harmonica whoops and pedal steel wisps as they played tracks from their latest LP, City Of Sound. Similarly, Windy City quartet Maps & Atlases drew in new listeners with their articulate guitar tapping and athletic drumming at a pair of shows over the festival weekend, while JEFF The Brotherhood and Two Gallants livened up the farm with their grim, classic rock fury and passionate, poetic guttural-blues-rock, respectively.

At any given time, six or seven performances may be underway on the festival grounds; it is indeed an overwhelming musical buffet.

Drawing surprisingly large crowds were greenhorn acts such as Australia’s The Rubens, with their indie blues-rock, The Mowgli’s romping, indie bonanza, dream-pop quartet Cults and Americana outfits The Wild Feathers and Delta Rae. Ever a showman, Saturday saw English

folk-punk Frank Turner belting endearing chorus after endearing chorus, riling up fans who had summoned him by way of chanting the Brit’s mantra: “Frank Turner Hardcore!” Likewise, the ever-captivating and comedic MC from Queens, Action Bronson, brought the ruckus to a sizzling Sunday afternoon. A lyrical gunslinger with a coltish demeanor, Bronson’s quick wit, off-thecuff rhymes and blunt-passing bombasticism were a perfect match for the girl prancing about in the crowd with a plastic marijuana leaf headdress and matching pasties.

Never have I ever seen more people asleep at concerts. As day two bled into day three, hangovers mounted, sunburns matched the hue of the boxed White Zinfandel being sipped and smuggled in and Silent Discos gobbled up the cool evening hours; sleep was on sabbatical, a hobby to be picked up once the funnel cake vendors and port-a-potties had faded from the review mirror.

As colossal thunderstorms lingered over Coffee County Sunday night into Monday morning, like a cleansing reward, they left the grime and the groove on the farm to germinate till next June.

www.bonnaroo.com AUGUST 2013 PERFORMER MAGAZINE 35

TOP PICKS

LIVE SHOW

BONNAROO 2013 MINI REVIEW

Repeat performers, Portugal. The Man were just one of those bands who showcased their whimsical abilities with pounding drums and intelligent lyrics. While their latest album, Evil Friends came out in early June, popular hits from other albums flooded their Saturday afternoon setlist; the band tantalized the audience with their steady, tribal drums and timeless harmonies. It won’t be long before these West Coaster’s tunes will grab the bloodthirsty attention of unique music lovers of America.

Another ‘roo band to watch out for, and one that’s bound to please are The Sheepdogs. With their bluesy vocals and warm, mellow instrumental moments, you’d expect this rock band to be All-American. But don’t be fooled, these bearded bros are from Canada. The heat might have been a little different than what they’re used to up North, but it didn’t show in their set on the Manchester farm. What better song to check out than “Laid Back,” a super-easy jam that’s reminiscent of Dawes.

Aside from Portugal. The Man and The Sheepdogs, other indie rock bands like Grizzly Bear smashed it, playing their hits as well as some lesser-known songs from their back catalog. But then again, that’s the beauty of Bonnaroo. Bands come out with guns blazing, ready to knock the socks off a crowd that’s been cooking in the Tennessee heat for a few days.

All in all, the weekend on the farm was filled with solid weather and even better music. If you’re looking to catch as many bands as possible, see some crazy things and experience a world that’s a little wacky but still cool, head to Bonnaroo next summer. You’ll have a good ole time.

review by Alexandria Sardam photography by Trinity Foreman

ARTISTS PICTURED (LEFT TO RIGHT ) Portugal. The Man Frank Turner

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TOP PICKS W HO ES LIV

LEEDZ EDUTAINMENT SHOW OF THE MONTH

BIG K.R.I.T. June 27, 2013 The Middle East Downstairs – Cambridge, MA review and photo by Candace McDuffie

Furious vigor and kinetic energy.

When donning a moniker that shamelessly infers royalty (King Remembered In Time), it is a requirement to have a presence that is larger than life. And as fans waited - mostly excited, kind of sweaty - it became increasingly clear that a) a lot of them had seen K.R.I.T. in concert before and b) they all couldn’t wait to lose their minds once his set started. Before him came Action Bronson, a ravenous New York native whose cult following is approaching legendary. Like Bronson, the crowd was fiery and completely unpredictable: everything from hollering bars to trampling the stage was fair game. But being the seasoned professional he is, Bronson didn’t bat an eyelash as he indelibly delivered favorites like “Steve Wynn” and “Strictly 4 My Jeeps.”

The evening belonged to K.R.I.T., though, as he wasted no time opening with “King Without A Crown.” In the bare moments between his luxuriously unhurried flow, he praised us for being live and quipped about his critics (apparently he talks about riding clean just a little too much). “4EvaNaDay,” “Sookie Now,” and “What U Mean” were just a few highlights of the night. The most impressive feature about K.R.I.T. was the amount of the energy the man had - there simply wasn’t a second onstage where he stood still. And as he performed his very last song (“Country Shit”), we couldn’t stand still either; his vigor had rubbed off on all of us.

www.bigkrit.com

DRUM LESSONS with DEAN JOHNSTON 617.388.5395 themightydux@gmail.com CALL OR WRITE FOR A FREE EVALUATION BOSTON, MA

AUGUST 2013 PERFORMER MAGAZINE 37

VINYL

MUUY BIIEN

MONTH

This is What Your Mind Imagines

of the

Athens, GA (HHBTM Records)

“Junk punk melts wax down South” Hailing from Athens, GA, the awkwardly spelled Muuy Biien spews forth a distorted, garage-infused bombast of electric sludge: junk punk, if you will.

It’s fast, it’s hardcore, and it’s everything you want loud, obnoxious rock and roll to be.

In a word: glorious. Think Minor Threat meets herky-jerky New Wave…kinda. In any event, tracks move quickly, guitars roar with great vengeance and furious anger, and vocals bleed into the mix like a combination of bullhorn protests and Wire-esque jabs and jolts.

It’s hard to pick a standout track as so much of the record flies by before you’ve had a chance to digest it, but that’s not a bad thing. In fact, the onslaught is broken up by a few ambient intermission tracks, labeled “Emesis” parts I-III, well-placed respites from the nonstop assault of the rest of the album.

Make no mistake; Muuy Biien’s new LP is one to check out, especially if you like your punk aggressive and you don’t mind a few bloody eardrums.

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Tracks 1, 2, 4, 7, 9 & 10 Recorded at Japanski Studios by Matt Tamisin Tracks 3 & 6 Recorded by Robbie Rapp and Joshua Evans Tracks 5, 8, &10 Recorded to tape by Joshua Evans and Xander Witt Mastered by Matt Tamisin & Abe Tamisin Format: 12 Inch Speed: 33 1/3 RPM Color: Black Vinyl muuybiien.bandcamp.com -Benjamin Ricci

TOP PICKS

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 at performermag.com

Elusive Parallelograms

Coke Weed

Estrangers

Bar Harbor, ME

Fragments

Season of 1000 Colors

(Self-released)

Milwaukee, WI

Winston-Salem, NC

(Self-released)

(Phuzz Records)

Back to Soft

“Nico-era Velvet Underground w/ tighter song structures & melodic focus”

“Short and sweet, perfectly capturing DIY energy”

“Dazzlingly imperfect, dreamy and whimsical warm-haze analog chamber pop”

Bar Harbor, ME quintet Coke Weed could be a Velvet Underground cover band and devastate the tribute band circuit. The group is fronted by singers Nina Donghia and Milan McAlevey’s catchy interplay, with focus on Donghia’s smoky, dry tone – Nico reincarnate. Nuanced by carefree cool, her voice makes a seamless bridge with the backing psychedelic instrumentation.

Shoegazing guitars tightened for melodic emphasis, coupled boy/girl vocals, unhurried tempos and fuzzy rhythms fill the backdrop.

Storming the gate with “Sunseekers,” the opening song and one of Back to Soft’s catchiest tracks has the cocky rambling rhythm of Velvet Undergrounds “Sister Ray.” The strutting drum and bass collide with Donghia’s smoldering vocals, sung hauntingly, “He caught you by surprise / You didn’t want to live on / That’s what it was / No one’s here to blame you / It was the first time you saw your kind running free” (“Sunseekers”).

