[AZ All Night Buzz]

The post Sarah McLachlan interview first appeared on Collected Sounds.

Thea is now a Happy Gilmore!
An interview by David Adair

“I never have intentions when I write an album. With Liejacker I got fed up at people having too much input in my work. This album is about me taking back control.”

This is the confident, almost contented reply of one of the UK’s most understated singer/song writers, as she settles into a plastic picnic chair back stage at Delamere Forest, having given fans of the sturdy and adventurous Mersey pop combo’ The Zutons, a varied display of upbeat thoughtfulness and tasty tune building. Even though Thea Gilmore is still shy of thirty, ‘Liejacker’ represents her eighth album and, Thea’s songs have grown to the extent that extra vocalists were needed on certain tracks like ‘Old Soul’ (Dave McCabe from The Zutons) and ‘Lower Road’ (Joan Baez). With the former tune especially, the soothing, yet dusky vocal combination works so well it must have been meticulously planned:

“No, I didn’t write the songs with those people in mind, I usually just like to get the songs down, then have a think about the best way to get them across. With ‘Old Soul’ I felt it really needed another voice and in the case of the song with Joan Baez, it started out as a pipedream really. ‘Lower Road’ is a song that features three different perspectives and I was made up when Joan agreed to do it, I have toured with her before and I have always admired her.”

A natural follow on from this approach would be to write a song completely for another artist, but would this contrast with the deeply personal and emotive nature of Thea’s varied material? For many a singer/song writer their songs are like their first bikes, they’d not give them up for someone-else’s pleasure for all the sugar in India. However, the independent heroine doesn’t flinch upon her reply, something that is quite a feat, as a variety of midges start to feast in the summer evening air on a picnic ground of the skin of both parties to this chit-chat;

“No, I love writing songs and would definitely write them for other people. I’d like to write for a really cheesy artist.”

A cheeky smile is emitted after the last comment and it is impossible to resist a playful jibe;

“What Coldplay??”

“No, I couldn’t write one of theirs.”

Her smile grows in recognition at the absurdity of the inclusion of Coldplay in that category. Turning to the topic of her gigs, you hear of bands/artists squabbling over what to and not to include in a set list and they only have one album, so choosing from eight must certainly be no stroll in the park;

“Oohh, it’s nigh on impossible to compile a set list these days. It usually ends in an argument with me and Nigel (Stonier, Thea’s husband and occasional co-songwriter). I have a large amount of slow songs, so I just want to make sure that I don’t bore the audience.”

Not many people who attend her flighty yet thoughtful sets have accused of that and no-one is doing so tonight;

“For The Zutons I needed to be more upbeat to suit the mood here tonight.”

Whenever Thea steps into the public gaze, there is always a calm amiability to her nature. Something that is refreshing and quite admirable given the personal nature of some of her songs, such as the Shania Twain spirited ‘Roll On’, the inner-demon revealing ‘Contessa’ and the haunting ‘Holding Your Hand’. These, on the face of it, give the impression that it would be quite painstaking to perform them live;

“No, it’s not difficult at all to perform any of the songs live, really. When you play a song for someone else then it often means something else to them. So I am just mindful of that. I love performing ‘Contessa’ anyway because it is one of my more upbeat songs.”

Polite forthrightness continues when an enquiry is made about which song from her sizeable treasure chest of material represents best, her current mood and thoughts;

“Oh, it has to be ‘Lower Road’, it starts off maudlin then it finds life.”

Sounds like a summary of the average (especially working) day for most mere mortals. With the army of midges growing by the minute, there comes a time in every interview when the bullet just has to be bitten and a tricky topic needs to be raised. In this case, it concerns Thea’s recent battle against depression, but there is every indication that this battle has been won. Many people swear by music as an ideal therapy;

“Yeah, big time, music was a really big part of helping me get better. I think the biggest obstacle to overcome with depression is to realise that it’s not uncommon and you’re not alone. Half the population probably feel the same.”

