Performer Magazine: September 2013

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

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VOL.23, ISSUE 9

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

Jacuzzi Boys

by Alex Lane

16

Miami’s fuzzed-out rockers learn to play nice with synths, hole up in a Michigan studio for a month, and record the best LP of their career…

28

Typhoon

by Warren McQuiston

20

Luke Rathborne

by Eric Wolff

24

The 11-piece collective opens up about forging their own scene in the Pacific Northwest, capturing big group vocals on tape, and why live music is like great sex…

From organizing DIY punk shows in Maine to crafting intelligent pop-rock in NYC, Rathborne gives us the inside scoop on his craft and why he’s choosing to promote his new LP with cans of soda…

cover story

Nashville’s bright singer/songwriter recently sat down with us to go over his bedroom recording processes, why he considers himself more of a producer than a musician, and why his computer is his favorite instrument…

Kyle Andrews

by Hannah Lowry

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

47 Legal Pad: Recoup From Shady Promoters

6 Local News

48 Studio Diary: Sandrider

Photo credits: clockwise from top: Christiaan Lopez-Miro, Jaclyn Campanaro,

13 Tour Stop: Northampton, MA

50 My Favorite Axe: Jonathan Pretus

Brea Souders, Amanda Rogers

14 Spotlights: Ajae Moore, Ivan Polanco

51 Recording: Quantity vs. Quality pt.2

Cover photo by Amanda Rogers

32 Top Picks: The best in new music

52 Gear Guide: Summer NAMM

44 20+ Tips For Promoting College Gigs

55 Gear Reviews

46 Get Better Distribution With ONErpm

56 Flashback: 1980s Fostex Reel-to-Reel SEPTEMBER 2013 PERFORMER MAGAZINE 3

FROM THE TOP Howdy, y’all!

Volume 23, Issue 9

After taking a detour with our special “Art in Music” issue last month, we now return you our regularly scheduled programming - that is to say, a more traditional issue of Performer Magazine. Now by “traditional,” I don’t want you to think boring. Quite the opposite. We’ve been meeting regularly at HQ to discuss ways to make the print issue more special, starting with the one you’re holding right now.

After all, if we’re going to remain in print, we might as well give people a reason to pick it up, right? Right. So we’ll certainly continue to provide new music recommendations, interviews with indie artists about their creative processes, and new gear reviews and recording tips. But we’d like to think there’s more to Performer Magazine, and more to our readers, which is why you’ll start seeing more

special issues, more themed issues, and more deviations from the norm in print. This is rock and roll, after all, so fuck the rules.

Yes, we want to keep it interesting for you, but we also want to be the one honest voice out there, not sugarcoating the issues that face indie and DIY artists just so you’ll pick up the rag. We’re going to have frank discussions with artists about drugs. We’re going to talk candidly about shady promoters and venues in upcoming issues. And most importantly, we’re going to address the issues that face musicians day-to-day, as well as big-picture items, all with the honesty and openness you’ve come to expect from us, and that you don’t get with our Main Competitor.

We hope you enjoy...

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

CONTRIBUTING WRITERS

-Benjamin Ricci, Editor P.S. – In order to continue making the magazine the best musician’s resource available, we need to hear from you. What topics do you want us to investigate? Is there a story you could share with our readers, your fellow indie artists? Write it up and submit it. This is your magazine, after all, and you get out of it what you invest. So send us your comments, suggestions, articles, or just vent your frustrations to editorial@performermag.com. We’re always listening…

Adam Barnosky, Alex Lane, Arthur Orfanos, Ben Marazzi, Benjamin Ricci, Brad Hardisty, Brent Godin, Calvin Payne, Candace McDuffie, Chris Devine, Christopher Petro, Dave McCubbin, Dawn Hafner, Eric Wolff, Garrett Frierson, Hannah Lowry, Jaclyn Wing, James Hester, Jillian Dennis-Skillings, Joshua Broughton, Lucy Fernandes, Micah McLain, Michael St. James, Phil Moore, Shawn M Haney, Tara Lacey, Taylor Haag, Vanessa Bennett, Vincent Scarpa, 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 SEPTEMBER 2013 PERFORMER MAGAZINE

EDITORIAL SUBMISSIONS

Ahmad Barber, Amanda Rogers, Benko Zsolt, Brad Hardisty, Brea Souders, Christiaan Lopez-Miro, Dennis Polanco, Jaclyn Campanaro, Jason Travis, Jaypix Belmer, Jesse Brede, Jillian Pahren, Nick Walker, Nik Christofferson, Pete Weiss, Rick Carroll, Scott Simon, Vanessa Bennett, Will Holland 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

© 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.

Keyboard Pioneer, Zappa Collaborator George Duke was an American musician, known as a keyboard pioneer, composer, singer and producer in both jazz and popular mainstream musical genres. He had worked with numerous acclaimed artists as arranger, music director, writer and co-writer, record producer and professor of music. He first made a name for himself with the album The Jean-Luc Ponty Experience with the George Duke Trio. He was known primarily for thirty-odd solo albums as well as for his collaborations with other musicians, particularly Frank Zappa.

Eydie Gorme, 84 Popular Singer, Steve & Eydie Eydie Gorme was an American singer who performed solo as well as with her husband, Steve Lawrence, in popular ballads and swing. She earned numerous awards, including a Grammy and an Emmy. In 1958, the duo starred together in The Steve Lawrence-Eydie Gorme Show, a summer replacement for The Tonight Show. During the 1970s, the two continued to make guest appearances on The Tonight Show starring Johnny Carson. She retired in 2009, and is survived

by Lawrence, who continues to perform as a solo act.

Jon Brookes, 44 Drummer, The Charlatans According to BBC News, “He had suffered a seizure on tour with the band in 2010 and had been receiving treatment for a brain tumour. Brookes had undergone several operations, but had still been working on new material with the band over the summer.” Charlatans frontman Tim Burgess tweeted that the band was “torn apart” at the news and sent love to Brookes’s family. Brookes, of Burntwood, Staffordshire, was a founding member of the band that formed in the West Midlands in 1989.

The Charlatans have had 22 UK Top 40 hits in the past two decades.

JJ Cale, 74 Guitarist, Songwriter “Cocaine” John Weldon Cale was a Grammy Awardwinning American singer/songwriter and musician. Cale was one of the originators of the Tulsa Sound, a loose genre drawing on blues, rockabilly, country, and jazz influences. Cale’s personal style has often been described as “laid back.” Songs written by Cale that have been covered by other musicians include “After Midnight” and “Cocaine” by Eric Clapton, “Clyde”

by Waylon Jennings and Dr. Hook, and “Call Me the Breeze” by Lynyrd Skynyrd.

Laurie Frink, 61 Trumpeter. New England Conservatory Educator Laurie Frink, born in Pender, Nebraska, played trumpet with Benny Goodman, Gerry Mulligan, Mel Lewis, Bob Mintzer, John Hollenbeck, Dave Liebman, Andrew Hill, Kenny Wheeler, Maria Schneider, Darcy James Argue, John Hollenbeck and Ryan Truesdell.

Her diverse career also included several Broadway shows, radio and television jingles, movie soundtracks, and guest appearances with artists such as the Talking Heads, David Bowie, and David Sanborn.

OBITUARIES

George Duke, 67

Peter Appleyard, 84 Jazz Vibraphonist Peter Appleyard was a British–born Canadian jazz vibraphonist, percussionist, and composer. He spent most of his life living and performing in the city of Toronto where for many years he was a popular performer in the city’s nightclubs and hotels. He also played and recorded with many of the city’s orchestras and been featured on Canadian television and radio programs. In the early 1970s he drew wide acclaim for his performances with Benny Goodman’s jazz sextet with which he toured internationally. In 1992, he was made an Officer of the Order of Canada.

T-Model Ford, 91 (est.)

Delta Blues Musician James Lewis Carter Ford was an American blues musician, using the stage name T-Model Ford. Unable to remember his exact date of birth, he began his musical career in his early 70s, and continuously recorded for the Fat Possum label, then switched to Alive Naturalsound Records.

His musical style combined the rawness of Delta blues with Chicago blues and juke joint blues styles. Ford suffered a stroke in the summer of 2012 that limited his public appearances. On July 16, Fat Possum announced that Ford died at home in Greenville of respiratory failure after a prolonged illness.

Warren Price Albea, 48 Engineer, Flaming Lips, Bad Brains According to close friend David Railey, “Warren was head audio engineer at The RockFish in Athens, GA during the Athens surge on the world in the ‘80s. He mixed such bands as The Flaming Lips, Faith No More, Bad Brains, and many other important bands of that period in music history. He recorded and mixed infamous primal/punk act Pineal Ventana, [my] 1996 solo cassette (Nobody Cares) and many others. Warren was a kind, humble, gentle person, and a great friend; he will be missed more than words. R.I.P brother!”

SEPTEMBER 2013 PERFORMER MAGAZINE 5

LOCAL NEWS

AUSTIN PROMOTER PROFILE

by Tara Lacey / photo by Jesse Brede

Bobby Clay of C3 Presents Austin is home to one of the largest concert promoters in the United States, C3 Presents.

The powerhouse behind Austin City Limits and Lollapalooza built the company from the ground up with the help of exceptionally talented people. One of those people is talent buyer Bobby Clay.

Clay recounts how he found his place in the music industry: “I was very lucky to have a family that completely immersed me in all types of music at a very young age. Whether it be watching my cousin DJ at his record store when I was very young, my mom taking me to obscure jazz shows in the west village when I was a teen…or playing Aerosmith tunes on the guitar with my step dad in the basement. I really started taking it seriously when my close friend Gabe King and I began throwing shows in Austin in the fall of 2007. We just hit the ground running and really tried to bring the music that we loved to this amazing city in a time when it wasn’t being represented. After that, I began a company called Polaris Presents and expanded into Dallas and other markets and really began a strong rhythm and what I felt was a successful formula of marketing and promoting the events.”

In 2010 Clay found his home was rooted in

Bringing Euro Dance Music to Austin Zedd Invades Weirdsville This Fall

by Tara Lacey / photo by Nick Walker

This month’s featured industry insider Bobby Clay specializes in dance music and September’s most anticipated dance show has generated so much interest that it has recently been moved from C3-owned Emo’s East to a much larger venue, Austin Music Hall – just one example of the quality Clay brings to Austin audiences.

Though Germany is a far cry from Austin, the city will get a dose of foreign talent when C3 hosts Zedd. Zedd’s track “Clarity” is exploding on the dance scene and as a result, the 23-year-old producer is bringing The Moment of Clarity Tour across Texas.

Says Zedd, “For the past six months, I’ve been working on a light and visual show for my tour. We’ve built tons special content and improved the production day by day, step by step.

With the Moment of Clarity World Tour, I want to capture this moment and present it to my fans 6 SEPTEMBER 2013 PERFORMER MAGAZINE

around the world!”

Zedd has recently performed on The Late Show with David Letterman and Late Night With Jimmy Fallon, been named an MTV Artist to Watch, been called “the breakout DJ star of 2013” by Billboard, headlined Ultra Music Festival, Outside Lands Festival, and rounds out the summer with an appearance at Electric Zoo Festival.

Austin Music Hall welcomes Zedd on Wednesday, September 18th.

For more info, visit www.zedd.net

Austin and joined up with C3 Presents – he has since covered some milestones that many promoters only hope to reach including supplemental booking for Lollapalooza in Chicago, Chile, and Brazil.

Clay specializes in dance music. “Not EDM, dance music. EDM is a tag line that the media has put on dance music to homogenize it or make it easier to sell to sponsors.”

With regard to his own process for booking, Clay follows no precise format or complex algorithm for predicting ticket sales. Instead, he strives for diversity in stacking the bill for a show, saying, “Trying to bring different groups of people into the same venue to dance…is the goal and I feel we continue to achieve that here.”

He is also very active in the local music scene with a keen eye for talent on the cusp. You may find him enjoying music by local names like BoomBaptist, DJ Mel and 807 Edgecliff. You may also find them on the next big festival lineup courtesy of Bobby Clay.

For more info, visit www.c3presents.com

PERFORMER PRESENTS! ATLANTA

The Drunken Unicorn September 23 feat. Darwin Deez and Caged Animals Doors at 8:30 pm $10 - 18+

SAN FRANCISCO

Great American Music Hall September 27 feat. Sioux City Kid Vandella and Copper & Glass Doors at 8:00 pm $15 - ALL AGES

BROUGHT TO YOU BY

LOCAL NEWS

BOSTON An Update on Brown Bird’s David Lamb New England Folk Musician Recovers From Chemotherapy

Eli “Paperboy” Reed Signs to Warner Bros. Records Former Performer Cover Artist Moves to Major Label Courtesy of Warner Brothers Records

Recently, we had the unpleasant task of informing our readership that David Lamb, one half of the Unites States’ best folk act (and our November 2011 cover story), Brown Bird, was recently diagnosed with cancer. The duo was in need, financially, unable to perform live and

facing mounting medical expenses. They set up a special fund for donations and the outpouring of support was nothing short of inspiring.

We received a second update from the group after our initial piece ran in print, and wish to share the letter, unedited, below.

For more info, stay up-to-date at www.brownbird.net

“Friends, Fans, FamilyDave came home on Saturday [July 14, 2013] from his second round of chemo. He is tired, but happy to be home and looking forward to tackling the next round of treatment.

Sometime in late summer or early fall, Dave will be receiving a stem cell transplant, which will replace his bone marrow with healthy cells. We are confident that the procedure will be a success and Dave will enjoy full and cancer-free recovery. He will be cared for in Boston, in the hands of the best in the field.

The doctors inform us that the recovery period post-transplant requires a full year of not working and frequent trips to the hospital for monitoring and bloodwork. While it will be difficult for us to stay off the stage and the road for 12 months, we are looking forward to having the time at home to write new material and experiment with some musical ideas we’ve been having.

In the meantime, we’ve been enjoying the words of encouragement you all have been sending, and we will be keeping a donation button at www.brownbird.net to help offset the financial weight of living while off the road. Thanks a million times over for all your incredible support.

We will keep you all updated as much as we can.

Much love, -MorganEve and Dave”

8 SEPTEMBER 2013 PERFORMER MAGAZINE

Warner Bros. Records is pleased to announce it has signed singer-songwriter and guitarist Eli “Paperboy” Reed to its roster and has just released his newest song, the self-produced “WooHoo,” on limited-edition 7” vinyl.

The Boston-born, Mississippi- and Chicagobred Reed has two previous albums under his belt, 2008’s Roll With You and 2010’s Come & Get It, which have earned him a fervent fan following in Europe and widespread critical acclaim from the U.S. media. Rolling Stone has called him “a soul singer who conquered both street corners and punk clubs with a mix of grooved-out rave-ups and slowburning ballads.”

Reed is currently putting the finishing touches on his debut album for Warner Brothers, which he produced himself with his guitarist Ryan Spraker.

The album represents a sonic evolution beyond the singer’s soulful roots, taking his affinity for classic Chicago R&B and blending it with the ebullience of modern pop music.

“I think my style, and in particular my approach, have changed pretty dramatically over the course of the writing of this album,” Reed says.