The album is filled with analog richness, unpolished guitars, jangly cymbals, chattering tambourines and Donghia’s voice assuredly centering Back to Soft. Recorded in the bands home studio, Coke Weed’s third album beams from a solid experimentally vintage rock n’ roll foundation, and harnesses all the right inspiration.

Winston-Salem sextet singer Philip Pledger of the Estrangers bares the warm characteristic tone of Fleet Foxes singer Robin Pecknold.

Pledger takes on the backing whimsical, shambling instrumentation with folk-like command.

His verses arc and bow with the rising tide of guitars, organs, percussion and odd peculiarities, the staple of recording with analog equipment.

The result is warm, fuzzy and frenzied chamber pop, which at times echoes the instrumentation found on a Belle and Sebastian album, if they were to dabble in lo-fi psychedelia. Songs like the surreal, dreamy “Love’s Pure Light” are sonic bliss, rambling with piano and thumping bass-driven rhythm. The chorus arrives with an onslaught of texture, a wall of indiscernible, yet harmonized sound so pleasantly fuzz. The wall breaks away for a hooky guitar melody and Pledger’s glowing voice, “Caught in between / The wolves sharpened teeth / The tearing sea / The waking dream” (“Love’s Pure Light”).

The combination of piano and guitars, progressive rhythms and strong, melody-heavy songwriting is a sad-day antidote. The songwriting remains unified throughout, which underscores the band’s characteristic, slightly experimental core. Season of 1000 Colors is a strong addition to the library any lo-fi fanatic waiting for a new Elephant Six era.

Mixed by Nick Stumpf

The newest release from Milwaukee’s Elusive Parallelograms, Fragments, is a raw, energetic representation of the band’s DIY spirit and approach to producing records. Opening with “Lucidity,” a sub-90 second song, it is immediately clear that this act is something different and they’re not afraid to embrace it. The EP dives into EP’s more traditional style with “Helium,” a dancing, driving track that features tasteful guitar licks and vocalist Andrew Foys’ powerful lyrics.

“Semantics” stands out the second the track kicks in with its powerful intro and killer bass line. The energy that comes from “Semantics” perfectly embodies the band’s attitude towards the DIY approach and the conscious decision to not use big-name producers.

The non-traditional harmonies and the layered, raw sound from most of Fragments’ tracks are what set them apart from the perfect, clean, beat-mapped and heavily produced sound of most mainstream acts today. “8-Bit” and “Street Legal” sit together perfectly, leading to “Absolution,” a powerful song in 3/4 time that closes the EP on an energetic and lasting note.

Elusive Parallelograms have gone through multiple lineup changes since their start and claim that the music calls all the shots. Their DIY method of writing and recording in their self-built studio in Milwaukee’s Bayview neighborhood has definitely brought them places they might never have seen on the traditional route.

Mastered at Chicago Mastering Service by Jason Ward

Engineered by Andrew Foys & Elusive Parallelograms

Mixed at Duck City by David-Todd Murray

Produced by Coke Weed

Mixed by Shane Olivo & Elusive Parallelograms

Mastered at IAS Studios by Matt Tuttle

www.cokeweed.com

Mastered by Justin Perkins at Mystery Room

Produced by Estrangers

-Christopher Petro

Mastering

www.estrangers.com

www.elusiveparallelograms.com

-Christopher Petro

Engineered by Peter Cuffari and Zach Soares Recorded at Chickadee Hill, Mt. Desert Island, Maine by Coke Weed

Recorded and Engineered at ¡El Guapo! Recorders

by Ryan Pritts

-Tory Summers continued on 40

AUGUST 2013 PERFORMER MAGAZINE 39

TOP PICKS

Mike Cavanaugh Besides Boston, MA (Self-released)

“Rougher is sometimes better” Boston’s own Mike Cavanaugh recently released his newest album, Besides, a collection of unreleased tracks as well as demos from his previous albums, Hold On and Lovely Lonely Place. The 10-track LP will take listeners on a raw musical journey through Cavanaugh’s artistic process of crafting a heartfelt album.

The first half of the album consists of roughlycut, unreleased tracks that serve as a tease for what the next possible Cavanaugh record could be.

“Waiting For You” makes you listen closely to hear Cavanaugh’s breathy voice dance delicately around the notes of his piano. “Look at You,” is another gem that consists of mainly piano and a touch of guitar.

Demo tracks of well-known songs from previous works round out the album. “What You’re Doing To Me” is noticeably softer than the version on Hold On, as only the acoustic guitar guides the track with lilting vocals. “Our Ambiance,” found on Lovely Lonely Place, is just as beautiful in its demo version as it is on the 2011 album. It’s hard to choose a winner here, but do we really have to?

It’s a common question: which version is better, the demo or the fully-produced album cut? Mike Cavanaugh gives listeners a chance to figure that out for themselves on Besides. Cavanaugh has his local fan base in Boston and this album is good enough to gain more followers outside of Beantown. www.mikecavanaugh.net -Jillian Dennis-Skillings

The Moondoggies Adios I’m a Ghost Everett, WA (Hardly Art)

“Seattle’s best blend of urban folk” I can’t for the life of me figure out why the Moondoggies aren’t one of the largest independent bands in the country. What they do is simple; they write great songs for a guitar-based combo with a beat you can dance to. They don’t seem to have many influences past 1969, but you could really say that about most guitar bands who don’t have the words ‘doom’ or ‘angular’ appear in their press.

The vast majority of their songs sound like some one-hit wonder that you used to hear on the radio.

40 AUGUST 2013 PERFORMER MAGAZINE

You swear they’re ripping off someone more famous only they’re not.

Adios I’m a Ghost is their third LP, landing somewhere between their insanely catchy debut Don’t Be A Stranger and the more adventurous Tidelands.

For this release, they lean more than ever on their fantastic harmony singing. I wouldn’t be surprised to find out they overdubbed themselves singing harmonies à la the Beatles and CSN [editor’s note – and sometimes Y]. The album opens and closes with two quiet and eerie harmony exercises. The other difference is that they expand their song structures, which means more guitar solos, especially in the two over-six-minute songs “A Lot To Give” and “Don’t Ask Why,” which means awesome.

overall themes is to “hold on fast and don’t give in” on life, and “when you’re tired, carry on.” That’s certainly a great bit of advice to give to songwriters following in Currin’s footsteps.

Produced by Simon Illa and Nate Currin Engineered by Tony Terrebonne and Paul Reeves Mixed by Simon Illa Mastered by TW Walsh www.natecurrin.com -Shawn M. Haney

Piñata Protest

Produced by Ryan Hadlock

El Valiente

Recorded at Bear Creek Studios

San Antonio, TX

www.moondoggiesmusic.com

(Saustex Media)

-Warren McQuiston

“Quinceañeras and mohawks”

Nate Currin The Pilgrim San Francisco, CA (Archaic Cannon Records)

“A striking storyteller feast based on important literature” Atlanta native Nate Currin brought his Southern roots to his new home in San Francisco to create an acclaimed concept record based on the 1678 book The Pilgrim’s Progress by English writer and preacher John Bunyan.

The Pilgrim, his sophomore effort on Archaic Cannon, is a beautiful interpretation of the story Currin hoped to deliver about the book and its magic historical significance.

Songs such as “Footsteps At My Back” and “A Beautiful House” are just a few standouts in this collection of 18 gloriously written songs, full of wit, poetic charm, wisdom, sadness, darkness and triumph. Truly, Currin weaves his present day life as a songwriter and storyteller into the story told by Bunyan, interpreting the concepts, characters and places that reside within.

The music is striking; the guitar, percussion and background vocals are stirring, the lyrics emotionally grabbing. The production and mastering bring to the album crystal clear sound and truly accentuate the piano, acoustic guitars and harmonies well.

“The Traveler’s Road” is a favorite, a folksy hymn that is soft and soothing, depicting the adventures of traveling pilgrims, mixed in with Currin’s own life on the road.