It is almost as though they were listening in to the last reply, as tuneful melodies in the form of The Beatles jams comes out from the dressing room/tent of The Zutons’ behind us. The above reply, especially the last sentence of it, has the feel of a poignant retro ballad. Their hometown of Liverpool is obviously important to them and always has been, but what of Thea’s home county, Oxfordshire?

“The only way it influenced me, was to get the fuck out of there. I used to live in a really small town with a population of around two hundred people. When I moved to Sandbach it was like entering a bustling metropolis.”

If you were to do an independent survey, probably at least 8 out of 10 self-respecting musos if polled, would say name Thea Gilmore, as the one artist who has been starved of the coverage she truly deserves. On the topic of the media she has this to say;

“In the UK I think we do really too much on tastemakers, it is a horrible place to make music. It is great audience wise, but too much emphasis is given to the current flavours of the month. My generation don’t stand up and say this is shit.”

“You do”. Lilly Allen does for that matter.

“Nobody listens to me though.”

A slightly animated presence begins to prevail and builds up as she broadens her point;

“Take what Radio 1 did with Cathy Davey. She is a great artist and they were all over her, but suddenly dropped her when she wasn’t popular enough. They don’t stand by anyone. “

‘Zuton Fever’ is being bellowed out by her one off co-singer Dave McCabe, onstage just behind us, Thea goes off and grabs her son, then dances her cares away contentedly. Don’t be confused though, the feisty anger and spirit that sees her speaking out about what’s wrong is still there. Also, so is the tuneful, mood building touch that sees helps to produce a variety of thought provoking, personal and challenging songs.

In ‘Liejacker’, we have an album that will test the ability of the Mercury Prize panel to recognise a searing independent spirit, when the short list is announced soon. Will they be bold? Will Man City win the premier league next season? The answer to these two teasers is more than to be likely the same.

Thea Gilmore Official Website

The post Interview: Thea Gilmore first appeared on Collected Sounds.

An interview with Béla
By Anna Maria Stjarnell

Béla has just released her debut album The Death of Gypsy X. She’s a powerful singer and songwriter.

When did you know you wanted to be a singer?
I have wanted to be a singer since i could walk and pretend my mom’s deodorant was a microphone!

What was it like to record the album?
Recording the album was the most incredible time of my life. To watch your simple song ideas and thoughts that you wrote in the privacy of your bedroom, reshape and grow into full songs that incredible producers and mixers you admire, are telling you they love, is something no words can fully describe.

What is your audience like?
Our audience is warm, generous, attentive. They range greatly in age (there are always some people under age that we sneak in, and then there are people that are there who are in their late 40’s!) Its great to reach and touch such a wide variety of people from a wide range of life experiences and diverse cultures. Its interesting that although at first glance they don’t always share many similarities, they must share something in common in their lives because there is a common thread in them all that has been somehow touched by the music we make.

Why did you cover a Guns N Roses Song?
Guns N Roses are one of my first memories of music that scared me a little.. it was like I hated that my older brothers listened to them.. the video for Welcome To The Jungle used to make me cry. But it was also a band that made me realize the power of music. How a song can make you feel something so strong that it moves you. As I grew up, I listened to them again and again and quickly realized why my brothers and cousins had been so mesmerized by them. I dreamt of somehow one day compelling an massive audience like only Axl could.

Why did you choose Don’t Cry?
Don’t Cry is my favorite G N’R song and one of my favorite songs of all time, period. It was a huge challenge to tackle any song by such an amazing band, but especially that one which i saw as already perfect! But as intimidating as it was, it was one of my greatest challenges, and I am pretty obsessed with conquering challenges once they enter my head! I think we recreated it, gave it new meaning and new life. I am infinitely proud of that.