“But I still come back to the main elements that I believe are paramount to the creation of a good song: strong melodies, powerful turns-of-phrase, and dynamics…When Ryan and I started working on writing songs for this album, I didn’t intend to throw out the rule book, but I wanted to do my best to work without a set of parameters other than the ones I mentioned above. Songs with those hallmarks exist in all styles and genres so that was pretty freeing unto itself.”

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

Keith Chandler

Gruhn Guitars Leaves Broadway for Eighth South Axe Guru Survives and Thrives After 2010 Nashville Flood

Bassist, Engineer, Multi-Instrumentalist, Songwriter

article and photo by Brad Hardisty

interview and photo by Brad Hardisty

What’s your background?

I grew up on the coast of North Carolina and have played bass since I was 11. I lived in L.A. for a while and I played in Butcher, Mankind Is Obsolete, Bad Things and Hand To the Plow. I did a lot of session work. In Florida, I played in Hit$how and Fallback.

Current band?

Callado.

What are you trying to accomplish?

I moved to Nashville 4-and-half years ago and I am still somewhat dissatisfied with the music scene [here]. So, I was just really driven with the Callado Firefly EP to make something that I thought would be unique, different and sound semi -abrasive, but still have melodies and harmonies. I still want to experiment with just sound.

Proudest achievement?

I used to work at Shangri-La Recording Studio in Malibu for Rick Rubin and I helped make Death Magnetic with Metallica. Also, Gossip‘s Music For Men. I am un-credited with those records, but I was there and I helped make them.

Current favorite local artists?

My current band member, Cody Gaisser, is in a band called Friends Of Humanity as well as Oceanray. Trevor Evans Young is the singer and he sounds like a cross between Jello Biafra and Fred Schneider from The B-52’s. Also, The Electric Hearts and War Bong, they’re really cool.

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

“The quality and type of repair work on a vintage instrument will determine if the value goes up or down and so we spent the most money on our new shop and have the best repair staff we could find.”

– George Gruhn, Gruhn Guitars

Gruhn Guitars survived the Nashville flood of 2010 on Lower Broadway only to face a bigger problem of a growing Honky Tonk tourist district, complete with walk-in “customers” that put at risk high quality vintage instruments and had little interest in purchasing inventory (as well as making parking more difficult for local musicians).

“Moving away from Lower Broadway after 43

VENUE PROFILE

years operating within a 100 foot radius was not an easy decision, but our new location is less than 10 minutes from downtown, has easy interstate access, is on a major thoroughfare, has ample parking, and is in an up-and-coming neighborhood near Music Row and numerous music businesses,” says owner George Gruhn.

There are three floors with 6,000 square feet each. The first floor includes the main stock and showroom while the second floor is dedicated to high-end vintage instruments and offices. The entire third floor is the repair shop, where over 650 instruments await repairs and/or pro set ups that are done on every instrument before being displayed.

Gruhn Guitars is known as the most famous vintage instrument dealer in the world. Former Editor-in-Chief of Guitar Player, Tom Wheeler says it best: “George Gruhn knows more about guitars than anyone on earth.”

LOCAL NEWS

Get to know...

NASHVILLE

CONTACT INFO NEW Location: 2120 8th Ave South, Nashville Phone: (615) 256-2033 Email: gruhn@gruhn.com Web: www.gruhn.com

The Listening Room

Nashville’s Largest S/S Venue Now Bigger Than Ever BOOKING INFO It is a large room that could hold 1000+ fans, but is a seated venue with a capacity of 207.

Bookings are primarily for acoustic acts as well as singer/songwriters. Chase Armstrong is the Booking Coordinator and the website has a page for inquiries.

Address: 217 2nd Ave South, Nashville Phone: (615) 259-3600 Web: www.listeningroomcafe.com

ABOUT The Listening Room Café’s Chris Blair has established probably the largest singer/ songwriter venue in Nashville, offering a combination of a great live music experience for all ages along with incredible food. The Listening Room originated in Franklin, Tennessee in 2006 then moved to Nashville’s Cummins Station in 2008 before relocating to the current space that was completely remodeled and had a grand re-opening in January. “It is our goal to give each of you a true Nashville experience in a state of the art sounding room where you can hear the best singer/songwriters as well as have an incredible dining experience,” says Blair.

STAGE STATS Dimensions - 40’ x 20’ Mains - 2 2x15” EV T252 cabinets.

Subs - 2 QSC Subs.

Monitors – 2 -2x12” JBL, 2 – 1x15” FOH – Allen & Heath GML2000 24-channel board.

Amps - QSC with bi-amped mains.

Microphones - Shure Beta 58s, SM 57s & 58s & Audix D6.

SEPTEMBER 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...

André Griffin of Tikka Guitarist, Pianist, Songwriter

interview by Joshua Broughton photo by Jason Travis André Griffin is a multi-instrumentalist currently playing with several groups in the Atlanta area. With a background in audio engineering and classical piano, and a focus in combining electronics and sound design with keyboard and guitar performance, he is responsible for much of the sonic output of his projects. Most recently, he has been performing with Tikka, which is currently comprised of Asha Lakra, André Griffin, Tom Bruno, and Adam Saunders.

What’s your role in the band?

Basically, it’s my job to take everything that isn’t drums, bass, and guitar, and pull it off live without backing tracks. I also handle half of the guitar work on the less synthdriven songs. Initially, Tikka was the solo bedroom project of Asha Lakra. We have since started to work together in the songwriting process.

What’s different about Tikka?

Tikka is our take on what we think pop songs should be. Our instrumentation allows us to try a lot of different things. We go from abrasive guitar-driven songs to highly produced synth-driven songs. Asha’s vocals are what tie everything together.

What’s the goal?

Our goal is to stay unique in our style, eventually to rise above what’s going on in the Atlanta scene. Currently, we’re working on our first physical release, which will be a bit different in direction from our previous EP. We also have a 7-inch coming out in the spring.

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

Festival Season Rundown: Atlanta Hosts Monsters Variety and Enthusiasm Reign in ATL

by Joshua Broughton This year is proving fertile ground for music festivals of every theme in Atlanta. Music Midtown steals the show with its star power, but the wonderfully grimy Shaky Knees Music Festival, the indie-rock drenched IMR, the hiphop based A3C, the Atlanta Jazz Festival, and 2013’s TomorrowWorld all bring legions of fans to a single location over the span of two or three days to enjoy lots of good noise.

The festivals in Atlanta generally stick to two different flavors: the monster-megas that pull in your Red Hot Chili Peppers and your Journeys and the like; and the smaller, more intimate local festivals put together by native ATLiens and sponsored (mostly) by local businesses. Of

STUDIO PROFILE

LOCAL NEWS

ATLANTA

course, the sizes of the audiences differ quite a lot on each side of the coin, but regional and local musicians have always shined very brightly on the smaller stages. If you’re in the position to get in the van with your buds and come down to Atlanta to pull a show or two during a Nophesttype festival, you’re likely to be put in front of a Southern congregation peppered with very enthusiastic music fans.

So, festivals that dot the soundscape in the city in the woods are large, diverse and numerous. That’s certainly good for the fans that enjoy the festival experience. But is it good for local and regional musicians? Absolutely. Come down and play one and you’ll see why.

RexTrax Recording Studios

Special Packages and On-Site Engineers Available to Indies

Tucked in an office park in the northeast quadrant of Atlanta, RexTrax is a comfortable, affordable A/B style studio catering to working-class musicians moving toward a first or second record. The design of the A-studio is quirky and interesting, offering isolation rooms with few or no right angles; while the upstairs B-room offers a more comfortable, standard four-wall space.

The studio was founded by Paul Cobb, an early-’90s graduate of the Atlanta Institute of Music, and features four full-time engineers. The time is sold by-the-hour, with specials for 40 and 80-hour packages that include one engineer.

EQUIPMENT • Pro Tools DAWs • Mackie consoles • Alesis and HHB duplicators • Chamelon Labs and PreSonus preamps • Avalon compression • Lexicon and TC Helicon racks • Neumann, AKG, Shure and Sennheiser mics • Yamaha and Beyerdynamic • sound reproduction • Waves and other various plug-ins

PAST CLIENTS Muckraker, Stone Phoenix, Distant from Now, The Love Buzzards and many more…

CONTACT INFO 1255 Highway 23 NW (Buford Highway) Suite 206 Suwanee, GA 30024 Phone: (678) 730-0008 Email: service@rextrax.com Web: www.rextrax.com

SEPTEMBER 2013 PERFORMER MAGAZINE 11

NORTHAMPTON, MA TOUR STOP

At the heart of the five colleges in Western Massachusetts is the city of Northampton. A quaint, but buzzing city, Northampton is a taste of a big city in an otherwise rural part of the Commonwealth. Its history is preserved in some of the iconic local landmarks, while the downtown district is designed to captivate and entertain both visitors and locals. NoHo’s location offers travelers the opportunity to hike one of the Seven Sister Mountains nearby, and enjoy a night of drinks and entertainment, all within a four-mile radius.

Known as a bohemian cultural hub of Western Mass, Northampton is the perfect environment for any touring artist. With its prime location just two hours from Boston, and three hours from New York City, this city is an often-overlooked tour stop must, for any group on a Northeast leg. -Alex Lane

STUDIOS SIGNATURE SOUNDS 32 Masonic St. Northampton, MA www.signaturesounds.com SPIRIT HOUSE MUSIC (413) 320- 3513 www.spirithousemusic.com

GEAR DOWNTOWN SOUNDS 21 Pleasant St. Northampton, MA (413) 586-0998 www.downtownsounds.com LUTHIER’S CO-OP 08 Cottage St. Easthampton, MA (413) 527-6627 www.luthiers-coop.com

PRESS HAMPSHIRE GAZETTE 115 Conz St. Northampton, MA www.gazettenet.com

VENUES IRON HORSE 20 Center St. Northampton, MA (413) 586-8686 www.iheg.com Most of Northampton’s best clubs are booked by the Iron Horse Entertainment Group. They typically look for local, regional and national touring acts with a draw, and will work with you and your agent to place you in the appropriate venue.

CALVIN THEATER 19 King St. Northampton, MA www.iheg.com

RECORD STORES ACADEMY OF MUSIC THEATER 274 Main St. Northampton MA www.academyofmusictheatre.com THE BASEMENT 21 Center St. Northampton MA www.iheg.com PEARL STREET 10 Pearl St. Northampton MA www.iheg.com

FEEDING TUBE RECORDS 150 Pleasant St. Suite 235 Easthampton, MA www.feedingtuberecords.com MYSTERY TRAIN RECORDS 178a N. Pleasant St. Amherst, MA (413) 253-4776 www.mysterytrainrecords.com TURN IT UP 5 Pleasant St. Northampton, MA www.turnitup.com SEPTEMBER 2013 PERFORMER MAGAZINE 13

SPOTLIGHTS

GENRE: Memphis, TN HOMETOWN: Urban Jazz

AJAE MOORE

ARTISTIC APPROACH: To craft jazz-infused, truthful art.

by Calvin Payne photo by Ahmad Barber

www.ajaemoore.com

Memphis born singer/songwriter Anthony “Ajae” Moore exposes us to his interpretation of love through music and video. We take a moment to find out why the world needs “Moore” Ajae at a local coffee house in Midtown Atlanta.

ON MOVING PAST MISTAKES

When and why did you decide to become a musician?

“I NEVER FEED INTO THEM; I

I became an artist two years ago; I became an artist because of how music made me feel. I wanted to make people feel how I felt. Music is magical - it can make you feel and remember a certain point and time in your life and it’s also inspiring.

FEEL THAT I HAVE A JOB

Is your family musical?

IN LIVE PERFORMANCES:

TO DO.”

My parents aren’t singers but my aunts, uncles and cousins are all musically inclined. I looked up to all of them while growing up when it pertained to music. My family’s musical abilities come from gospel; everyone sang in the church choir. Back in the day, they created their own gospel group called “Family Affair” and that inspired me to pursue a career in music.

Which musicians do you admire?

I admire Lauryn Hill; I love her voice, her lyrics and her approach to music. Whatever she was singing about, you felt exactly like she did singing it. She had something to say and it was something we all needed to hear. Musically, I am influenced by Ella Fitzgerald; her abilities were unbelievable and she always left me speechless. I wanted to sound just like her; she is truly a musical legend.

How do you handle mistakes during a performance?

When I encounter a mistake, I usually try not to acknowledge them during a performance; I rehearse to make them easier to recover from. I never feed into them; I feel that I have a job to do.

I get very nervous before a performance. I have to take deep breaths and just sit and think positive. I remind myself to be confident and enjoy the moment.

14 SEPTEMBER 2013 PERFORMER MAGAZINE

IVAN POLANCO

HOMETOWN: Pop/R&B

by Jaclyn Wing photo by Dennis Polanco

ARTISTIC APPROACH: Communicating honestly; sharing intimate experiences through music. www.ivanpolanco.com

SPOTLIGHTS

GENRE: White Plains, NY

“THERE ARE STILL MUSICIANS OUT THERE THAT CARE ABOUT THE SUBSTANCE OF THEIR MUSIC AND NOT THE MONEY - MYSELF INCLUDED.”

Local talent from White Plains, New York, Ivan Polanco is an up-and-coming pop/R&B singer/songwriter. He refers to White Plains as his training ground, where he first learned he could be as expressive and honest as he wanted to, sharing his own intimate experiences through song. As a mostly self-taught multi-instrumentalist, he writes and records original content focusing on vocals, guitar, drums, percussion, and bass. Polanco recently completed an independent artist program at the Musicians Institute in Hollywood. In his own words, “An artist is someone who can creatively express emotion through any form of communication (whether it be painting, writing, music, design).” Polanco, humbled by his music and every chance he gets to perform, says his songs are “mini diaries which I express to the audience. Songs impact peoples’ lives, so performing is something special.”

Feeling most natural on the guitar, he chooses chords, fingerpicking and a melody that stands out to him. Letting the lyrics write themselves, he generates songs that create an intimate experience for his listeners.

Performing in venues on both coasts, Polanco is quickly building his fan base, performing in clubs, bars, and music festivals.

He places importance on fan feedback, stating that constructive criticism allows him to constantly evolve as a musician. With musical inspiration from Led Zeppelin, Erykah Badu, David Choi, Kina Grannis, and Jeff Buckley, he believes that musicianship isn’t dead. “There are still musicians out there that care about the substance of their music and not the money myself included.”

With two albums out, In this Fire and Our Time, Polanco is currently working on a new music video to debut his song “I Just Want to Love You” from Our Time.

SEPTEMBER 2013 PERFORMER MAGAZINE 15

JACUZZI BOYS

16 SEPTEMBER 2013 PERFORMER MAGAZINE

ON HOLING UP IN MICHIGAN FOR A MONTH TO RECORD THEIR LATEST LP

by Alexandra Lane photos by Christiaan Lopez-Miro

SEPTEMBER 2013 PERFORMER MAGAZINE 17

THEY SOUND HOW A WARM SUMMER NIGHT FEELS...

18 SEPTEMBER 2013 PERFORMER MAGAZINE

Maybe that’s because Jacuzzi Boys are a trio from Miami. Or maybe it’s because when Gabriel Alcala, Diego Monasterios, and Danny Gonzalez get together, it’s all fuzzy, pop/synth and good vibes. Whatever it is, the guys have bottled the magic of partying until the sun comes up, good friends and good times with their sound. Having come together in 2007, the boys Jacuzzi have been creating, touring, partying, (repeat) for the better part of the last six years.

