performer magazine: october 2013

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

OCT 2013FREE

AUDIT YOUR RECORD LABEL

A MUSICIAN’S GUIDE TO CRAIGSLIST

MASTER THE ART OF STEREO PANNING

INTERVIEWSANDREW ST. JAMESFRANZ FERDINANDDEER TICKFIDLAR

T U R N I N G T R A G E DY INTO CREATIVE MOJO

KING KHANTHE SHRINES

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Wherever your passion for music takes you, listen for more.

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Visit audio-technica.com for details.For products purchased between October 1, 2013 and December 31, 2013.

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BRO U GHT TO YOU BY

ATLANTA

at The Drunken Unicorn

October 2

feat. FIDLAR

and The Orwells

Doors at 9:00 pm

$10 - ALL AGES

SAN FRANCISCO

at Great American Music Hall

October 25

feat. BOY

and Jeremy Messersmith

Doors at 8:00 pm

$20 - ALL AGES

PERFORMER

PRESENTS

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Receive up to $50 back on Audio-Technica’s advanced System 10 digital wireless.

Any 1 System: $10 Rebate • Any 2 Systems: $25 Rebate • Any 3 Systems: $50 Rebate

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Visit audio-technica.com for details.For products purchased between October 1, 2013 and December 31, 2013.

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OCTOBER 2013 PERFORMER MAGAZINE 3

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Obituaries

Local News

Tour Stop: St. Augustine, FL

Spotlights: FIDLAR, Shaun England

Top Picks: The best in new music

A Musician’s Guide to Craigslist

Sell Music on the Cheap with DistroKid

Legal Pad: Audit Your Label

My Favorite Axe: Dana “Deadly” Forrester

Recording: Stereo Panning pt.1

Studio Diary: The Easy Reasons

Gear Reviews: Maxon, You Rock

Guitars, Mantic Effects

Flashback: AMS DMX 15-80s Digital Delay

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D E P A R T M E N T S

VOL.23, ISSUE 10

Cover photo by Megan Cullen

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

Andrew St. James by Hannah Lowry

The 18-year-old San Francisco native discusses his passion for lyrical truth, and the need for more activism in today’s musical culture…

Franz Ferdinandby Will Cady

Scotland’s indie rock heroes are back with a new LP, and recently opened up to us about why removing cocaine and avarice from the music business would make the industry a healthier place…

Deer Tickby Vanessa Bennett

The gruff, gritty indie-folk rockers from Rhode Island discuss their hybrid method of songwriting, and why geographic boundaries won’t limit their productivity…

16 20 24

King Khan & The Shrinesby Brad Hardisty

cover story After a series of personal setbacks and losses, Arish Ahmad Khan and his surreal soul circus have conjured up the healing power of music to recapture their creative mojo…

4 OCTOBER 2013 PERFORMER MAGAZINE

ABOUT USPerformer Magazine, a nationally distributed musician’s trade publication, focuses on in-dependent 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 in-troduce you to artists you should know about.

MUSIC SUBMISSIONSWe 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 [email protected] attachments, please. Send CDs to:

Performer Magazine Attn: ReviewsPO BOX 348Somerville, MA 02143

CORRECTIONSDid we make a heinous blunder, factual er-ror or just spell your name wrong? Contact [email protected] and let us know, cuz we’re big enough to say, “Baby, I was wrong.”

EDITORIAL SUBMISSIONSIn 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 [email protected] 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?”

PUBLISHER

William House Phone: 617-627-9200

[email protected]

EDITOR

Benjamin Ricci - [email protected]

DESIGN AND ART DIRECTION

Joe LoVasco - [email protected]

EDITORIAL ASSISTANT

Glenn [email protected]

CONTRIBUTING WRITERS

Adam Barnosky, Ben Marazzi, Benjamin Ricci, Brad Hardisty, Brent Godin, Brian Palmer, Chris Devine, Elisabeth Wilson, Gail Fountain, Garrett

Frierson, Hannah Lowry, Jody Amable, Joe Nunez, John Greenham, Joshua Broughton, Julia

DeStefano, Lucy Fernandes, M.C. Rhodes, Max Specht, Michael St. James, Rurik Schtaklef, Tara

Lacey, Taylor Haag, The Grimm Generation, Vanessa Bennett, Vincent Scarpa, Will Cady,

Zac Cataldo

CONTRIBUTING PHOTOGRAPHERS

Abigail Schwamm, Ali Onasty, Andy Knowles, Anna Webber, Ashley Evens, Ben Sklar, Brad

Hardisty, Chris Lawrence Betea, Jaypix Belmer, Matias Corral, Megan Cullen, Michael Hudler, Michelle McGrath, Miron Zownir, Pete Weiss,

Peter Ellenby, Rick Carroll, Rosalyn Lee,Tiger Lilly

ADVERTISING SALES

Kathleen Mackay - [email protected] Rice - [email protected]

PO BOX 348Somerville, 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.

performermag.com /performermagazine @performermag

Volume 23, Issue 10I’ve decided to use my little soapbox this month to present an open letter to the independent music community, and it concerns our choice to ask you for (gasp!) a physical copy of your latest record.

We realize that it’s 2013 and you probably have a digital copy of your new album that you could easily send to us. You probably have it handy right now. But if we specifically ask for a CD, take it for what it is - a compliment - and don’t throw a tantrum or have a complete meltdown that you now have slap $1.99 worth of postage on an envelope.

HINT: we don’t ask everyone who emails us for a physical copy - that means we probably like you :)

So, instead of throwing that infantile fit because you think it’s utterly unfair to be asking you to

spend a measly buck or two at the post office, consider this: we’re likely going to be spending thousands upon thousands of dollars to promote your band and your new record if we pick you up for coverage (between copy-editing, design, layouts, pre-press, printing, paper, ink, binding, packaging, shipping, regional distributors, etc).

Keep in mind that it’s also entirely likely that we’re spending more to promote your record than your own label is, especially if you’re on an indie or if the label is, well…you.

You want our obnoxiously smug advice? Next time, just think hard about complaining about this tiny little investment in your career, and really make sure the hissy fit is worth it. We’ll be thinking doubly hard about our investment in you, as well.

F R O M T H E T O P

P.S. – just why the heck would we need a physical copy of your CD in the first place? Well, lots of reasons, actually. Some folks just prefer to listen on a high-end, well-calibrated stereo (myself included) instead of tinny laptop speakers. I mean, wouldn’t you rather have us listen to an uncompressed version of your music in the best listening environment possible? Also, some of our writers like to listen in the car, and popping a CD in is still easier for some folks than fumbling with their iPod/aux-in controls. And then there’s the flexibility we have in assigning the disc for review. We can rip it into any format we choose, we can pass of the physical CD to one of our writers who prefers to receive music that way, and we can also get full liner notes and production credits much easier from your CD than we can by bugging your label.

Howdy, y’all!

Cheers,-Benjamin Ricci, Editor


Terry Iovino, 26Vocalist, Product of WasteTerry Iovino, lead singer of the Rhode Island hardcore band Product of Waste, was killed in Providence trying to cross Route1-95 South on foot, according to reports. The Providence Journal reports, “Terrence Iovino of East Providence was taken by rescue to Rhode Island Hospital, according to Lt. Eric LaRiviere of the state

police. LaRiviere said that, according to a witness, the [Iovino] apparently was trying to cross the southbound lanes. There are no charges pending against the driver of the car.”

Sid Bernstein, 95Beatles Concert Organizer Sid Bernstein was an American music pro-ducer and promoter. Bernstein changed the American music scene in the 1960s by bringing The Beatles, The Rolling Stones, Herman’s Hermits, The Moody Blues, and The Kinks to America. He was also the first impresario to organize rock concerts at sports stadiums. Bernstein went on to

organize further concerts for Lenny Kravitz, Frank Sinatra, Jimi Hendrix, Laura Branigan, Melanie and Sly & the Family Stone.

Josh Burdette, 369:30 Club Manager,Washington, D.C.A report by The Washington Post states, “The popular Burdette cut an imposing figure outside the Washington music venue [9:30 Club], standing 6-foot-4 and weighing more than 300 pounds. But he was widely regarded as a gentle person who mostly wanted to see people leave the

club with a smile on their faces.” Burdette’s official cause of death was ruled a sui-cide, according to the Maryland chief medical examiner’s office. He was only 36 years old.

Chris Friedrich, 32Bass Player, CaspianAccording to the band’s official announce-ment, “We write to you today with heavy hearts and indescribable sadness to tell you that our bass player, Chris Friedrich, died unexpectedly Sunday afternoon. We have lost a close friend, a true brother, and a presence that can never be replaced in any of our lives. Chris epitomized the

heart and soul of Caspian, and in our own ways - both individually and collective-ly - dedicate ourselves to honoring his memory…thank you for your thoughts and prayers during this difficult time.”

Adam Fisher, 33Sound Engineer & Tour ManagerAccording to The Brooklyn Vegan: “Though we don’t have many details, we are sad to report that the music industry is today mourning the loss of Adam Fisher, a sound engineer and tour manager who has worked for Bowery Presents, Knitting Factory, The Polyphonic Spree, Croco-diles, and many more. Those who knew

him, loved him, like the Dum Dum Girls, who already Instagrammed the picture [seen here] with the caption ‘love you adam,’ Young Prisms and NOTHING have also acknowledged the great loss. Rest in Peace Adam.”

Allen Lanier, 67Guitarist, Blue Öyster CultAllen Glover Lanier was an original mem-ber of Blue Öyster Cult. Lanier, originally from Manhattan, played keyboards and rhythm guitar for the band. Lanier wrote several songs for Blue Öyster Cult albums, including “True Confessions,” “Tender-loin,” “Searchin’ for Celine,” “In Thee” and “Lonely Teardrops.” In addition to

his work with Blue Öyster Cult, he also contributed to music by Patti Smith, Jim Carroll, The Dictators and The Clash, among others. He also dated Patti Smith for several years during the 1970s.

Amar Bose, 83Founder, Bose CorporationAmar Gopal Bose was an Indian-Amer-ican academic and entrepreneur. An electrical engineer and sound engineer, he was a professor at the Massachusetts Institute of Technology (MIT) for over 45 years. His research on acoustics led him to invent a stereo loudspeaker that would reproduce, in a domestic setting,

the dominantly-reflected sound field that characterizes the listening space of the audience in a concert hall. His focus on psychoacoustics later became a hallmark of his company’s audio products.

Ray Dolby, 80Noise-Reduction Pioneer, Founder of Dolby LabsRay Milton Dolby, OBE was an American engineer and inventor of the noise reduc-tion system known as Dolby NR. He was also a co-inventor of video tape recording while at Ampex, as well as the founder of Dolby Laboratories. He was also a billion-aire and a member of the Forbes 400 with

an estimated net worth of US $2.9 billion, as of 2008. Dolby died of leukemia on September 12, 2013, at his home in San Francisco at the age of 80.

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Limits Music Festival, and a number of other tour dates as they head out west from The Lone Star State. Live on stage, Okkervil River will not dis-appoint and their new album is sure to set the tone for an unforgettable experience.

For more info,visit okkervilriver.com.

AUSTIN

At the fresh-faced age of 23, Sascha Guttfreund of Scoremore Shows has some of the hip-hop industry’s big boys taking notes when it comes to promoting hip, young shows. The young entrepreneur started his promotions company Scoremore Shows while he was still enrolled at the University of Texas, with an investment of $1,500 he earned while waiting tables after class. With that, he began his business by using students to generate word of mouth, hand out standard fli-ers in strategic places around campus and outside other shows, as well as sell and deliver tickets to fellow students.

This basic model proved so successful that Guttfreund was able to pick up some major momentum by booking shows on a gamble, based on what he considered to be the next big thing. Flashback a few years and it was Guttfreund who first used his base of loyal student backers to promote the likes of Wiz Khalifa and Kendrick Lamar - both of whom have since seen signifi-cant traction in their respective careers. It was

by Tara Lacey

with successes like this that Scoremore earned a reputation as a trend spotter on the hip-hop scene. Most recently, Guttfreund is expanding into part-nerships with heavy hitters like C3 Presents, booking Austin City Limits Festival aftershows with Steve Aoki (poster, pictured), Waka Flocka Flame, and Borgore.

Now that Austin has become his proverbial playground with regard to booking and pro-moting the hottest in hip-hop, Guttfreund is expanding by booking full-on legs of artist tours. He is taking his student-driven model all the way to the bank and making a few new hip-hop stars in the process.

Guttfreund is always looking to add new talent to Scoremore Shows - from promotions to open-ing acts, his team has been rightfully been dubbed “your favorite rappers’ favorite promoters.”

Scoremore Shows Shakes up Hip-Hip Promotion in Austin Upstart Maximizes Student Participation to Drive Success

For more info, visitwww.scoremoreshows.com.

One Austin band has been quiet over the past two years, since the release of their last studio album, I Am Very Far, but indie darlings Okkervil River are changing that by staying true to the character- and story-driven songwriting that has made them a success. Okkervil River released their latest studio album The Silver Gymnasium, in an autobiographical format, which comes with a fold out map drawn by front man William Sheff. It depicts his childhood town of Meriden, NH, circa 1986, where his parents worked as teachers for a boarding school – the feel is reminiscent of Arcade Fire’s “We Used to Wait” mixed with a nod to Okkervil’s own “Stage Names” while telling Sheff’s own story. The project intertwines images from the map with mid-1980s photographs of the front man as a child.

Sheff conceived the album as a tribute to the spirit of pre-adolescence, meant to evoke the nos-talgic feeling of, in his words, “an action figure you found in the woods.” The map is designed to look

like one drawn from a child’s point of view, and the printed version has a legend with numbers corre-lating specific places to each song on the album. The group has also incorporated an 8-bit video game adventure into the listener’s experience to appeal to their fans’ own nostalgia.

It’s a bold and long overdue project that sets the tone for Okkervil’s much-anticipated fall tour, which kicked off in early September. This month will see the group back in full force at Austin City

Okkervil River Back with Unique Map-Based Concept Project

Also Incorporates 8-Bit Video Game into Fan Experience

by Tara Lacey / photo by Ben Sklar


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The Latest Update on Brown Bird’s David Lamb RI Folk Musician Receives Bone Marrow Transplant

“Friends, Family, Fans-By now you’re all probably aware that we’ve

taken a hiatus from touring due to Dave’s leuke-mia diagnosis. Over the past four months, he’s been receiving chemotherapy, recuperating at home and writing music as much as possible.

Earlier this week Dave was admitted to a Boston hospital to receive a bone marrow trans-plant. We are thrilled that this sort of treatment exists, and that we gained access to it so quickly! After several days of chemotherapy, Dave will be receiving his transplant today and will remain hospitalized for about a month, until his blood counts reach a level where it will be safe for him to return home.

The total recovery time for this procedure is one year. The first 100 days will be the toughest, since Dave’s immune system will be extremely compromised, but after that he should be able to slowly reintroduce normal life activities. While it

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 diagnosed with cancer. The duo was in need, financially, unable to perform live and facing mounting medical expenses. They set up a spe-cial fund for donations and the outpouring of support was nothing short of inspiring.

We received a third update from the group after our initial two pieces ran in print, and wish to share the letter, unedited, here.

will certainly be a financial and emotional chal-lenge, we are looking forward to the time at home to write new material.

To help offset the challenge, we’ve set up another fundraiser. You all have already been extremely generous, and it’s difficult to reach out to you again. Thank you so much for everything you’ve already done for us, and in advance for your continued support.

WWW.YOUCARING.COM/BROWNBIRDHELP

We can’t wait to be back out there, touring and seeing all your smiling faces. Bear with us. We’ll be back at it in two shakes of a lamb’s tail!

Much love and many thanks,MorganEve and DaveSeptember 3, 2013”

Passim Now Accepting Applications for 2013 Iguana

Music FundGrant Requests Accepted Through

October 15, 2013

Passim has announced the application pro-cess for the 2013 Iguana Music Fund grants is now open. The Passim Iguana Music Fund, a program of the nonprofit performance arts organization Passim, awards grants between $500 and $2,000 to individual artists with an affiliation to New England either by residence or tour history for specific career building projects and for projects that provide community service through music.