What are your influences? What inspires you to write songs?
In life, my influences are my parents, who have led lives I can only dream of leading. In music, I love European music. The late Amalia Rodrigues who was a Portuguese fado singer. Sigur Ros out of Iceland, and various British bands. I love anyone who can create music that removes your mind and takes it somewhere other than where you physically stand. Time travel, adventure, emotional release, it is all such freedom that only a true artist can bless you, the listener, with. Life inspires me to write songs. The best songs derive from experiences and emotions and people that I have encountered that have moved me. Whether they be positive or negative experiences. One of the first songs i wrote was “Gone”.. I wrote that song the week after my grandmother passed away. Everytime i sing that song I have to make a conscious effort not to break down and cry onstage… it’s so very difficult to relive it all everytime I sing it. It’s painful but there’s beauty in ti and it is ultimately one of my favorite sings off the album because it is so real and sincere.. it hurts but it is also a piece of my greatest idol that I get to have with me every night I perform.

What are your thoughts on people downloading music and how might it affect the music industry?
I don’t know what I can say to stop the downloading of music. My humble opinion can’t stop the masses so I opt to not let myself get down with things I can’t change. I pray I can make a living out of what I love to do. The gift of music. To be able to touch people’s lives with something I write or sing.. that is a luxury to me and a blessing I hope I can keep in life. I hope fans will want to have a full cd to hold in their hands and have in their collection, to share with those they love, as a piece of art, a keepsake. I hope I can be a part of people’s lives that way, and that hope makes me believe maybe people will continue to buy the albums that make up the soundtrack of their lives. I know I do! I guess its up to us as artists to keep music alive. Make cds worth buying again. Keep creating and inventing, not just innovating. Keep impacting kids lives. Keep live shows alive. Write songs, not jingles. Make it sincere and real and the rest will follow.

What’s next for you in terms of music?
I am constantly writing. That is something as natural and necessary to me as breathing. Right now the priority is taking the music to the people. Meeting face to face with the supportive masses. We are planning to tour throughout the summer. That is the most exciting thing in the world.

Editor’s Note: Anna Maria recently reviewed Béla’s new record, The Death of Gypsy X, [Read the review here]

The post Interview: with Béla By Anna Maria Stjarnell first appeared on Collected Sounds.

An Interview with Mieka Pauley By: Lauren Jonik

As most artists recognize early on in the development in their craft, creating is a necessity, not a luxury. It becomes a way of navigating both the world and life itself. But, the roadmap is one that’s dotted with mountains and valleys, as the endless road beckons forever onward. For Mieka Pauley, traveling on that path is something that’s more than just metaphorical. For the past several years, Mieka has spent much of her time criss-crossing the north and southeast and the midwest bringing her engaging songs and demonstrative performances to those who meet her along the way. With vocals that rise like rings of smoke into the air, her songs allude to the fire just beneath the surface. As she sings in “Bravely,” “Do it bravely, save me from the weak and lazy. If you can’t face it, don’t do it all.”

Though she has been singing since she was a child, it wasn’t until being influenced by her time in Cambridge, MA while attending Harvard that Mieka Pauley realized the possibility of performing as a profession. “When I was tiny, I remember making up songs and singing them into household appliances like they were microphones,” she recalls. Those imaginary practice sessions became real when Pauley decided to try her hand at street performing after having witnessed other musicians doing it for four years. “Being surrounded by that made the transition easier. I think street performing could be a foreign concept for people who aren’t exposed to it. The idea is that you’ve got to build your audience just on the basis of your performing because nobody’s there. They’re just walking by. It teaches you how to perform anywhere. “

And, that includes New York City. Playing frequently at The Living Room and the Rockwood Music Hall, Pauley has built a solid fanbase of familiar faces who return again and again. “Those place feel like my home since I keep going back there.” Appreciating the responsiveness of NYC audiences, Pauley values the welcome she has received. “I’m surprised at how receptive New York is, but I think their reputation incorrectly precedes them. They’re a lot more open. They’re going out and seeing music. Everywhere you look, people are at shows.”

Currently working on her new album, Mieka Pauley is pleased with how the project is progressing and is eying a late summer release. “It’s going great— I’m so happy. A friend of mine, Brian Cassagnol from the Boston band Harriet Street, is producing the album. I love collaborating with him on a musical level. It’s so great to see what he does with songs that before had not been fleshed out outside of me, “ Pauley explains. With many miles and countless hours on stage now under her belt, Pauley is anticipating that her next collection of songs will be “more artistic and more actual incarnations of my songs and music.” She states that the working on her CD has been a chance to discover what her sound really is.