Listen Now Their debut full-length No Seasons was released via Orlando’s indie punk label Florida’s Dying in 2009, followed by their sophomore effort in 2011, Glazin’, which was released through their current label, Hardly Art. This year, they are stoked about the release of their third album, a self-titled full-length collection of smooth, stoner haze, garage rock, which is due out this month. We recently caught up with Gabriel Alcala to talk about their recording process, their inspirations, and what it means to come from Miami.

performermag.com

Jacuzzi Boys Self-Titled Standout Track: “Domino Moon”

How did the three of you get started?

Diego and I went to high school together and started getting into punk rock. The first band that made us want to buy instruments and start a band ourselves was when we started to get into the New York Dolls. So we both bought instruments. He bought a drum kit, and I bought a guitar, and we went into this room and covered rock and roll songs. Then we met Danny through our friend, who is our driver now. We put out our first 7-inch through [indie label] Florida’s Dying, and our first LP came out through them, too.

How did the name come about?

It was thrown out as a joke, and then it just sort of stuck.

How does Miami influence your music?

Miami is really isolated. It’s like…we don’t get as many touring bands coming through. But I think the climate and the culture influence the songs.

Does that isolation help or hinder you?

I think it does both. I think people are really excited down there, for us. There are a handful of rock and roll bands. I think they get excited, maybe more so [than other places]. But it definitely hinders in the sense that, we don’t have bands coming in every week like other cities.

What musical influences do the three of you share?

We listen to a wide range of stuff. We play a lot of country in the van…a lot of punk stuff, and a lot of old Miami hip-hop.

Can you talk about your songwriting process?

Every time we write a song, it can come from a different place. There are some times when we say, like, ‘Let’s write a really up-tempo rocker,’ or something like that, but usually it just comes naturally from a cool song title or a bass part or a drumbeat, or a guitar part. It can come from anywhere. Sometimes it’s conscious, and sometimes we just go with the flow.

You traveled to Key Club Recording the year before, and only playing three shows, was Company in Michigan for your studio way more exhausting. Because when you only play three shows, the rest of the time you’re just time. Why do you go so far?

Yeah, we basically drove up there in one go.

It’s pretty far, but it’s an amazing studio. It’s owned by this couple, Bill and Jessica. And the place is super, super cool. Walking in there, it’s just like, ‘Holy shit.’ We stayed there for a month this time, which is the longest we’ve gone in the studio. Upstairs there’s bunk beds, and we ere able to work all day. We slept there and it was like a summer camp. So we would wake up, and have lunch. Then we would basically work all day, and at night we’d start drinking or whatever, and basically we worked until 3 a.m.

What instrument, effect, or production element have you guys come to really like?

On this new album, we used a synth for the different textures. And we sort of harmonized guitars a lot. They make this really cool, weird sound. Like instead of playing chords and harmonizing chords, we would harmonize the notes. You can hear it on a couple of the songs on the new album.

walking around, looking for stuff to do, drinking.

And you just end up feeling exhausted. But when you play shows back-to-back, you have something to do. You just go on autopilot.

How are Jacuzzi Boys different from other groups?

I think we have unique personalities. We take the music seriously, as a band. But we don’t take ourselves seriously. I think in our live shows, our personalities come out, individually. And our personality definitely comes out through our records. I don’t know how else to describe it, but I think it’s unique from other bands.

What is it like to be with Hardly Art?

They are really great; they support us a lot.

We’ll come to them with an idea, and if they can manage to pull it off, they’ll do it. And if not, they still try to help us accomplish whatever vision we have. They have just been supportive.

They’re cool, they’re funny. We really like dealing with them.

Is there a highlight moment on tour, or What are your future plans? something you’re looking forward to?

I think Nashville is always so amazing to us. We have a lot of friends there. The scene in Nashville is super cool. And the show we did, was like two or three days ago…it was super fun.

But things we are looking forward to…I am really looking forward to playing Chicago. It’s two nights in a row at the Empty Bottle. The Empty Bottle is like, an amazing place. We’ve played there once or twice before, and it’s just super cool.

And we are meeting up with the band we are going to be touring with, Man or Astro-man?.

I want to tour a lot, for sure. But at the same time, we haven’t put out a 7-inch in a long time. So after this tour I want to come back and record six songs and put out three 7-inches, and just keep putting out records. As far as touring, I really want to go to other countries that I haven’t gone to yet. I’m excited for the possibility of going to Australia, or Japan. We’re going to tour the U.S. again [this month], and I think Europe in November. Then hopefully after that, record another LP, tour some more. Just continue to have fun, you know? Because we are having a blast…

What was it like to play at SXSW?

We went the year before, and played like three www.jacuzziboys.com shows. And this year was like ten. In a weird way, SEPTEMBER 2013 PERFORMER MAGAZINE 19

TYPHOON

by Warren McQuiston photos by Jaclyn Campanaro

20 SEPTEMBER 2013 PERFORMER MAGAZINE

HOW THE 11-MEMBER GROUP USED ITS NUMBERS TO CREATE THEIR OWN SCENE

SEPTEMBER 2013 PERFORMER MAGAZINE 21

Listen Now performermag.com

Typhoon White Lighter Standout Track: “Dreams of Cannibalism”

Typhoon has moved away from the vernacular music traditions of their early recordings, which had song titles like “Sea Shanty,” “Sea Shanty 2” and “Gypsy Song,” to a relatively more pop sound. My friend in Portland described the local band, who are originally from Salem, OR., as “Justin (Ringle) from Horse Feathers fronting and producing Arcade Fire,” which hits the mark pretty well. Their breakthrough EP A New Kind Of House and full-length follow-up Hunger and Thirst showed off an ability to expand an acoustic folk-pop song into music that is both cinematic and communal. Now the band’s back with their latest LP, White LIgher.

Of the things Typhoon does best, one of those has to be the way they get their 11 (current) members into a song without overwhelming the production or becoming bombastic. All of the parts are carefully arranged to complement the songs instead of egos. The group’s main songwriter is Kyle Morton, who writes songs that are alternatingly personal then universal, sometimes in the same verse. He connects his life-threatening bout with Lyme Disease as a child to the drive we all share to live in the face of mortality.

In addition to the horns, drummers and strings, every member sings as part of a chorus that is present throughout their work. This gives their music that sense of community and shared experience, which is a large part of what makes them so interesting. It’s not a choir of trained vocalists; this chorus is inclusionary.

The size of the band creates several practical issues the group has had to work out as it evolved.

Performing live was much easier when they were playing house parties in their hometown.

22 SEPTEMBER 2013 PERFORMER MAGAZINE

Touring, recording and playing live are now more complicated for them than for other bands of a more manageable size.

The following is a transcript of an email interview with Devin Gallagher, the band’s ukulele player/percussionist/vocalist.

How does the band work out arrangements?

There’s a lot of group jamming and dividing into sections. It’s a very democratic process: when a song is still taking shape, ideas are freely expressed by all. Songs may change many times before they are finished, and this can take months. Or years.

How does the band operate? Is it egalitarian or more like a benevolent dictatorship?

Kyle [Morton] is the songwriter, and often his vision rightly guides what we do musically.

Beyond that, Typhoon is wholeheartedly a team effort. We often talk about this band as family. Each member has skills and energy to offer, but it is our strength as a group that is our greatest asset.

How do you go on the road/get around/ afford it? Are there some cost-cutting ideas you guys would like to share?

We have toured for almost a decade in a fifteen-passenger 1985 Dodge Ram van. Whenever possible, we stay with friends or family or friends of friends. We’ve even asked for places to stay from the stage (this usually works but you might have to party with them). We’ve slept on floors, in the van, on the van, under the van. We stayed at an apartment once where we literally took up more floor space than was available. I’ve slept in plenty of kitchens. In the rare instances we do stay in a motel, we put four to six people to a room and often have to sneak most of our members in to [avoid] paying for twelve people.

“THERE’S A LOT THAT HAPPENS ON A NEUROLOGICAL LEVEL WHEN PEOPLE SING TOGETHER.

IT’S NOT DISSIMILAR FROM HAVING SEX…”

How long does a typical soundcheck take?

bands, who everyone understands need to make some cash.

How is recording done? Live? Overdubs?

Basic tracks then overdubs?

How do you tour east of the Rockies and west of Chicago, that kind of no-man’sland of the USA?

Two hours.

We usually record one at a time. Sometimes the drummers record together, sometimes the guitars. Group vocals are always recorded en masse. Paul Laxer engineers and produces everything we do, so each one of us spends a lot of time with him developing our contribution to each song. The songs for White Lighter had hundreds of tracks by the time they were done.

Do you still play any house parties? Do you get paid for these (i.e. passing a hat)?

Typhoon’s last house show was a couple years ago, though most members play music solo or with other groups, so it’s not uncommon for one of us to be seen rocking out in a living room.

House shows in Portland are almost always free and pro bono, the exception being for touring

There’s a lot of driving there. Though we’ve had great shows in Montana, Wyoming, New Mexico, Texas…

Many of your songs are written in first person but end up developing into communal sing-alongs. How do you feel this affects the way your songs are experienced by the listener?

Singing someone else’s words can be strange.

Fortunately, pretty much everything Kyle has asked me to sing is something I believe in. I think the group singing has a huge effect. No amount of overdubbing or reverb-ing can compete with the power of eleven people singing together.

Furthermore, there’s a lot that happens on a

neurological level when people sing together. It’s not dissimilar from having sex, in terms of what happens in your brain. Singing together makes us stronger.

Was it hard for you to get established in a crowded music scene like Portland’s?

Yes and no. A few of us had already learned through experience with [other bands] that the scene was saturated and hard to penetrate. A few of us realized this and decided to start our own scene instead. We started a little record label to put out our album and booked our own shows and tours and encouraged our friends to start bands and release music; some of these pals now play in Wild Ones. I was amazed at how fast Portland took note of what we were all doing.

www.wearetyphoon.com

SEPTEMBER 2013 PERFORMER MAGAZINE 23

ON

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VI LP EW

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by Eric Wolff photos by Brea Souders

Luke Rathborne started his music career in a small town in Northern Maine, where he organized DIY punk shows as a teenager. When a wanderer who was staying with his family left his guitar behind, he picked up the instrument and never looked back. At the tender age of 18, he left his childhood home for New York City with the dream of making it as a musician in the big city. Seven years, two EPs and countless shows later, Rathborne is releasing Soft, a “sarcastically upbeat� album that juxtaposes a pop aesthetic with undertones of existential angst. With honest songwriting and heartfelt lyrics, he creates a connection with the listener that transcends the superficial interactions of the popular culture machine.

As he prepares for an important tour and brews up a soft drink to promote his new album, Rathborne continues his relentless search for unique ways to engage his audience.

SEPTEMBER 2013 PERFORMER MAGAZINE 25

“SOMETIMES IT’S JUST GOOD TO GET INTO A ROOM OF PEOPLE WHO DON’T KNOW WHO YOU ARE AND YOU HAVE TO FIGHT TO WIN THEM OVER.”

“FIGHT TO WIN THEM OVER”

With the momentum of two critically acclaimed EPs (Dog Years and I Can Be One) carrying him forward, Rathborne is poised to make another big push this fall. September brings the release of his second full-length album Soft and an East Coast tour supporting the influential Scottish rock group Travis. The tour will be his biggest yet, and performing to Travis’ wellestablished fan base is a golden opportunity for Rathborne to expand his audience.

Whether he’s preparing for an important tour or a studio session, Rathborne has a simple philosophy: play live shows. A lot of them.

“We’ll book about three shows a week in New York and you can do that because there’s so many places to play here. You promote some of them but some of them you show up to and just play.

Sometimes it’s just good to get into a room of people who don’t know who you are and you have to fight to win them over.”

He continues, “And then, when you get on tour, you’re ready because it’s so much better to go into a room that’s that big and full of people and you’re so much more appreciative and excited. I think that has to do a lot with playing well, with playing a good show. You have a respect for the audience and you have a relationship with them.”

CONNECTING WITH THE CROWD

themselves ‘that was crazy!’ If that were happening now I would want to go see it. Because it’s not just a gimmick, it’s a real relationship that he’s having with the audience.”

Though Rathborne doesn’t always interact with the audience so flamboyantly, he always finds a way to leave them with something to take home. He’s well aware of the fact that private experiences, that might happen long after the show ends, are sometimes the most important.

“It’s cool to leave an impression. But it’s not like that scene in a movie where they’re holding a guy up after he just won the game or something.

It’s a bit more subtle then that, what people look for. It’s something that exists in the person when they leave that is unique and one of a kind.

Something that might only hit you two days or two weeks later.”

PEELING AWAY THE FACADE

For Rathborne, creating these intimate relationships with an audience is about more than just selling music or furthering his career.

It’s about sharing an artistic experience that is so often absent from commercial music and popular culture. While major labels and television networks crank out music and musicians that are safe, marketable, and familiar, Rathborne uses his music to strip away the veneer of idealized perfection that commercialism throws over real life.

“We live in an era that is dominated by commercialism. We’re constantly being marketed to and it’s sort of out of our control because it’s being decided by other people and it’s being decided by money. I think that, historically, money hasn’t always been the purveyor of good taste or interesting concepts.”

He concludes, “Our generation is experiencing a new time where we’re so connected on so many levels and yet there’s this definite feeling of disconnection. We’re the pioneers of going through whatever that is.”

Rathborne is no stranger to playing big shows.

When he opened for the Strokes at SXSW in 2011, he performed to a crowd of over 30,000 in an Austin park filled beyond capacity. Experiences like these can make some musicians jaded, but Rathborne is more passionate than ever about connecting with an audience, even if it’s just 10 people in a bar.

This connection can be visceral and instantaneous or subtle and lingering. His voice fills with excitement when he talks about the band Suicide and front man Alan Vega, who would venture out into the crowd during performances, walking on tables and kicking over people’s drinks.

Rathborne is acutely aware of how his “I love that story of Alan Vega, because you can imagine someone in the audience saying to frustration with commercialism conf licts

THE SOFT DRINK

26 SEPTEMBER 2013 PERFORMER MAGAZINE

with the need to promote his own music. The physical distribution method he created for his new Soft LP elegantly sums up this contradiction. Instead of making CDs, Luke is creating a soda to sell to his fans. This Soft drink will have a code on the label that fans can use to download a digital copy of the album.

“I don’t know where [the idea] came from. I was looking at Andy Warhol stuff and thinking about pop music and pop art and shit like that.

There’s like this branding and commercialism to everything and I thought it would be fun to just embrace that by saying, ‘Here’s this shitty soda which actually has music on the back and it has tons of caffeine and taurine in it and it’s bad for you, but it has music in it.’”

With his Soft drink in hand, Rathborne is blazing a trail for the future of physical music distribution. As it becomes easier and easier for fans to access data through the Internet, digital music will inevitably shed the crude, flimsy physical form of the CD. Still, music lovers will always crave something they can touch, and the physical form of digital music will never disappear, only change shape. Crucially, Rathborne makes this physical product into its own artistic statement.

More than just a vehicle of music distribution, Rathborne’s Soft drink complements the music, but also stands on its own as an intriguing piece of visual art.