Areas of support include (but are not limited to) recording or manufacturing assistance, pub-licity & marketing support, instrument repair or replacement, additional equipment and instru-ments, special projects and other specific activities promoting artistic and/or professional growth.

The Passim Iguana Music Fund was launched in 2008 after an anonymous donor approached Passim with the idea to start a program to help local artists. In 2012, over $40,000 was awarded by the Passim Iguana Music Fund to 24 New England area musicians including Kristin Andreassen, Tom Bianchi, David Champagne,

Maya de Vitry. Antje Duvekot, Lorne Entress, Mark Erelli, Kristen Ford, Connor Garvey, Jenee Halstead, Ward Hayden, Matt Heaton, Shannon Heaton, Gregory Liszt, Alastair Moock, Aoife O’Donovan, Vinx Parrette, Hayley Reardon, Eric Royer, Laurence Scudder, Bethel Steele, Natalie Sara Weaver, Brian Webb and Natalia Zukerman.

“The 2013 Iguana Fund grant helped me cre-ate an album for kids with cancer which has now been distributed to nearly 1,500 patient families around the country,” says Alastiar Moock. “In an era when musicians are increasingly giving

away their work for free…patronage of the arts has never been more important. The Iguana Fund is one of the very best and most acces-sible organizations out there directly supporting musicians in their work.”

“Passim has a unique commitment to the Boston music community,” says Dan Hogan, Executive Director of Passim. “Passim has a great legacy of over 50 years, but we are constantly looking forward. Programs like Passim’s Iguana Music Fund and the campfire. festival allow us to nurture continuous generations of performers. Many of the grants we have provided have made a huge difference in the lives and careers of the artists who have received them.” To date, nearly $150,000 has been awarded. Recipients of the 2013 Iguana Music Fund grant will be announced in early December.

For more info, visit www.passim.org.


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NASHVILLE

Ford Thurston grew up in Pennsylvania and has been picking since the age of 8. Thurston has played with a number of bands includ-ing Barbara Blue, Taj Mahal, Brownie Mary and Vibro Kings before coming to Nashville six years ago. Since then, he’s played for Anthony Smith, Brynn Marie and Lucy Angel before landing in the current line-up of Bear Cub.

What is your current guitar and backline?I play a Gibson 335, a Tennessee Rose Gretsch and a Mario Martin Telecaster. I use two amps. A 1965 Fender Blackface Deluxe tied mono–stereo with a 1958 Fender Tweed Deluxe about two feet apart.

Who are you playing with in Nashville?I am playing with Bear Cub, that’s my main band which is like The Band meets The Beatles with a little bit of Bright Eyes. I have been doing a lot of studio work. I have been producing a lot of…I’m not at the point where I’m getting a lot of the bigger signed acts, but, I’m doing a lot of B-level acts from out of town and I am working my way up producing.

What is your high point so far in Nashville?Oh man, just being able to say I get to hang out. You live in a town like this and your heroes are from here and I have become friends with Tom Bukovac. He’s a lead ses-sion player and just being able to hang gives you a reason to always strive to be better.

For more info, visit facebook.com/ford.thurston.

Ford ThurstonGuitarist, Songwriter, Producer

Get to know...

interview and photo by Brad Hardisty

Higher Education OptionsAvailable in Music City

article by Brad Hardisty

article by Brad Hardisty

As an independent musician who wants a lifetime of playing and being part of a music scene, it may be important to consider a music related degree.

Belmont University’s Curb College of Entertainment and Music Business, located near Music Row, has developed one of the most comprehensive Music Business curriculums that connects directly with the industry to offer internships in publishing, administration, artist management and business management.

Belmont University’s School of Music offers undergraduate and graduate courses in a cre-ative environment in the heart of Nashville. The CEMB operates three distinctive recording facilities: Robert E. Mulloy Student Studios in the Center for Music Business on the Belmont

University campus, the world-class Ocean Way Studios located on historic 17th Avenue, and Historic RCA Victor Studio B, known as the “Home of 1,000 Hits,” located in the heart of Nashville’s Music Row.

Many musicians also attend MTSU’s music programs, which offer programs in every-thing from Composition to Business as well in Murfreesboro, just 40 miles southeast of Nashville. MTSU also features a student-run indie label called Match Records, which gives stu-dents the opportunity to get involved in all aspects involved in running a label.

For more info, visitwww.belmont.edu and www.mtsu.edu.

Considering Music-Related Degrees for the Independent Musician

“We don’t want other artists who come

into this town, that are friends of ours, to think

that we are anything other than the most open

minded musicians in the world, but ‘damn

those boys can play banjo, fiddles and gui-

tars and aren’t they great singers and melody

makers.’ So the thing we realize is missing in

Nashville is EDM, which is, hopefully, every-

body knows this by now, it is the most exploding

genre of music that we have on this planet.”

- Big Kenny Alphin, Big & Rich

Recently, Big Kenny Alphin held a press con-ference to explain his recent Electroshine project, remixing country songs with well-known EDM producer Chewbacca and the potential for more EDM mashup remixes with country music.

This year, Swedish DJ/producer Avicii had a major international hit, “Wake Me Up,” that mashes EDM and bluegrass; it features vocals from Dan Tyminski, best known for the O Brother, Where Art Thou? soundtrack song “I Am a Man Of Constant Sorrow.”

Nashville banjo player, Charles Butler, made a YouTube cover of Daft Punk’s “Get Lucky” and was trending twice as many views that led to DIY mashups of the two versions.

The problem is Nashville has everything, except a thriving EDM scene. Big Kenny Alphin’s press conference was an open invitation for talented EDM DJs and producers to come to Nashville and work with the industry, and also to indie artists who offer melodies and instru-mental skills to combine with the EDM culture to make potential hit records.

For more info, visitwww.electroshine.tv.

EDM Artists Wanted in Music CityCountry/Electronic Mashups on the Rise in Local Scene

call: 800-356-1155 www: powderfingerpromo.com

PUBLICITY AND TOUR SUPPORT(print press and viral)

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

RADIO PROMOTION(terrestrial, satellite, internet)

Stage Series All Hercules. More bang for your buck.

MS432B MS202B SS200BBH-Base

2-In-1 Boom Smart AdaptorQuick-Turn


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ATLANTA

Gavin Frederick established StickFigure Distribution and Mailorder in the win-ter of 1992 to cater to the underground and independent music scene. Based in Atlanta, StickFigure’s roots are in the sub-culture that blossomed in the 1990s; the company has expanded to include bazillions of independent and small-label releases from artists around the globe.

What was the driving force behind StickFigure’s establishment? I established the distribution company to help labels and artists with distribution. I also love keeping up with all of the new music that is out there in the world.

How’s business? Unfortunately business for physical product is SLOW. MP3 sales and digital streams are the future of recorded music consumption. There will be a niche market for vinyl for many years to come, and, while CD sales are declining, CDs are still more than 50% of the recorded music business worldwide.

Any favorite releases? Well, for titles that StickFigure stocks, my current favorites are The Body’s Master We Perish 12-inch/MCD, Qurious’s Void Vanishing CD and Lid Emba’s Terminal Muse: Yellow CD. I also love puppies and kit-tens, but don’t distribute them. Certainly not through mailorder, you barbarian.

What’s next? I’ve been streamlining StickFigure’s busi-ness model and focusing on making sure that the demand is met for the exclusive and primary releases that are available through StickFigure. www.stickfiguredistro.com.

Gavin FrederickStickFigure Distribution and Mailorder

Get to know...

interview by Joshua Broughton

Tree is a big name in the Atlanta music scene. They have great staff, top-shelf gear, and an incredible list of clientele. Tree is planted (don’t cringe please) in the northern Atlanta ‘burb of Norcross, directly north of the barren but musically vibrant commercial/industrial area of the city. They have four distinct rooms in which musicians can lay down sound all with a different character and gear list.

STUDIO PROFILE

EQUIPMENTSSL boardsPro Tools DAWsWaves Plug-insTascam and Studer tape machinesYamaha and Genelec monitorsNeve and Manley mic-preampsNeve and Tube Tech compressionTelefunken, AKG, Sennheiser and Neumann microphones

PAST CLIENTSWhitney HoustonSevendustLil WayneElton JohnAkonShawn MullinsThe Indigo Girls

CONTACT INFOPhone: (770) 242-8944Email: mali@treesoundstudiosWeb: www.reesoundstudios.com

Tree Sound StudiosAtlanta’s Greenest Studio Option

by Joshua Broughton

The Richard Ellmann lecture series at Emory University has played host to some seri-ous intellectual muscle over the years since its inception in 1988. One lecturer is chosen every couple of years to talk with the staff and student body of the university, with tickets being offered to the public. The space is extremely limited; the free tickets are generally spoken for within min-utes of the initial public offering, with staff and

students invited to participate in a lottery. The guest lecturers are always literary in

nature, from wonderfully creative and prolific authors like Salman Rushdie and Margaret Atwood all the way to heavyweights in the (Ellman’s own native) world of criticism; Denis Donoghue and Henry Louis Gates, Jr. are two wonderful examples.

Paul Simon, though, is obviously different. He’s a songwriter. He writes pop music. So what’s he doing there?

It’s been nearly 50 years since the first Simon and Garfunkel record hit shelves. In that time, Simon has written a steady stream of some of the most influential folk music of the western-dom-inated era - moving from Everly Brothers-type rock and roll to jazz to world music and back again; and, maybe most importantly, penned some incredible and timeless lyrics. This last bit gives us a clue about how he’s sharing a stage with some of the best literary minds of the last fifty years. Would the likes of Joyce and Yates be moved by “staccato signals of constant informa-tion?” One hopes so.

His series of 2013 lectures cover, interest-ingly, “an overview of the historical antecedents of the music made between 1966 and 1970.”

For more info, visit www.emory.edu.

Emory University Hosts Paul Simon

Legendary Singer/Songwriter Repeats Lecture Series


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GEAR

PRESS

RECORDING STUDIOS

ST. AUGUSTINE, FL

BUDGET RECORDS AND CDS212 San Marco Ave.St. Augustine, FL (904) [email protected]

MUSIC MATTERS196 State Rd. 312St. Augustine, FL (904) [email protected]

THE CONCH HOUSE57 Comares Ave. St. Augustine, FL (904) 829-8646www.conch-house.com

THE ORIGINAL CAFE 11501 A1A Beach Blvd.St. Augustine, FL (904) 460-9311www.originalcafe11.com

JACK’S BAR-B-QUE691 A1A Beach Blvd.St. Augustine Beach, FL (904) 460-8100 www.reverbnation.com/venue/1090906

JOHNNY’S GUITAR SHOP & REPAIRS 490 State Rd. 16 St. Augustine, FL (904) 315-0449staugustineinstrumentsguitar.comjohnnysguitarshop@yahoo.com

GRAMPA’S MUSIC804 A Anastasia Blvd.St. Augustine FL (904) 819-5797 [email protected]

Located in Northeast Florida between the larger cities of Jacksonville and Daytona Beach, St. Augustine has a relaxed and interesting atmosphere all its own. Referred to as America’s oldest city, St. Augustine has an historic region, as well as a beautiful 40 mile stretch of beach right off of A1A, the coastal road of the Atlantic Ocean via eastern Florida. St. Augustine is con-venient to Jacksonville, Orlando, and Daytona airports, as well. –Gail Fountain

ECLIPSE RECORDING COMPANY 4425 U.S. Highway 1 South, Suite 107 St. Augustine, FL (904) 794-1872 [email protected]

THE FISH TANK RECORDING STUDIO119 Bravo St.St. Augustine, FL (904) [email protected] www.thefishtankrecordings.com

ST. AUGUSTINE RECORDOne News Place St. Augustine, FL (904) 829-6562 www.staugustine.com


SPO

TLI

GH

TS

FIDLAR

GENRE: Punk

HOMETOWN: Los Angeles, CA

ARTISTIC APPROACH:To make sweaty, loud rock n roll.

www.fidlarmusic.com

by Rurik Schtaklefphoto by Ali Onasty

If you have not heard or seen FIDLAR yet, you soon will. They are quickly becoming the visage of the surf/punk scene. After hap-hazardly meeting in an East LA studio, they embarked on a project that started with gear modifications and sound engineering.

“I started interning at the studio and liv-ing there. I met Elvis [Kuehn] at the studio; he was interning as well,” Zac Carper (guitar/vox) explains.

Bandmate Brandon Schwartzel adds, “The live aspect [of the band], which most people focus on, came second; we started out record-ing in the studio.”

In 2012, FIDLAR stumbled upon the oppor-tunity to tour nationally, opening for The Hives. “The first show was in Washington, D.C. We showed up to the venue while they were sound checking and they immediately stopped sound check to introduce themselves; it set the bar for the entire tour,” Schwartzel says. The band cred-ited The Hives for showing them the ropes, as well as being great mentors. “They are the best exam-ple of a band that did it right, how they handle themselves as a band and as a business.”

Since last summer, FIDLAR has caught fire, touring Europe’s festival circuit as well as mak-ing new music. If you have not seen the music

video for “Cocaine,” it stars the well-respected Nick Offerman of NBC’s Parks & Rec, who is a friend and fan of the band. The guys collectively explain how surreal it was to shoot the video, which was Offerman’s original idea.

“We filmed some of the shots on Memorial Day, and Nick was walking though an East LA park pissing on shit. And we were looking around like, ‘No little kids, if any kids show up we have to shut it down.’”

Be sure to catch FIDLAR on their North American tour, starting this month.

“THE LIVE ASPECT [OF THE BAND],

WHICH MOST PEOPLE FOCUS ON, CAME

SECOND; WE STARTED OUT RECORDING

IN THE STUDIO.”


SHAUN ENGLAND

Singer/songwriter and actor, John Legend, is quoted as saying: “Soul is about authentic-ity. Soul is about finding the things in your life that are real and pure.” Enter Shaun England, an Oxford-born singer/songwriter dubbed “Boston’s Man in Black” by Rev. Joseph Fagan (James Straight and the Wide Stance), with ticket stubs from Sun Studios in Memphis, TN, and from Graceland, and a program from the Ryman Auditorium in his guitar case.

An introspective individual with deep-seated American roots, England cites Willie Nelson as initial inspiration: “After seeing him

GENRE: Gothic Country

HOMETOWN: Cape Cod, MA

ARTISTIC APPROACH:Creating from the dark corners of the city

and worldly experiences.

www.shaunenglandmusic.com

by Julia R. DeStefanophoto by Michelle McGrath

[Nelson] on Austin City Limits, I realized how such a medium could enable me to say what I wished.” The influences of Joe Strummer, Bob Dylan, Patti Smith, the Sex Pistols, and Dead Kennedys would follow, each serving to instill within England the drive to create, and the desire to become a storyteller. Little did he know that such an endeavor would lead to the development of his own brand of poignant gothic country and, released in 2011, a two-song single showcasing a collaboration with renowned jazz musician Mike Turk.

England’s forthcoming debut full-length,

Star Crossed Lovers, is an examination of the human condition, in addition to reflections on both autobiographical and worldly experi-ences. While the rumba “Tied to the Tracks” provides a tongue-in-cheek look at a failed rela-tionship, prisoners of war inspired “Tomorrow I Dig My Grave.” As inspiration stems from the dark corners of the city, a heart-on-sleeve sense of loss is ever-present, one that evokes the real-ism of Charles Bukowski. “Joe Santerre (bass) and John Disanto (drums) bring high energy and eclectic funk/rock backgrounds, while Jeff Williams (piano) and Dianne McAdam (back-ground vocals) also influence my approach. Star Crossed Lovers features a full band and was primarily recorded live in-studio. I feel it important to document events, much like Joe Strummer did, in a method that pays homage to those who have come before.”

“I FEEL IT IMPORTANT TO DOCUMENT EVENTS, MUCH

LIKE JOE STRUMMER DID, IN A METHOD THAT PAYS

HOMAGE TO THOSE WHO HAVE COME BEFORE.” SP

OT

LIG

HT

S


Peter Ellenby


interview by Hannah Lowryintroduction by Benjamin Ricci

At just 18, Andrew St. James is likely

to make songwriters twice his age

throw up their hands in defeat. The

San Francisco native blends a cool

cocktail of folk, soul and vintage rock

and roll while peeking out from behind

his decidedly hip Ray Bans. All of that

wouldn’t mean a damn, though, if the

music weren’t blindingly brilliant,

timeless and genuinely soothing all at

once. Writer Hannah Lowry recently

caught up with St. James after

the debut of his video for the track

“Cassidy,” which recently premiered

on performermag.com.