“Oh to take sorrow and use it as a crutch / And have all you need and never know it as such / Oh to want the warmth of fire and get the burn of its touch. . . “ Pauley sings in “Devil’s Got My Secret,” one of three new tracks from her recent recording sessions being sneak-previewed on her MySpace Page.

See also a review of Mieka Pauley’s album:
[Elijah Drop Your Gun]

[Mieka Pauley Official]

The post Interview: Mieka Pauley By Lauren Jonik first appeared on Collected Sounds.

They’re Waiting In The Line To See The Tommys.

“It’s not about that they’re girls; they can fucking play!”

Responds Stevie Shepperson, the blonde streetwise mouthpiece of the Nottingham originated and Crewe based rock engine, The Tommys, concerning the impression they wish to leave upon those exposed to their live force. An alleyway in Crewe, situated between a nightclub and a cinema leads to the retreat where the girls capture their eclectic brand of garage rock, post-grunge, old fashioned R N’ R and ripping indie, then they put it into mood mixing demos. The trio recline into the available chairs and sofa, appearing as though they are ready for anything and nothing fazes them. The gals now appear unburdened after the swift departure of singer Jess Bell, smack bang in the middle of a long and reputation enhancing tour. The remaining trio of Stevie, percussionist Fran Robinson and bassist Anna Naberrie share a focus;

“We still wanna get rich!”

Stevie assuredly unfurls the impact of this recent fait accompli and hints at the reasons for it;

“If you’re not 100% dedicated it can be very difficult. You have to spend a long time away from your family, Jess just decided that it wasn’t for her anymore. By the end of the tour we’ve changed.”

The solidarity starts to kick in as Fran confidently elaborates, supporting the singer as she does in the group, with skill, confidence and utter belief;

“We have been tighter, both on and off-stage. We spend more social time together, whereas, before we used to split up into two pairs a lot. We have had time to jam, but we have not written any new material as a three piece yet.”

Prior to the recent tour, the last thing The Tommys did as a quartet was to record a broad ranging demo, both in musical approach and emotional impact. This builds around the brazen, defiant, pumping and popular set opener ‘You’re Not The One’. In less than a month this has now been re-recorded using the vocal pull of the new singer and, already the Queen Adreena hugging ‘Waiting In The Line’, has a more drawn out vocal trail. This is signposted by the cajoling and accomplished drumming of Fran. The punk laced ‘Freakshow’, now has a provocative singing sling that is fired off by the enveloping bass of Anna, it has been lifted up in potency and spice.

Anna captures their renewed enthusiasm and desire to keep the momentum building;

“We think that the demo we’ve just recorded with Stevie’s vocals on it, sounds different and we like it. I think she has a great voice. We now need to see what other people think of it.”

Fran picks the right moment to impart a fresh perspective on the matter, taking the opportunity to expand upon this and their future plans;

“Especially people who are not used to hearing Jess’ voice. A live CD has definitely been talked about, I think the live sound is very important to a band. Too many bands don’t really do anything when they play live.’

What about the immediate future?

“We’re happy to just keep gigging and stay away from the media circus. It is so easy to get caught up in all that. ”

To which Stevie adds;

“They force bands don’t your throat these days, it’s more about markets and it’s a load of rubbish. If people start thrusting it down your throat then you get sick of it.”

Previously, the song that stood out and summed up The Tommys’ steadfast and cutting nature was ‘Gagged & Bound’, but several songs have now stepped up to match this. After a contemplative pause, Stevie seeks to blow away the cloud of doubt surrounding this particular pearl;

“It had been in the pipeline for a long time, it is quite old and we had a lot of time to do it in. Loads of ideas just came into one, really.”

Anna boldly takes us more broadly into the band’s changing impact;

“Some of the songs that are better to play suited Jess’ style. We’re just growing more and more and we still want to sound pure, so that is why some of the songs naturally sound different now.”