Most importantly, the Soft drink is yet another way for him to create a lasting connection with his audience. During Rathborne’s September tour, the Soft drink pun will attract a fan to the merch table. It might only be two days or two weeks later, in a private moment, that they reflect on how Soft and the drink are a commentary on commercialism and the alienation of modern life. In Rathborne’s words, “Don’t you think we need that out of artwork? We don’t need to constantly be fed.”

lukerathborne.bandcamp.com

Listen Now performermag.com

Luke Rathborne Soft Standout Track: “Last Forgiven”

SEPTEMBER 2013 PERFORMER MAGAZINE 27

KYLE ANDREWS PRODUCING ELECTRO-POP WITH A BEDROOM RECORDING APPROACH

by Hannah Lowry photos by Amanda Rogers & Will Holland

28 SEPTEMBER 2013 PERFORMER MAGAZINE

SEPTEMBER 2013 PERFORMER MAGAZINE 29

“I WOULD SAY I’M MORE OF A

PRODUCER THAN A

MUSICIAN; THE PART I TAKE PRIDE IN IS PUTTING IT ALL TOGETHER.”

Fresh from his honeymoon in Fiji, Kyle

simply wants to tell people what he

Andrews sat down with Performer

wants to hear himself.

and answered a few questions about his style, his motivations, and his

You may find his music described

historic band idols.

as “bringing Sun to the people.”

This is probably closest to the truth,

It all began with an old acoustic

because he emphasizes a little more

guitar with a hole in the side and a

than just a silver lining. From his

Band-Aid to patch it up, but over the

bedroom, to Nashville, to tours

years, he moved to Nashville, gained

around the country, he’s spreading

a record deal and established his

the good vibes and he’s put out an

name. Throughout these changes,

album just in time for the summer.

Andrews managed to keep his light,

His newest record, Brighter Than

fun and friendly vibes. After hearing

the Sun, tastefully describes what he

one of his albums, you may begin to

wants to deliver to his listeners, and

question what his motto is, but he

he achieves it completely.

30 SEPTEMBER 2013 PERFORMER MAGAZINE

Listen Now performermag.com

When did you start making music and what made you decide to make it a career?

It started in 6th or 7th grade when I became interested in playing guitar. It caught me right at the beginning of ’90s grunge, Nirvana and Pearl Jam and those sorts of bands. That’s when I started paying attention to bands, really. So the big thing then was to save up for a four-track cassette recorder. I didn’t know what it was but I had an inkling that I needed it to get started. As soon as I got one, I started recording and laying down guitar parts. That was all through high school, from four-track to a computer, and now that’s all I’ve done for the past 20 years.

From there, everything just steadily progressed. I moved to Nashville about 10 years ago; I had a friend playing in a band at the time so I came out here to see him and what he was up to. It was cool to be among people who were passionate about the music scene like I was. From there, it’s just become all I do. If I wasn’t doing this for work, it’d be my main passion. I highly recommended making your hobbies your jobs. [laughs]

Tell me a bit about your approach to writing.

In general, I start to record and make music first. Whether that’s laying down drums or keyboards, I just try to find some sound that is inspiring. The tone of it hopefully inspires some lyrics or direction. After that, it becomes kind of intuitive. Occasionally it’s the other way around, you have an idea then add sounds. But for me, music is easiest. The newest record sort of worked that way and the main challenge was to add lyrics.

How do you feel like your music has evolved? Do you think it’s related to you changing, or are you influenced by the music world?

I think there are two sides: the music and projection side of that is really the story of me evolving as a musician and a producer. The other

Kyle Andrews Brighter Than The Sun Standout Track: “The Way To Wonder”

side is the recording side, and the varying techniques I use or am beginning to use. It is very much the personal side of growing up. For example, I moved to Nashville when I was 19, which was young. So my original stuff seemed to be much younger, and it changed as I grow. But honestly, I still write in a very idealized way. Even though it’s personal and honest, I still try to project my best-case scenario on things; all the lyrics are things that I want to hear people say. In real life, you won’t necessarily walk outside and have a purple sky and rainbows everywhere, but in my music, I ask myself, why not? That’s my perspective on life and how I want to be.

As you underwent these changes, do you think your fans have evolved with you?

It’s interesting to see who responds to what.

There are certain songs that are sort of classic acoustic, almost like Elliott Smith things and there are people who respond to those songs, but there are also people who respond to the sunnier side of things. I don’t think I have a sense of who’s following from beginning to end. I just trust that if you like one thing I’m doing, then you’ll like other stuff because there’s sort of a thread.

What sort of gear do you use? Are you into vintage stuff?

Primarily, I’ve recorded at home in my bedroom. I’ve always used Pro Tools; I use a lot of different software. Pretty much anything to get keyboard and drum sounds. Those are the main kinds of gear I would say I use the most.

What was your first instrument and do you still use it?

My parents still have the first acoustic guitar I ever had, and it has a big hole on the side with a Band-Aid over it. In high school we had a band sleepover where we were recording and I woke up and there was a hole in the side. I don’t know what happened, I just woke up and it was there. But my favorite instrument is my computer because

it gives me access to everything. I would say I’m more of a producer than a musician; the part I take pride in is putting it all together.

How much of your sound are you playing vs. producing?

I play all of it, but if it was just running live on tape, it’d be pretty different, so I’d say its 50/50. I think about it in terms of if I made a movie - there are different producers who make documentaries.

I’m more interested in [being] like J. J. Abrams, where I want to put the world into something cool - not necessarily what it is. It’s like the Beatles making music in the studio.

If you could collaborate with any artist, who would it be and what song?

We have these artists who have made these amazing records but maybe later in their career aren’t doing the same thing. I wish I could have worked on every David Bowie record in the last 15 years and made it the way I wish it was. It’d be fun - I love his voice, it’s so versatile, and it sounds like five different people in one song.

What’s one piece of advice you’d want to tell our readers?

For me, it’s taken a lot of dedication. You have to love what you’re working on so much that even if nothing happens with it and you don’t get paid and even if someone boos you offstage, you love it so much that you’re still going to do it. For all I know that may happen the next time I try something. You just don’t know, so it takes dedication.

And you can’t give up. It’s something you want to put time into because you can.

kyleandrews.bandcamp.com

SEPTEMBER 2013 PERFORMER MAGAZINE 31

TOP PICKS

Belle Adair

PHILOSOPHY ON REVIEWS

The Brave And The Blue

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 here at performermag.com

Florence, AL (Single Lock Records)

“A myriad of dreamy melodies and folk textures” This quintet from Alabama led by songwriter/ vocalist Matt Green really explores a great terrain of melodic color and musical textures in The Brave And The Blue.

“Unwelcome Guest” shows off their folk side with ambient soothing sounds, similar to The Band and Wilco. The album is delightfully orchestrated with gorgeous acoustic strings, guitars, pedal steel, harmonium, and riveting bass and percussion. The harmonies put together by Green and the band are heavenly, truly golden.

The textures and landscape from “Sister” and “Slowest Routine” feel much like Wilco’s Yankee Hotel Foxtrot. “Golden Days” is eerily reminiscent of late-’70s John Lennon, especially noted in the vocal mics they use (as Lennon used a certain vocal mic throughout the decade on tracks like “Mother” and “Imagine”). Shades of Tom Petty and the Heartbreakers are also felt in “Losing My Train.”

This is a wonderful album. Ten songs that don’t let up with gorgeous composition, a structure filled with lush instrument choices, and dazzling melodies. Much thought was put into piecing together each minute of The Brave And The Blue. Be ready to feel the rush of a myriad of folk and country styles, with a blast of Americana; it’s truly lovely.

It’s delightful to find such a record filled with wit, words of wisdom, heartbreaking choruses and jubilant finishes. The instruments used are done so stirringly, the harmonies pulling and tugging at the soul in an endearing fashion. Mostly a relaxing record, sound-wise, the songs may also appeal to the hopeless romantic.

and alternative country with their album Kodiak Bear. The bandmates, hailing from the States and the UK, are influenced by an array of different musicians ranging from Neil Young to Radiohead. Blind Atlas doesn’t have one specific sound, which makes this album a grab bag full of surprises.

Kodiak Bear opens with “For Carol,” an inviting track that showcases slide guitar riffs and the band’s easygoing vibe. “These Days,” a standout song on the album, features gentle guitar licks that accompany the mellow voice of lead guitarist/vocalist Ross Thompson. The highlights are the gripping guitar solos that blend with a screaming organ, resulting in a wave of bliss throughout your body.

“Iron Wall,” features a completely different sound. Dark and ominous, the song is backed by a pounding drum that is the heart of the track, while guitars and violins dance together to create one full sound of emotion.

According to their website, Blind Atlas is currently working on music for their next album.

Possible upcoming festival dates are also in the works, however nothing is set in stone. Does this really surprise anybody? Blind Atlas is never set in stone...and that’s a good thing. blindatlas.bandcamp.com -Jillian Dennis-Skillings

CHEECH Beast From The East

Engineered & Mixed by Ben Tanner

Boston, MA

Recorded at The Nutthouse

(WTF Records)

Mastered by JJ Golden

“This is Boston Hardcore, bitches”

www.belleadairmusic.com -Shawn M. Haney

Blind Atlas Kodiak Bear Manchester, UK (Fallen Swine Records)

“A surprise party of different sounds” Blind Atlas, a band from across the pond in Manchester, released a unique blend of rock and roll 32 SEPTEMBER 2013 PERFORMER MAGAZINE

CHEECH (see our cover story, February 2013) embodies everything that’s right about Boston hardcore, and we’re fortunate that bands like this still wave the flag and carry on the mantle. Beast From The East is the group’s fourth full-length, and flawlessly mixes elements of punk, hardcore, thrash, metal and pummeling gang vocals that will virtually pound you into submission, willing or not.

At over 40 minutes, this might as well be a double-album in the world of hardcore, but where other records in the genre have a tendency to wear out their welcome after about 20 minutes, Beast From The East hardly ever drags, and never feels

overlong or redundant.

Standout tracks include the brutal “30 Rack of Hate,” which nearly blew out the drivers in my headphones, and “Death of the Middle Class,” which actually did. The latter will likely bring back fond memories of old Anthrax cassettes and getting your first boot to the face in the most pit.

Produced by CHEECH, Recorded by Dank Dave Mixed by Jay Maas, Mastered by Rob Gonnella & Nick Zampiello at New Alliance East, Cambridge, MA cheech.bandcamp.com -Benjamin Ricci

Deer Tick Negativity Providence, RI (Partisan Records)

“Hard partying rockers exorcise their inner demons” Deer Tick’s fifth album, and first since 2011’s Divine Providence, finds the band continuing to push themselves with respect to both their range of sound and depth of songwriting. The majority of the tracks on the album have a somewhat vintage sound and seem instantly familiar upon the very first listen. Opener and lead single “The Rock” sets the stage for Negativity in tone and subject matter. Building slowly with somber keys and feedback as lead singer John McCauley repeats a chant/mantra about the frailty of love, the song soon breaks into an urgent piano- and horn-led reflection on all that’s been lost.

While somber topics and deep meaning are nothing new for Deer Tick, Negativity finds the band exploring these parts of their sound more extensively than in the past. Amid upbeat piano and guitar that belies the song’s subject matter, “The Dream’s In The Ditch” features guitarist Ian O’Neil’s musings on the highs, lows and personal sacrifices that come with being a part of a band that tours so relentlessly. Other tracks include the classic rocker “Pot Of Gold” and the lo-fi country duet “In Our Time,” featuring McCauley’s current girlfriend Vanessa Carlton. www.deertickmusic.com - Micah McLain

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LIVE SHOW

PITCHFORK MUSIC FESTIVAL July 19-21, 2013 / Chicago, IL review by Candace McDuffie photo by Jillian Pahren

Girl power, more Björk insanity and M.I.A. being…M.I.A. Pitchfork Music Festival - a 3-day event where hipsters from all over country congregate - decided to take a different approach when it came to choosing the lineup this year. Instead of serving up the next hottest acts to take the music world by storm (past lineups include The National, Beach House, Odd Future, and Bon Iver), it seemed like this year as all about legends and (surprisingly) girl power. Some impressed (Joanna Newsom and her badass harp) while others failed to leave a mark (Sky Ferreira’s pathetic attempt at being “cute”). Here is a round up of some of the festival’s most memorable moments:

pictured artist: Lil B working feverishly, snapping Björk’s insane gold ensemble and dandelion headdress.

LIL B’S CULT FOLLOWING: Getting on the Lil B bandwagon isn’t hard to resist; the man is pretty damn charismatic.

But being a virgin to his live show proved to be a confusing endeavor. Between lyrics riddled with profanity, Lil B found the time to talk about loving each other and to remind everyone in the crowd of how he changed music. Then he prompted the audience to chant “Let the bodies hit the floor!” right before performing a song called “Wonton Soup” and crowd surfing. I’m sure everyone in attendance was baffled, but also probably too hot and sweaty to care.

BJÖRK’S OVERALL WEIRDNESS AND HER NO PHOTO POLICY:

M.I.A.’S SOUND DIFFICULTY:

Björk was the only act in the whole Pitchfork lineup to adamantly oppose a photo pit, and well, pictures in general. Media personnel were notified only days before the festival of her request, and right before her set started screens around Union Park provided an explanation: she wanted us to just enjoy her music. While professional cameras were forbidden, camera phones were

Sure, she has no problem being called selfinvolved or even a hypocrite. But if you really want to piss M.I.A. off, give her a shitty mic.

Her performance was riddled with audio problems, from the microphone being too low to her music completely cutting out. The crowd was just hyped to see her dance and play some of our favorites (“Galang,” “Bucky Done Gun,” “Boyz”),

but by the time she closed out her set with “Bad Girls,” she screamed out how annoyed she was and instructed the sound crew just to stop the music altogether; she had no problem finishing the song without it.

R. KELLY’S ROAD TO REDEMPTION: He was the most anticipated performer all weekend, and being a Chicago native isn’t something he takes lightly. Due to the controversy surrounding his personal life, R. Kelly has been laying low for the last few years. But Pitchfork was the perfect platform to reaffirm his self-appointed “King of R&B” status. And with a set list spanning over 30 songs, he left no hit unperformed. Classic slow jams like “Your Body’s Calling,” “Down Low,” “You Remind Me,” and “Half on a Baby” were greeted with jealously from male onlookers (“Yo, this is gonna turn into Summer Jam…”) and nostalgia from the girls (“I used to listen to this shit in college!”). Kelly seemed delighted by the fervor and our ability to sing all of the words to every song effortlessly. By the time he released white balloon doves at the end of “I Believe I Can Fly,” it was clear he made a believer out of us all.

www.pitchforkmusicfestival.com SEPTEMBER 2013 PERFORMER MAGAZINE 33

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L

NEWP OR T

FO

E S F T K I VA L

July 26-28, 2013 Fort Adams State Park - Newport, RI

34 SEPTEMBER 2013 PERFORMER MAGAZINE

review and photography by Vanessa Bennett

TOP PICKS This year boasted fewer collaborative efforts than years past. The emphasis was on the individual artists, their talent, their music and their drive. The camaraderie and respect was still palpable, but each artist seemed eager to hone in on their songs and share them with their fans in a personal and exciting way.

pictured artists (left to right) Spirit Family Reunion, Shovels and Rope

Friday afternoon opened with performances by Hey Marseilles, The Mountain Goats and JD McPherson, who riled up fans at the Fort Stage with his bellowing vocals, bluesy guitar progressions and hip swivels. As his stripped down rock and roll style echoed across Narragansett Bay, Ben Hardesty of The Last Bison broke the strings on three guitars and surprised fans with a folksy cover of M83’s “Midnight City” on the Harbor Stage.