ANDREWST. JAMES

TACKLING POLITICS THROUGH LYRICS

AND BLOWING AGEISM OUT OF

THE WATER


“IT SEEMS LIKE THERE AREN’T

ENOUGH PEOPLE WHO WRITE MUSIC

ABOUT THE PROBLEMS IN THIS

COUNTRY. I THINK WE’RE IN GREAT

NEED OF ARTISTS WHO CAN STEP

OUT AND WRITE ABOUT WHAT’S

HAPPENING.”

Ashley Evans


Andrew St. JamesDoldrums

Standout Track: “Cassidy”

ListenNow

performermag.com

What was your musical childhood like? When did you start making music and what made you decide to take it to the next level?

As a child, I was in a boys’ choir - The San Francisco Boys Chorus – by the time I was 11 years old. I loved it, and was really into the music. At 9 or 10, the choir went to Jacksonville, Wyoming for a jazz festival that was televised on national TV. I remember the feeling of traveling and performing making everything worthwhile, and that’s when I knew I wanted this. Took me a while to start writing; I was bad then, but I knew since I started performing professionally that I always wanted to do that.

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

I use it for sure. Vocals, obviously. When I was 9, I started piano. I played a lot, I’m a jazz pianist, and so I play that on my album. I think on piano and transpose to guitar, since the guitar is more practical.

How did your parents take it?They were always very supportive. I’m stub-

born; from a young age, it was obvious that I wasn’t gonna do anything else. I wouldn’t do work, but I’d sit around and listen to records. I didn’t do awesome in school but I got by; it was obvious then. They’ve been supportive since I started and until now, always behind me. There was initially a scare regarding the risks of mak-ing music a career, and how I will be scraping by. But they realize that it’s not important to me. If I’m successful, cool, but If I’m not playing music I won’t be happy.

Tell me a bit about your approach to writing. Do you start with the lyrics or music first?

I write in two ways. Sometimes it’s spur of the moment and I’ll have a chord progression and I’ll be stuck to it and sing stuff, gibberish really, but words do come. Later I sit down with a pad

of paper and write everything out. I also start with lyrics as poems, free verse, and I take them and interpret them into songs. It’s a bit harder that way, more tedious, but if everything is nice enough, it’s worth it.

Where would you say your music comes from? What inspires you the most?

A lot of my music is inspired by parts of my life and growing up in San Francisco. A lot of the feeling comes from people I know, and have had the privilege of knowing. I learned a lot from see-ing their struggles and who they are. I’ve always been pretty politically aware, pretty involved. I’ve been able to personally understand and cre-ate opinions on the way things work, and the way people are in advantage or disadvantaged by the systems in the United States. Understanding what’s going on has informed a lot of my writing, because I think it’s important to write about [cur-rent events]. There’s a lot of fucked up things [in the world], and you need to get people to think about [them] so they don’t forget.

So tell me a bit about your fan base…I started with friends obviously. There was

a base of people I saw every day at school or met around musical life as a kid. Growing up, a lot of people would come out and see bands play, so word of mouth, people started to keep coming. There’s a crowd sort of following me around, which is awe-some, and a lot of them seem to be over 45 and under 70, and they hear what I’m saying. That’s the core of my fans. That’s pretty cool to see what they’re interested in and thinking about.

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

Piano and acoustic guitar, mostly. I love vin-tage gear; my producer has sweet old vintage gear…I use Hammond organs and I play a Gibson J-45 acoustic a lot. I bought it about two years ago, and I play an old Epiphone electric when I’m

recording, I don’t perform with that. I use a Fender Jazz Bass, too, which is really new [for me].

If you could play with any one band in history, on stage in front of a crowd, who would it be?

You couldn’t play with the Beatles because there are already four of them. Rolling Stones? Too much rock…Bob Dylan wouldn’t work out, either. Grateful Dead sounds like fun. If I had the opportunity to do that, I’d be happy…

Give me your Top Ten anything. 1. Coffee.2. Gibson J-45 Acoustic Guitar.3. Guinness. [Editor’s note #1 – we don’t

condone underage drinking…wink]4. Fake bamboo plant.5. New York Times - I’m an avid reader,

unfortunately.6. Farm festival produce. I was tricked into

somehow ordering corn, so now I have corn being delivered to my house.

How many more do I have? [Editor’s note #2 – you have four more, Andrew. See kids, it pays to stay in school…]

Any last advice for our readers? I’m thinking about saying no because I don’t

wanna sound like an asshole, but you gotta go out there and play what matters. In my opinion, it seems like there aren’t enough people who write music about the problems in this country. I think we’re in great need of artists who can step out and write about what’s happening. They may be scared of getting yelled at, but I think that’s a big role that needs to be filled.

www.facebook.com/andrewsaintjames


He explains, “I reckon that with a band, you should aspire to be a similar pivotal point [as the assassination of their namesake, Franz Ferdinand] – that before your band, things were never quite the same as they were after them. I’m not talking about a wider global context, neces-sarily, but what’s around you. I don’t know if we got there, that’s not for us to decide, but it’s a pretty good aspiration to have.”

Kapranos, successful in his own eyes or not, has crossed an undeniable line of exposure. So

by Will Cadyphotos by Andy Knowles

Start a rock band and rule the world.

It’s an ambition at the heart of music

in the 21st Century and it’s a reality

for which many aim but few have

seen. Among those few are Alex

Kapranos, lead singer and guitarist of

Glasgow rock band Franz Ferdinand,

whose ubiquitous 2004 single ‘Take

Me Out” launched the band into the

stratosphere, pushing their debut

self-titled album to No. 3 on the UK

charts, No. 32 in America, and No. 12

in Australia. Then came the awards,

FRANZ FERDINANDON RE-WRITING THE RULES OF RECORDING BY DISPENSING WITH THE BULLSHIT

the Mercury Music Prize, the Ivor

Novello Award, two BRIT Awards

and…well, what does it really matter?

“I just think of it as another song we

wrote,” says Kapranos when asked

about the effect “Take Me Out” had

on his career. “I’m very happy that it

allowed me to buy everything that is

in my studio, but beyond that, it’s just a

song.” It’s a pragmatic response that is

not so surprising when fitted into the

front man’s apparent high ambitions.

we spoke with him on the build-up to Franz Ferdinand’s upcoming album, Right Thoughts, Right Words, Right Action (Domino Records) to learn how to piece together a record when every-one is watching…without getting twisted.

Lesson one for Franz? Don’t talk about it.

Until now, the band has been relatively mum on the build-up to this new release, wanting to avoid the pitfalls of the PR hype machine that they

felt weighed down their previous effort, Tonight: Franz Ferdinand. Or in Kapranos’ succinct words, it was “tainted by bullshit.” So they began small in February of 2010 with a brief mention that the band had begun working on a new album. Since then, previews of the upcoming material were trickled out only in direct-to-fan transmis-sions at live shows. It wasn’t until the official album announcement three years later that the band opened the door to the media, and began discussing the direction of their new record. Perhaps ironically, or perhaps fittingly, their few words were almost immediately misconstrued.

“It’s always a form of Chinese whispers where a quote gets taken out of context to under-mine its original meaning,” laments Kapranos on the results of a recent interview that has since become the foundation to the entry for Right Thoughts, Right Words, Right Action on Franz Ferdinand’s Wikipedia page. “I used an Alasdair Gray novel as an example of emotional vulnerabil-ity that I appreciated. Then it became misquoted as if we had written an album inspired by the book, each song is about something different from varied sources of inspiration. There wasn’t a uni-fying concept that the songs were written to, but a couple of themes do appear across the LP, such as the desire for spiritual answers in a secular age or emotional paradoxes.”

When asked about the album title, Right Thoughts, Right Words, Right Action, an appar-ent allusion to the Buddhist Noble Eightfold Path, Kapranos says, “Yes, it is [a nod to the Eightfold Path]. In the context of the song ‘Right Action,’ it felt like a good response to the emotional dis-sonance of the verses. I am not a Buddhist myself, and none of the band are, but what I love about the expression is that it is not an answer, but


NORTH ARMERICAN FALL DATES

OCT 4 - Houston, TX - House of BluesOCT 5 - Dallas, TX - House of BluesOCT 4-6 - Austin, TX - Austin City LimitsOCT 8 - Lawrence, KS - The GranadaOCT 9 - Minneapolis, MN - Skyway TheaterOCT 10 - Chicago, IL - Vic TheatreOCT 11-13 - Austin, TX - Austin City LimitsOCT 15 - Nashville, TN - Cannery BallroomOCT 16 - Columbus, OH - The LC PavilionOCT 17 - North Bethesda, MD - Music Center at StrathmoreOCT 19 - Upper Darby, PA - Tower Theatre OCT 20 - Boston, MA - Orpheum TheatreOCT 22 - New York, NY -Hammerstein BallroomOCT 23 - Montreal, QC - MetropolisOCT 24 - Toronto, ON - Kool Haus

something that provokes you into working out what the answers may be yourself. There’s an underlying quiet positivity in those words that seemed to sum up the mood of the LP quite well.”

This brings us to lesson two: The art is in your personality.

Kapranos: “As for the music, there were a couple of simple principles. We wanted it to sound like Franz Ferdinand, but new simultaneously. We have a strong personality as a band and I feel that’s something to be embraced. That personal-ity comes from the way we play together as four individuals in a room together, so we recorded all the songs live in the studio and no ‘correction’ in Pro Tools. By live, I mean that there was no con-struction of songs where the drums go down first, then the bass, then the guitars, etc – it’s the sound of us together and all of the irregularities you find there. To me it’s the difference between a photo-graph and an image that has been touched up in

Photoshop. The latter looks perfect, but bland – the opposite of what music should be. The other principle was the order in which we approached the writing: ideas-songs-performance-recording. I know that probably sounds obvious, but it’s not the way we made the last LP, which came about through the assembling of fragmented melodic and rhythmic ideas, then the overlaying of a lyric at the end. Same elements, different order: makes for a very different result.”

The result for Franz Ferdinand is a record stuffed with their distinct, slinky, brutish grooves and brushed with their signature hooks, elegant and undeniable in their simplicity. The musical arc of the record touches on a broad range of influ-ences beyond the already expansive sonic quilt of their Glasgow rock forbearers. The stand out track is “Evil Eye,” the likely-to-be follow up sin-gle to the current anthemic lead, “Right Action,” features a bouncy yet brutal beat, pumping a groove with an oddball spookiness reminiscent

“IF YOU COULD REMOVE AVARICE, GREED

AND COCAINE, THE MUSIC INDUSTRY

WOULD BE A MUCH BETTER PLACE.”


Franz FerdinandRight Thoughts, Right Words, Right Action

Standout Track: “Evil Eye”

ListenNow

performermag.com

of “Thriller.”Choosing a single stand-out is, of course,

a challenge for Kapranos, as he admits, “I like ‘Evil Eye’ for its bold pop oddness, but it’s maybe some of the more emotional songs that mean more to me, like ‘Stand On The Horizon,’ ‘Fresh Strawberries’ or ‘The Universe Expanded.’ Why? It’s just the way they make me feel. Ach, it changes every time I hear it back.”

Another defining component of Right Thoughts, Right Words, Right Action for Franz Ferdinand is the amount of collabora-tion on the record.

When asked how they went about choosing their co-conspirators, Kapranos gives us what is perhaps lesson three in making an album when everyone is watching: Collaborate.

“[We chose] people who we felt were our peers, but approaching what they made in a differ-ent way from us. Alexis and Joe of Hot Chip and Terje are coming from the electronic world, while

Bjorn has that pure Scandinavian sense of pop,” explains Kapranos. “But all of them, including Mark Ralph the engineer, were people we wanted to hang out with and spend time with. All of them make music that has a distinctly human quality to it. There’s that irregularity and soul that I was talking about earlier. We have a pretty good idea of what we like sonically, but it was cool to go in some different directions in places, like the end of ‘Stand On The Horizon,’ which we worked on with Terje. It enters this lush pastoral disco world that sounds like neither of us and both of us simultane-ously which, to me, is the point of a collaboration.”

With Right Thoughts, Right Words, Right Action out now, Franz Ferdinand will be embark-ing on a worldwide to support the release.

Song craft aside, we wanted to know what Kapranos feels about music today from his perspective in the rarified air of International Notoriety. So we asked him a simple ques-tion: What needs to change to in the music

industry today and what needs to be cel-ebrated? His answer, untainted and in its original context:

“Celebrate the music, not the container it arrives in. What needs to change? If you could remove avarice, greed and cocaine, the music industry would be a much better place. We are now in an age where people don’t expect to pay for recorded music. There is a sense of entitlement in the consumer: ‘I can have it for free, so I will.’ Well, the result is that payment is made in differ-ent ways, notably through corporate sponsorship. I see banners for baseball boots, soft drinks and shitty whisky in places I’d never have seen them fifteen years ago. It wasn’t my choice, but I make no judgment. It’s just the way it now is.”

www.franzferdinand.com


by Vanessa Bennett / photos by Anna Webber

DEER TICKADDING NEW ELEMENTS TO THEIR SOUND & DISMISSING GEOGRAPHIC LIMITATIONS

Recovering from the brief loss of

his voice and relishing in the final

day of the Newport Folk Festival,

John McCauley and his Deer Tick

bandmates are in rare form as they

discuss their careers, the evolution

of their sound and life in the band.

There is seriousness to their tone, but

also a content joy, joking around and

soaking up the surroundings. When

asked what their favorite instruments

are, it’s hard to get a clear answer. As

a collective they are surprisingly soft-

spoken, no one wanting to outshine

the other. They dance around the

question with answers like ‘wine

bottles’ and ‘milk jugs,’ giving the

impression of being happy to play

whatever they can and enjoying a good

joke or two in the process. Bassist

Christopher Dale Ryan, however,

expresses an earnest interest in

owning a “left-handed Stratocaster

from the Paul McCartney era. I’m a

lefty and that would be a dream.”


Deer TickNegativity

Standout Track: “The Dreams In The Ditch”

ListenNow

performermag.com

“WE HAVE A SOUND THAT OUR FANS LIKE; THAT’S

CLEAR. BUT WE WANT TO TRY NEW THINGS TO SEE

IF SOMETHING ELSE FITS.”

While the jokes are abundant, it’s clear they mean business when it comes to their music. After the release of numerous albums, they’ve honed in on a style of play that not only suits them but also entices fans, and yet they’re still able to experiment with texture and style - never getting pinned into one place.

“We have a sound that our fans like; that’s clear. But we want to try new things to see if something else fits,” says John Joseph McCauley, the band’s primary singer/songwriter. Their new album, Negativity, gives fans a taste of old and new. “It’s definitely helped with this album that the band has stayed the same. That con-tinuity and the fact that we’re rehearsing and practicing more seriously has given the album a different sound,” says guitarist Ian O’Neil. “Yeah, I actually know all the songs on this album,” jokes McCauley. “But seriously, it’s a bit of a departure but in a good way. We’re really happy with it.”

Negativity introduces listeners to the incor-poration of horns, something new for the band and covers the wide array of topics that they’re known for exploring. “There isn’t a lot we won’t write or sing about,” says McCauley. “Politics, I guess. My dad was in politics and I won’t write about that kind of stuff, or the weather,” he adds.

While many artists tend to take an either strictly collaborative or independent approach

to the songwriting process, Deer Tick opts for more of a hybrid, allowing each member to take the lead when it feel right. It’s this approach, they feel, that allows their music to evolve organically. “The songs usually come together in a way that makes sense to everyone,” says O’Neil. He contin-ues, “Sometimes one of us will just run with it, but everyone gives their feedback and then we just have something we like.”