The Pilgrim is a feel-good album most of the way through, relaxing and romantic to the soul and ears. A joy to discover, perhaps one of its main

Piñata Protest is actually pretty epic.

Let’s start from the top; as a concept they’re a punk band. But they’ve fused their NOFX/ Guttermouth sound and instrumentation with the traditional song structures of Mexico. Think Dropkick Murphys but instead of being from Boston, they’re from San Antonio. Following? In its most basic form, the mid-’90s early-’00s poppunk formula is intact and this band could have easily signed with a label like Fat Wreck Chords in its heyday.

Guitars buddy up right next to accordions and lyrical content is basically split between English and Spanish. Piñata Protest is definitely doing something new here. Yes, their overall image and sound is incredibly kitsch, but they never sacrifice sound for gimmick. At times, the accordion seems over-the-top, but at the end of the day the songwriting is on point with peers in their genre.

Piñata Protest could be the next big direct support act on the mid-tier punk scene.

Produced by Chris Smith in Austin, TX Mastered by Kurt Wipfli www.pinataprotestband.com -Ben Nine-K

The Polyphonic Spree Yes, It’s True Dallas, TX (Kirtland Records/Good Records)

“Lighter, modern touches transport big band into today’s sound” Yes, It’s True marks The Polyphonic Spree’s evolution into a modern pop band while retaining

unpretentious and unassuming way. They fit perfectly against the backdrop of heavy bass lines and crashing drums.

The release of The Heart. The Head. The End. comes hot on the heels of the band’s latest EP and demonstrates a prolific nature to their creative process and an eagerness to grow as musicians. The album barrels on until the very end with driving force and talent.

Produced by Eric Drew Feldman and The Speekers

Songs: Ohia was the band name Jason Molina used for most of his musical output from 1996 to 2003, when he formed Magnolia Electric Company. Coming between his first and second albums (S/T and Impala, respectively) in 1998, the Hecla & Griper EP is constantly overshadowed by those two works. This 15th Anniversary release was prepared by Molina before his death in March, as the first in a series meant to draw attention to his more obscure releases.

Later in Molina’s Songs: Ohia career, he would reinvent the band to suit the material. Each album would be dramatically different from the one before it. His earlier work, however, is all cut from the same cloth: the slowest possible groove, spare arrangements centered on Molina’s baritone guitar, lyrics that recall the language of ancient Anglo-Celt balladry and a selfeviscerating portrait in first-person that addressed what happens after the fuck-up.

From the start, Molina had images and subjects that he explored through all of his work: ghosts, anthropomorphic creatures, classism, bad love, birds, highway lights and halos. Hecla & Griper has all of these touchstones in its eight miniature songs (this edition has four added songs, for twelve total).

The first track on Hecla & Griper, “Pass,” lasts sixty-six seconds. In that short time, Molina illustrates a much scarier version of the Muse, specifically the type Neil Young writes about in his autobiography.

For Young, the muse is a mystical, positive force that must be honored and followed. Molina writes about his fear of betraying that Muse, and the punishment that would follow. Neil’s muse is New Testament; Molina’s is Old Testament. Pretty good for eight lines of lyrics.

Mixed by and Additional Production by Tim Palmer Engineered by Casey Di Iorio at Valve Studios & Stuart Sikes at Elmwood Recording Mastered by Greg Calbi at Sterling Sound www.thepolyphonicspree.com -Gail Fountain

Poor Young Things

The Heart.

The Head. The End. Thunder Bay, ON (Bumstead Recordings)

“Indie-pop that comes barreling out of your speakers at warp speed” Canadian-bred Poor Young Things have just released their new LP, The Heart. The Head. The End., an album built on driving guitar chords, indie harmonies and sing-along choruses about the growing pains of life. The eleven pop-rock ballads compiled on this latest endeavor are a bit systematic, but they pack a wallop of intensity and passion.

The album shows a clear penchant for fervent composition and flows with a dynamic energy.

From the opening track “Dress it Up” to later songs like “The State” and “Ghost Notes,” things don’t slow down. Even on the more polished tracks like “Revolver,” the band maintains a level of rawness and drive. The lyrics, at times sung by hoarse and strained vocals, explore common themes love, loss and soul searching - but they do so in an

Produced by Jon Drew

TOP PICKS

their love for ’70s music. The album feels open and free with light pop and psychedelia, which recognizes but sparsely features the wide spectrum of sounds and dynamics available within the band’s talented string and horn sections. Instrumental changeups broaden the sound of Yes, It’s True, as do spotlighted horns, keyboards and electronic effects that were a large part of the band’s most popular release, Together We’re Heavy, also produced by Eric Drew Feldman. Other positive changes include a smaller, less-heavily-used choir and the addition of Tim DeLaughter’s LinnDrum machine for beats.

Yes, It’s True becomes the most diversely interesting lyrical chapter in DeLaughter’s book of life lessons because the anthems, ballads and pop songs were written and compiled over the previous five years and not a single session. The tracks feature and test the band leader’s vocal abilities like no former album has, ranging from delicate, high sweetness on “Carefully Try” and “Popular

by Design” to delicious Bowie-esque glam rock chestiness on the jazzy “Heart Talk,” to his excellent mid-range on the catchy sing-along “You Don’t Know Me” and the sweeping anthems “Raise Your Head” and “What Would You Do?”

Stardog Champion Exhale Northeast, PA (Self-released)

“Interesting take on punk that takes you right back to the good ol’ days”

Mastered by Joao Carvalho www.pooryoungthings.com -Vanessa Bennett

Songs: Ohia Hecla & Griper 15th Anniversary Edition Bloomington, OH (Secretly Canadian)

“Wonderful re-issue of seminal indie classic”

Produced by Daniel Burton www.songsohia.com

Hailing from Pennsylvania, Stardog Champion’s new album, Exhale, is neither short on guitar nor drums, which is a recipe that will have you head banging and ready to mosh in no time. Don’t let that fool you, though. Exhale is an emotionally-charged album saturated with passion. This balance between great guitar riffs and emotion creates a fantastically orchestrated record that’s slightly addictive, but not bad for your health.

Stardog Champion was formed in 2011 after a dispute between Aaron Fink, a former Breaking Benjamin member, and their lead singer Benjamin Burnley. Upon breaking away from the band, Fink reunited with former Lifer member (a band with whom he started his career) Nick Coyle. Fink and Coyle began Stardog Champion, picking up Josh Karis, former drummer of Leroy Justice, along the way.

This loud, aggressive rock is nothing to pass up. With the history of the band in mind, let yourself enjoy this new take on some of your favorite sounds that were brought to you by these members in another time.

Produced & Mixed by Neal Avron Engineered by Erich Talaba Mastered by Ted Jenson at Sterling Sound, NYC www.StardogChampion.com -Hannah Lowry

continued on 43

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-Warren McQuiston

AUGUST 2013 PERFORMER MAGAZINE 41

THE APPLE STOMP FESTIVAL Two-night festival encompasses ska revival.

42 AUGUST 2013 PERFORMER MAGAZINE

June 1, 2013 Irving Plaza - New York City In the 1990s, ska music was revived.

Originating in Jamaica in the 1950s, it was characterized by percussive guitar upstrokes, horns, walking bass, and a mixture of Caribbean and American popular music. It has enjoyed three waves of popularity over the decades. The Apple Stomp Festival, sponsored by Asbestos Records (a current ska record label), presented a two-day celebration featuring 16 traditional and third wave ska bands, appropriately held in New York City, the East Coast home to American ska. The following is a quick recap of night two.

Twenty-year veterans Bigger Thomas started the evening off with a traditional sound as their singer projected a nostalgic 1950s look. Connecticut’s Thumper took the stage next, exciting many fans, as they hadn’t played a live show since 1998. They put on a heavily punkinfluenced set, ending with a cover of Eurythmics’ “Sweet Dreams.”

Westbound Train got the crowd excited with their solid sound and stage presence. The Pietasters then took over with their soul/ska blend. The Scofflaws rocked with a tight five-man group, most of whom were new.