Energy was high and fans were eager for more as the rain broke out and The Mountain Goats climbed onto the Harbor Stage. Their set opened with an energetic rendition of “Love Love Love” and covered all the hits from their prolific discography. John Darnielle’s quirky dance moves were perfectly paired with his vigorous string plucking and Franklin Bruno’s powerful bass lines.

Headlining Friday were Feist and Old Crow Medicine Show. Feist took the Fort Stage and with soothing vocals and impromptu guitar solos created a calming and intoxicating atmosphere

in the cold and persistent rain. She took time to relish in the sounds of her acoustic guitar with intricate progressions and experimental changes to tracks like “I Feel It All” and “Intuition.” Old Crow Medicine Show then capped the day off with an enthusiastic and impressive set that flaunted feverish banjo and bass notes, layers of fiddle and enough energy to bring out the sun.

Coming back on stage for one final encore, fans surged as they put an Americana twist on Tom Petty’s “American Girl.”

Day two was a nonstop barrage of talent that covered a wide spectrum of genres and styles.

From Trombone Shorty belting out complex and powerhouse horn notes to Father John Misty’s political stand against corporate tea companies and consumerism, there was something for just about everyone. After a riveting mini set in the Late July Family Tent by Spirit Family Reunion, Frank Turner took things to a whole new level with driving bass lines, crass language and an infusion of rebellious rock attitude. His unapologetic style was not only unique, but also well received.

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pictured: Lord Huron

Three days of powerful, eccentric, captivating music spanning the sounds of blues, folk, rock, and more.

(Newport Folk cont’d) The night came to a close with a soulful and driving mix of songs from The Avett Brothers.

Fans, uncertain of which album would be favored, were treated to a unique set spanning the group’s many records. The inclusion of electric guitar took the band’s raucous and feverish style to a whole new level, and Bob Crawford’s vocals rang out alongside those of Seth and Scott Avett; it was an impressive and powerful set.

The festival’s two wild cards came out on 36 SEPTEMBER 2013 PERFORMER MAGAZINE

day three. Bombino, a Niger native whose use of electric guitar and rhythmic drum beats is infectious, and Spitzer Space Telescope, a BU native exploding with energy as he croons folk tales of the Midwest, corn and redemption, both blew fans away with very different, yet equally engaging performances. Bombino took the mid-sized Harbor Stage and played to a standing-room-only crowd. His eccentric and unique sound, driven by resonating percussion, was un-paralleled.

Spitzer, not having an actual spot on the bill, could be found busking throughout the festival grounds. Drawing crowds between two and twenty, he quickly became a festival favorite as he alternated between guitars, fiddles, harmonicas and any other instrument he could carry.

Rayland Baxter, making his debut this year, played a pared-down set early in the day, with nothing but a teal guitar and his sweet, crooning vocals. He gave an intimate and emotional set on the Harbor Stage complete with songs about dreams of Jesus and lost lovers.

California natives Lord Huron were another

notable first-time act at the festival, hot off the release of their debut full-length album, Lonesome Dreams. Their echoing guitars, strong harmonies and simplistic yet captivating percussion created a moving performance that drew a sea of fans to the fort’s interior. They, along with the gravely vocals and unpolished, gritty compositions of the Felice Brothers, closed out the smaller stage sets.

As always, The Newport Folk Fest was a sight to behold. Festival organizers once again cultivated an impressive array of artists from a broad spectrum of genres. Whether playing softly-whispered tales of love or belting out driving, bluesy guitar anthems of regret, the festival was packed with powerhouse performances and opportunities to engage with artists in more intimate settings.

www.newportfolkfest.net

LEEDZ EDUTAINMENT SHOW OF THE MONTH

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YING YANG TWINS July 24, 2013 / The Middle East Downstairs – Cambridge, MA review by Candace McDuffie / photo by Jaypix Belmer

Dry humping, booze and mass twerking.

Naming your tour “Keep Calm and Twerk” is only appropriate if you are either a) 2 Live Crew or b) the Ying Yang Twins. The Atlanta Kings of Crunk literally took the Middle East by storm when they stopped by Beantown for the first time in years. Although their reputation doesn’t really need an introduction, opening their set with the ironic “Miley Cyrus” reminded onlookers of one crucial point: despite the pop star becoming infamous for the dance (and even gaining attention from Jay-Z for it), they are the ones who brought it to the masses.

As predicted, they rocked the venue with

infectious classics like Lil Jon’s “Get Low,” “Salt Shaker,” and “Whistle While You Twurk.” But as the ominous title of the evening suggested, the night was riddled with concertgoers being thrown out of the venue by security before the Twins even got on stage.

The dry humping and alcohol intake and fight-starting were seemingly inevitable and even commonplace among those in the 18+ crowd. But as the Ying Yang Twins were bidding us farewell, the unruly behavior inflicted upon us was merely a precursor to something greater: just having a good time.

twitter.com/yingyangtwins

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

SEPTEMBER 2013 PERFORMER MAGAZINE 37

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DVD OF THE MONTH

“Before there was punk, there was…DEATH” A BAND CALLED DEATH There’s a moment in the middle of A Band Called Death where David Hackney’s widow starts describing her late husband and his connection to music, and it’s clear from the waver in her voice and the tears welling up in her eyes that she loved this man, his music and his vision. Wholly and completely. That’s exactly what’s at the center of this wonderful documentary: love. The brotherly love of three black kids from urban Detroit hell-bent on forging their own sound, the love of a mother willing to let her boys raise such a ruckus in her house, and ultimately the love of the music.

The story is simple, and yet it’s so much more than what a simple summation can ever hope to provide: three kids, rock and roll, and dreams. David Hackney (pictured), the group’s spiritual leader, and his brothers Dannis and Bobby crafted what can only be considered proto-punk in the legendary United Sounds studios in Detroit, but had a helluva a time getting A&R people and labels to accept the band’s name: Death. Throw in a relocation to New England, some changes in musical direction, and ultimately the prophetic words David had for his brothers upon handing over Death’s original master tapes for safekeeping, some 25 years after their recording: “When I’m gone, people are gonna come looking for this music.”

And how right he was. After his passing in the early 2000s, people did come looking. Slowly, but surely, an Internet buzz grew about this unknown punk band from Detroit, one that pre-dated the Ramones and whose sound was even more raw, more aggressive, and faster. Their sole 45 was now selling for hundreds on eBay, and thus the eventual phone call from Drag City Records, with an interest in re-issuing Death’s unrealized album for the world to hear.

It’s an amazing journey, and an even more amazing collection of songs that the masses can now enjoy. The film is now available on-demand and on DVD and Blu-ray. We highly recommend it. www.abandcalleddeath.com -Benjamin Ricci -photo courtesy of Drafthouse Films

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Blades of Grass Memphis, TN (Alive Records)

“21st Century working-man’s throwback tunes” A fun, quirky band who calls Memphis their birthplace, Dirty Streets are a group that throws you right back to your older classic rock and country roots. The music isn’t too messy or out of control, featuring some fantastic guitar riffs, lyrics and drum lines. It’s the perfect mix between blues, folk and psychedelia, with aspects of rock bubbling below the surface.

When I first heard them, I couldn’t believe just how much they sounded like the stuff that I grew up listening to. If you were ever a fan of The Eagles, Creedence Clearwater Revival, or the Cars, you’ve hit the jackpot with this album and you’ll know what I’m talking about. As I listened more and more, I found it interesting how Dirty Streets are able to create their own, unique sound when they show such resemblance to other familiar artists.

Having put out two other albums [recorded in collaboration with multiple renowned producers] and toured around the Southeast with a few East Coast trips thrown in and topped off with a full U.S. tour, Dirty Streets have really begun to make a name for themselves. Yet, as they grow and make more ties, the band never tries too hard to be fancy, current or ‘hip.’ Dirty Streets stick to their sound, which is a down and dirty jazzy rock that maintains the workingman feel throughout their newest album, Blades of Grass.

Mixed by Adam Hill Mastered by Golden Mastering, CA dirtystreets.bandcamp.com -Hannah Lowry

Dog Party Lost Control Sacramento, CA (Asian Man Records)

“The Real Rock n Roll High School”

“Sacramento-esque”. Tracks like “Cry” sound like early Runaways tunes, whereas “Flamingo Go!” sounds like it could’ve gone on The Groovie Ghoulies classic Appetite for Adrenochrome.

The music is catchy and fun. Fans of golden-era Lookout Records bands will not be disappointed in this release. The duo is talented enough to make their incredibly young age almost a non-issue, other than to say that if this is what these two are able to accomplish as songwriters at this young of an age, one can only hope to see how their sound will progress as they mature.

Definitely worth looking into.

Recorded at the Hangar by Chris Woodhouse Mastered by Golden Mastering dogpartyrocks.tumblr.com -Ben Nine-K

The Farewell Circuit We Were Wolves Minneapolis, MN (Princess Records)

“Teasingly soft vocals, backed by a whirlwind of instrumentation that just WORKS” There is no better album out there to listen to while you’re cruising down the street in the sun, by foot or by car, on your way to the beach. If you’re looking for a lighter, West Coast feel to feature on your playlist this summer, you’ve come to the right place.

A band hailing from the largest city in Minnesota, The Farewell Circuit has experienced its fair share of change and struggles. After producing their first album, In Our Bones, the Farewell Circuit lost and gained new members.

After a while of letting In Our Bones sink deeply into their fans, the band, in their newest form, reconvened to write We Were Wolves.

The most interesting aspect of the new album is the diversity between the sounds happening behind the different vocals. We Were Wolves features soft vocals, creating a calm mood at the beginning of nearly every track on the LP. Finally, when the instruments kick in, you find yourself immersed in a fantastic whirlwind of guitar, bass and drums, creating loud textures that you wouldn’t necessarily expect to fit with the vocals.

Yet, it just works. The beats are great and the songs are catchy, which is something you can’t deny once you’ve listened to We Were Wolves.

Mixed By Brett Bullion

Lose Control is the third official release from Sacramento family band Dog Party. Formed by sisters Gwen and Lucy (17 and 14, respectively – yes, you read that right), Dog Party has a definite Ramones-core meets The Donnas sort of edge.

For those familiar with the California pop-punk climate, their sound can only be described as

Mastered By Huntley Miller www.thefarewellcircuit.com -Hannah Lowry

Goldspot Aerogramme New York City, NY (Mt. Hoboken Records & Nice Music Group)

“Rustling, strummy Bollywood instrumentation with strong Western melodies”

TOP PICKS

Dirty Streets

Recorded in the studio of Beach Boys/Brian Wilson sound engineer, Jeff Peters, in Big Sur CA, the NYC-via-LA quartet harnesses a raw and stirring approach to melodic pop.

Singer Siddhartha Khosla is a novel songwriter, pairing sincere Indian instrumentation with modern, sleek production and song structure. The result lays in the affecting, peculiar tones of the New Pornographers, Decembrists and Elephant Six-type releases. Busy, rustling instrumentation clatters, strums and sweetly chimes, while Khosla’s vocals glide like those of James Mercer (The Shins).

“If The Hudson Overflows” is one of the strongest, opening with a solid bedroom folk melody and the slow ebb of Khosla’s curious, wandering vocals. The dreamlike words interlace a bed of harmony and the warm, jangled rhythmic singing: “Well many years from now / I know you’ll hear me somehow / When our bodies free our souls / The places we will go.” Harmonium, bouzouki (an Indian string instrument) synthesizers and traditional indie rock rhythms hold the melodically-guided, yet pleasantly transcendental instrumentation.

Taking pages from the George Harrison book of eastern-infused folk rock, Aerogramme is as listenable as it is complex and sweetly endearing, the kind of music one finds on a Wes Anderson soundtrack.

Mixed by Justin Gerrish in Brooklyn, NY Mastered at Sterling Sound by Joe LaPorta Produced by Siddhartha Khosla and Jeff Peters www.goldspot.net -Christopher Petro

Hannalee Morchella Seattle, WA (Self-released)

“Poetic, cheerful season of spring”

Morchella (spring) is the third installment in the trio Hannalee’s season series.

The group is comprised of Michael Notter, his wife Anna-Lisa Notter, and long- time friend Fidelia Rowe. The three create impressive three-part harmonies

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SEPTEMBER 2013 PERFORMER MAGAZINE 39

BUNBURY July 12, 2013 / Cincinnati, Ohio

MUSIC review by Lucy Fernandes / photos by Rick Carroll

FESTIVAL

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LIVE SHOW

Valuable new addition to Cincy mixes great local acts and national headliners.

artists (clockwise) Tokyo Police Club, Red Wanting Blue, Youngblood Hawke Bunbury’s second annual indie music extravaganza got off to a rousing start in the mild, sunny weather. Improvements over last year’s inaugural event included additional food trucks and better appointed misting and water bottle refilling stations throughout the large, tree-lined park. Acts rotated among six stages spread out on the grounds. Due to high water from recent rains, the Rockstar Stage was relocated from the river’s edge to opposite the main stage. This actually worked out better in regards to walking distances, because many of the more popular acts wound up alternating performances directly across from one another on the expansive lawn.

Los Angeles group Beat Club were honored by kicking off the festival with synth-infused pop dance punk. By the end of their set the grass was already filling with people toting low chairs and blankets, claiming territory with good sight lines near the stages.

As the afternoon wore on, Red Wanting Blue, out of Columbus, Ohio, fronted by the very expressive voice of Scott Terry, roused the crowd. These road vets offered up some solid storytelling Americana rock, particularly with the amusing, rowdy “You’re My Las Vegas,” among others.

Scrambling back after catching Cincy’s own We Are Snapdragon’s eclectic, electronic acoustic set at the far end of the park, I unfortunately just missed Tegan and Sara. Their audience was knotted tightly near the stage, and it was now becoming

a problem making headway through the endless throng gathering for the evening’s main acts.

Up and coming Youngblood Hawke, from Los Angeles, played a bright, tuneful pop set, and look to be a band to watch in the near future.

The hometown success story of the night, Walk the Moon, took the stage at sunset, greeted by cheering, colorfully face-painted fans.

Seemingly incredulous at the sea of upturned faces, singer Nicholas Petricca and the rest of the band expressed their gratitude for the turnout, and delivered a stellar set, as people also watched from the balconies of a nearby high rise apartments. Sing and clap-alongs erupted for several songs, most notably “Quesadilla,” “Shiver Shiver,” and “I Can Lift A Car.” Finishing off with “Anna Sun,” the group and their handwaving audience had become one gleeful,

interacting entity.

Canadian alt-indies Tokyo Police Club garnered an enthusiastic response; and quirky Denver ensemble DeVotchKa entertained the wall-towall crowd now squeezed between the Main and Rockstar stages (as the other stages had shut down for the night). It was impossible to move, but two jumbo screens afforded an unobstructed view.