“It’s not really about the process, but the qual-ity of the songwriting. The final product is what’s most important,” echoes McCauley. In the case of Deer Tick, everyone seems more than pleased with the set up and with how it’s materialized on Negativity. “We’re really excited about this album. It’s not always easy to take an album to the live stage; we work hard on that and I think with this [record] it’s going to be really great,” says Rob Crowell (keys, sax).

There seems to be a collective pride over the journey the band has taken. They’ve fought hard to get where they are and yet don’t seem to take things too seriously. “I think it’s a mix of luck and perseverance. I’m not sure you can have one with-out the other,” says McCauley. “Although, I’m not sure what we did to get here, other than work our asses off.”

While originally from Rhode Island, the band members now call many places (including

Nashville and New York) home. “I don’t think there’s ever been any pressure to relocate. I don’t think geography played a crucial role in our careers, it’s just where it all started,” says McCauley. “Its not really about where you are, so much as why you’re doing this,” Crowell com-ments. “I don’t think any of us would be here if this isn’t what we wanted to be doing”

Whether at Newport Folk Fest, a small venue in New York or hammering out tracks in the recording studio, Deer Tick has hit their stride. Their gravelly and gritty sound is universally rec-ognizable and despite a sometimes-rotating line up, they never fail to produce music that’s both captivating and provoking.

www.deertickmusic.com

“IT’S NOT REALLY ABOUT THE PROCESS, BUT

THE QUALITY OF THE SONGWRITING. THE FINAL

PRODUCT IS WHAT’S MOST IMPORTANT.”



KING KHAN & THE SHRINES

ON THE POWER OF THE CREATIVE PROCESS AS GRIEF COUNSELING

by Brad Hardisty


photo by Tiger Lilly


King Khan & The Shrines have just

released Idle No More after penning

a new deal with Merge Records, and

are returning to the States to tour

beginning this month. This is the

first new music with The Shrines in

at least four years, even though Arish

Ahmad Khan (King Khan himself)

has been involved in several side

projects during that time.

Khan had some soul-searching experi-ences that led to the ideas for the new album, including the death of long-time musician friends, Memphis’s alternative star Jay Reatard, as well as Atlanta guitarist Bobby Ubanji, who died in 2009.

The end product of this rough period in his life resulted in the current change in musical direction, both lyrically and texturally. Khan awakened with a sense of what is important in life and a forward-thinking social conscious-ness regarding different races and cultures and their needs.

The record is named after a North American indigenous movement that started in Khan’s homeland of Canada and is unify-ing different tribes into a coalition striving to return to its roots, and who speak out about the indignities suffered through colonization.

It’s been seven years since the last new music from King Khan & The Shrines. How long did the album take to record?

Actually, it took five. Getting together was a challenge. It was all the same members of The Shrines that I have worked with for the past twelve years.

The theme and music are different than anything you have done before. It was kind of introspective and moody, like something Alex Chilton did on Big Star’s Third.

Well, I guess it came from my two years in the break. During [that time] it was pretty rough. That was like the first [music] expressing the ‘absence of’ - it was kind of like the theme of life.

Is there more introspection on the new album?I guess so. There were a lot of things that

photo by Michael Hudler


King Khan & The ShrinesIdle No More

Standout Track: “Darkness”

ListenNow

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happened, a combination of emotions. It was also like growing up. But, all in all, I do want to say it is a classic ‘Shrines’ record.

Does it have something to do with the death of Jay Reatard? Is that part of the story?

Once I hashed it out for a while, I did ‘Darkness’ as a requiem for him.

Was the album recorded in [your new home-town] of Berlin?

Yeah, actually, part of it was recorded in Berlin and part of it was done in Hamburg in this studio that [doubles as] an art gallery.

So what kind of mood is Idle No More conveying?

I guess I’d like to think in some ways that this album is a part of a healing process. I think that it is going to be new music from the aspect that we are trying to, in some ways, better the world.

What is your writing process? Do you sit down with a guitar or get together with the band?

That is something where sometimes some-one will bring in a song or I work with our guitar player and trumpet player, Simon Says.

So you sit around and work out your ideas, then?

It can really build by the fact that sometimes they write a song, and they just bring it in and play it to everyone to show them what to do.

When you started back with the neo-soul, there really wasn’t a scene like The Daptones out of Brooklyn or the Nashville GED Soul scene.

Not really, we started in 1999 and were some of the first ones who were trying to do that, but at the same time, we didn’t try to take a purist

approach. Like, I love a lot of punk music and I grew up listening to that and basic rock and roll and psychedelic music; I then tried to incorporate all of those things into [our sound].

I guess you’ve had a chance to meet Roky Erickson and some of the people who’ve influenced you.

Yeah, that was amazing. I met Roky Erickson twice and the last time we opened up for him. He is one of the big influences; I also think the 13th Floor Elevators are one of the best rock and roll bands ever.

With the new songs, are you seeing different fans that you didn’t see several years ago?

We have always found the more shows we play, the younger and newer the audience. So, I feel like the message is properly being conveyed. I’m having a lot of people come out [who] really appreciate the whole live show. They leave feeling like they’ve seen something [worthwhile], so I feel like I am doing some kind of service to the world.

The We Fun documentary showed your relationship with Black Lips in Atlanta. How did you end up in Atlanta?

Actually, I started touring with Black Lips, I guess almost ten years ago, and it became like a second home. Bobby Ubanji was one of my best friends and he passed away a few years ago of can-cer; we just kind of got adopted by the whole scene there, and it grew into a second home for me. Yeah, I love Atlanta.

Do you stay in Atlanta when you are in the States?

I used to a lot, but then Bobby passed away; it’s a bit different now. Black Lips are touring around and they are rarely home.

What are a couple of clubs or spots that you

are really looking forward to playing in the States?

I love touring all over the States. One thing I like about The Shrines is that we have a lot of fun touring. Everyone is really excited about playing and the U.S. is a great place to play.

You have one of the greatest shows out right now.

Thank you.

It’s kind of like Zappa in that he had a come-dic edge about him, but at the same time he had a serious musical force that he could take in a lot of different directions.

Thank you. Yeah, I think that it is important to do a lot of ‘not taking yourself seriously.’ I have always believed that and I guess it’s kind of what people think about the image and how we actually write the songs.

The album title, Idle No More. I wouldn’t describe The Shrines as ‘idle.’ Where did that come from?

The title of the album comes from this Native American group. It’s called Idle No More. The same thing as ‘I’m covered.’ Anyways, it is really amazing. It is one of the best things that has happened; the fact that in North America the newspapers don’t want to cover it is interesting.

I’ll look into it. That would be cool. They are doing great

things, especially in Canada. The Native Americans are finally getting together and they are trying to renegotiate treaties and I think that stuff is going on all over America. So, I actually asked permission from the organization if I could put their name on my album, in tribute to them and also to spread the word.

Is there anybody you are connecting with in


particular with that movement?Actually, I grew up with a lot of Mohawk

Indian friends, so I’ve always had a place for the American Indian in my heart. I used to go to the Indian reservation and stay sometimes when I was growing up. It’s just great to see the Native American people coming together and finally tackling problems that they face. I mean, if you have to go and live on the reservation, it’s worse than Third World countries and it’s within our own homeland. So, it’s great to see people get together and unite. The newspapers are not cov-ering the stuff, so I thought it would be a good way to spread the good word.

Maybe through this new release this will increase some understanding...

Exactly. I think it’s always a good time to spread the good word.

Good luck on that. I guess the album is intro-spective on different levels. You’ve got some serious subjects on Idle No More.

One of the greatest things happened a few months ago. A friend of mine was talking about the Black Power movement. Prichard Thomas Smith did a whole documentary about them called The Invaders. It’s about a black power movement from Memphis in the ’70s that was about to start working with Martin Luther King shortly before he got shot. He heard my music and wanted me to do the soundtrack for the film, so that was a big honor for me.

www.kingkhanmusic.com

ON THE DEATH OF CLOSE

MUSICAL FRIENDS:

“I’D LIKE TO THINK IN SOME

WAYS THAT THIS ALBUM

IS A PART OF A HEALING

PROCESS.”


photo by Miron Zownir


PHILOSOPHY ON REVIEWS

OUR REVIEW SECTION IS A LITTLE BIT DIFFERENT. We don’t use a numbered scale or star system, and we don’t feature music we don’t like. Instead, think of this as our top picks of the month. These are the new releases that we’re really enjoying, and that we recommend you check out. We also mix in a few of our favorite live shows, as well as books and videos from time to time. Listen to the music featured at performermag.com

LIVE SHOW

HELP WANTED Booking Agents and Publicists for busy agency.

Simon Says Booking is seeking qualified and experienced agents and publicists to join our team. We are experiencing unprecedented growth and we need more experienced agents in our Orange, MA office.

Pay is commensurate with experience.

Send resume to [email protected] for review.

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For a fleeting moment it seemed like unseen forces were conspiring against the organizers of the Mountain Vibe Music Gathering. Issues with permits, last minute band cancellations, and a looming cloud of smoke from the still-burning rim fire blanketing the sky made some question whether or not to pull the plug. For the Mountain Vibe family, though, quitting was never an option.

For three days every summer, amidst the almost weekly throng of massive festivals and gatherings, an ever growing community of local artists, musicians and fans have counted on Mountain Vibe to bring them together in an intimate celebration of music, camping, off-roading and general debauchery. Founders Allen Drachman and Annessa Hartey have tackled each obstacle with tenacity and determination. They have always felt that every misstep is an opportunity for growth and a lesson to be learned.

MOUNTAIN VIBE MUSIC GATHERING

by Joe Nunezphotography by Rosalyn Lee

August 23-25, 2013

They brought their team together, weighed their options and decided to move forward without hesitation. Mountain Vibe became Desert Vibe, and with a passionate sense of determination the team descended upon the Fernley Raceway outside of Reno, Nevada and rebuilt their festival from the ground up.

Instead of shuffling through densely packed crowds just to catch a distant glimpse of your favorite artist, Mountain Vibe is a place where you can meet them after their set, or stumble upon their campsite and join them in an impromptu jam. Though dozens of bands (Including Stone Foxes, Forrest Day, Jelly Bread, Swoon, Lavish Green, Arden Park Roots and many more) made their way across the stage over the weekend, one would be just as likely to hear amazing music by walking around the campsite and following the sounds of a distant drum beat.

The bonfires raged throughout the night and the music continued long after the main stage had gone dark. A blood red moon shone through the ever-present smoke, casting an ominous glow upon the desert. Attendees, wearing goggles and handkerchiefs over their faces to guard from the dust and smoke, rode dirt bikes around the festi-val grounds, looking like they’d be right at home in the world of Mad Max. Mountain Vibe has always been synonymous with positive energy and uplifting music. Desert Vibe juxtaposed that joyful energy with the post-apocalyptic setting, creating a unique blend, a new vibe if you will, that is now and forever a part of the festival even upon its return to the Sierras.

www.mountainvibemusic.com


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An intimate celebration

of music, spirituality and

general debauchery.

pictured: Forrest Day


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It can’t be said that Cincinnati musicians don’t support their own. This benefit concert was pulled together by the local rock community to help with Mad Anthony’s medical and other expenses following their van being totaled in a downpour. The accident happened just outside of Louisville, after a gig on June 29. Drummer Marc Sherlock suffered the worst injuries, frac-turing a cervical vertebra, and Ringo Jones was pretty banged up, too. Adam Flaig, the driver and only one wearing a seat belt at the time, escaped with relatively minor scrapes and cuts. Sherlock had been lying down, and Jones simply forgot to rebuckle his belt after taking it off earlier. Things

could have turned out much worse.Along the left wall inside the main room of

the Southgate House Revival, raffle items offering up a variety of Mad Anthony-related merchan-dise and donated memorabilia were displayed for people to bid on, plus band t-shirts to pur-chase outright. All three stages in the venue were involved, featuring overlapping sets from over a dozen bands throughout the night.

Vintage surf guitar influenced Animal Circles twanged and rocked their way through their upstairs “revival stage” set. Featuring high energy, relentless, locomotive drumming and jangling guitar riffs, topped off with rockabilly

style vocals, this three-piece group tore through their material and kicked the night into gear.

In the smaller “lounge” area Smoke Signals laid down some alt-progressive jams, punctuated by blurting, yelping lyrics from their front man. His urgent wailing added tension to the counter-point drumming and guitar cacophony.

They were followed a little later in the eve-ning by Veronica Grim. Also known as the lead vocalist with Switchblade Syndicate – who were winners of the Cincinnati Entertainment Award in 2012 for best punk group - she changed gears nicely, and sang her heart out during this more countrified, electric acoustic presentation. Her

MAD ANTHONYBENEFIT CONCERT

Southgate House Revival - Newport, KY

July 26, 2013

by Lucy Fernandes / photography by Rick Carroll

LIVE SHOW

pictured (left to right): Black Owls, Animal Circles


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DRUM LESSONS

with

DEAN JOHNSTON

[email protected]

CALL OR WRITE FOR A FREE EVALUATION

BOSTON, MA

Eclectic mix of indie acts rocked three

stages all night long.

smoky voice soared, belted lyrics when called for, and imparted a true honky-tonk atmosphere to the more intimate room.

Back in the main “sanctuary” ballroom, the Black Owls took the stage near the end of the night. Offering an eclectic mix of differing rock genres - glam, punk, and swaggering British Invasion, to mention a few - and led by front man David Butler, the group commanded the crowd’s full attention. Reminiscent of a cross between Roger Daltrey and Ian Hunter, Butler’s vocals were the perfect accompaniment to the fanfare-like mix of jangling guitars, wah-wah, and solid drumming.

The members of Mad Anthony are on the mend, and very grateful for the kindness they received from Cincinnati’s rock commu-nity. The generosity of their fans and fellow musicians shows that sometimes a positive outcome can result from misfortune, with a little help from good friends.

www.southgatehouse.com

pictured (left to right): Black Owls, Animal Circles


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SDerek Christoff x The Arkeologists

The D.ark TapeToronto, ON

(So Desolate Collec-

tive/URBNET)

“Spontaneous work of art with haunting beats and sharp lyrics”

Canadian rapper Derek Christoff, formerly known as D-Sisive, described his latest work in two words: “all raw.” The work is his latest mix-tape, The D.ark Tape, a collaboration between Christoff and producer Norman Krates (The Arkeologists). The D.ark Tape is raw in the sense that it is a collection of single take tracks, recorded in a single day, on a $200 8-track recorder. The result is presented to the listener as an experi-ence where Christoff urges one to “embrace the imperfections.”

The stripped-down and hauntingly soulful production is the perfect backdrop for Christoff, an artist who has never shied away from darker lyrical content. He is at his strongest when his lyrics are tinged with venomous lines and bites about the industry (“Newark”). Alternatively, he is also able to paint profound natural scenes (“The Water”) and recount heartbreaking per-sonal tails (“Get To Know Me”). In a genre of music that is too often about posturing and false grandeur, Christoff shines when he is at his most vulnerable. The overall sense of loneliness and nostalgia, coupled with the spontaneity of the recording process makes the record exactly what it set out to be: raw and powerful.Produced by The Arkeologists

www.thedesolatecollective.bandcamp.com

-Max Specht

Dr. Dog

B- RoomPhiladelphia, PA

(ANTI-)

“Every kind of mood you could everneed in one LP”

Dr. Dog has always tended toward a beachy, feel-good mood if you ask me, and that sound is not lost on their newest album. B-Room fea-tures songs with vocals, guitars and piano that will send you rummaging back through your CDs and iTunes libraries for some of that old Dr. Dog material. On top of that, though, the band has diversified

10 Ft. Ganja Plant

SkycatcherNew York, NY

(ROIR)

“Weed-induced reggae at its finest…”

10 F.t Ganja Plant released their newest album, Skycatcher, recently and it does the group justice. This heavily reggae, Rasta album pulls all the sounds of the beach onto one LP, but also features a few extra sounds including brass instruments and harmonicas. These added lay-ers really add depth to the record and round out the group’s sound more than you might expect.