Maybe it is this sort of honesty and genuine nature that has helped their popularity? This, according to Fran, is very important to them;

“It really helps to have a following. Ours is in the Stoke, our gigs at The Sugarmill are always packed, it’s great, and we play to 400 people there each time. We always tend to go there at the right time. The crowd in Glasgow are also good to us. We do notice that the further south we go the tougher the crowd gets. They tend to watch more carefully, for some reason.”

Speaking of the live experience, it is now time to dig up their roots. With all the talk of classic bands reforming, who would they pay to watch if they got back together?

Anna; “The Smashing Pumpkins.”

Fran; “Kiss, I think. Especially to see them in all of the make up.”

There is a brief, contemplative pause before Stevie is cajoled into a response;

“The Who”.

I think this gives a broad enough hint regarding their musical base. It also explains the live power that they possess and they are more than capable of capturing this on record, in true indie fashion. This is done without the aid of lush production techniques that often has the impact of blurring a band’s vision and authenticity.

With the time of their departure to Basingstoke looming, to rip up the town with one of the customary explosive live shows, it is time to delve into their current feelings. Which one of their song sums up their present mood? Stevie takes little time in fielding this one;

“Out Of My Head. It is fast and pumping and, yeah we are all out of our heads.”

For Fran it is;

“Freakshow, you go through that stage life, coming out of the reality of I know where I am in life. The song is all about that, really.”

Anna gives the issue a philosophical tilt;

“All the songs mean different things to different people. That is good, I think.”

So, there we have The Tommys, who have resilience and an ability to retain focus through the sort of diversity that would see most bands crumble at the mere prospect. They have evolved into role models for a bemused generation that needs focus and drive. The girls have the blueprint in their hand to prove that success and recognition can be achieved independently through skill, hard work, resilience and raw talent. Many will be watching and praying that they succeed.

The post Interview: The Tommys by David Adair first appeared on Collected Sounds.

Tina Dico’s searching talent is like warm sand underneath your feet.
An interview by David Adair

The cosmopolitan London based and Arhus, Denmark born songstress Tina Dico, relatively recently loaned her services to the multi-faceted Zero 7 to feature on their 2nd album ‘When It Falls’. The amiable Dane already looks at home in the welcoming Night & Day Café, as she is relaxing on a stool at the bar, patiently passing the time prior to her first headline gig in Manchester. The predominant reason for Tina’s presence here, is to promote her enchanting, coming to terms with change debut album of ‘In The Red’;

“This was written partly when I was working with Zero 7 and partly since I moved to London, in order to set up as a song writer. I didn’t know anyone when I moved there and I was quite a lonely for a time.”

The above mentioned album features personal and searching tracks like ‘Losing’ and the aching, Elliot Smith veined ‘Room With A View’. Are numbers such as these difficult to perform live, given the emotive nature of them? Also, I have often pondered, what prompted the decision to open the album with the troubled, yet hypnotically rhythmic ‘Losing’? It is the first impression of her sound that many listeners will have;

“None of my songs are difficult to perform live. Although they’re very personal, I feel that the audience are equally as exposed by listening to it. So, hopefully there’s an instant connection there. I chose ‘Losing’ as the album opener because it’s dark but hooky. It is a good bridge between the poppier and the darker side of the album.”

With the open discussion moving onto her song structure and composition, the strong minded lady starts to adopt an authoritative tone, as the impression is given that this is something she has mulled over many a time in her solitary London home. There appears to be a poetic spark to the lyricism, does this ignite her creativity?

“No, I don’t write a lot of poetry anymore. It’s all about music for me now, there is no poetry without music. The lyrics are poetically orientated, but they do not trigger the song writing process. I write unstructured things sometimes, what is it you English call it?”

Prose?

“Yeah, that’s it.”

Come to think of it, her lyrics and her ability to conceal loneliness inside concise wording in numbers like ‘In The City’ and My Mirror’, is almost Orwellian in it’s feeling.

Denmark is not really renowned for being a hotbed of musical creativity and talent. So it’s intriguing to discover how hard it was for a veraciously independent songwriter to get established there?