Headliner and Grammy Award-winners fun. charged onstage to a rousing welcome, topping off the night with their inimitable brand of energetic pop cabaret, as enigmatic Nate Ruess’ impassioned vocals soared through such hits as “Carry On” and “We Are Young.” All in all, the three-day Bunbury Music Festival drew over 60,000 and has proven itself a valuable new contributor to Cincinnati’s growing indie music presence.

www.bunburyfestival.com SEPTEMBER 2013 PERFORMER MAGAZINE 41

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Hannalee continued

and provide their own musical accompaniment: Michael on guitar, Anna–Lisa provides ukulele, dulcimer, percussion, with additional percussion by Fidelia.

Although the group describes themselves as a “folk roots trio,” this album is a smooth blend of light bluegrass, swaying in the breeze on a sunny hillside, with its Celtic roots firmly intact. Add in some serious old school country picking skills, sans the banjo, in addition to the folk influences to create this band’s robust, pleasant, very cheerful and current sound.

The group cites this six-song album as “optimistic, Neverland whimsy, which creates a unique music, strange and familiar all at once.” Very poetic, yet true, the music is deeply steeped in tradition, while the songs simultaneously seem both old and new.

So what does the title mean? Morchella, is that Italian for spring? No, it’s Morchella, as in morel mushroom; all the titles of the albums are each a genus of crops that correspond, and are used to represent, each particular season. Winter was Brassica, winter greens, Cucurbita, as in pumpkin for autumn, and last but not least, Fragaria, summer strawberries.

Recorded & Mixed at The Hobbit Hole & The Track Shack Mastered at RFI Mastering hannaleesong.bandcamp.com -Dawn Hafner

Jacuzzi Boys Self-Titled Miami, FL (Hardly Art)

“Smarmy, jangled garage pop flushed with melodic swaggering” The Miami trio’s third release is a dichotomy of bombastic garage anthems and slow strutting hip-shaker songwriting. Each minute unravels unexpectedly, where easy-going heaves into a thrusting wall of guitar and splashy drums (exemplified by “Dust” into “Rubble”).

Guitars lead the way, carving through a hazy din with melodic nods and muddled, disjointed verses (think Ratatat or Wavves). A song like “Over the Zoom” features the refined ’70s Lou Reed swagger, pushed by the sporadic shove of a power chord. Unhurried, singer Gabriel Alcala hangs loose with the vocals, which are present yet often eclipsed by the rhythm.

As all hell breaks loose, the album turns again, going softer into the realm of pop. A song like “Heavy Horse” strides in unassumingly, Alcala longing escape, “When I run around / You see it’s all weighing me down” and the backing softens with a solo before closing. Energy corrals for “Hotline,” one of the most hook-filled songs, featuring a surf-rock melody and the eternallyversatile drummer Diego Monasterios keeping beats catchy and heavy.

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The core of the Jacuzzi Boy’s S/T release is the fearless songwriting; each track explores aloof sonic textures in the three-piece domain, splattering the findings in odd and terrific listenable color.

Laura Veirs Warp and Weft Portland, OR

Engineered & Produced by Bill Skibbe & Jessica Ruffins

(Raven Marching Band

Recorded & Mixed at Key Club Recording Co.

Records)

Mastered at Noise Miami by Kramer

“Equal parts aural pleasure and lyrical resonance”

www.jacuzziboys.com -Christopher Petro

Junior Astronomers Dead Nostalgia Charlotte, NC (Broken Circles)

“Raucous display of post hardcore, a frenzy of youthful punk” Wow, what energy and passion were put into this record. Junior Astronomers carry on the tradition of their heroes The Stooges and Television in full assault with their Broken Circles label debut, Dead Nostalgia.

The album features a youthful frenzy of sounds: punishing drum rolls, distortion-laced guitar riffs, riveting bass lines and a raw, earthy vocal attack. “Before Crimes,” “Touching War” and “Gimmicks” open up the record with a sound eerily reminiscent of The Strokes, especially melodically in the guitars the vocals. A delightfully captivating record, the listener feels a joy in discovering something new with each repeated listen.

The instruments are a raging hurricane of sound, yet blend smoothly and cohesively. The overall production is stellar, delivering songs that sound youthfully vibrant and compelling.

“Neighbors” and “Little Sister, Little Dog” are fun tracks to explore, filled with kinetic energy and polished passion. The mixture of tempos is stunning and used very effectively. A delightful album to listen to when needing to release some unwanted energy and feel freedom for a change.

Dead Nostalgia is certainly concert worthy.

Recorded by Kris Hilbert Mastered at Engine Room by Dan Millice

It was in 2010 that Laura Veirs released July Flame, a record that seemed to bring her more notoriety and attention than ever before. And rightfully so; it was the best record she’d put out in her career. And yet, in just three short years, Laura Veirs has outdone herself with her latest release, Warp and Weft, a must-listen for any fan of alternative music. It’s woven from the same emotional and sonic threads as July Flame - the echoing distortion, the prayer-like repetition, the expert harmonies - but what makes Warp and Weft so special is its ambition, its spontaneity.

There isn’t a song on that record that one could imagine came easily to Veirs, in lyric or in production. Warp and Weft refuses to cohere to genre or theme. A song like “America” feels like a reinvented protest song, built on pathos rather than outrage. “Dorothy of the Island” borrows its refrain from the blues standard “Motherless Children,” and to great effect. And “Say Darlin’ Say” is pure folk-rock fun, with a chorus that’ll embed itself in your brain for weeks.

This is a special record, and yet another achievement for the fearless and peerless Laura Veirs.

Produced by Tucker Martine www.lauraveirs.com -Vincent Scarpa

Linda Gail Lewis Gas Station Flowers Atlanta, GA (Confido)

“Germany gets liebeslied from American rockabilly queen”

juniorastronomers.bandcamp.com -Shawn M. Haney

LISTEN TO MUSIC FROM THIS ISSUE at PERFORMERMAG.COM

Recording on independent labels since 1990, Linda Gail Lewis’ latest was recorded at Keusgen Studio in Haldern, Germany. The legendary Memphis belle is touring Europe and has released an excellent 15-song CD that features her daughter Annie Marie Dolan on backup vocals. Lewis sets piano keys ablaze on the heart-pounding “Cadillac Rock” and slows things down on the ballad “Gas Station Flowers,” a tune about a girl’s waiting. This album is a compilation of both originals as well as covers, including hits “Don’t You Lie

EDITOR’S PICKS

Onawa EP Portland, OR (Made In China Records)

Shook Foil

This Frontier Needs Heroes

The Tethered Life

Hooky

Atlanta, GA

Brooklyn, NY

Genre: Indie Rock

Genre: Alternative Folk

to Me” by Chuck Berry and “Ubangi Stomp” by Charles Underwood.

The grand piano Lewis rocked on Gas Station Flowers was a Schimmel C-205 concert piano from 1988. It was recorded with two large-diaphragm condenser microphones by Brauner on an ADT 5MT analog recording desk, in an effort to throw listeners’ ears back to the 1950s. Guitarist Andy Williams used the jazz-chorus settings on a Roland amplifier. Drummer Gary Agar played a vintage “Fab Four” drumset by Ludwig, and bassist Peter Hardy played an acoustic, standup bass that had two mics on it to pick up the sound, which was then amplified through an Ampeg rig. Lewis said she dedicated this to “her beloved brother,” American rock and roll icon Jerry Lee Lewis.

www.lindagaillewisanniemariedolan.com

is the backbone of this wonderfully-captured collection. “The Brakeman’s Son,” a beautifully performed a cappella number, is a prime example.

Gilbert’s tempos and themes are well articulated and consistent; his soul yearns, and emotes a voice that projects a reminiscent flavor and similarity of Paul Rodgers and Bill Withers. There’s a seemingly autobiographical glimpse on the title track “Old White Men,” and “Come Here My Love,” which are both expressive and map out this enjoyable work, drifting and balancing with a poetic sentiment to a comedic edge that is interlaced throughout other clever songs like “My Bad.” Although this would likely be categorized as “easy listening,” Old White Men has a soul, and a depth that complements Gilbert’s artistry.

Songs are loaded with tasteful mixes, and you’ll be pleased to let Gilbert serenade you with every stroke of his six-string guitar, fully-loaded wit and charming personality.

-James Hester

Recorded, Mixed & Mastered by Tom Eaton at

Produced by Rolf Bresser Mixed by Jürgen Fischdick Masteredby Clemens Paskert Guitar Overdubbing by Matthias Fliege

“Sludgy riffs and guttural, neck-wrenching rock”

TOP PICKS

White Orange

The latest release from the Rose City quartet is a mucking mire of bog-rock and a hat trick of grim goodness. The long-winded triptych, heavy on low-end and Goliath on tempo, showcases viscose guitars, and sludging drums bubbling up into a secret ooze that is grittier and rougher than Tokka and Rahzar.

The EP’s closer, “…And I Leave The Circus,” kicks off with a sassy kazoo and drum lick before barging into a behemoth of a verse front-loaded with backhanded comments, like a cynical love diatribe that skips away waving a middle finger and a flux of Montezuma’s.

Onawa plays out sharply like a rusty sai: blunt with no messing around. Each song trudges on with guttural riffs, but is clearly rooted in classic dark rock sensibilities. Its seemingly intimidating running times are disarmed by high levels of accessibility and incendiary musicianship, with the record’s high level of production (courtesy of Adam Pike) providing a lush balance to the unique blend of nefarious, neck-wrenching rock.

Engineered and Mixed by Adam Pike at The Toadhouse, Portland Mastered by Stephen Hawkes whiteorange.bandcamp.com -Taylor Haag

Universal Noise Studio, Newburyport, MA Produced

by Two-Man Tambourine Productions www.vancegilbert.com

Vance Gilbert

-Arthur Orfanos

Old White Men Boston, MA (Gadfly Records/Disismye Music)

“Subtle and reflective” Often an artist will capture on canvas an inner voice, expressing it through a variety of colors and textures. Doing so with sound can sometimes be no easy task, and with that comes a true demonstration of expression from Vance Gilbert’s latest release Old White Men. Through a blend of gentle strokes, wholesome arrangements and coherent songwriting, Gilbert’s charm and style emanates with a quality of blues, jazz, and softer sides. This compelling “story book” takes you through pleasant digressions from a folk rock approach to a truly entertaining and sometimes poignant one that

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SEPTEMBER 2013 PERFORMER MAGAZINE 43

COLLEGE PROMO

20+ WAYS TO PROMOTE YOURSELF ON CAMPUS Performer’s Quick Guide to Better College Gigs

by Dave McCubbin

What is the secret to being successful in the college entertainment market? Here we provide tips and tricks of how to assure that you are playing to a full house, and that your name is spread positively to potential repeat business, or better, recommendations!

44 SEPTEMBER 2013 PERFORMER MAGAZINE

KNOW YOUR ROLE

THE TIPS

There is clearly one large mistake that many musicians make once they have landed that coveted college gig: once they secure the gig, they think their work is done. Sadly this is not true.

You cannot assume, or worse, rely on the school to promote your act. Remember that you are dealing with students who work in the campus activities department part time. They are not professional event planners, and for the most part, are learning the proverbial ropes themselves. Although they may be well intentioned, their ability to successfully promote your event is like a crapshoot.

Therefore your job is to promote yourself, both on and off campus. (Read that again.) You are also well-advised to make the job of the campus activities staff easy, and when possible, educate the students on how to complete certain tasks, especially surrounding promotion of your event.

On-campus promotion is characteristically an area where artists fall short. You’d be wise to turn yourself into an on-campus promotional machine. Granted, this task may seem a bit daunting, so here is a great list of effective on-campus promotional techniques.

1. Posters, puts lots of them around campus.

Before your event, send a bunch to the campus staff and ask them to hang them up around the school. A few noteworthy items about the posters: If an alcoholic beverage company sponsors you, make sure that you have two separate sets of posters printed: one for alcohol-acceptable events and one for non-alcoholic events. Promoting alcohol on a college campus is a BIG NO NO. Colleges are very RISK AVERSE; anything “of questionable content” will be disallowed.

2. If possible, make sure your appearance on campus coincides with important dates on campus.

For example, orientation week, spring fling, recognition day, homecoming, “fill in the blank” event, etc. Colleges tend to book events that correspond to themes, or special days on campus.

3. Target specific groups or clubs on campus.

Email and ask them to attend your event. Visit the school’s website; look up Fraternities, Sororities, First Year Students, RAs, Peer Groups, Student Leaders, Student Government, and Athletic Teams, since they are all great candidates.

Granted, contacting each group is time consuming, but worth the effort. Send those who respond promo CDs as a thank you.

4. Depending on your niche, sometimes you can make the program mandatory since some schools mandate certain events to specific groups. This is a blessing and a curse. Students are not too fond of required events, but if your program is a hit you can increase your exposure in a positive way.

5. Try your best to have your event happen around Orientation, or Welcome Week. This time frame is considered prime time since the first week of the semester is jam-packed with events.

Tip - MARKET yourself as a Welcome Week, Orientation event act, etc. as well.

6. If the budget is tight in the Student Activities office, reach out to other departments to see if they would be willing to share expenses. For instance, have Student Activities and the Greek Life departments share the costs.

7. Promote the program for both men and women (again, this applies to your niche).

8. Place table tents or small displays on each table in the cafeteria or student center.

9. Advertise in the campus paper and/or run an ad with the campus radio station. BONUS - get the station to interview you prior to the event.

12. Invite other schools to attend. Or promote on nearby campuses, if possible.

VENUE]. Visit [YOUR WEBSITE HERE] for more information.

13. Invite faculty and other school employees and encourage them to bring family members.

Email 2 | Two weeks prior- In two weeks, don’t miss this awesome event! [BAND] will be visiting our campus for one night, make sure to come out and join the fun. Visit [YOUR WEBSITE HERE] for more information.

14. Some schools offer students extra credit for attending events. Check with the Student Activities office to see if this is applicable and what protocols are used.

15. Encourage RAs to bring the people in their residence hall to the event. Promote the event as a “dorm night out.”

16. If you can afford it, or work it into the event budget, provide pizza, snacks or other freebies as a way to entice people.

17. Send a bunch of free t-shirts to campus before the event, and ask people to wear them.

Think of it as turning people into walking billboards; plus, college kids love free shirts.

18. Even though this point is similar to point #14, make the event eligible for reward points if the campus offers point-based accreditation, or an incentive system.

19. Campus Social Media is also another vehicle for promotion. Make sure you ask the school to promote your act on their Student Activities blog, link to any YouTube content, etc. Subsequently, professors often have Facebook and LinkedIn profiles. If you are feeling brave, hit them up and ask them to bring the class.

20. Get your event posted on the event calendar for the school. Despite being a no-brainer, this is often overlooked.

Email 3 | Week of the event- Coming this [DAY OF THE WEEK], [BAND] will be on campus. The first 50 students will receive free [PROMOTIONAL ITEMS HERE]. Don’t miss out!

COLLEGE PROMO

When the posters are printed, make sure to leave a blank area at the bottom, at least 3-4 inches so the students can write the dates of your appearance. It’s OK to go low-tech on campus; there is no need to invest a lot of money in expensive, elaborate posters. If you are tight on funds, you can even go so far as to have your info printed, in large letters, on an 8.5x11” piece of paper. Think “poorman’s poster.”