With a similar sound threading the whole album together, 10 Ft. Ganja Plant’s addition of textures adds welcomed diversity to the proceedings. Skycatcher features a range of instrumentals to fully lyricized tracks that all relay the same Bob Marley feel and seem almost like a tribute to the man himself. Above all, Skycatcher is a very strong reminder of what the band is all about: feel-good tracks and hard reggae beats. Mixed by Dubfader at Rear Window Studio

Mastered by Kevin Metcalfe

www.10ftganjaplant.com

- Hannah Lowry

Blair Crimminsand the Hookers

Sing-a-LongsAtlanta, GA

(New Rag Records)

“Unorthodox marriage between ragtime, jazz, Dixieland, and vaudeville”

Ragtime, jazz, Dixieland, and vaudeville, oh my! The spirit of the 1920s is alive and well in musical chameleons Blair Crimmins and the Hookers’ latest release. Best described as an unorthodox throwback to the sounds of decades past, Sing-a-Longs is every indication (and then some) of this group’s capability to marry genres and produce a product that is both innovative and timeless. In true Hookers fashion, the record opens unassumingly with “Roll Over Bessie,” a humorous, tongue-in-cheek look at a lover’s obsession, in which Crimmins croons: “Just come down here / ‘cause I need you / I’ve been sitting here, singing your song / I put your records on / and I drink ‘til dawn / I’m as lonely as the night is long,” before swelling into a danceable anthem of “I’m low on sugar, but I’m high on gin” that is

so bright and clear in production, it could easily resound throughout Bourbon Street.

But don’t let the lively compositions fool you; though the majority (“Run That Rabbit Down,” “Little Red Train,” “Lock That Door”) could fit comfortably within a children’s record, the lyrical sensuality that Crimmins masterfully conveys is ever-present, and not to be overlooked. Undoubtedly, the band’s prowess is best displayed in the unbridled enthusiasm of powerhouse num-bers. However, the more contemplative “It Don’t Have to Rain” and “State Hotel” serve to put Crimmins’ vocal range front and center. Not only is Sing-a-Longs wildly entertaining, but it also epitomizes Blair Crimmins and the Hookers’ musical evolution and subsequent maturity.Recorded and Mixed by Edward Rauls and Justin

McNeight

Mastered at SAE Mastering, Phoenix

www.blaircrimminsandthehookers.com

-Julia R. DeStefano

Crash Kings

Dark OfThe DaylightLos Angeles, CA

(Custard/Universal

Motown)

“Post-grunge power rock without guitars”

Laden with power-rock riffs and the trio’s sig-nature style, Dark Of The Daylight pulls together the murky “Seattle sound” with the jock rock of the early 2000s, sprinkling in bits of Sunset Strip, anthemic hair metal. Did we mention it’s all done without guitars?

The 11-song LP holds much potential for mass appeal, but may lack the depth and fresh-ness to capture the attention of hipsters and jaded music enthusiasts. The record rolls through dark, rhythmic grooves and piano-pop choruses, before dipping into a déjà entendu of Crüe-era riffs. With clean production and bombastic drumming, the record’s strongest draw is, certainly, vocalist/keyboardist Tony Beliveau’s dynamic use of keys and clavinets to achieve rough tones and gritty progressions typically reserved for cranked-up Gibson SGs.

With a hold on the market for big rock cho-ruses and the fraternity pub scene, Dark Of The Daylight’s commercial appeal and accessibility will certainly put it right in the current of con-temporary radio rock.Produced by Nick Launey, Engineered by Atom

Greenspan, Mastered by Bob Ludwig at Gateway

Mastering, Portland, ME

www.crashkingsmusic.com

-Taylor Haag

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COOLIO

LEEDZ EDUTAINMENTSHOW OF THE MONTH

It’s safe to place Coolio in the legendary category when it comes to classifying rappers - but not in the traditional sense. He is, in fact, an urban legend. His songs mysteriously stand the test of time. His panoramic imagination has birthed great lyrics. And a sighting of the artist causes frenzies beyond comprehension; the braids jutting out from the top of his head are his most mythical assets. Coolio was aware of his power as he yielded it over a decent-sized

crowd at the Middle East. Having his bar-spit-ting nephew onstage with him didn’t thwart his ability to be completely show-stopping and downright hilarious.

Between sarcastically chiding younger con-certgoers for having casual unprotected sex before dipping into “Too Hot” and informing us of how much it disturbed him for being so well known for his Nickelodeon-penned Kenan and Kel theme song, Coolio’s candidness caught some off

review by Candace McDuffie photo by Jaypix Belmer

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guard while amusing others. “Fantastic Voyage” was performed early on and was highlighted by a smooth two-step when the chorus begged us to “slide, slide, slippity side.” Saxophone dominated the reflective “I’ll C U When U Get There” and more notably for “Gangsta’s Paradise.” His show had everything anyone could ever want - white girls (sadly) trying their hardest to twerk, classic jams, and unprecedented amounts of fun.www.coolioworld.com

Classic jams, gravity-defying braids and white-girl twerking.

LIVE SHOW


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“Lavishly packaged collection of lush, gorgeous ambient/classic/electro tracks”

VINYL OF THE MONTH

Various ArtistsErased Tapes Collection V

London, United Kingdom

www.erasedtapes.com

Erased Tapes Records has provided us with what can only be described as the most lavishly, lovingly-crafted vinyl box set we’ve seen in quite some time. Housed in a rigid black slipbox with the Erased Tapes logo set in a stunning black-on-black matte finish, the package opens up to reveal five 7-inch discs, each encased in its own unique, classy black sleeve. Each record con-tains an A-Side and B-Side form various Erased Tapes artists, and the package is topped off by a custom 45rpm adapter (thanks!) and a deluxe cleaning cloth.

That’s just the box, though. What about the actual music? Well, if ever there were a collection of tracks that wholly embodied their understated artwork, it would be these ten gems. Kicking

things off is “Daddy” by Rival Consoles featur-ing Peter Broderick. It’s synthy and atmospheric, reminiscent of the haunting Vangelis score for Blade Runner. The track then methodically builds into a Postal Service-like, glitchy electronic dance number.

Another clear standout is found on Disc One’s B-Side, “Driven” by Kiasmos. Here we’re treated to another ambient stunner, gorgeous in texture and featuring a deliberate, motorik beat like a classic Kraftwerk LP, blended with the classical stylings of the duo’s leader Ólafur Arnalds.

Nils Frahm lends the collection one of his own gorgeous, spacious tracks - rich with melan-choly piano - entitled “Little Boy in a Spacesuit.” This can be found on Disc Three, along with its

wonderful B-Side, courtesy of Peter Broderick: “Give a Smile In.”

The final standout worth mentioning (although really, all ten are moving pieces in their own right) is the Ólafur Arnalds composition on Disc Five, “Happiness Does Not Wait.” Here the listener is bathed in Arnalds’ classical piano motif, which drives forward to an outro featuring an elegant piano/violin entanglement.

If you’re looking for something a little off the beaten track, Erased Tapes’ latest collection is a musical delight, and well worth the price of admission. But get your pre-orders in now; this set is limited to only 500 units. After that, it’s digital only. -Benjamin Ricci

Compiled by Robert Raths

Mastered by Nils Frahm at Durton Studio

Lacquer Cut by Lupo at Calyx

Design by Tortsen Posselt at FELD

Format: 7-inch (5 discs)

Speed: 45 rpm

Color: Black Vinyl

Units Pressed: 500 (we have #49)


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SThe slower “Call Me In the Day” features

doo-wop style back-up vocals by keyboardist Alice Sandahl and bassist Abbey Blackwell, and a vibrato-laden organ lead that can only be described as perfect. Twenty-seven-year-old drummer Marian Li Pino competes with and complements Cleveland’s guitar leads with expert fills and exact, if brief, drum solos. This album has plenty for fans of rock, too. Title track, “It’s Alive,” has a solidly classic rock feel and back-up vocal harmonies that wouldn’t be out of place on any late-era Beatles record. Look for La Luz in your city this fall, on tour with of Montreal.Produced and Mixed by Johnny Goss and La Luz

Mastered by John Golden

www.laluz.bandcamp.com

-Elisabeth Wilson

Dr. Dog (continued)

Lee Koch

Whole HeartTemecula, CA

(Self-released)

“Alternately languid & raucous meditation on the joys and sadness of life”

Just when you think you’ve got singer/song-writer Lee Koch figured out, he changes direction on you. After all, if the first couple songs on his new album suggest this is going to be a folk-rock experience, then that’s probably what you are going to get, right? It is at this moment that Koch likely smiles at you and says, “Not exactly.”

Delicate acoustic ballads (“Trusty Branch”) appear alongside earthy Americana tracks (“Journey to Unfold”) throughout, but when Koch evokes the raw vocal power of Mike Farris on the gritty blues stomper “Sweet Release,” all bets are off. And despite the album’s propensity for weighty philosophical material (“Shining on Me,” “Gun & Blessing”), Koch has a great sense of humor. His assessment of society’s obsession with celebrities on the rollicking bluegrass track “Celebrities” is spot-on, and the funky and soul-ful “Being Broke” makes being in that situation sound more bearable than you might expect.

Koch paints this record with a broad array of musical strokes, incorporating soul, Americana, funk, bluegrass, blues and country into the mix. He sings with the gravitas of Amos Lee and his songs offer great insight into what it means to live a life that matters. Produced by Jesse Siebenberg

Mixed and Mastered by Jason Mariani at

Brotheryn Studios

www.leekochmusic.com

-Brian Palmer

the album by including tracks that may be a little more melodic, a little more beat-heavy, and a little mellower.

Songs like “Broken Heart” recall memories of old Dog tunes, but when you’re not quite in that beach mood and you’re looking for something a lit-tle more playful, check out “Minding the Usher,” a little sassy track that the band included early in the tracklist. Other songs, such as “Phenomenon” and “Rock & Roll” allude to vintage Van Morrison and older rock artists. Compare Dr. Dog’s “Rock & Roll” to Van’s “Back Room,” and you’re likely to see some resemblance.

An album for all ages and all musical tastes, Dr. Dog’s B- Room gets five stars in my book, but you’ll just have to take a listen and decide for yourself.

www.drdogmusic.com

- Hannah Lowry

The HowlingTongues

The Howling TonguesAtlanta, GA

(Self-released)

“Simply one of the best modern mock albums in recent memory”

The Howling Tongues’ latest self-titled album is probably one of my favorite recent releases. The LP plays to the band’s heavy rock talents and impressive vocals; the entire record feels like a party and everyone is invited.

Featuring A LOT of electric guitar, spot-on melodies, heavy drums and even a little piano, the group really pulled one out on us with this album. Songs such as “Chainsaw” and “I’m in Love” left me reaching for supergroup Cickenfoot’s album, and it seems like these tracks could also be right at home in a playlist with more country rock songs. Both tracks include fantastic drops and break-downs, but the band keeps it upbeat and fun, the way any good rock n roll song should.

The Howling Tongues didn’t only leave us with heavy rock, though. The album also includes tracks such as “The Sound” and “Too Many Times,” which lay off the heavy electric guitar and allow your ears to breathe a little bit.

The diversity of this album is not only in the sound of the tracks, but also in the titles and themes. You can find tracks titled “I’m in Love,” “Let Me Be” and “Another Heart to Bleed” all on the same disc. If this doesn’t reiterate the wide range of talent this band exhibits, I don’t know what else does. [editor’s note – if you’re look-ing for a band to restore your faith in rock n roll, you’ve found it.]

King Khan& The Shrines

Idle No MoreBerlin, Germany &

Montreal, QC

(Merge Records)

“The Return of the King”

After undergoing psychiatric treatment, garage music fans can rejoice that their king is officially back. King Khan returns with his lat-est offering since 2008’s The Supreme Genius. In 2010, after years of extensive touring, King Khan checked himself into psychiatric care. In under a year he had lost three of his closest friends (including Jay Reatard) and his band’s exhaustive schedule was pulling the R&B super-group to pieces.

With his latest record, Khan returns with a fresh batch of garage/soul bangers that draws heavily from a gospel influence. Highlights are irrelevant; Idle No More is a solid 12 for 12 as far as the tracklisting goes. A record like this reminds us that pop music can be more than just pop music. The King succeeds in finding meaning in his own misery through catchy, dance-worthy songs. Cry your eyes out as you dance like a maniac. Hear ye hear ye, the king has returned.Mastered by Duncan Cowell

Mixed by Guy Sternberg

Engineered by Jochen Ströh

www.KingKhanMusic.com

-Ben Nine-K

La Luz

It’s AliveSeattle, WA

(Hardly Art)

“Swooning, all-girl surf rock classics” What sets La Luz apart from other surf rock

bands from the Pacific Northwest is that the all-female four-piece is more pop than punk and is characterized by precision rather than by distor-tion. Their music has energy, but lead vocalist and guitarist Shana Cleveland never lapses into “rocking out” or messy solos. Standout tracks “Phantom Feelings” and “Sunstroke” are mid-tempo, with dense tremolo and exciting surf beats, reminiscent of The Ventures’ style of 1960s instrumental surf.

www.thehowlingtongues.com

-Hannah Lowry


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SEND US YOUR MUSIC! [email protected]

Little Anchor

Floating BridgesBrooklyn, NY

(Self-released)

“Poppy, indie beats set to crooning vocals and playful melodies”

Armed with a well-polished sound, intricate instrumentations and edgy lyricism, Brooklyn-based Little Anchor has produced a well-crafted seven track album. Floating Bridges captures a wealth of compositions, styles and approaches to music. From heavy drumbeats, to intricate arrangements and playful harmonies, the album channels an engaging combination of pop sensi-bilities and indie rock attitudes.

Opening with “Alive,” a track composed of surprisingly strong guitar chords and airy vocals, the record sets on a path that covers extensive terrain. “Mailman” is a sweet and haunting bal-lad about lost mail, simplistic in composition but utterly engaging. Funky and slowly ambling beats on “Solid as Glue” are the perfect antithesis to the poppy and rapidly paced rhythm of “If I Wanted To.” Complete with heavy clapping backbeats, cowbells and a tambourine, it is the album’s most upbeat track.

Floating Bridges does just what its name implies; it floats. Each song is linked together by the intuition of the band’s classically trained musicians, who create an airy and wayward charm. Darker moments are illuminated by bright compositions and sophisticated lyricism, elevating the album from stereotypical indie pop record to mature and provoking album. Produced by Mark Endozo in Brooklyn

Mastered by Alex DeTurk at Masterdisk, NYC

littleanchor.bandcamp.com

-Vanessa Bennett

Lucy Wainwright Roche

There’s A Last Time For EverythingBrooklyn, NY

(1-2-3-4 GO Records)

“A songwriter from storied families comes into her own”

The latest record from Lucy Wainwright Roche - yes, she’s related to whomever it is that has come to mind - was recorded in only eight days in Nashville, and this lends to There’s A Last Time For Everything a sense of trusted instinct and an endearing, unpolished nature. It works

so well considering Roche’s warm, bright voice, from which almost any lyric could sound beauti-ful and profound. It’s that great gift that makes the unexpected cover of Robyn’s dance hit “Call Your Girlfriend” morph into a tender ballad you’ll find yourself playing on a loop.

But the songs that Lucy has written herself are, to no surprise, the ones worth talking about, and they make this her finest record yet. Her lyricism is as its finest in songs like “Last Time,” from which the title is culled, and “Seek and Hide,” which fea-tures Colin Meloy (The Decemberists) on harmony. Speaking of harmony, beloved singer-songwriter Mary Chapin Carpenter joins Lucy on one of the record’s best offerings, “A Quiet Line,” which serves to demonstrate all of Roche’s strengths in one song - rich and evocative lyrics, focused instrumenta-tion, and expert vocals. It will undoubtedly find a permanent place in her live performance. Produced by Jordan Hamlin

www.lucywainwrightroche.com

-Vincent Scarpa

Man Man

On Oni PondPhiladelphia, PA

(ANTI-)

“Man Man become men…men.”

On On Oni Pond, Man Man, the Philly-based experimental outfit, press the reset button on their sound and grow up. A little bit.