Back to the punk influence and out of hiatus for

review and photography by Matt Lambert

this special event, MU330 played a fun, slightly nerdy set, despite most of the band getting stuck in St. Louis due to weather. They even auditioned a member of the crowd to come up and play guitar.

Playfully Satanic ska legends Mephiskapheles performed a uniquely dark, intense set. Their singer, Andre A. Worrell, seemed intent on being scary. Yet they included an extremely fun cover of the classic Bumblebee Tuna theme song.

Extraordinary rockers Spring Heeled Jack (USA) absolutely ripped through their set, holding nothing back. It also included a few surprises, including an altered version of “Pop Song (Green)” and other hit songs from their second album Songs from Suburbia.

The night’s headliner was NYC’s own The Slackers. Their performance had everyone in Irving Plaza dancing to a sound that embodied the ’90s ska revival, a perfect end to Apple Stomp 2013.

www.facebook.com/AppleStompNYC

Thunderbird

Vieux Farka Touré

Thunderbird

Mon Pays

Atlanta, GA

Bamako, Mali

(Self-released)

(Six Degrees Records)

“One-man band crafts LP like Cage the Elephant’s garage tunes”

TOP PICKS

EDITOR’S PICKS

Wiretree

“Virtuosic guitar helps mend the wounds of war in this Malian insta-classic”

Get Up Austin, TX

This album is going to make it a long way, especially with these tracks sounding the way they do. The songs are versatile, featuring multiple sounds and layers. Why is this so interesting?

Thunderbird is a one-man band!

Jonathan Vance began Thunderbird about a year ago and has been producing music ever since. Thunderbird is his first full-length album, and it’s not something to be missed. It’s a messy rock sound that features some fantastic guitar and drums and appeals to anyone who likes Cage the Elephant or remembers the good ol’ days of bands rocking out in their garage. It’s a fun album that was put out in time for the warmer months ahead and sets the perfect tone for anybody looking to jam with their own bands this summer.

Thunderbird is abrasive, loud, and gets you in the mood to party and jam in the heat. Don’t pass up this album, and if you’re in the Southern states this summer, look out for Jonathan Vance, currently on tour.

Engineered by Jeff Bakos in Atlanta, GA Mastered by Alex Lowe at Red Tuxedo, Atlanta thunderbirdatlanta.bandcamp.com -Hannah Lowry

The title of guitar virtuoso Vieux Farka Touré’s latest album is translated as “My Country” in English. Originally conceived as an homage to his home country of Mali, the project assumed a new meaning as the ongoing conflict between Tuareg freedom fighters and the Malian government erupted in renewed combat last year. Though it is mostly instrumental, Mon Pays conveys a message of healing and cultural preservation in the face of the destruction of war.

Son of the late Malian guitar legend Ali Farka Touré, Vieux has proven himself to be much more than just a worthy heir to his father’s legacy.

Well-versed in Malian music and a master of its classical guitar styles, Vieux also has a keen ear for blending the traditional with the modern.

Two of the tracks, “Future” and “Peace,” are duets between Vieux and kora player Sidiki Diabaté. Their collaboration recalls that of their fathers: Sidiki’s father Toumani was also a prominent kora player, as well as a musical collaborator and close friend of Ali Farka Touré. With these virtuosic, yet delicate duets, the sons pay tribute to their fathers and take up the mantle as protectors and ambassadors of Malian music.

Genre: Indie Pop/Rock

Sons of Tonatiuh

Recorded by Yaya Diarra at Studio Yele in Mali

Parade of Sorrow Athens, GA Genre: Sludge Metal

Darnell Boys s/t

Mixed by Jerry Boys Mastered by Tom Leader

Athens, GA

www.vieuxfarkatoure.com

Genre: Roots Country

-Eric Wolff

HELP WANTED Booking Agents and Publicists for busy agency.

LISTEN TO MUSIC FROM THIS ISSUE

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AUGUST 2013 PERFORMER MAGAZINE 43

PACKAGING

An Interview with Jennifer Freund, Founder of Dorado Music Packaging

Coloring Outside the Lines: The Art of Album Cover Design

Dorado’s printing press in action

In an age where cover art is often confined to a 600-pixel square, Dorado Music Packaging is quite literally coloring outside of the lines. Now in its 20th year of operation, the North Hollywood print and packaging shop manufactures album covers and other entertainment packaging materials that visually represent the hundreds of musicians, record labels and graphic designers who turn to Dorado for their services.

“Cover art is a vehicle that visually reveals specifics about who a band is, what they believe in, what their vision of the world is and what they stand for in a way that complements the music,” says Jennifer Freund, founder and CEO of Dorado Music Packaging. “It gives the fans a deeper understanding of where this band is coming from. Those fans that drive to see a band play, that download all of their music, that are following their careers, it’s important to provide them with a physical form of the artist. An LP is a much 44 AUGUST 2013 PERFORMER MAGAZINE

greater gift to the band’s music than anything else you could find at a merch table.”

Some of the “physical forms” the music may take at Dorado include standard 7-inch, 10-inch and 12-inch direct-to-board record jackets, gatefold record jackets, inserts, inner sleeves, center labels, CDs, digipaks, countless promotional print items and their most popular offering, the Old Style Tip-On Record Jacket.

Prominent in the 1960s, Dorado’s Old Style Tip-On Record Jackets are comprised of twosheets of paper wrapped around a heavy chipboard shell. The corners of the front sheet are carefully folded over the chipboard while the second sheet is placed on the back and laminated in place. The result is an album cover that matches the authenticity of historic record jackets. Many audiophiles equate the difference between Old Style Tip-On and standard record jackets to the difference between hard cover and paperback books.

Freund feels that clients choose the Old Style packaging because it both adds to the authenticity of an LP release and enhances the value, from a design standpoint, of the album as a whole.

“Old Style expands the paper options available and a lot of very interesting techniques can be used,” says Freund. A recent release of note is DJ Day’s Land of 1000 Chances, a limited edition 12-inch Old Style Tip-On Record Jacket from boutique record label Piecelock 70. “Thes [One, owner of Piecelock 70 and one half of seminal hip-hop duo People Under the Stairs] always brings creative ideas to the table for his releases.

He wanted to emulate the look and feel of an old leather bound book, so we experimented with various materials until it matched perfectly. The record jacket also includes a removable Polaroid and gold foil stamping.”

Freund continues, “A record jacket isn’t just a package that vinyl comes in. It’s an art form all in

PACKAGING

by M. Wisnewski

Land of 1000 Chances packaging

itself. You don’t experience the art form with just a download. The printing techniques that a band or label chooses will enhance their release and add to the value, the uniqueness, the creativity…

All of those qualities connect to fans on a completely different level.”

While industry veterans may know exactly what to expect when placing a record jacket order, Dorado works with many independent artists on their first vinyl releases. “The format of the music industry itself has changed over the years,” says Freund. “Previously with major labels, a creative team and Creative Director would oversee the development of the band’s visual image and generally serve as our point person.” She continues, “For indie artists, it’s a lot less formal now, which makes it more personal, actually. We’re able to work with an unsigned band who may be placing their very first vinyl order and guide them through the process.”

Jennifer Freund, Founder Dorado Packaging

When asked what a band going the DIY route should look out for when placing their record jacket order, Freund mentions a few points that may seem simple, but are critical for design: STAY WITHIN THE LINES. Dorado has templates available on their website for all of their products. The templates should serve as the backbone of an artist’s design.

INCLUDE ALL OF THE FONTS AND IMAGES DORADO WILL NEED TO REPRODUCE YOUR ART. Although sending a high-res PDF is encouraged, if an artist is unsure of the correct resolution or file size, it’s best to send the native files with all of the fonts and images collected.

Dorado can assist in assembling the PDF from there, without much lag-time in the process.

EXTEND YOUR ART THROUGHOUT THE BLEED AREA. This is especially important with Old Style Tip-On record jackets since they wrap directly around the shell.

IF IT STILL SEEMS TOO DAUNTING A TASK, ASK FOR HELP. Dorado has on-staff production artists available to answer any questions a client may have. Album cover design isn’t a turnkey process. It takes time; it’s art. In a world of instant downloads and 72 dpi graphics, that is, perhaps, the best part about it.