PARTING THOUGHTS… If you are fortunate enough to get a college gig, make sure you take full advantage of the opportunity. The people who book acts run in tight circles, they know people at other schools and often recommend acts they feel are worthwhile.

Creating a reputation of someone who does some of the grunt work will pay dividends down the road. Take some time, read, re-read and read this list again. There is a lot of beneficial information contained in the bullet points that, when leveraged properly, increase the odds of playing to a packed house. The more turnkey you can make event promotion, the more they will appreciate you. Bear in mind the student activities office has a vested interest as well, since they too are under pressure to put on a packed event.

So in the end, your inconvenience is their convenience, which in turn, can only help to get you booked at other colleges. Best of luck!

21. Use a pre-event (ethical) email guerilla-tactics; an email strategy worth its weight in gold.

When you play it right, you can pack the house, and in turn the Student Activities office will adore you since you have played a big hand in helping them achieve their goal of hosting successful events. Giving them ready-made materials will score major points, as well. Bear in mind that schools will not give out the email addresses of students; they will, however, forward emails on your behalf.

10. Make the event open to the public.

Below are some sample pre-event emails you can use for promoting your event. The campaign should begin at least three weeks prior to the performance.

11. Contact the local newspaper, alt-weekly and music blogs; invite them to run a press release promoting your event.

Email 1 | Three weeks prior- On MM/DD/YY a great up-and-coming or well-known band will be on campus. The event will occur in [EVENT SEPTEMBER 2013 PERFORMER MAGAZINE 45

DISTRIBUTION

ONErpm, YouTube, and Your Music –

Let’s Make Some Noise (And Money) ABOUT THE AUTHOR

There’s a saying in the startup world by founder Marc Barros of Contour Cameras: “The best product does not always win, the product everyone knows about does.”

-Michael St. James is the founder and creative director of St. James Media, specializing in music licensing, publishing, production and artist development.

We started it in January and it is already a big part of our business. Our YouTube Network already has 100 million plus views monthly and is growing rapidly. Results have been encouraging for those artists using our YouTube Premium Partnership. On average, the company has been able to more than double the revenue of what our artists earned as a Standard YouTube Partner – which is our free service.

So, you’re proving that YouTube can be a great place to distribute music to fans, and also make money doing it.

I often repeat the quote above when I speak at music business gatherings because I think it’s so analogous to our industry. This is why “My Humps” was a Top 5 song in the U.S. and track three on your latest CD is not. That’s harsh, I know. So, how do you get everyone to know about your music? In short, the answer is, and has always been, distribution. But what does that mean today?

There are plenty of companies that will distribute your music to online platforms for sale or streaming. You can even do this yourself with a little research and motivation. Simply having your music “available” is the old definition of distribution; being on iTunes or Spotify does not necessarily drive sales, increase fans, or lead to licensing. But, being on YouTube can. What’s more, if it’s done right, you can generate revenue, gain fans, and cultivate channel partners all by just “distributing” your music on YouTube.

With that in mind, this month we’re focusing on ONErpm, a leading digital music distributor.

What separates them from the pack - and why I think you should know about them - is their growing YouTube Network partnership. I spoke with ONErpm’s CEO, Emmanuel Zunz. We discussed his company’s vision of the music industry landscape, and their newly launched YouTube elevated networks program.

46 SEPTEMBER 2013 PERFORMER MAGAZINE

You run a global company; what kind of trends or changes in the music business do you see?

Yes, it really is a different story everywhere.

We have been primarily active in Latin America and Brazil. For instance, in Sao Paulo, iTunes is relatively new (launched in December 2011) and not that big. Social media is the primary driver of music discovery in Brazil, and YouTube is a huge driver of it.

I know ONErpm is listed as a distribution company, but it seems you are more in the service area with widgets, Facebook sales, and now the YouTube Partner program. How do you see your company?

I think we started as distribution, then moved into services with direct-to-fan, and now we are a pushing partnerships, or a combination of all our offerings. We look at this as an opportunity to help artists, no matter where they are in their career.

We offer free distribution packages, fair royalties, and low pricing to make it simple. But we also work with bigger artists and labels, so we want to make sure we’re offering value to everyone.

Let’s get into the YouTube Partnership, how long have you been doing it, and how effective for artists has it been?

Oh yeah. YouTube is by far the biggest and most popular destination for music on the web.

Period. Through Content ID, YouTube has given control back to the rightful content owners enabling them to earn significant income. Our goal is to find artists who are serious about their careers and music, and then partner with them to maximize that potential and grow their business.

How do our readers get involved with ONErpm YouTube Partner Program?

To participate in our Standard YouTube partner program, artists simply upload their music at no cost, and we deliver the audio files to YouTube with the correct copyright information. YouTube then scans its site for any videos using that work and then generates a claim for each video so artists can start earning advertising revenue. Artists have a dashboard so that they can see where and how their music is performing. Additionally, ONErpm’s elevated Network of Channels option offers several added benefits: a premium percentage share of advertising revenue, Content ID for videos (which is more lucrative than audio alone), cross-channel promotion to expand views, and a greater selection of ads with higher CPMs that run against the videos. ONErpm keeps only 30% of royalties it collects and directly pays the artist 70%; we think that’s a good pretty good deal.

For more info and to sign up, visit www.onerpm.com

photo by Benk Zsolt

LIVE PERFORMANCE CONTRACTS & THE LAW

LIVE PERFORMANCE VENUES FUNCTION IN A FORMER ERA. Handshake deals are commonplace, ink is rarely spilled, and a promoter or venue owner’s word is often all you have to go on before you take the stage. In a way, this is the best way to go - no reason to complicate a straightforward deal: I play for ninety-minutes, you pay me. That said, there are dozens of issues that can block this simple transaction from transpiring and this month’s Legal Pad dives right in:

BASICS If at all possible, get your contract in writing. Most disputes start not because one party is trying to take advantage of the other, but because the parties have different ideas of what was supposed to take place under the agreement. Putting your terms in writing is a major step in avoiding confusion.

CONTRACTS TERMS Name, date, location, and room within the location are more important than you think (many small to mid-size venues have various rooms; if you’re traveling to a certain venue, make sure it’s for the right room). While you’re at it - get your order in the lineup confirmed (the term “headliner” can vary depending on venue).

Payout. There are many ways to get paid. A “flat fee” guarantees you a dollar figure so long as you show up and play. A “percentage of the gate” gives you a cut of the tickets sold. A “minimum guarantee” is hybrid of the two, allowing you a flat rate, plus a cut of the door (or bar receipts) after a certain number. There’s incentive for both the venue and performer to lock these rates in before the performance date.

Rider and Personnel. There is a reason for the infamous “rider provision” of a venue contract. It allows a band the ability to control (and in some cases demand) certain portions of the set up, performance, and post-show. For touring groups, the rider provision is a must. Further, personnel issues should always be laid out in a contract. Is a soundman provided? Is he/she mandatory? Some groups would rather ditch the gig altogether than have house personnel control the sound, while other acts would be grateful to bring one less person on tour. Spell out these details in your contract.

Show Promotion. If you’re lugging your equipment across country for the first time, there’s only so much that Twitter outreach can do. Make sure you have in writing who is responsible for promoting your gig. This is less of a concern for flat fees gigs, where the onus is on the venue to bring people in. But when you are being paid a percentage of the door, you’ll want to lock in promotion and advertising responsibilities ahead of time.

Liability. Make sure to protect your band’s business and assets when signing the agreement with the venue. Don’t take responsibility for any problems inherent in the venue’s operation or anything that could be beyond your band’s control. Some acts will request copies of general liability insurance binders before playing - this will give you some confidence that - in the event someone gets hurt - you won’t be on the hook for related expenses. However, policies differ; make sure to review before signing.

If you are signing a high-stakes contract or multidate agreement, there are a host of other matters to be aware of. These are simply the basics.

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 at

@adambarnosky.

DISCLAIMER The information contained in this column is general legal information only and

LEGAL PAD

RECOUP MONEY YOU’RE OWED FROM SHADY PROMOTERS

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

THE “PAY TO PLAY” ARRANGEMENT Some define “pay to play’ in the literal sense: to play a certain venue, a band must pay an out-ofpocket fee. Promoters often define the process in terms of “pre-sale” tickets. This pre-sale process is the one usually sold to relatively unknown and untested bands. Under this arrangement, a band is given a certain number of tickets to sell.

These, however, are not comp tickets: a band is required to pay the promoter/venue for the tickets upfront. If the band is unable to sell the tickets on their own, they have to eat the cost (i.e. paying for the privilege to play the show). For a new band, pay-to-play can be an avenue to playing a live venue. Other bands may see an advantage to playing an historic or reputable venue. Of course, there are downsides to these deals. Bands often find themselves paying hundreds of dollars to perform limited sets along with a random assortment of other acts. The lineups, particularly with many festivals, are assembled based upon ability to pay the promoter or sell tickets - not because they fit a certain bill or attract a similar audience.

WHAT CAN YOU DO IF YOU DON’T GET PAID?

If you’ve signed a contract with a venue or promoter for a certain amount and they fail to pay, then you may have the right to sue for payment. In Massachusetts, for example, if the amount is less than $7,000 you can bring an action in small claims at your local district court. This is the fastest and least expensive way to go (filing fees are approximately $100 and you won’t need a lawyer for formal proceedings).

If your fee is higher, you may have an action in a higher court - which will require professional assistance. If you find yourself in any of these situations, it can be beneficial to first write a position statement or demand letter detailing your circumstances and the reasons you feel entitled to your request. This can often be the first step in resolving your issues. If you have questions or want to make sure it’s done correctly - hire a lawyer who has experience in contracts and the music industry.

SEPTEMBER 2013 PERFORMER MAGAZINE 47

STUDIO DIARY

In the Studio with SANDRIDER’S JON WEISNEWSKI

Balancing Booze and Adrenaline to Record an LP With “Huge Balls”

“WE ONLY RECORD WHAT album info

WE’RE ABLE

Band Name: Sandrider Album Title: Godhead Recording Studio: Red Room, Seattle Record Label: Good To Die Records Release Date: TBA Recorded and Produced by: Matt Bayles Artwork by: Jesse Roberts Layout by: Nat Damm Mastering by: Ed Brooks at RFI Mastering

WE DON’T WANT TO LIE TO YOU.”

TO DO LIVE.

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

We didn’t really do the traditional preproduction. In fact we never have for any of our albums, this band or otherwise. It’s not that we’re against it; we just never have the time or organization to do it right. So our “pre-production” was just practicing and hoping we weren’t getting in over our heads.

How did you choose the studio?

We did our first album with Matt [Bayles] at Red Room and loved the way it came out, so it was kind of a foregone conclusion that we’d go back.

Between this session and the last one, Nat and I also did Akimbo’s final album with him and that is also a peach. We’re big fans of his sound and we love working with him. On a side note, Matt and I are both huge assholes and when we work together we get to let go of the leash a little bit and just be sarcastic shitheads to each other. It’s very liberating.

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

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

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

HUGE BALLS! We just told Matt we wanted huge balls and he kinda took it from there.

Nope. Just the gear we always use. For technique, we like to go with “flawless shredding.”

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

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

What were the toughest challenges you faced?

Any special guests?

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

We actually came to the studio under the assumption we were making an album this time, unlike last time when we all were lying to each other that they would be “just demos.” That and there will be more songs.

48 SEPTEMBER 2013 PERFORMER MAGAZINE

We get bass live with drums, and then track guitars and vocals. That’s not a philosophy, it’s what we have to work with because I am horrible at guitar.

Yes. Me. [editor’s note – har dee har har, John…]

We only record what we’re able to do live. We don’t want to lie to you.

Balancing the alcohol consumption so that you don’t get too shitty, but are still able to crush a face or two.

The only time I used a wah pedal, I was shirtless.

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

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

The record was mastered Ed Brooks at RFI Mastering.

What are your release plans?

Release date is still TBA, but it will come out on Good to Die Records.

Any special packaging?

We’ll be doing vinyl again, for sure, with artwork by Jesse Roberts.

unique gear

For more visit sandrider.bandcamp.com

STUDIO DIARY

interview by Benjamin Ricci photo by Nik Christofferson

GUITAR

BASS

DRUMS

•

• • • • •

•

• • •

Verellen Higher Watt 100w amp Sunn Beta Lead Marshall JCM 800 Fender Stratocaster

•

Sunn Coliseum Ampeg 8x10 Sunn 2x15 Rusty Box pedal Prunes & Custard pedal Geddy Lee signature Fender Jazz Bass

•

Ludwig drums: 28x14 kick, 16x14 rack tom, 20x18 floor tom & 14x6 super sensitive snare Cymbals: old Zildjian 15” hi-hats, 20” Paiste 2002 crash & 24” Paiste Giant Beat ride

SEPTEMBER 2013 PERFORMER MAGAZINE 49

GEAR

BACKGROUND

I’m the lead singer/guitarist of New Orleans indie rock band The Breton Sound. We recently played the New Orleans Jazz and Heritage Festival and Milwaukee Summerfest and curated the Rock’n’Hops benefit concert for Grammy’s MusiCares. I’m also the former touring guitarist for Cowboy Mouth (2007-2010).

sounds they started getting in the mid ‘60s using them. The Casino has been my go-to for years.

This one accompanied me all over the country and overseas. I had to clean sand out of it after a two-week tour of U.S. Army bases a few years ago. It’s my trusted friend; I know it always feels good to hold and play.

2003 Epiphone Casino WHAT IT MEANS TO YOU

I’ve always been obsessed with The Beatles, and Lennon, Harrison and McCartney all had one.

They caught my eye visually, and I loved the

I put pillow stuffing in the body to control the feedback. It was a bit of trial and error getting the right amount in there so it didn’t affect the tone of the guitar too much, but it makes the feedback much easier to control when you’re [using] distortion.

CAN BE HEARD ON

WHAT IT SOUNDS LIKE MAKE & MODEL

CUSTOM MODS

It’s such a surprisingly versatile guitar, especially for a semi-hollow body. Clean, it just sparkles and fills the space. With a bit of overdrive, it sounds just like The Beatles’ Revolver. And if you put it through a dirty channel, it’s a big wall of sound, but it cuts so well. The individual notes of chords really sing with it, but it’s such a focused sound.

Maps EP and Eudaemonia EP by The Breton Sound.

LISTEN NOW at www.thebretonsound.com.

Got a favorite instrument you’d like to share?

Email us at editorial@performermag.com.

my FAVORITE AXE

JONATHAN PRETUS OF

photo by Scott Simon

THE BRETON SOUND

50 SEPTEMBER 2013 PERFORMER MAGAZINE

Quality vs. Quantity

Part 2 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.

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

photo by Pete Weiss

In part one (see last month’s issue or read it online at performemag.com), we examined how artists can spend their time in the studio unwisely, and how session days/hours can be broken down into parts (arranging, tracking, mixing, overdubbing, etc). The point was to illustrate how much less focused a group is on tracking multiple songs in a limited studio timeframe.

FOCUS ON JUST ONE TRACK What if they had started by just focusing on one song? They would have picked their best song. They would have rehearsed just this one song until it shined. They would have come into the studio with just this one song on their mind and with a little luck, they would have tracked it beautifully. All the attention would be on this one song. Ideas, discussions, things to try in the mix would have all been focused on this one song. When it was finished and released, people would want to hear it again – and that’s what you want, to leave them wanting more. Have them begging for more. Have your fans focused on this one song, sharing this one song with friends. Have the venue bookers humming this one song as they book you at the club.