From the orchestral opening track to the more cohesive sounds of the album that fol-lows, On Oni Pond is the sound of a Man Man maturing. Previous records have earned them a reputation as feral, untamed songwriters, exist-ing on the outskirts of indie rock, but on On Oni Pond, they’ve let it congeal into something more

palatable for mainstream consumption.That’s not to say you shouldn’t expect any

of their usual mayhem. While there’s notice-ably fewer careening choruses and unexpected interludes they do so well, On Oni Pond is still a thrilling cacophony of strings, horns and roller-rink organs, among many other things. Their first single, “Head On,” encapsulates the album’s sound – a surprisingly melodic, remarkably hope-ful ballad that starts out sweetly enough, but it’s still a little bit of a shock every time Honus Honus’ vocals come growling in. Oni Pond is about as close to a commercial sound as they’re ever going to get; there’s plenty of the freewheeling splendor that Man Man has perfected over the years, but it’s a little more lovingly crafted this time around.Produced by Mike Mogis

www.manmanbandband.com

-Jody Amable

of Montreal

Lousy WithSylvianbriarAthens, GA

(Polyvinyl Records)

“Athens-based quirk pop gets alittle hippier”

Some say the opening chord of an album is the most important, setting the tone for the rest of the tracks. Of Montreal’s 12th studio album, Lousy With Sylvianbriar, starts abrasively, twangy even, a set up for a slightly different sound from this mainstay of the Athens indie-pop scene.

Of Montreal has been known for its quirky, bubblegum-esque pop, but on their latest LP, frontman and mas-termind behind the group Kevin Barnes seems to be in a slightly different place. It’s not the overtly

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Sdanceable music the band has been making in recent years. The sound is more stripped-down and psychedelic, the lyrics more brooding in nature and prominent in the arrangements. It’s no surprise that the album has a more hippie-ish vibe, since it was recorded on a 24-track tape machine so that Barnes could feel more in tune his music-making compadres of the ’60s and ’70s.

For longtime fans, the album still sounds familiar; it still oozes with the instantly recog-nizable style of Montreal is known for and the unique, crooning voice they love from Barnes. The band stays true to its pop soul, but just has a slightly different pop sound. Produced by Drew Vandenberg

www.ofmontreal.net

-M.C. Rhodes

of Montreal (continued)

Peelander-Z

Metalander-ZBrooklyn, NY

(Chicken Ranch

Records)

“Japanese comic book punks tackle hair metal…with sexy results.”

Peelander-Z is a comic book themed punk band from Japan (by way of Brooklyn) who claims to be from outer space. Those familiar with their previous catalogue will know them as more of a punk/garage band, but for the time being let it be known that Peelander-Z (upon departure of the “red” member…yes they are color-coded) has re-branded themselves as a hair-metal band…at least for the time being.

Their latest record, fittingly titled Metalander-Z, is a tribute to the “glory days” of metal and draws its major influences somewhere between Mötley Crüe’s Too Fast For Love and Bon Jovi’s entire oeuvre.

To their credit, Peelander-Z take well to the hair metal genre and, unlike their punk records, we can see that these dudes (or space aliens) actu-ally have some real musical chops. Metalander-Z is a solid, fun, all-ages record. Fans of The Aquabats and Shonen Knife are going to eat this up. Welcome to Yo Gabba Gabba in spandex pants and Poison make-up.Engineered by Chico Jones

www.peelander-z.com

-Ben Nine-K

Ricky Skaggs& Bruce Hornsby

Cluck Ol’ Hen (Live)Hendersonville, TN

& Williamsburg, VA

(Skaggs Family Records)

“Live bluegrass master romp with a piano twist and stage banter”

Cluck Ol’ Hen was recorded during live dates over a year ago, when Ricky Skaggs & Kentucky Thunder were joined by Bruce Hornsby on piano to perform bluegrass favorites from Bill Monroe and Ralph Stanley (as well as a couple originals).

This was a great combination since Skaggs, the current ambassador of bluegrass, and Bruce Hornsby have both performed some stretches out of normal circles. Cluck Ol’ Hen should get a special IBMA award for best jazz bluegrass cross-over. In recent years Skaggs has worked with Jack White and The Raconteurs as well as Barry Gibb. Hornsby used to tour with The Grateful Dead and has played with Bob Dylan, The Other Ones and Sting, among others.

The recording quality of the acoustic instru-ments is superb and the between song stage banter makes it feel like a small-hall NPR special, like A Prairie Home Companion.

The album kicks off with Kentucky Thunder in full banjo and flatpicking shred on “How Mountain Girls Can Love.” Highlight tracks include Bill Monroe’s bluesy “Darling Corey” and a raucous version of Hornsby’s “The Way It Is.”Produced by Ricky Skaggs and Bruce Hornsby

www.rickyskaggs.com & www.brucehornsby.com

- Brad Hardisty

RocketNumberNine

MeYouWeYouLondon, United Kingdom

(Redeye)

“Subtly aggressive and addictive textures”

RocketNumberNine creates rich worlds of texture and rhythm that divulge its secrets slowly. MeYouWeYou opens with a beep fading into the distance, like the last S.O.S. of a ship lost far out to sea; “Lope” is a story without words and intro-duces the unique mixture of clear drums and fuzzy yet understated bass and melodic lines, producing a subtly aggressive and addicting sound. The rest of the album follows suit, live drums in a swirling mist of electronic and edited noise.

Each song takes a journey of some sort, never settling into a predictable format and keeping the

listener guessing as to what comes next. “Rotunda” starts off like a UFO hovering over a tribal dance but quickly moves into something of a robot salsa without harmony. The only voice on the entire album is sped-up and edited-beyond-recognition on “Symposium,” which repeats in various forms until it is overtaken by a loungy yet menacing groove. The album flows well and never leaves the world it creates, making for a seamless sonic jour-ney. MeYouWeYou is a road trip through a strange land that speaks a different language and moves in unexpected ways, and it’s a trip to remember.

www.RN9.co.uk

-Garrett Frierson

The StaceyY Band

Set the Water StraightToronto, ON

(Self-released)

“Eclectic musical journey with a tight groove and soulful vocals”

Tragedy can spark the greatest of art, and when Stacey Y lost her father at the age of 18, the writing of her newest album, Set the Water Straight, began.

The record opens with “Water,” which spot-lights Stacy’s accomplished piano playing. Her voice has a breathy quality similar in instances to Nora Jones and Kate Bush, combined with a quiet, intense power. The album takes a funky turn with the song “Hey Sir,” driven by drummer George Nikolov’s reggae-style beats, while the tracks “Open Lot” and “Please Tell Me Why” are sparse in instrumentation and beautifully spacious - empha-sizing Stacey’s rich, soulful vocals.

“Words of Philosophers” is a beautiful, straight-up R&B track that Stacey wrote in tribute to her late father, Kost’ Yerofeyev, the lead singer of a patriotic folk/rock band Ruthenia, who played a part in the Ukrainian Independence movement in the late 1980s.

A blend of R&B, rock, neo-soul, and pop music, Set the Water Straight is full of tunes that are strik-ingly captivating. With a touch of the likes of Stevie Wonder, Erykah Badu, and Alicia Keys, the music forms a solid unified groove with soulful vocals. Set The Water Straight is about being able to get in touch with yourself and understanding what you’re made of. Produced by Stacey Y, Mark Rynkun and

Thomas Varey

Mixed & Mastered by Reuben Ghose

at Mojito Mastering

Tracks 2, 3 & 8 Mixed by Tristan Henderson

www.staceyy.com

-Lesley Daunt


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EDITOR’S PICKS

CarnivoresSecond ImpulseAtlanta, GA

Genre: Indie Rock

Ellie HerringKite Day

Lexington, KY

Genre: Ambient/Electronic

WordsmithThe Blue Collar Recital

Baltimore, MD

Genre: Hip-Hop

Wesley Cook

HeavyAtlanta, GA

(Little Sun Records)

“Alterna-pop tales of love, loss and release from worldly songsmith”

Singer/songwriter Wesley Cook creates more than just acoustic songs on his third studio album, Heavy. He crafts stories with singable melodies that incorporate bits of light pop and reggae, horns, keyboards, a full electric rock band, and, occasionally, acoustic guitar-based numbers. Heavy includes tales of love, loss and release, and somehow remains upbeat after the loss of Cook’s brother in the previous year. Lead single “It’s You” starts with a beefy bass line and steady drum beat, after which Cook enters with his soulful tenor, weaving a descriptive tale of a missed connection that should not have been missed.

Following up that sentiment brings another bass-heavy song, “With a Little Love,” a slow, mellow love song with soft, ’80s-style keyboards. “Heavy” and “Give Me Something to Believe In” are crafty, wordy, upbeat tales of everyday life. The danceable, flirty “Up the Wall” and dreamy “Where We Want to Be” accentuate Cook’s acoustic guitar playing the best, and could eas-ily be carried out without extra instrumentation, but flourishes from other instruments lend a lot of character to the songs. Produced by Brady Blade

Engineered by Chris Bell

Recorded at Blade Studios, Shreveport, Louisiana

www.wesleycook.com

-Gail Fountain

Will Cady

The Awake EPBoston, MA

(Self-released)

“Hypnotic, engaging, bass-infused singer/songwriter EP”

Will Cady’s new collection of tunes opens with “Pieces,” as a deceptively cool backwards guitar riff lifts to reveal the main track, anchored by sweetly picked acoustic guitar tones and a hyp-notic, groove-filled bass current.

Strong bass lines seem to be an ever-present motif on the record, sonically filling out what could have been another standard singer/song-writer effort. Nowhere is its effectiveness more present than on “What Fills the Gap,” which is structured around a thumping, pumping bot-tom end that just doesn’t quit. It’s a quasi-mix of funk and folk, with an electronic-sounding drum pattern filling in the percussion role, not unlike better Postal Service songs.

Bass exits the picture, however, on the aptly titled finale, “Lullaby.” It’s a beautiful way to close the record, as a haunting acoustic guitar plays subtly underneath an equally haunting, yet gentle, vocal melody. The hushed vocals evoke the best of Elliott Smith, circa “Needle in The Hay,” without being derivative.

All in all, Cady’s latest collection of songs will please indie fans in general, spanning mul-tiple genres and styles. If you dig emotional songwriting, as well as strong melodies coupled with gorgeous production, The Awake EP is a fan-tastic way to get centered. Produced by Will Cady

Drum Programming by Greg Settino

willcady.bandcamp.com

-Glenn Skulls

Willy Mason

Carry OnWest Tisbury, UK

(Polydor/Communion

Records)

“Brooding vocals, experimental composi-tions and introspective verses”

It’s been a long six years since alt country singer/songwriter Willy Mason produced a full-length album. Carry On, recently released on Communion Records, is his latest endeavor and a testament to the benefits of some time off. Mason’s signature deep and crooning vocals shine throughout the album, paired beautifully with acoustic and electric guitar chords.

This time around Mason has gotten a bit more experimental, incorporating a variety of instru-ments and styles not heard on previous works. Synthesized notes and tribal drumbeats are the foundation of tracks like “Talk Me Down” and “I Got Gold,” showcasing an intentional expan-sion of sound and style. “Show Me the Way to Go Home” and “Shadows in the Dark” are hauntingly pared-down songs driven by brutally honest and heartfelt lyrics and the barebones compositions the artist has long been known for.

Mason’s deeply introspective and brooding sentiments remain the focal point of the record, creating an atmosphere of seeming melancholia but with linings of hope. The variety of composi-tions and styles are captivating and demonstrate a continued growth in style of play. Carry On is the perfect re-introduction to Mason after a lengthy hiatus.Produced by Dan Carey

Engineered by Alexis Smith and Dan Carey

Mastered by John Dent at Loud Mastering

www.willymasonmusic.com

-Vanessa Bennett


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Editor’s noteTo the best of my ability, I’ve attempted to leave this article as “as-is” as possible, and have only corrected minor spelling and grammatical issues, while leaving the style in which the piece was originally written intact. Enjoy :)

This article was created out of frustration and rage and…OK, there was coffee, perhaps a lot…about our hunt for a drummer for an original band in these United States. It is about art and commerce and dudes and dickheads. And genu-ine curses. And in that vein…if you’re a drummer…and wanna be in a kick ass rock and roll band…inquire within…

Craigslist is a microcosm of the World at large: Most people lie and the ones who don’t should.

Does that sound cynical? Is this a rant? Sure. I’m rant-y.

I didn’t start out this fragile shell of a dude-man. Craigslist made me my own monster…which is me. Ya dig? The closest thing I can equate it with is a cross between La Costra Nostra and Match.com: as soon as you think you’re out of it – done with it, watching it fade in the rearview– the next exit is where you began. It’s a Möbius strip.

Craigslist is Capitalism at its finest and most petty. There are jobs there that will cost you money. There are dates that…well, will cost you more money. It’s like a dream where you find the outlet store for all you desire but can’t find your

wallet. And you see your picture hanging above the cashier station.

Focus…focus...(exhale)...OK. I will not speak to the various parts of Craigslist I’ve never clicked on; did you know they have discussion forums? I KNOW! I am speaking from the point-of-view of someone eternally seeking a drummer. I tread those boards, spread out my geographic search, rationalize how it’s okay to work with someone a six-hour drive away, get disgusted at myself for cheap rationalizin’ and start again to new cheap come-ons and people who don’t call back. And again, I consider what a lovely solitary pursuit painting is. And dream away…

So...this list is not a ‘To Do’ list. ’Cause I’m not sure what ‘to do.’ I consider this a cautionary tale for musicians. At the next practice, hug your drummer and bass player (guitar players hug themselves, so save it). Tell them how special they are and how much you love them. It’s OK if they steal a little, can’t work the bridge right, if their girlfriend is the most annoying creature who was ever spat onto the planet. Love them.

Or suffer….

A Musician’s Guide To

or: Why I Took Up Painting

by Jason P. Krug (of The Grimm Generation)


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5) Should Musicians be Pad?Hmmmm….let me consider this….oh! Yes,

you DICKS! Yes, artists should be paid for their work. Does every artist get paid every time? No. Look…even though ice cream is awesome, is it a breakfast food? No. There are fundamentals in this World, great thresholds that can’t be crossed. I think I’m fascinating…will Salma Hayek? Likely not. If I buy new sneakers, can I run faster? Of course, yes, I can. Not everyone on this free site is a world-class musician…and a case could be made that world-class musicians have no concept about what Craigslist is. (What Would Johnny Cash Post?) There are hobbyists about. Is that a problem for you? Are they cutting into those big cover band gigs? Not likely. Perhaps you can calm the f**k down? (Note: if you want to respond to a club seeking free music on Craigslist, go to town. You can even use the tried and true ‘Can I come and eat at your place for free?’ line.)

4) Re: ReIf you see this on a Craigslist musician ad, fol-

low it. It’s good stuff. More than likely you have two wags barking at each other about something that happened on the scene 15 years ago (when there was a scene, harrumph!). And I’m sorry…but it is entertaining. My golden age of Rock Journalism was the Bangs/Reed wars in Creem. Those were also petty and posturing exchanges doing neither any favors…but there is something oddly compelling about watching music geeks fight. You will never understand the intricacies of the exchange, but that’s not why we slow down at car wrecks. It’s not in order to check the brake lin-ings or consider the cause. We slow down ’cause were bored and life is fleeting.

3) Originals vs. CoversI am in an original band. I don’t condescend to

cover bands (though admittedly I don’t see many). And this is an argument that we need not have anymore. It’s over, Johnny. People want to go out and dance, drink, laugh. This is made easier by small comforts, like friends you can stand and a song you like. This isn’t a sin. It IS a drag for those of us who want to create new standards - new works that live beyond us - but really, nobody ever said artistic success is easy. People need familiar things. When you see a band having a good time, cover or original, you are having a good time. And if you can sing along to the chorus, have at it! Ultimately this is about entertaining. I find it interesting that bluegrass or blues bands don’t get dragged into this fray, ’cause ultimately, many are cover bands. But the songs they are covering are bigger than the band and the listeners. It’s a communal experience, a song everyone knows in a style everyone wants. So who’s to say that a few decades from now we won’t honor a band that does faithful recreations of “Who’s Making Love” in the 2000s style? Wanna know when you’ve made it? When cover bands play your originals.