For more information, visit www.doradopkg.com and find Dorado on Facebook and Twitter.

AUGUST 2013 PERFORMER MAGAZINE 45

CLOUD SERVICES

An Interview with Google Music Guru Tim Quirk

Reach New Fans with Google Play Music All Access what you already own with what you can possibly own. Gmail is a good example of how we approach music. Most people don’t refer to Gmail as “my cloud-based email storage solution,” they just use their Gmail; it’s simple and always there. We’re trying to be the Gmail of music: simple and seamless.

Performer Mag: You’re an infamous music junkie, so how do you like using All Access?

If you read this column, you know we try to cover as many new music platforms as we possibly can with one goal: getting your music to new fans. This month, we take on one of the big boys: Google Play Music All Access [editor’s note – this is quite the mouthful]. Google Play Music is free for anyone to use.

For $9.99, you can get “All Access,” allowing you to stream unlimited music (ad free) from their catalog of over 18 million songs coupled with your own, spawn radio stations by song, and control your playlist in real-time (unlike Pandora), on any device (iOS support coming very soon).

We chatted with the legendary Tim Quirk, ‘Google Play Head of Global Content Programming’ – in short, he is Google’s music guru. We talked about Google Play Music and specifically, the All Access service.

Performer Mag: I liked the ability in Radio to swipe away what comes up in playlist, also the obvious cloud integration for any device, any time. Aside from those features, what, to you, makes All Access different?

Tim Quirk: I’d start with those two things: controlling your listening experience and being able to do that from anywhere, on any device at anytime; that’s significant. The fact is that with All Access you’re combining your collection with everything else in the world. That’s the difference.

Performer Mag: Walk us through how All Access came about. What is the ultimate goal of the service?

Tim Quirk: We started with the Music Locker for your collection, and then we tried to solve the problems with syncing to limited devices, and after, added the music store. We found that a lot of people never bothered to download MP3s, and were instead adding them 46 AUGUST 2013 PERFORMER MAGAZINE

into playlists. For instance, you might be at work and find a song you really like, it may not be a good time to download - find a song and now it’s in your collection. We wanted to make the availability of music super dead simple. The latest piece of the process was All Access – the ability to add your own collection to the rest of the world’s collection.

Our goal is literally “All Access.” We want you to be able to listen to every recording in music history, anytime, form anywhere.

Performer Mag: How are the habits of music fans changing?

Tim Quirk: I was at Rhapsody before we called these things “services,” and I learned a lot from that experience. I think many people saw it as a warehouse, but we built it as a service instead of as a product. We feel like we need to convince music fans of that “service as a value” concept; it’s an ongoing education.

Performer Mag: How has that education changed since joining Google? Is it getting better?

Tim Quirk: Yes. The ability to mix and match stuff - like storage, downloads, and radio - is powerful. Basically, All Access seamlessly matches

Tim Quirk: Our ultimate goal is to give people music, recognizing that the same people don’t want to use music the same way at the same time.

For me, I like listening to songs, and maybe once a decade, I’ll get into a mood to hear all of the KISS albums, well...maybe up until Love Gun [editor’s note #2 – everything after Love Gun is amazing, too, for the record] and then I’m done. But, it’s only once a decade, and I don’t want, or need, all of their albums to follow me around. So, with All Access I did just that, and then moved on.

Performer Mag: How can our readers (musicians, songwriters, artists) best get their music into the Google Play Music system and available on All Access?

Tim Quirk: First, there is no “preferred” method of getting into to Google Play Music. I always say, “Metadata is Merchandising.” You absolutely want it to be absolutely correct. For artists just starting out, or very independent, we have the Artist Hub on Google Play (play.google. com/artists). We also work with aggregators if that fits your current situation better. The most important piece artists must get right is “genre.”

There’s a big difference between being inspired by Led Zeppelin and sounding like them.

The fact is, people who subscribe to services spend more on music than those who do not.

Quirk is trying to “make average citizens cratedigging music junkies,” so get your metadata in order and get your music on All Access now.

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.

An Intro to Online Royalties in Today’s Marketplace

THERE’S NOTHING BETTER THAN A PAY DAY. With a multitude of income-generating avenues available for musicians on the Internet, there is no shortage of ways to make money online.

How much you can make, however, is a different story. This month’s Legal Pad looks into online streaming, the dollars and cents behind the services, and how these services may affect you - the performer - in years to come.

BACKGROUND While there is money to be made, don’t bank on online services alone to make a living. In recent months, there have been various stories of artists making as little as 0.001 cents per play. Hypebot recently featured an article by singer/songwriter David Lowery declaring that he’d been paid only $16.89 for over 1 million plays on Pandora.

Enough to buy a few pairs of strings, but not exactly the payday you might imagine for the size of the audience reached. Lowery details his frustration with the process: “Soon you will be hearing from Pandora how they need Congress to change the way royalties are calculated so that they can pay much much less to songwriters and performers. For you

civilians, webcasting rates are ‘compulsory’ rates. They are set by the government (crazy, right?). Further since they are compulsory royalties, artists cannot ‘opt out’ of a service like Pandora, even if they think Pandora doesn’t pay them enough. The majority of songwriters have their rates set by the government, too, in the form of the ASCAP and BMI rate courts - a single judge gets to decide the fate of songwriters (technically, not a ‘compulsory’ [one], but may as well be). This is already a government-mandated subsidy from songwriters and artists to Silicon Valley. Pandora wants to make it even worse.”

ABOUT THE AUTHOR 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.

DISCLAIMER The information contained in this column is general legal

LEGAL PAD

Why A Million Plays on Pandora May Only Net You $16

information only and should not be taken as a comprehensive guide to copyright law. Consult your attorney for all specific considerations.

more to labels per stream, with labels receiving approximately 12 cents per 100 streams (Lowery’s cut comes after the label’s take and is watered down from splits with multiple songwriters/performers). Keep in mind that these rates are not set in stone. Every five years, the royalty fees paid to artists and record labels are set by three judges serving on the Copyright Royalty Board, an arm of the Library of Congress. The CRB follows guidelines in various copyright laws passed as new radio and online formats developed in prior years, and it has become stricter as a result of aggressive music industry lobbying (i.e. the efforts by Pandora to lower its rates).

It has been reported, however, that Pandora pays

STANDARD ROYALTY RATES FOR STREAMING SERVICES It’s not all bad news and many sites pay more than Pandora, depending on their model. New sites are launched daily that provide streaming or download capabilities. Several models exist: fee based, ad supported, and user-generated are three of the more popular models. Here are a few of the more popular sites and some of the fee structures they maintain:

SERVICE

MODEL

ROYALTY RATE (APPX.)

Pandora

Ad Supported

12 cents per 100 songs

Grooveshark

Ad Supported

None

Sirius/XM

Subscription

12.5% of the subscription

Spotify

Subscription

35 cents per 100 songs

iHeartRadio

Ad Supported

22 cents per 100 songs

CHANGES IN THE INDUSTRY There may be more changes on the horizon for streaming services. It has been reported that tech/music giant Apple has opened discussions with record labels and industry leaders about obtaining rights to launch a music streaming service. Based upon their other forays into the music industry (monetizing digital downloads with iTunes), it is not difficult to see this as a game-changer. That said, there has been some push back from labels because Apple is offering a significantly smaller amount of money per stream. Their proposed rate has been reported at 6 cents per 100 streams (HALF of that paid by Pandora). Apple wants to make their new service, predictably called iRadio, bundled with iMatch, which allows iTunes users to make their music available on all iOS devices.

On a (somewhat) positive note, services that provide no royalties or payments of any kind to artists are beginning to feel the heat. Last year, Grooveshark was sued by all four major record labels for failing to pay royalties. Grooveshark, which relies on its 35 million-plus members to upload their music libraries to the streaming service, is somewhat protected under the Digital Millennium Copyright Act (which may avoid penalties if it removes infringing content within a specified timeline after notice).