“It was hard, it was a slow building process. I released three albums there and it was the third one that really hit home.”

Luckily, such was her keenness to elaborate on this; I did not get the chance to embarrass myself by suggesting that she is Denmark’s equivalent of Snow Patrol!

“It is very unpopular to be a singer/songwriter over there. It is very pop-orientated, so Record Labels weren’t really interested in what I was doing. It was hard work, but that is most satisfying part of it, I think. I’m quite a mathematical person. I’m good at planning things and was very excited to learn about the workings of the music industry.”

The independent woman then went on to parade her subtle, yet feeling packed style, with debut album tracks featuring prominently. Tonight, she opts to introduce herself through one of her warmer and more pop friendly offerings ‘One’. The uplifting two guitar tango effect given to previous single ‘Warm Sand’ reaches out to shake hands with each member of the contented crowd. The percussion free set produced by Tina and her deft guitar stroking sidekick oozes intimacy, as her world of emotions are prized open with looping guitars. ‘Room With A View’ increases in poignancy and it is hard to resist a glance out the window at the back onto the dark streets, as the Dane’s vocal clarity, conveying loneliness clashes against the soothing melody to open up the world of an artist, battling against the contrasts in life. On tonight’s showing, it might not take three albums for Tina to take off here.

The post Interview: Tina Dico’s searching talent is like warm sand underneath your feet. first appeared on Collected Sounds.

What’s the diffrence between this album and the last?
I worked with different producers on this album, John Gold and Sam Music. I wanted to create a lusher, richer sound than my last album, which has a more spare production.

Why did you cover Key Largo?
There is a beautiful version of Key Largo performed by Sarah Vaughn that has always been a favorite song of mine. Her version has very simple instrumentation, just her vocal with a jazz quartet. I wanted to do a version of the song, but without copying what she had aleady done. I think that when you do a cover of a song, it’s important to add your own flavor to it. The lyrics are about waiting for a lost love by the sea, so I thought it would be interesting to create an orchestral sound from samples that swells and flows like the ocean.

What’s your audience like?
I get emails from people of all ages from all over the world. If I had to guess, I’d say that my older listeners might be jazz fans that are drawn to the vocals of my music, while my younger listeners might be fans of downtempo. I’d like to think that they are thoughtful music lovers with good taste!

What would you call your music?
I describe it as a combination of jazz, downtempo and soul.

Will you tour Europe at some point?
I would really love to. Actually, I just had a baby three months ago, and am busy being a mom at the moment. Maybe later next year!

The post Interview: Gretchen Lieberum by Anna Maria Stjärnell first appeared on Collected Sounds.

You seem to get your inspiration from times past..is there any time period you’d like to visit if it were possible??
Yes you are right. Our music and lyrics are inspired by times bygone and long-forgotten. If it were possible it would be really great to visit the medieval times. I’d love to visit a contemporary musical “festival” held at a court, listening to bards singing and playing harps and lutes, telling tales in the universal language of music.

Are there any other groups you feel close to?
Yes, bands and artists like Hagalaz Runedance, Loreena McKennit, Louisa John-Krol…etc

How did the group start?
The Moon and the Nightspirit was formed in 2003 by Agnes and me. In the beggining it was only a side-project, a musical experiment of ours, not a full-time band, due to the fact that we were members of a hungarian gothic metal band (Evensong) at the time. We’ve been always interested in the pagan culture and wisdom, the spiritual and musical heritage of our ancestors, the long-forgotten tales of the old, and after writing a few songs for The Moon and the Nightspirit we realized that this was the music we always wanted to play, the path we’ve been searching for all the time, the world where we truly belong. So we decided to quit our former band in order to pull all our efforts and emotions into The Moon and the Nightspirit. In 2004 we recorded a promotional EP, which gave us the record deal with Portuguese Equilibrium Music. In the summer of 2005, after a short song-writing period, we entered hungarian Elysion studio again to record our debut album “Of dreams forgotten and fables untold”.