Okay, did it work? Did our attempt at written subliminal suggestion work? Are you thinking about going into the studio and focusing on just one song now? Something magical can happen when a group of musicians, engineers and producers focus all of their efforts on bringing one song to life. Ideas to try a subtle shaker percussion track or perhaps a third vocal harmony on just one line in the chorus, now can be tried without worrying about whether there will be time to mix half a dozen more songs today. It’s this intense focus and ability to experiment that is the strength of studio recording. The studio is THE place to try

out ideas that are impossible while playing live. It is a magical canvas with an erase function.

TIPS TO REDUCE WASTED STUDIO TIME And this is the realization that many artists come to after too many “squeezed” recording sessions. It is what you experience along the journey, not the miles traveled that counts here. So maybe by now you believe us that it’s better to focus on one song the next time you head to the studio. “But we can’t afford to spend 8 to 16 hours on one song,” we hear you say. Well here are two tricks that can help reduce your time in the studio: 1. PREPARE, PREPARE AND PREPARE SOME MORE. Focus on and rehearse that one song till it shines, till everyone knows it backwards and forwards. Record the rehearsals and make sure everyone is happy with the arrangement. Can you get to the first chorus faster? Is the first verse too long? Then type up a lead sheet for the song and bring plenty of copies to the studio. Nothing fancy, just chords and lyrics laid out by section. This allows the engineer to quickly get around the song instead of spending time hunting for where the line “she’s not coming back” is in the song. When doing overdubs, for instance, now both the talent and the engineer are on the same page when the singer says, “I’d like to fix the second line of verse two.”

2. BREAK IT UP. Fight the urge to stuff the whole session into one long day. Instead book (for example) a four-hour session to record the rhythm tracks and overdubs and go home with a rough mix. Then have everyone in the band take copious notes over the period of at least a week. Then meet before the next mixing session to discuss these notes with everyone. Make a Master List of what you like and don’t like about the rough mix. Be precise about what needs to be fixed: “bass flub at 1:24,” “flat note on the vocal at 2:31,” etc. For your second mixing session, don’t expect to get it 100% perfect and try not to spend too long mixing; after about four hours of hearing the same song over and over, you lose perspective. Go home with your near-perfect mix and repeat the last step of taking notes and making another Master List. Only when your head is clear can you hear the mix properly to make decisions about its quality and effectiveness.

If you still aren’t convinced that quality is more important than quantity, we challenge you to take your favorite artists’ best studio album and research how long they spent in the studio working on it before they were finished. Then go onto ReverbNation and find an artist with a six song EP that’s just so-so and send them an email asking how long they spent in the studio.

SEPTEMBER 2013 PERFORMER MAGAZINE 51

GEAR GUIDE

Coolest Products from Summer NAMM 2013 compiled by Benjamin Ricci*

Yamaha STAGEPAS 600i $899 The new STAGEPAS features two sleek, lightweight speakers and a detachable powered mixer, along with one pair of speaker cables and a power cord, giving you a complete, extremely portable sound solution that can be set up quickly and easily in a variety of configurations and environments. By combining new high-efficiency amplifiers, newly designed speakers, and high performance DSP, the new STAGEPAS delivers a significant increase in power output (400W for the 400i and 680W for the 600i) as well as substantial improvements in sound quality and reliability. Complementing the boost in performance, the addition of iPod/ iPhone connectivity, SPX digital reverbs, an onboard feedback suppressor and more versatile EQ, has improved functionality and ease of use considerably, allowing STAGEPAS to meet the demands of a much wider range of applications and users.

Riversong Adjustable Guitars Various Prices To eliminate tension, the neck extends all the way through the body and incorporates the end block as structural support. This allows Riversong to use less bracing, giving the guitar a deeper and richer sound due to the increased resonant area. Unlike traditional guitars with fretboards glued to the top of the body, Riversong Guitars feature a solid neck that runs all the way under the fretboard. This eliminates the 14th fret hump that happens when the body expands or contracts differently then the neck. This is a simple thing that gives their guitars consistently close action. An adjustable body angle is also an innovation of Riversong, where action is raised or lowered by adjusting the neck angle. This eliminates the need to adjust your action by destructively sanding your saddle. This novel approach has an integrated strap pin used to finely adjust the angle.

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OKnob Foot Controlled FX Pedal Knob $9.95 Option Knob, Inc. was launched in 2008 to provide musicians with more options and control over their sound and live expression. Their custom controllers are designed for professional musicians, but they can also easily be enjoyed by players at any level of expertise. The OKnob Classic & Boutique are winged knobs that replace the factory knob on your effects pedals and allow you to tap into the full spectrum of sound parameters with your toes while playing. The GloKnobs are glow-in-the-dark versions of the Classic & Boutique OKnob models. The VKnob is an electric guitar volume controller. It is designed for greater volume sweeps and dynamic interactive volume control while you are playing. Pull off, push on, rock out!

available right now for you to get your grubby little paws on. So grub on, gearheads, and let us know what you think of the new drool-worthy equipment by Tweeting us your latest faves @performermag.

GEAR GUIDE

This year, Performer again made the annual trek to Nashville for Summer NAMM – the world’s premier music products trade show – to track down the coolest, hottest (can something be cool and hot at the same time?) gear coming your way in 2013/2014 and beyond. Some of these products were just announced and will ship later in the year (or in the New Year), while some are

For more on NAMM, head to www.namm.org, where you’re likely to spend a few hours…

Livemix Personal Monitoring Systems Prices Vary Per Module

Tactical Black Custom Paracord Guitar Straps $125-500 According to their site, Tactical Black Custom Paracord’s mission is as follows: “Our purpose is to design you bad ass custom paracord wear, period. We have mostly bypassed the ‘survival’ bracelet in favor of skulls, hexnuts, and killer looking designs that are unique to us.

Being both trainers for military and law enforcement, as well as avid musicians we want to give you options from tactical to stage performance!” These custom straps are truly one of a kind, made with U.S. 550 paracord. Each strand holds 550lbs of force are there at least 14 of them in each strap! To make these truly bad ass, they combine D rings and skulls to the straps that give it just a killer look. There are many colors to choose from and the company is open to many custom options. Make your own today!

If the Livemix feature set reads like a live musicians wish list, that’s because it is. Nearly every person on the Livemix design team is actively involved in playing live music on a weekly basis. Features like studio quality audio and processing on each and every channel, naming of performers, the ability to jump in and help someone with their mix from your own control surface, USB recording, and many more were all features that the Livemix team noted were lacking in the systems they were using. So they created one that had everything that they needed and wanted.

With the innovative Mirror Mix system, you can help dial in a mix or tweak a setting for any other mix in the system. This makes it easy for any performer or front of house mixer to adjust a personal mix on stage.

Tattletale Portable DIY Wireless Alarm Systems $369 Need to secure your gear on the road or at home? Want some added piece of mind for that new home studio? With technology that protects nuclear power plants, Black Hawk helicopters, and the United States Constitution, Tattletale’s dependable security relies on HALO Technology. Tattletale can give you 300 feet of unbeatable protection. Able to incorporate 50 additional sensors into its system, HALO Technology can protect it all. Their patented Rattlesnake Technology takes portable, wireless commercial security to the next level. Because of Rattlesnake Technology, the Tattletale cannot be tampered with once it is activated. As soon as it is triggered, Rattlesnake Technology will contact you or authorities in just six tenths of a second. How’s that for speed?

SEPTEMBER 2013 PERFORMER MAGAZINE 53

GEAR GUIDE

Coolest Products from Summer NAMM 2013 (continued)

Casio Privia Pro PX-5S Stage Piano $999 The new Privia PX-5S redefines the stage piano category with unprecedented sound quality and performance features in a lightweight design that is supremely portable. Featuring tone editing, insert effects, MIDI controller capabilities, an 88 Key, Tri-Sensor Scaled Hammer Action II Keyboard and weighing only 24 lbs., the Privia PX-5S is ready to take stage. In addition to Privia’s award winning grand piano sounds, the PX-5S has an arsenal of newly developed sounds including classic electric piano, harpsichord and clav sounds. Some of these tones are complete with release samples, amplifier and speaker simulations for an incredibly authentic experience. To easily access the sounds you need for your performance are Stage Settings. Each Stage Setting configures up to 4 keyboard zones, knob / slider assignments, phrases, arpeggios and effects settings.

ToneGear’s SpiderCapo $30

The Engle Guitar Hammer $29.99 with case Mark Engler’s invention is perplexing at first glance. It is slender with a specialized plastic mallet on one end and an exotic wood handle on the other, which may confuse anyone trying to determine its purpose. However, this West Chester University student’s curiously clever invention will change the musical world by giving guitarists a new way to play their instruments.

Engler’s design - a guitar-hammer or percussion mallet - allows for more tonal variation than traditional guitar picks. The head of the mallet, shaped like an elongated eye, is composed of molded plastic; its shape, weight, and angle are key elements of its design and function. He dubbed the musical accessory “The Engle,” as in “a new angle for playing the guitar.”

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This universal partial capo lets you capo each string individually, which is a pretty cool innovation over standard capos. Play hundreds of tunings without detuning the guitar. It’s designed for acoustic, electric, classical, and all other makes and models. You can capo all 6 strings like a regular capo with fine tuning per string, plus play all the bar chords and guitar riffs you already know and still have open tuning. Play melodies with open string accompaniment and change guitar tunings in live performance. Simply put, the most versatile capo on the market today. *some descriptions courtesy of their manufacturer

INFANEM

Instruments for a New Electronic Age… www.infanem.com

PROS

Plenty of range, great sound.

CONS

Plastic casing on microphone.

Wireless systems used to be complicated, and at times the sound quality suffered; Shure’s new BLX system has solved those issues, with a simple, easy-to-use unit.

Connect the receiver to the PA system, turn on the mic, select a channel, and sing away.

The receiver is quite small, and the controls and display are so easy, even a singer can do it.

Selecting the channel is easy - simply match the channel on the receiver to the one on the mic, and you’re done. With 12 channels, you can even use multiple systems without any overlap. As with the new digital systems, there’s no chance of interference, and the clarity is absolutely superb. This system can also be used with a (non-included) belt pack for instruments or other microphones, making this a scalable solution for groups.

Shure’s SM58 has been an industry standard since its release, and sound-wise, the Beta 58A not going to ruin their reputation. With plenty of clarity and range, about 300 feet, there should be no problem on any stage. One big thing, though: in order for proper signal, the receiver should be in line of sight with the microphone. The (2) AA batteries provide 14 hours of use in the hand-held mic.

The only downside is that the casing of the microphone is made from a high-impact plastic, not the metal chassis on most normal SM58s. It makes the microphone lighter, and in theory cheaper to make. Also, in theory, it isn’t as durable, so no mic drops are recommended!

So, singers be warned; there’s a simple, affordable wireless system simple out there, and there’s simply no excuse not to check it out.

-Chris Devine

RECEIVER

Adjustable output level Removable antennas for quick antenna distribution LCD with detailed RF and audio metering Up to 12 compatible systems

TRANSMITTER

One touch QuickScan locates the best open frequency Power and battery status LED Adjustable gain control Quick and easy frequency matching 300 ft. (91 m) operating range (line of sight)

If you’re into weird noises and pedals that can transport you into a strange and delightful world of fuzz and modulation, Portland, Oregon seems like a good town to be in. This is mostly because Ken Schurer, the man behind INFANEM, and fuzz queen Devi Ever are both in town and often collaborating with each other (check out their upcoming Console project). INFANEM pedals span a wide range of uses and functionalities, from the ‘so-obvious-why-hasn’t-anyone-done-this-yet,’ like the multiple stage signal boosting STEP, to the ‘who-in-their-rightmind-would-think-of-this-OMG-I-want-one,’ like the stereo, 8-stage, infinitely tweakable Faye’s Her. All the pedals are 100% analog, truebypassed, and designed and manufactured by Ken in Portland, but he’s hoping it won’t just be pedals forever. He started INFANEM to make new tools for electrified music by re-exploring the value of kinematics in sound creation, not just with analog FX but with new kinds of instruments and sound generators like tonewheel synthesizers, disc echo boxes, and movable fret stringed instruments made from engineering materials.

GEAR REVIEWS

SHURE BLX24/B58 Handheld Wireless System w/ BETA 58A $399 (street price)

Builder Profile

Second Voice (Standard and Deluxe) $215 and $295, respectively The Second Voice is a fully analog harmonizer that uses a phaselocked loop harmony circuit with separate fuzz and sub-octave circuits to produce rich tones and glitchy synth sounds. The harmony circuit is switchable between octaves and fifths, going from one octave down to two octaves up. The Deluxe adds buttons for individually bypassing the harmony and sub-octave circuits and adds on a resonant low-pass filter that is controllable with knobs and external CV to create much more synth-like sounds. Putting a guitar through one of these can, if used subtly, make it sound richer, or, if used in the extreme, make people question if you’re lying to them and if that thing in your hands is actually a keytar from hell. The Second Voice and the Second Voice Deluxe open up a wide world of sounds previously unavailable to guitar players, and give them the power to further create a more personalized sound. -Garrett Frierson SEPTEMBER 2013 PERFORMER MAGAZINE 55

FLASHBACK

1980s Fostex A-2 Reel-to-Reel For The Garage Band’s First Foray Into Tape Warmth

Vintage ad

BACKGROUND My best friends and I grew up playing music in the middle of Iowa in a small town where there was a small college. We would play shows at this college as high school students and got to know a lot of the college kids at the time. We often went to the student-run radio station to hang out and play records and be stupid on the air. There was a back room to this radio station where there was a ton of vinyl and other odds-and-ends. We found this reel-to-reel in the back with just enough dust on it to claim it as our own. If we wouldn’t have stolen it, someone else would have and certainly nobody was using it at the time.

HOW IT WAS USED At the time, it was the best sounding thing we had to record music on. This was in the mid-to-late’90s and we were still pretty young and therefore poor. We were totally into the idea of using tape, 56 SEPTEMBER 2013 PERFORMER MAGAZINE

but really didn’t understand why. The tape spun in circles like at real studios and we were sure there was extra warmth. I can remember listening to one of our practices trying to focus in on the sound of warmth; I feel like I found it for a second.

LESSONS LEARNED We held on to it and eventually, when we were recording our band Ticonderoga in the early2000s, we started experimenting with it again.

It was obviously not the best reel-to-reel on the market, but we found that through some nice John Hardy pre-amps it sounded great recording drums in the giant room. We also recorded straight into the computer, but when we A/B’d the computer with the 1/4” tape, we unanimously chose the Fostex; there was just something special about the natural tape compression.

I have found that it is so much more appealing,

aurally, and the experience of recording (and tinkering outside the computer rather than always trying to find a plug-in) is something cool.

MODERN EQUIVALENT I would say the modern equivalent is GarageBand.

In that, the reel-to-reel was for people who were just discovering what fidelity means.

ABOUT THE AUTHOR Phillip Moore is a vocalist/guitarist in a band called the Bowerbirds. For more, visit www.bowerbirds.org.

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

VISUAL CONTROL & MONITORING

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

ZLX is available in 12" and 15" versions.

Passive models also available.

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