However, Grooveshark is not an innocent party in this practice. During the course of the lawsuit, emails showed that the company’s employees led an effort to post more than 113,000 pirated songs. Another email reportedly from Grooveshark’s chairman Sina Simantob says: “The only thing that I want to add is this: we are achieving all this growth without paying a dime to any of the labels.” That about says it all. The Grooveshark suit, which is anticipated to settle, is still being actively litigated.

AUGUST 2013 PERFORMER MAGAZINE 47

STUDIO DIARY

Recording The Sonic Equivalent of a Bonfire IN THE STUDIO WITH SHOOK TWINS

interview by Benjamin Ricci photos by Guisepi Spadafora

PRE-PRODUCTION What was your pre-production like on this project?

“WE WANTED

At the time we confirmed our dates at the studio we only had seven songs for a new album.

So I think we had about five months to write four songs - which is quite miraculous for us since it usually takes about six months to write [just] one!

It was a bit stressful trying to get those new songs

worked out and fully-realized before we brought them into a legit studio like this one.

How did you choose Bear Creek Studio?

We were looking for something near Portland [OR] that would evoke the right emotion out of us, and this woodsy old barn was just what we were looking for.

THIS RECORD TO SOUND BIG AND RICH, AND AS LIVE AS POSSIBLE WHILE STILL BEING ABLE TO PLAY TO A CLICK TRACK.”

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

We wanted this record to sound full and big and rich and as live as possible (like friends around a magical bonfire!) while still being able to play to a click track. Ryan [Hadlock, producer] helped us achieve this goal fully by having us play the whole song all together in separate rooms, so he could capture the bass and drums. Then he had us overdub all other instruments and vocals in the same big room later, so it really sounds like the fanciest, best and most interesting live performance ever.

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

Our last record was recorded in a smaller studio, so we had to track everything separately.

Also, we didn’t have the band all there at the same time, so we actually started with guitar, banjo and vocals, then added bass and all the other percussion and fancy instrumentation on top. We didn’t even record all the instruments in the same studio, so it was hard to make it sound [cohesive].

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

We got to use some of the studio’s amazing and expensive mics, which gives each song a great texture. And the studio is filled with rad pedals, amps, guitars and keyboards that definitely made their way into the recordings, as well. Laurie and Katelyn (the Twins) recorded their vocals at the same time in the same room (separate mics, but facing toward each other) and this was a unique thing for Ryan to do, but he said the Twins’ voices were so similar and they blended so well that it was actually easier for him to do that way.

48 AUGUST 2013 PERFORMER MAGAZINE

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

Live, full-band takes are for the bands that have played their songs the same way with the same people hundreds of times. And we wished we could have done it that way, because it’s so real, but our band fluctuates anywhere from 3-6 people on stage, so we couldn’t really nail a live take, unless we played it over and over all day long in the studio, which didn’t make sense…

Any special guests?

We’re pretty sure the frogs from the little Bear Creek that runs behind the studio are gonna make it on the album. If they sign the release, that is…

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

A lot of really magical sounding layers with the violin and the electric guitar. It sounds so beautiful and we’ll have to get some looping and delay pedals to achieve that live.

What were the toughest challenges you faced?

The only thing that was difficult was getting the Golden Egg [shaker] to sound just right.

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

We laughed pretty much the whole time. We always do! And we watched the entire series of Arrested Development over the course of our studio sessions. So those AD quotes will always remind us of Bear Creek. “Her?”

STUDIO DIARY

For more visit www.shooktwins.com

HAVE A UNIQUE STUDIO STORY TO SHARE? EMAIL EDITORIAL@PERFORMERMAG.COM

album info

Band Name: Shook Twins Album Title: TBD Recording Studio: Bear Creek Studio - Woodinville, WA Record Label: TBD Release Date: TBD Produced by: Ryan Hadlock Engineered by: Jerry Streeter

unique gear

Giant Gold Egg (shaker) Telephone Microphone Vintage Electric Guitars Marimba Vintage Neumann Mics

POST-PRODUCTION How did you handle final mixing and mastering?

Most of the band stuck around for the mixing.

It was a great process; we all just hung out around the studio while Ryan mixed on his analog board for a few hours in the control room. When he had a mix he was satisfied with, he would call us in for a group listen. Most times he hit it right on the nose and did it exactly how we would have if we had those techie skills. It seems the vision is unanimous; mastering will come later, and we are unsure who we will use at this time.

What are your release plans?

We’re going to sit on it for a little while. Ryan and our manager, Phil, will shop it to various labels to see if someone else shares the vision in all the right ways.

Any special packaging?

We are definitely going to press it to vinyl (with a digital download included) as well as on CD.

AUGUST 2013 PERFORMER MAGAZINE 49

GEAR

my FAVORITE AXE

with

DON MIGGS photo by Curtis Wayne Millard

BACKGROUND

“Like the last 50 years of rock and roll music got put into a blender” is how Miggs has been described. Road warriors and dozens of “almost famous” stories later, the band has been delivering timely and timeless music for over 10 years.

MAKE & MODEL

1968 Gibson ES-175D WHAT IT MEANS TO YOU

I feel like I’ve accomplished something being able to own it.

WHAT IT SOUNDS LIKE

It is really sparkles but has a bite. Perfection.

Got a favorite instrument you’d like to share?

Email us at editorial@performermag.com.

THOUGHTS ON CUSTOM MODS

I feel like vintage guitars should remain vintage.

The less you do to them, the more they sound like they were intended to.

OTHER NOTES

I was guitar shopping at Rudy’s in NYC and he said I had to buy this guitar. He was right. Never saw one like it before or since.

CAN BE HEARD ON

15th & Hope, produced by legendary producer Phil Ramone (R.I.P.), dominantly used on the tracks “Stars” and “Monsters.”

LISTEN NOW at miggsmusic.com.

50 AUGUST 2013 PERFORMER MAGAZINE

Quality vs. Quantity

Part 1 of 2

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.

“How many songs do you think we can record in X hours”? It’s the number one question we get asked by artists in pre-production meeting. We once recorded, overdubbed and mixed nine songs for a band in eight hours. We have also spent weeks working on only one song. That’s quite a range – so what’s the answer?

ESTABLISH GOALS The question I ask back is this: “What is your goal”? And of course I am usually met with blank stares. Obviously the goal is to record as many songs as possible, right? Unfortunately, that’s not usually a great goal for a recording project. and many artists seem to be of the mindset that a recording project is like going to an all-youcan-eat buffet: the more plates of food you bring back to your table the better (where plates of food = songs). There is nothing wrong with that, I suppose, but it’s usually not such a memorable meal (other than the indigestion). And that’s the problem with trying to squeeze too many songs into a recording session; usually you end up with a bunch of songs that could have been so much better.

A “goal” that many artists have is to record a demo for “getting gigs,” and they usually mention to us that they want to record five or six songs to show off their “range.” I guess they imagine that venue bookers will open the CD, put their feet up on their desk and listen to all these tracks for half an hour, before turning to their assistant and

saying “Wow, listen to that range! We’d better book these guys!” I try to point out when I hear this strategy that it isn’t how it works. In reality, what they really want to know, even more than “How good are they?” is “How many drinking fans can they bring to our venue?” If a booker is listening for anything it is 1) what genre the artist is 2) how good the vocalist/front musician is and 3) how tight they are rhythmically.

Another frequent band “goal” is to record an EP to sell at shows. Not a bad idea, you say? There’s this pervasive theory that if an artist has an EP, they will be taken seriously. As a music publisher, I have to say, we pay attention to artists who have one amazing song. We don’t even remember artists who have six “okay” songs. It only takes one song to launch a music career, so why wouldn’t you focus all of your energy on that one song in the studio?

SESSION BREAKDOWNS So here’s what a typical session looks like when a band wants to record six songs in two days: Day 1: Hour 1 – set up, miking instruments,

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.