What’s your audience like?
Well, as i take it the audience consists of quite various people from the younger to the older age-groups. We do believe and hope that our music can reach the heart and soul of many people. Of dreams forgotten and fables untold is our first album, and we had only one live show so far. We are only at the beginning of our journey.

What’s the music scene like where you live?
Hungary has a strong music-scene, with a lot of talented and young bands. Unfortunately only a few of them had yet been given the opportunity to be known outside of Hungary as well. But let us hope it will change soon. Sadly the lack of independent labels and magazines in Hungary is a factor that will surely not help the fast progression.

The post Interview: Moon And The Nightspirit first appeared on Collected Sounds.

Collected Sounds: First of all I want to apologize in advance if I stumble. You’re my first live interview so if I seem nervous it’s because I am.
Dar Williams: Oh, you’re gonna be fine, don’t worry, you know they’re the same as any other kind of research.

CS: I don’t know if you had a look at my questions before today, but I wanted to let you know that your music was an inspiration for the name of my website. When I was trying to come up with a name
DW: oh that’s right

I was listening to “The End of the Summer” and the phrase, “I collect these sounds in my ears” popped into my head and I was like, ‘wait, that’s kind of what I do’ so that’s why..
DW: I’m so glad, no I didn’t see that. (Amy’s note: I’m a little confused, I thought when she said “oh that’s right”, that she knew about me and had seen my questions, but maybe she didn’t, or I misunderstood. I’d like to think that perhaps she knew of my site already, but I don’t want to fantasize too much)

CS: What is the first song that you ever wrote and have we ever heard it and will we ever if we haven’t?
DW: It was called “I Should be Happy Where I Am” and I wrote it when I was eleven. And the answer to the rest of the things is no. (laughs)

CS: OK well, you’ve given us so much that, you know…you can keep that one.

Your lyrics are so intelligent, witty and emotional and it’s obvious, to me anyway, that lyrics are an important part of your music. Do they pop out first when writing, does the melody come first or do they kind of come along at the same time.
DW: I prefer they come at the same time. You know if you start with words and concept you really need a melody to float them. A melody can be very mundane. A melody can pop through my head for a long time but if I don’t anchor it with words, ultimately it will disappear so really the best thing is when a phrase pops up and then I can build around it using pieces of itself. I can cut a phrase in half and use that for the beginning of a melody for a verse.

CS: Many of your songs are family oriented. And you seem to have a handle on what it was like to be a parent before you ever were one. But now that you are a mother has that changed anything at all in the way that you write?
DW: I don’t think so, I think it’s actually made me a little bit more efficient in my schedule because writing revolves around a babysitting schedule that was not there before. I used to get out of bed and go, ‘oh dang, I know what I have to do today.”

So when people say things like ‘Oh what would we do without you?” and “Oh you’re so valuable”, and “You’re just as important as a parent.” Or ‘you’re a godsend’. They really mean that. As a parent it just doesn’t cut it to feel like you’re this monolith in their life. You really are that grateful to the other influences in the child’s life. So I don’t know if this is just because my mom was fund raiser for a family planning thing, (laughs) but, I think people should not have kids if they don’t’ want to. There are so many ways to be there for kids and I don’t think that this sort of “but, my child is more special…” is personally healthy or civically healthy…

CS: maybe not so good for the child either!
DW: Right, right! So we have one and we get to decide what to do next. But and people point out ‘you have one so of course it’s easy for you to tell people not to have them’. There are some people who don’t want them and they feel like there’s something they’re going to miss out on and I just feel like in our society people need our human hours of help and care so much that you don’t have to feel the pressure to fill that gap by having kids. You can be a bit more creative.

CS: Yeah, I suppose, well that’s good to hear because I might not have one and I keep thinking well, what if I don’t and I regret it, look back and think why was I was selfish…
DW: But it’s not selfishness. In some ways having a kids is selfish. But you get to decide that for yourself.I’m late, that’s how I justify it. It’s like well, I skipped…I had my first kiddo at 37 so you know that’s twice the age of my predecessors, not my mother, but you know, others.