2) CAPSOkay, how long have we all been at this

Internet stuff, huh? Can we all get together as a culture and say, ‘CAPS LOCK.’ Shouting (meta-phorically) that you need a bass because you rock doesn’t convince. I’m all for clever lan-guage and good promo writing. I’m a fan of the language and do feel there is a place for capital-ization. Like at the beginning of sentences. And names. Acronyms. But when I see anyone present anything in all caps, I always have the same reac-tion: ‘OMG, that is so cute! I remember my first beer too…’

1) Brian Methany

‘The voice was just a hum in the head with talk and talk and talk over nothing and shallow lows at breakneck speed toward giant trees and very near to everything is the rambling in the head these days of nothing…A work of art with-drawing into the tenuous relationship between the lyrical phrase and its musical counterpart. Confronted with a disquieting self-familiarity, the songs portray modern dilemmas with hints of foreboding and finality; yet, a reassurance of life as being not such a disengaged and distinct experience.’

This reads to me like the journal of a 13-year-old, lovelorn Lex Luthor…but…I know Brian Methany’s name and he don’t know mine. Rock On, Brian Methany. Oh, and by the way, if you’re a drummer, get in touch. (sigh…)

About the Grimm GenerationFrom Windsor, CT, Carmen Champagne and

Jason P. Krug started The Grimm Generation as an outlet to tell real-time stories of cheap excess and alcohol, but with the addition of Lys Guillorn (lap steel, banjo, bells, rawk guitar), Eric Bloomquist (bass) and Julie Drechsler (cello), the band has evolved into more a sweeping soundtrack of a movie that may be your real life.


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Performer: We’re all musicians here. You’re listed as a drummer, but I’ve seen some awesome guitar shredding from you on Fandalism; are you currently in a band?

Kaplan: I’m the drummer for Coverflow, a Silicon Valley-based cover band. We play rock versions of contemporary pop songs. I also do some stuff on my own, but Coverflow is my main band.

Fandalism is a great idea; is DistroKid now officially a standalone, or are they both meant to work together?

Thanks. Fandalism is a social network for musicians. DistroKid - which allows musicians and artists to sell their music on iTunes & other stores, originally started out as a feature on Fandalism. After a couple months, I decided to spin DistroKid out as its own standalone service. It makes more sense to me that way.

Aside from the killer cost, what sets DistroKid apart from other digital distri-bution partners?

DistroKid is the only service that can get your music on iTunes usually within 2-4 hours after you upload it. Other services usually take days. Also, DistroKid has a user interface that’s a lot cleaner and more modern. It’s much easier to use than anything else out there.

How is Fandalism being received (full disclosure: I’m a member). Are there any

plans to take Fandalism bigger, or take it in a different direction?

I’d like to do more live gatherings & events. I organized a “Fandalism Open Jam” in Washington Square Park in New York City that attracted about 400 musicians. It was amazing.

One of my favorite apps of yours was “Punch Your Friends.” Any plans to take Fandalism or DistroKid into the app world?

I definitely want to make a Fandalism app, and also a DistroKid app. I haven’t started either, but should get around to it sooner or later.

It’s clear that DistroKid is about more than money. Why was it important to you to build and launch it?

Musicians shouldn’t have to make deci-sions or plunk down cash every time they record something and want it in stores. They should be able to easily upload everything they record, all the time, whenever they want. That’s the goal of DistroKid, and why it’s just $19.99 per year for unlimited uploads.

What are the things (music and photo file formats) our readers need to know about the DistroKid upload process to get started today?

Nothing special, really. To make it really easy, DistroKid lets you use any image on your computer for your artwork. So uploading your artwork is just like uploading a pic to Facebook. Also, DistroKid lets you upload music in many different audio formats. That’s it; the goal is to make it super easy.

You’re known for being a one-man team by relying on automation. Do you have any advice for musicians on how they can apply the same method to their career?

For every successful thing I’ve built, I’ve probably built five things that nobody cared about. So I’d tell any musician, ‘Pump out a ton of stuff! As much as you can.’ All you need is one hit to take off, and then parlay that into more hits.

Head to www.fandalism.com and join for free, and check out www.distrokid.com to upload and start selling tonight.

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

ABOUT THE AUTHOR

A Million Dollar Record Label for $20/yr with DistroKid

Steve Jobs’ nightmare has come true; it’s now possible for “just anybody” to get on iTunes. At an Apple special event way back in 2003, Jobs was defending criticism of iTunes’ small catalog (then only 400k tracks) by saying, “This num-ber could have easily been much higher, if we wanted to let in every song.” He finished this way, “Well, we don’t want to let that stuff on our site!” Derek Sivers famously wrote about it here: http://sivers.org/itunes

CD Baby, and other third party distribu-tors, did successfully get independent music into iTunes. But it was complicated and costly, with setup fees per album and song. In 2010, Philip Kaplan set out to change that by launching a social music site, Fandalism, which also teased an offer for any member to get a single song on iTunes and major stores for free. 600,000 musi-cians have now signed up.

That service is now called DistroKid. Here’s the simple deal: For just $19.99/yr., musicians can upload as many songs and albums for stream-ing and sales to all the major stores. That’s it. No setup fees or revenue share, and full reporting is included. Sell a million downloads, and it’s still just $19.99.

I had a chance to chat with Philip Kaplan (@pud), founder of Fandalism and DistroKid, about both services. As a member, I personally recommend you sign up for Fandalism, and plunk down the $20 to get all of your songs on Spotify, iTunes, Google Play, and Amazon (more soon).

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ABOUT THE AUTHOR DISCLAIMER

Adam Barnosky is a Boston-based attor-ney and writer. For industry trends, legal updates, or to request an upcoming Legal Pad topic, find him on Twitter @adambarnosky.

The information contained in this column is general legal information only and should not be taken as a comprehensive guide to copyright law. Consult your attorney for all specific considerations.

Royalty WatchdogKeep Tabs on Your Label’s Books

IF YOU’RE SIGNED TO A LABEL, THE MONEY YOU EARN FROM RECORD SALES doesn’t flow directly from your supporters to your pocket like it did in the early days. A majority of your income now flows from your fans to an online or brick and mortar store, through your label, then down to you and your bandmates. At the basic record label level - gross profits are accounted, over-head and out-of-pocket recouped, with the net allocated according to your royalty rate. While a check will come to you in the mail, you’ll never get to watch the sausage being made. Can you trust the person signing your checks and is there a way to know if you’re being ripped off? This month’s Legal Pad looks at label contracts, accounting, and getting what you’ve earned.


When You’ll Get Paid: You will only begin to see royalty payments once your label has recouped the money it spent out of pocket to record, manufacture, and promote your album. That said, you should begin to see royalty state-ments almost immediately. Most labels will send royalty statements twice per year, conducting accounting within 90 days after the end of June and December, with statements issued after the books are complete.

In the event that you feel as though your record label hasn’t paid you what you deserve, you want the ability to check the records. The review of your label to determine whether it is paying the proper amount of royalties and complying with relevant provisions of your contract is called an audit. Whether major label or indie, an audit pro-vision is a staple of any good record contract. If you don’t have a stipulation in the contract that gives you this authority to audit, your ability to do so becomes much more difficult (but more on that later).

Audit Provision: If you’re signing a record label contract, it is recommend that you have an attorney review and negotiate the agreement on your behalf. As an example, here is a sample audit provision:

“Label will maintain books and records which report the sales of Records, on which royal-ties are payable to you. You may, but not more than once a year, at your own expense, exam-ine those books and records, as provided in this paragraph only. You may make those exami-nations only for the purpose of verifying the

accuracy of the statements sent to you. All such examinations shall be in accordance with GAAP* procedures and regulations. You may make such an examination for a particular statement only once, and only within one (1) year after the date when Label is required to send you that statement.”

Read this provision closely - you’ll see that, while giving you the right to audit, the provision is still highly restrictive (i.e. limits audits to once per year and only for one year after statements are issued). Whenever you can, broaden the scope of your audit provision. Labels will add as many limiting provisions as possible, making sure they have the right to determine when, where and how the audit takes place, and requiring any accountant examining the books to sign a letter of confidentiality. Further, as in the example above, labels will require that an auditor be paid from the band’s pocket (discouraging audits that allow payment on a contingency of the audit proceeds). A flat fee audit can be incredibly expensive and cost prohibitive. There’s no mystery behind why this provision is included - the label is dis-couraging your ability to audit by making it too expensive to do so.

* GAAP stands for Generally Accepted Accounting Principals, and is the general framework account-ing in any given jurisdiction. In the event that you want a review of your label’s books, hire a certi-fied public accountant (CPA) to handle your audit (and preferably one with knowledge or the record industry).

The Audit: Audits are commonplace in the recording industry and can take anywhere from a day to several weeks, depending on the com-plexity of the numbers and records involved. Generally, accounting issues at record labels can be the result of (1) human error; (2) errors based upon company procedure; and (3) misin-terpretation of your record agreement. A fourth category - unscrupulous business practices - is typically less of an issue, but always one to look out for. While most major artists will audit their label at least once - if not several times - over the course of a contract, it is less common for smaller labels. That said, you should have no hesitation in the event you feel an audit is required. Big business or small, each label should maintain detailed records of all income, overhead, and disbursements.

If you choose to audit your label, make sure to abide by the timelines and guidelines set forth in your contract. Failure to do so can render any errors void. In the event that you don’t have an audit provision in your contract, have a let-ter written to your label requesting an audit and specifying the time and place of the review. If you get no response, send a follow up. In the event that your label is unwilling to allow an audit, you may have to bring a legal proceeding against your label for the ability to inspect its books.


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DANA “DEADLY” FORRESTER

Bassist for Dead in 5

myFAVORITE AXE

photo by Chris Lawrence Betea

BACKGROUND

Dana “Deadly” Forrester rocks her Music Man Sterling Bass with Detroit hard rock band Dead in 5. The band’s music will be featured in Pro-Wrestlers Vs. Zombies (Troma Films) starring WWE legends Roddy Piper, Kurt Angle and Matt Hardy - set for a Fall 2013 release!

MAKE & MODEL

1998 Music Man Sterling Bass

WHAT IT MEANS TO YOU

This bass changed the way I played. My Fender P-Bass was stolen - and I replaced it with this one. The Music Man’s smooth neck, easy action and Herculean tone made me fall in love with playing bass, and helped me find my own signa-ture style!

WHAT IT SOUNDS LIKE

Muscular and indomitable low end!

CUSTOM MODS

Low D string - I switched out my high G string for a fat E string tuned to D flat for Extra Low End Brute Force! CAN BE HEARD ON

Dead in 5’s debut CD, now available on iTunes, CDbaby.com and Amazon.com.

LISTEN NOW

www.facebook.com/deadinfive

Got a favorite instrument you’d like to share? Email us at [email protected]


same location to enhance the feeling that there is one instrument creating a more complex sound. For instance, most rock/pop mixes have the kick drum and bass guitar panned center so that these two high-energy instruments seem to be one and the same. Vocal backups are another example where often a doubled vocal part or another vocalist singing a similar melody to the lead, is placed in the same location in the mix so that to the listener it almost sounds like the lead singer has a deeper, more interesting delivery. So whenever you are trying to enhance a part, like let’s say you want an organ or electric piano to add oomph to a guitar part on certain hits, we suggest you pan these instruments together.

LCRNo, it’s not some kind of new high resolution TV – LCR stands for “Left, Center, Right” and it’s another panning philosophy that many mix-ing engineers employ to open up the soundstage and create a spaciousness that seems wider than life. It’s based on the idea of panning many instru-ments hard left and right in stereo pairs, kind of like we did with the guitars above, with some core instruments (vocals/kick/bass) panned center. To get stereo pairs of the same instru-ment, you either need 1) a performance played twice (like we did with the guitars in the earlier example) 2) a stereo output from an instrument – like a piano mic’d in stereo or a stereo output from a synth, or 3) to clone a track to make an exact copy. With these stereo pairs, you can have fun putting certain effects only on one side of the pair – for example try inserting a timed delay on just the right of a stereo synth track. This approach can help keep the mix from getting muddy. [editor’s note – see next month’s issue for Part Two on stereo panning and mixing.]

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GThe Art of Stereo Panning

Maybellene in MonoPlenty of great music was recorded back in the day, which we still love today, but that due to the limitations of technology of the time was recorded in mono. Take a listen to Chuck Berry’s 1955 hit “Maybellene” recorded at Universal Recording Studios in Chicago. It’s a mono recording; what you hear out of your left speaker or headphone is the same as the right. When the song came out almost every-one listened to music from one speaker, in fact the first stereo headphones didn’t even come out until 1958. As the music industry boomed into the 1960s, stereo recordings started to become the norm. Stereo recordings are created by pan-ning individual tracks to different “locations” in the stereo field (or soundstage) so that when you mix down a song, you get different informa-tion in the left and right channel. This stereo mix can either imitate the way you would hear a song being performed by a live group or you can create a completely different reality. Either way, having instruments in different locations in this 180-degree field makes listening to a record-ing much more interesting as it mimics the way humans hear the world around us.

Less Mud and Drum Panning TipsPlacing different instruments in their own locations in the stereo field is what engineers use to help make a mix less muddy. Many recording engineers pan tracks to mimic a live group as you would see them on stage. As we usually start with the drums when we begin mixing, here is how we often pan drums: start-ing with the stereo overhead drum mics, we usually pan them hard left and right. Then we listen to this stereo mix of the drums solo-ed and start to “place” the individual close mic’d

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 [email protected].

Brent Godin is a bassist/guitarist and engineer/pro-ducer at Night Train Studios. He is also a talent scout at Black Cloud Productions. Reach him at [email protected].

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drums to match. So for instance, with the ste-reo overhead tracks playing, we’ll hear that the hi-hat is at 1 o’clock and so that’s where we’ll pan the closed mic’d hi-hat track. Now bring-ing the hi-hat track into the mix, we’ll make minor adjustments to the panning until it sits correctly in that stereo space. We’ll repeat this process for each individual drum track until everything matches the overheads. You can also pan from the musician’s perspective, which would obviously mean that everything is flipped – our hi-hat would now be panned to 11 o’clock instead of 1 o’clock.

Guitars to 11In rock music we almost always want guitars to be loud in the mix (at least guitarists do). And if you give a rock guitarist a loud place in the mix, you can be sure that the lead vocalist will want a loud place too. So what are we to do? How can both the vocals and guitars be loud at the same time? You guessed it – panning to the res-cue. Instruments like guitars take up a lot of the sonic spectrum, they can easily over take other tracks like vocals; panning can help to keep them from overwhelming a mix. Try this: take that big guitar track that’s crowding everything else out and pan it hard left. Okay, now the vocals have their space but the guitar is lost over on the left – sounds weird, huh? We need a second guitar track panned hard right to balance it out. Studio trick: have the guitarist record a second rhythm part, mimicking the first and pan this track oppo-site the first track. You now have all the energy but with a hole in the middle of the mix for the vocals, etc.

Let’s Move In TogetherWe can also place different instruments in the


STU

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PRE-PRODUCTION

interview by Benjamin Ricci photos by Pete Weiss

What was your pre-production like on this project?

Leesa: We wanted to bring the raw energy of the project into the studio, so once we had the basic structure down we were ready to roll. Not a ton of Pre-Pro with this one; plus we are a new band so there was a sense of urgency to get music out to the masses.

How did you choose the studio?

Leesa: Will, our drummer, had a great experi-ence with Pete Weiss in the past…

Will: I met Pete Weiss because Kingsley Flood recorded their first record with him. [editor’s note

In the Studio with THE EASY REASONSHow to Record Ass-Kicking ’70s Guitar Rock with a Side of Grunge

uniquegear

- Will is a former member of Kinglsey Flood]. I’ve since had him on several bills at Sally’s with The Weisstronauts. I dug his vibe and thought of him when we were looking for someone to record with. Pete suggested Armory Sound, since he’d just started working out of there.

Pete Z: When Will presented the opportunity to work with Pete at Armory Sound, the history of the studio and the reputation of Hi-n-Dry were very appealing. The live room environment and history of the place just put it over the top.