RECORDING

Studio Lessons

getting levels and explaining how the individual headphone mixers work. Hours 2-7 – rhythm tracking (drums, bass, guitars, keys, scratch vocals), with usually two to four takes of each song until the band feels like they performed it tight. Time is then spent coming back into the Control Room to listen closely to good takes. Hour 8 – rough mixes that the artists can go home with to take notes. Day 2: Hours 1-4 - overdubs of lead vocals, backing vocals, solos, percussion and any necessary fixes to flubs. Hours 5-8 - final mixing of the six tracks.

So what’s wrong with this picture? Well for one thing, it’s hard to focus the attention of a band on the intricacies of six songs up to the standards necessary for capturing a recording that will last forever. Timing, energy, “do we switch to E-minor for one bar before the prechorus after the bridge?” – it can be hard to keep it all straight. Then there are the overdubs. The lead vocalist will usually record several takes of each song – that’s the equivalent of singing 12 to 24 full songs in four hours! Then after all the overdubs, that only leaves three hours to mix six songs (read: half hour for each song, max). That’s barely enough time to get a rough mix going, let alone start laying down meaningful automation and panning, dialing in the right compression and EQ and assigning fx for each track. By the time the band realizes that they’ve squeezed too many songs into too little studio time, they are out of time. Sure they can come back and keep mixing, but now instead of having great tracks to start with, they have so-so tracks laid down. Fixes take time; overdubs on less-thanperfect vocals take time.

Next time we tackle focusing on one song, and breaking up sessions into more manageable parts.

[Ed. note – read Part 2 in next month’s issue] AUGUST 2013 PERFORMER MAGAZINE 51

GEAR GUIDE

Performer’s Quick Guide to

Wireless Microphones

Once thought of as a luxury ticket item only available and affordable to major artists – a high-quality, clear, dependable wireless rig is now more accessible than ever. Popular among DJs, MCs, pop artists, houses of worship and with energetic performers for obvious reasons,

by David Pier (with Benjamin Ricci)

Line 6 XD-V30

Sennheiser XSW 35-A

Audio-Technica ATW-2120a

Price: $329

Price: $399

Price: $349

Most think of Line 6 as the company responsible for the POD and other guitar effects units, however Line 6 has jumped on the fast moving pro-sumer audio train with a handful of quality recording and live audio products. Their XD series of wireless microphones is no exception.

While it’s the least expensive mic reviewed, and also features far fewer channels than its competitors, the unit is absurdly simple to use (just one knob) and even features an Environment Filter to prevent feedback while providing a clean, reliable connection.

If the number of available channels is a big differentiator, then look no further than the new XS series. With 960 tunable frequencies across 24 MHz, Sennheiser’s latest offering beats the competition hands-down! The XSW 35-A also operates at a range of up to 250 feet in the right conditions, meaning you can cover an entire medium-sized venue with no troubles or interference. Connections include dual outputs with balanced XLR and unbalanced 1/4”, selectable for either mic or line level uses.

Audio-Technica’s ATW series is an affordable, yet remarkably high-quality line of wireless microphones. While this model only goes down to 100Hz, and the unit features far fewer channels than the Sennheiser, it’s impressive that they were able to fit a rechargeable battery pack into it at all. The specs indicate that the operating range of the mic is 300 feet, 200 feet more than the Line 6, and 50 more than Sennheiser’s.

52 AUGUST 2013 PERFORMER MAGAZINE

are just a few things to consider when making the switch to wireless. With a wide variety of feature sets, and prices ranging anywhere from $150 -$2,000, we took a look at five recent, reasonablypriced, well-received mics that make for an excellent entry point.

GEAR GUIDE

wireless microphone systems have clearly apparent benefits with some not so apparent trade-offs.

In addition to the standard set of metrics used for determining a live microphone’s quality (feedback rating, frequency response, etc) battery life, interference rejection, and number of channels

CONCLUSION

Electro-Voice RE2-410

Shure SLX Beta58

Price: $529

Price: $639

EV, made wildly popular in the ’60s and ’70s for their workhorse dynamic microphones, offers a beast of a wireless rig with over 1,000 channels. The 410 handheld mic has interchangeable capsules and features a one-touch mute button, eliminating the need to turn the unit off for silence. EV has added Digital Posi-Phase True Diversity to this model to ensure a clear, reliable signal. If this mic holds up like any of their iconic wired microphones, then rest assured it will come through gig after gig.

Chances are, if you’ve ever been behind a microphone on stage, you’ve been behind a Shure SM58. The 58 is considered by most to be the gold standard by which all live vocal microphones are judged. Famous for its high SPL rating, fantastic feedback rejection, and being built like a tank, the 58 is not only inexpensive, but will last a lifetime and sound as it did the day it was purchased (even after being dropped, spit on, hit with drumsticks, etc). The SLX Beta58 is Shure’s attempt to take the 58, improve the specs, and make it wireless. With nearly 1,000 tunable channels, interchangeable cartridges, and audio reference companding isolation, the SLX is an excellent option for those demanding superior reliability, longevity, and quality.

While there is undoubtedly a wireless microphone on the market that fits your needs, investing in your own microphone to use live, especially a wireless, is a decision that should be well thought out. If you’re going to be holding the microphone in your hand, go to your local music store and actually hold the microphone in your hand. Are there buttons that get in the way? Is it heavy? Does it feel natural to hold? If the mic will be used for DJing, or on a podium of sorts, what is the largest venue you anticipate performing in? What is the microphone’s distance rating? Are there enough channels or frequency bands to combat potential interference?

These are just a few questions you should ask yourself when considering making the move to wireless.

AUGUST 2013 PERFORMER MAGAZINE 53

GEAR REVIEWS

ELECTRO-VOICE ZLX-12P Powered Speakers - $399 (each)

PRESONUS ADL 700 Tube Mic Channel Strip/Preamp - $1999

PROS

Simple, portable, great sound.

CONS

F E AT U R E S

None.

Display: LCD Control: Single-knob DSP control w/ presets Power: Custom-built 1000-W Class-D amplifier Woofer: 12”

Excellent sound, easy to use, great quality for the money.

CONS

None.

Transducer Type: Condenser, Pressure Gradient Polar Patterns: Multi-pattern

F E AT U R E S

PROS

In the past, even a minimal PA system could fill the better part of a band’s van, was a mega kluge of wires and hardware, and possibly featured questionable reliability. EV’s new ZLX system provides a small, great-sounding sound system for the 21st Century.

Size-wise, they’re not over-the-top, and they’re easy to handle; the molded plastic casing feels ultrasturdy. The design works either as a regular PA system or in a monitor configuration. Oh yes, and these are powered speakers, meaning no having to lug a power amp like in the old days. Pumping out 126dB, they’re essentially as loud as a small aircraft.

With standard XLR for mic input and a combination 1/4” TRS or XLR output, connections are easy. A 1/8” Aux In jack is also available to connect an MP3 player. Even one of these on its own would work in most band situations, and using two as a front-of-house solution can pretty much cover what most touring bands would ever need.

Here’s where they differ from other powered speaker systems: each unit contains a DSP system that can really dial in the specifics, such as what is the system being used for, the location of the speakers, EQ, and subwoofer crossover. It’s no harder to make these adjustments than it is scrolling through a playlist on an iPod, and it really does make a difference. Kuds to EV for making this a breeze to adjust.

For any band looking for a great sounding, simple-to-operate, that won’t break the bank set of loudspeakers (or monitors), the ZLX-12Ps are a nobrainer. -Chris Devine

Digital recording gives plenty of clarity, but warmth has always been the secret ingredient that’s most elusive. PreSonus brings that audio glow to the modern age with their ADL 700, an all-tube channel strip/mic preamp.

It’s a standard two-space rack unit, with tons of knobs, controlling a compressor, a high pass filter and a 4-band semi-parametric EQ. Behind those knobs are (2) 6922 and (1) 12AT7A vacuum tubes, giving plenty of warmth. Inputs are all analog, so using this in front of any recording device is simple. No menus or anything like that, just pure tactile control.

While the array of switches and knobs can seem overwhelming, it’s actually quite intuitive. The ability to carve the sound in such unique ways, while still staying musical, is amazing. Each individual EQ on its own is fantastic, but the ability to combine and structure them takes things to the next level, and the compressor works in the same manner; it doesn’t get in the way, it just adds what you want without any side effects. Just hook it up, and away you go. Forget about presets, just turn knobs, and it keeps getting better and better. The manual is also very helpful, with plenty of useful tips on applying EQ and compression for various applications, as well as a recipe for gumbo!