ADDITIONAL RECORDING NOTES-Recorded to Pro Tools through outboard mic preamps including Summit, Sytek, Symmetrix, ART, and True

-Microphones included Shure SM7B on guitar, Sennheiser 421 on bass cabinet, AKG C12-VR on vocals. Drums were mic’d with Shure KSM-32s using a modified “Glyn Johns” technique over the drum kit, and a Shure SM57 and Beta 52 on snare and kick drum, respectively. A dbx RTA-M omni-directional measurement mic was used in front of the drum kit for overall “glue.” -Mixing was done via Pro Tools HD with Aurora Lynx converters through a 1970s-era Neve 53-series console. Outboard gear used included an Ecoplate plate reverb (mostly on vocals), Multivox tape echo, Urei and Neve compressors, and a Spectra Sonics 610 “complimiter.” Mixed directly back into Pro Tools.

PRODUCTION CREDITSRecorded at Armory Sound, Somerville, MA (formerly Hi-N-Dry Studio)Engineered by Pete WeissAssisted by Jeff GallagherMixed by Pete Weiss at Verdant Studio,Athens, VTMastered by Peter Linnane at Patch Hill Mastering

Pete:-Fender American Standard Telecaster with DiMarzio Fast Track and Cruiser pickups-1985 ProCo Rat Re-Issue Distortion Pedal-Heavy Electronics Ascend Boost Pedal-Fender Deville Amp

Leesa:-Epiphone Les Paul Deluxe-MXR Silicon Fuzz Pedal-Fender Blues Jr. Amp

Lisa:-1980s Fender Stu Hamm Urge Bass-1970s Fender Bassman Amp


PRODUCTION

interview by Benjamin Ricci photos by Pete Weiss

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POST-PRODUCTION

Have a unique studio story to share?Email [email protected]

For more visittheeasyreasons.com

“THE COOL PART WAS TURNING THE CHALLENGES INTO AWESOME BITS – WE WORKED A LOT FASTER THAN

ANY OF US HAD IN THE PAST.”

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

Leesa: We were looking for something raw with good energy. Our song “Piece” is almost ’70s guitar rock inspired, like Sabbath-ish, but the rest of the stuff is very pop orientated; so we needed to marry the two sounds. Pete Weiss did a great job of having everything work together from track to track, in fact so well that we had time to start track-ing an extra song.

Pete Z: From a guitar standpoint, we had this very simple but hard-hitting riff that keeps the song moving forward – I wanted to accent that with some bluesy guitar work, and went for a muted tone to keep it dark.

Even though you’re a relatively new band, do you have previous recording sessions to compare this one to?

Pete Z: It differs from previous sessions in so far as us doing all of the main tracking live. A very refreshing change of pace, really.

Leesa: This was my first time tracking live. I was intimidated at first but it ended up going really well (not horrifying) so I was happy with [the end result]. Tracking live gives off a rawer vibe and you get to play off the energy in the room. Plus it saves time which equals saving money - and everyone loves to save money.

What was your philosophy on live, full-band takes versus individual tracking?

Pete Z: When I was younger playing in

hardcore bands in the Albany area, tracking core tracks live was pretty much the way we did things – mainly for money reasons. There is an energy there that you just cannot get when everyone is isolated and recording separately.

Leesa: I still think some of the more quite and/or intricate songs might lend themselves to more of the individual tracking method. You get some bleed from mic to mic so it is harder to tweak in post, but overall if you want to bring out the energy and the rock, live recording fits that vibe better

Any special guests on these sessions?Leesa: YES!! Pete Weiss himself on

COWBELL!!

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

Leesa: Get the sound we want. Since we are still rocking smaller clubs you can very rarely get great live sound. Recording most of our tracks live allowed us to keep the energy and ditch the bad house mix. Plus we did a bunch of overdubs on vocals; I am a mastermind at sing-ing the same thing over myself so that was fun, plus Will and Lisa threw down a ton of backing vocals to fill it out.

Pete Z: I approached the guitar overdubs with

a sense of, “How am I going to do this live?” As a result, there are very few layered tracks and pri-marily just the lead line on top of the riffs, which were all done live. I did put another guitar layer on the choruses, but compared to other projects, this really is nearly live instrumentally.

What were the toughest challenges you faced?

Leesa: Time and budget are the biggest chal-lenges. In a perfect world I would love to have a string arrangement and pedal steel on half the stuff I do, but more times than not you are crunched to fit everything into a few days and have to keep it simple.

Pete Z: The cool part was turning the chal-lenges into awesome bits – we worked a lot faster than any of us had in the past, but the playing was dead on and the live environment came together to give this song the feel that it has. Win!

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

Leesa: Lots of candy. Lots of wolf-candy. [edi-tor’s note #2 – dare I ask what wolf-candy is?] Also lots of drinking beer near a trailer out back...oh and we almost crashed a wedding.

How did you handle final mixing and mastering?

Leesa: Pete Weiss did the final mix up at his place in Vermont. Mastering is still underway; we’re working with Patch Hill Mastering for the first time on a recommendation from Pete Weiss.

What are your release plans?Leesa: We are new so we want to get some

tunes in folks hands ASAP. All of this is work-ing its way into being included on a full-length release on vinyl. It would be great if it could be on colored vinyl, because that’s what all the kids want right now.

Pete Z: In fact, this whole band is only here to

put out a record on vinyl. That was why we did this in the first place [laughs].

Any special packaging?Leesa: The most amazing limited edition col-

ored vinyl ever, with maybe a booklet [included] like the new Queens of the Stone Age record, but not until we have enough tracks recorded with Pete Weiss to make a full-length, because that shit ain’t cheap! So yeah you should start donating to us now, because we are going to need a ton of every-one’s money to make out limited edition vinyl. You can per-order it; we are accepting cash, credit and checks. You can also send in a suggestion for what color our vinyl should be with your donation.


Since the 1970s, chorus pedals have been at guitar player’s feet, giving sounds ranging from the shimmering soundscapes of The Police, to the detuned glory of Nirvana.

With only RATE and DEPTH knobs, this pedal was designed for the player that wants to get good settings quickly. The plus side is that with just two knobs, there’s a great selec-tion of effects. From a spacious modulation to a metallic detuned mass, it can cover pretty much every classic chorus sound you can think of. An LED indicates when it’s on, and another LED indicates the pulse of the rate; on a dimly lit stage this is a real plus. The footswitch is a buffered bypass, meaning players can use long cables without signal or tone loss.

At lower settings, it evokes spaciousness found on early U2 records. Take it further, it warbles a bit into that “Come As You Are” area. When it’s maxed out, super underwater and Leslie-type sounds emerge with ease. It really excels at the analog chorus sounds, but unlike a vintage chorus, it’s much quieter, and with a standard 2.5mm jack it works with pretty much every standard power supply. Oh, and its stereo, meaning the signal can be split into two amps, giving an even more intergalactic sound.

For players who want an analog chorus without the vintage hassles, this is worth con-sidering for your pedal board. -Chris Devine

Ambience is always something guitar play-ers have to work for; reverb and delays can get so complex that in the process of this search, the concept of “simpler is better” gets revisited often. Maxon’s new analog delay pedal brings ambience with ease.

The small box houses a BBD analog IC, which brings warmth and clarity. It’s the stan-dard in most analog time-based effects, and it lives up to the reputation. Controls are sparse, a Delay, Blend, and Repeat knobs are the only variables. The switch is buffered, meaning it can work with long cables without loss of sig-nal or tone (like its cousin the ASC10). It works equally well in front of an amp, and in an effects loop, a rare feat for a stompbox.

Like most analog units, this one tops out at 600ms of delay, so don’t expect to do tons of looping or trippy sound-on-sound layering. It’s more in the natural slapback echo pocket - quick, sharp delays that are natural, with just the right amount of repeats that won’t clutter up the notes that come after it. The only down-side is that at higher settings the Repeat control gets very sensitive, and the repeats cascade louder and louder: neat for those Pink Floyd

oscillation effects, but in most situations, it can be a bit too much.

The AD10 is a breath of fresh air; it’s warm and sweet, and while not super-long or adjustable, the delays seem to be more musical, not content to sit in the “just make an echo” department. For players who want a delay but don’t want to go digital, this new pedal from Maxon is well worth the asking price.-Chris Devine

Clean signal, great modulation and

detuning effects.

Smooth, simple, natural.

None.

Repeat control seems a bit aggressive.

PROS

PROS

CONS

CONS

Classic analog chorus circuit

Wide stereo split sounds like 2 guitars playing at once

Rate and Depth controls with extended operation range

Stereo outputs

Works in FX loop or front-end of amp

Buffered Bypass switching with low impedance output

100% Analog Delay with 600mS delay time

Gorgeous, Warm, organic delay tone

Special filtering on repeats to reduce distortion

Capable of Self-oscillation effects

Works in FX loop or front-end of amp

Buffered Bypass Switching

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MAXON Ambient Stereo Chorus (ASC10)$229

MAXON Analog Delay (AD10) Pedal $249

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Guitar synths have come a long way, from expensive bulky modules, to compact user-friendly units. You Rock’s latest offering is trying to keep that trend happening.

First off, it’s not quite a “guitar,” per se; it features a body and neck made out of plastic and a silicone fretboard that responds to fret-ted notes, plus a separate section with metal strings for picking. On the upper bout, a control panel allows patch changes and recording and playback functions, while the underside has connections for a 1/4” output 1/8” headphone output, 1/8” aux in (for playing along with mp3 players), USB & MIDI connections. With the unit being powered by (4) AA batteries, as well as functioning as a game controller, it (unfortu-nately) feels more like a toy than an instrument most serious musicians would consider picking up.

There are 99 patches that can be edited, using the stored samples, which include gui-tars, basses, synths, strings and drums. The sounds are OK, and they can be edited via You Rock’s PC software. Open tunings as well as transposing are also easy tasks to accomplish. It isn’t that hard to transition to this from a reg-ular guitar, but tracking seems a little lacking, and switching between patches can take up to four seconds. This is a severe limitation if you have any inkling of using this in a live or studio setting, where time is money. With the MIDI and USB connections it can also act as a con-troller, using a separate MIDI keyboard.

Ultimately, this just seems to fall one step short of being a truly practical tool or instru-ment. With a $250 street price and the cheap plastic feel, game controller features, and tracking issues, it’s a bit lacking overall, espe-cially for the money. -Chris Devine

Good sounds, excel-lent connectivity,

portable.

Feels more like a toy than an instrument.

PROS

CONS

USB Interface

5-pin standard MIDI output

Touch-sensitive patented fingerboard

Whammy bar for pitch bending

Control Panel software provides control of 40+ parameters

99 programmable presets to save and recall sounds/tunings

Audio input for playing with your favorite music

Headphone output

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SYOU ROCK GUITAR Digital Guitar/MIDI Controller/Synthesizer$250- $399

Mantic EffectsIf it matters, it’s Mantic…

www.manticeffects.com

BuilderProfile

Proverb Reverb Pedal REVIEW$125

The Proverb is a straightforward reverb with great sound and subtle modulation. Its sound is very spatial, good for big ambiances or subtle spatial effects. Like other reverbs you can get noisy by turn-ing the knobs until the pedal begins to self-oscillate, but unlike other pedals, the Proverb will continue oscillating when you bypass it, let-ting you punch in some of that wild noise whenever you like without waiting for the pedal to warm up again. Great for guitars and synths, the Proverb has ‘Mix’, ‘Numb’, and ‘Dwell’ knobs, features true bypass, and is handmade with the highest quality parts in the USA. -Garrett Frierson

Mantic Effects is a new audio effects company based out of Denver, CO, focused on making pedals that are unique and inspirational, perfect for the artist looking to create a singular sound. In a market sat-urated with boutique clones or software emulations, Mantic is focused on creating something special in sound and usability. Founders Luis and Caleb spent years tinkering with electronics and circuit bending as a hobby to relieve stress while trying to repay loans and playing in bands together. Eventually their hobby led them to win the 2012 Moog Circuit Bending Challenge and to begin experimenting with original designs and ideas that got musicians so excited they decided to pursue effects full time. Mantic started with the ‘Density’ line of pedals that all focused on beefing up the sound in one way or another (The Flex is a synth fuzz envelope follower, The Hulk and Brute are bass boosters) but they’ve recently been expanding into new audio territory. “It can be a lot of trial and error,” Luis says of their design process, explain-ing that they focus more on getting what they want to hear than getting something finished quickly, with many rounds of revisions and test runs with musicians until they have it just right. Though Mantic is still young, they’re definitely a company to watch.


FLA

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BACKGROUNDDeveloped by AMS (Advance Music Systems), which was founded in 1979 by two Aerospace engineers in England, this unit was used exten-sively on records from the 1980s and is still widely used today. You can hear a good example of the sound of this reverb on the Martin Rushent-produced Human League track “(Keep Feeling) Fascination” from 1983.

HOW IT WAS USEDOne of the main uses of this device was as a stereo widening effect on vocals. Here, essentially the unit is acting as a mono-to-stereo pitch-shifter/delay. On both the left and right channels, the sig-nal is delayed different amounts between 5 and 30 milliseconds so one channel is a little ahead of

Early ’80s AMS DMX 15-80S Digital Delay

the other, and then one side is pitch-shifted down a few hundredths of a semitone and the other is shifted upwards. The delayed left and right sig-nals then appear hard left and hard right and the vocal will appear to be spread across the stereo image. The unit is also great for adding width on an entire mix.

MODERN EQUIVALENTI have yet to hear any kind of plug-in emulation that really captures the sound of this box; it’s a classic.

ABOUT THE AUTHORJohn Greenham is a GRAMMY Award-winning mastering engineer, currently working in Los Angeles, CA at Infrasonic Sound. With over 20 years of experience, Greenham’s resume is vast - projects from Ice Cube, Omar Sosa, Mindless Behavior, Aesop Rock, Kimya Dawson, American Royalty, The Locust and Los Tigres del Norte (Best Norteño Album) just scratch the surface of his diverse clientele.

For more info, visitwww.johngreenham.com

A BAD MIXER HURTS

EVERYONE

CAN HELP

© 2013 LOUD Technologies Inc. All rights reserved. “Mackie.” the “Running Man” and “VLZ4” are registered trademarks of LOUD Technologies Inc. No Mackoids were embarrassed during the making of this advertisement. Except Scott... but he totally deserved it.

INTENTIONAL SIDE EFFECTS INCLUDE: Inflamed audio quality. Enlarged Onyx preamp performance. An increased feeling of wellbeing. Sudden and frequent praise from audiences, band members, etc. Simultaneous increase in headroom and decrease in noise. Feelings as though you are “Built-Like-A-Tank” and can handle anything. Mad sexiness.

“Why do my nice mics sound so flat and dull? It boggles my mind.”

“I don’t want to admit it but…I just don’t have enough

headroom to get the job done.”

“Using a flashlight to adjust levels is not okay.

Something has to change!”

“I spend so much time fixing broken channel strips, I am

missing meals. Good meals!”

TM

Visit mackie.com to learn how the ALL-NEW VLZ4 can start your journey

of audio fulfillment.

01807_VLZ4 CAN HELP_CHURCH PROD_8.25x10.75_.indd 1 9/6/13 3:24 PM

Early ’80s AMS DMX 15-80S Digital Delay

A BAD MIXER HURTS

EVERYONE

CAN HELP

© 2013 LOUD Technologies Inc. All rights reserved. “Mackie.” the “Running Man” and “VLZ4” are registered trademarks of LOUD Technologies Inc. No Mackoids were embarrassed during the making of this advertisement. Except Scott... but he totally deserved it.

INTENTIONAL SIDE EFFECTS INCLUDE: Inflamed audio quality. Enlarged Onyx preamp performance. An increased feeling of wellbeing. Sudden and frequent praise from audiences, band members, etc. Simultaneous increase in headroom and decrease in noise. Feelings as though you are “Built-Like-A-Tank” and can handle anything. Mad sexiness.

“Why do my nice mics sound so flat and dull? It boggles my mind.”

“I don’t want to admit it but…I just don’t have enough

headroom to get the job done.”

“Using a flashlight to adjust levels is not okay.

Something has to change!”

“I spend so much time fixing broken channel strips, I am

missing meals. Good meals!”

TM

Visit mackie.com to learn how the ALL-NEW VLZ4 can start your journey

of audio fulfillment.

01807_VLZ4 CAN HELP_CHURCH PROD_8.25x10.75_.indd 1 9/6/13 3:24 PM

©20

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performer magazine: october 2013

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