There’s no excuse not to have a decent preamp in the studio if you’re serious about your recording projects, and if you are truly serious, this model from PreSonus is well worth checking out. The street price is $2000, but like the saying goes, go big or go home – your microphones will thank you. Trust us.

-Chris Devine

Frequency Response: 20Hz-20kHz Sensitivity: 19.0mV/Pa at 1kHz (1 Pa = 94dB SPL) Output Impedance: 50 ohms Maximum SPL: 138 dB SPL (2.5k ohms, 0.5% THD) S/N Ratio: 85.5 dB-A (IEC 651)

Tweeter: 1.5” high-frequency titanium compression driver

Noise Level: 8.5 dB-A (IEC 651)

Weight: 34 lb. (15.6 kg)

Dynamic Range: 129.5 dB (at 2.5k ohms)

54 AUGUST 2013 PERFORMER MAGAZINE

Livid Instruments

On the cutting edge of DIY MIDI… www.lividinstruments.com

PROS

Simple connections, Free POD app for amp modeling, crazy inexpensive.

CONS

None.

Here’s something you’re gonna dig. Got an iPhone and wanna jam on-the-go? Line 6 has got you covered with the new Sonic Port guitar interface for iOS. This works seamlessly with all iPod, iPhone and iPad devices you might iHave. The tiny device packs in TONS of cool features in such a teeny package. How about a free mobile POD app? Sure, why not!

We love this because it brings the power of Line 6’s famous POD fx and amp modeling to your phone, for crying out loud! 32 amps, 16 cabs and even rack fx are at your fingertips. We spent quite a few hours playing around with these, and there are some seriously amazing tones to be had. Did we mention the app is free?

Connecting is easy – just plug and play; it’s that simple. We were impressed with how effortlessly the interface worked with our tests in GarageBand and rocking out to our favorite tunes in Jammit. We were also relieved that the Sonic Port doesn’t require a power supply; it’s powered directly from your iOS device, meaning one less cord to lug around.

Look, we could go on and on, but the bottom line is this: the product just works. It’s easy enough for a monkey to use, and with all the cool tone options available, it’s hands-down one of the most essential iPad tools for the traveling guitarist or songwriter. You’d be amazed at some of the vintage sounds you’ll be able to squeeze out of your tablet with this handy little box. At under $100, the Sonic Port comes highly recommended. -Benjamin Ricci

Livid Instruments creates customizable hardware controllers that turn computers into playable instruments, smoothing workflow and enabling inspired live performances. Livid began in 2004 in Austin, TX (where their office and factory still reside) by several men who had been experimenting with new ways for hardware and software to interact. Their controllers are easy and intuitive, simply plug in and MIDI map whatever you want to control and you’re ready to play. Livid’s Cell and Cell DNA software provides an interactive platform for mixing video, audio, and images into compelling live performances that can be controlled from your keyboard or from one of their hardware controllers. Livid has also been a large supporter of the DIY community, selling everything you need to build your own custom controller in case you aren’t inspired enough by their designs. Over the past decade, Livid has been on the cutting edge of live audio/visual control. Their work has helped reshape the way musicians, VJs and the public view computers in a live context and has enabled a new generation of performers to take the stage.

GEAR REVIEWS

LINE 6 Sonic Port iOS Audio Interface - $99

Builder Profile

F E AT U R E S

BASE $429

Computer Connection: 30-pin/Lighting Simultaneous I/O: 2 A/D Resolution: 24-bit/48kHz Audio Inputs: 1 x 1/4” DI, 1 x 1/8” Stereo Line Audio Outputs: 1 x 1/4” DI/Stereo Line, 1 x 1/8” Stereo Line Bus Powered: Yes

Pressure is the original modulator, from hitting a drum to bowing a cello or blowing air through a trumpet. Pressure has helped give music life since humans have had the means to make it. Now, Livid Instruments is turning that same proclivity towards pressure into a tool to make computer music even more expressive. BASE is a MIDI map-able hardware controller designed to knock down the walls to creativity and open up a new world of playability for electronic instruments. 32 pressure-sensitive, multi-touch pads are ready for playing and customization along with 9 touch sliders, 8 touch sensitive buttons, and 8 momentary buttons. Every pad, slider, and button has editable LEDs underneath to provide a continuous stream of information about what’s going on. The web-based editor is an easy interface for editing every parameter in BASE and customizing it to work with any DAW, VST, plug-in or application. After so much time spent hitting buttons and turning knobs, isn’t it time for a little pressure?

-Garrett Frierson AUGUST 2013 PERFORMER MAGAZINE 55

FLASHBACK

1960s Heidelberg Cylinder Letterpress

Used For Standard Record Jacket Printing & Cool Die-Cut Designs

BACKGROUND The printing press heralded the new age of modern life by introducing movable type. Johannes Gutenberg is credited with invention of the printing press and movable type in 1440 (although I hear that a press was also used in China around that time). That was the press that created the Gutenberg Bible and really changed the fabric of society.

The difference between the original Heidelberg Letterpresses and our Heidelberg Cylinder Letterpress is the addition of the motor - the original used a hand lever. This Heidelberg “high speed” cylinder press was introduced in 1934. Our specific Cylinder Press was made in the early 1960s and has been in operation ever since: DoradoPkg acquired the press in 2003.

It is very versatile, relatively easy to set up and accommodates small quantities with quick and easy changeovers, which is great for the album covers we print, particularly with the specialized or limited edition releases, many of which are numbered.

HOW IT’S USED Here at DoradoPkg, we use this particular 56 AUGUST 2013 PERFORMER MAGAZINE

press for its die-cutting capabilities. Just as the moveable type function of a letterpress makes a physical imprint on the page, a die is set in the machine to create a shape - in this case a record jacket or insert. Albums ranging from classic re-issues to newer releases come through our Heidelberg Letterpress, including an additional run of a 12-inch for Explosions in the Sky. Historically, some of the most popular album covers in history have been die-cut. The Rolling Stones’ Sticky Fingers and Bob Marley’s Catch a Fire both come to mind - the latter featured a diecut sleeve that opened like a Zippo lighter and the Stones cover really needs no introduction. I think everyone is familiar with that iconic zipper.

MODERN EQUIVALENT New Heidelberg Cylinders are no longer in production, as far as I can tell, however parts for them are constantly manufactured for maintenance purposes. We use this press because the new die-cutting presses are unwieldy and exceptionally large. Our Heidelberg is also much more versatile in what can be done with it, especially when it comes to album covers.

ABOUT THE AUTHOR Jennifer Freund is the founder and CEO of Dorado Music Packaging, manufacturers of high-quality album covers and other entertainment packaging materials. Located in North Hollywood, Freund oversees a dedicated staff and a printing/ packaging facility that produces 7-inch, 10-inch and 12-inch album covers, album inserts, inner sleeves, center labels, CDs, digipaks, promotional print items, and their specialty, the Old Style Tip-On Record Jacket.

VISIT www.doradopkg.com or find them on Facebook and Twitter at @DoradoPkg.

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

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

CHECK OUT EVDJ

A new online resource for DJs Hosted by Bill Hermann & Jason Jones (The Entertainment Experience)

www.electrovoice.com/evdj

PRECISION – DSP with LCD and application/location presets POWER – 1000 W custom-built 2-channel/biamped Class-D amplifier

VISUAL CONTROL & MONITORING ZLX is available in 12" and 15" versions.

Passive models also available.

PERFORMANCE – EV-engineered components for superior sound PORTABILITY – Unique hi/lo grip handles and lightweight construction PRESENCE – Stunning enclosure design

©2013 Bosch Security Systems, Inc.

New ZLX portable powered loudspeakers stand apart with the most complete, innovative and user-friendly package of features in their class, giving you more control over your sound to ensure your audience connects with your creative moment, whatever your gig. www.electrovoice.com/zlx