CS: I’m not necessarily speaking of influences, but what musical artist do you find yourself listening to in your free time do you have any new discoveries you’d like to share?
DW: Well, I got the new Wilco album, “A Ghost is Born” and that was very under publicized kind of coming out of their last thing. And it’s sophisticated and beautiful and so I think they’re very wonderful musicians. And it’s complicated it’s not just an easy going pop album.

But I was also listening to Moby for sort of political reasons. There was um, I had this idea of a renewable energy museum. That I thought, like, a portable museum that artists could tour with to sort of give it a little mainstream credibility. The fantasy went as far as buying all of Moby’s albums because he would be a perfect figurehead for something like that. And the great outcome is that I love Moby’s music.

CS: You never told him your idea?
DW: (Laughing) No, no, well I talked to a concert promoter about it and that was an interesting discussion…it’s more like how do you make a portable museum work…do you have a science center, by the way, in Minneapolis?

CS: We have a science museum, yeah.
DW: Oh very good, I’ll have to check it out. See my fantasy is to pair up a science center with a University that has participated in the Solar Decathlon, which is this thing where Universities create portable green architecture that they assemble on the Washington Mall.

But if it’s not going to tour with rock stars then it’s none of my business to like go up to people and go, “You should…” (laughs) but the fantasy I guess at this point would be to encourage people to do this with some guarantee that they could make it both permanent and portable. That musicians would help them create bridge ways and pathways to existing events, like Burning Man or Newport Folk or other festivals or events like there’s the Lemon Wheel, that was Phish’s big thing, or the Moe Fest up in Maine for the band Moe and stuff like that. So it takes Moby out of the equation, which is good because I’m not a vegan and I was like, “oh what would I wear? My silk pants that were made by silk worms, my wool sweater, my leather shoes he’d think I was such a loser. So I think I’ll keep a safe distance and just be a fan.

CS: That works too. That kind of leads into my next question…you’ve worked alongside some really fabulous musicians is there a favorite story you’d want to share, or a star struck moment?
DW:I am so desperate to no be star stuck my only star struck-ness is that I talk too much and I make a fool of myself. So there’s only a handful of people that I cringe when I think of them. But none of the people that I worked with because the stakes were too high.

Then Marshall Crenshaw, Patty Larkin and Soulive all….it’s like watching somebody’s handwriting coming out of the pen. That’s what you get to see when working with these people. I think Marshall’s thing was on the first take, all his guitar stuff was on the first take. He memorized stuff so quickly and just nailed it and I was like dang, I’m a bad musician! These are people who really have music in their blood; which all of these artists did. For all I know the way I create music is like my handwriting coming out of my pen so maybe it’s just as mystifying to other people…

CS: Well it is to me. I’m not a musician; I just love music so yeah…
DW: Well, that’s very kind. But you know when I’m around people who it’s like the music came before the lyrics, the music came before everything for them and you still see the primal force.

Watching Shawn Colvin play guitar, you see how it saved her life when she was a teenager. When she kind of curves herself over her guitar, to hear out a part as she’s creating it on a stage…because, we were collaborating together…you see the same teenager who was trying to play the “Fire And Rain” Intro or “Bee’s Wing” by Richard Thompson, or something like that you see where she was who she was and what it meant and why it’s so important to her. So it’s all it’s kind of that moment with an artist. More than specific artist because it’s every artist I’ve seen.

CS: Your stage banter is very charming, funny…
DW: Thank you (laughs)

CS: ..It’s very fun to watch you. Has that always come pretty easily for you or is that something you had to work on over time?
DW: I had a big breakthrough in 1992, so pretty early on. I learned the difference between what you plan and you allow yourself to not plan. I spoke to an ex-boyfriend. I’d left town and so he split up with me and he said “I just want you to know I would have broken up with you no matter what.”

I take that stuff seriously. I was a theater major and I know a lot about the stage as a hyper associated space in time and dead space is really exacerbated or exaggerated by dead space and so I know you’ve got to be careful. But I also know that showing a little bit of my out of control-ness, when I go a little too far or I stumble, again it’s like seeing the ink coming out of the pen. You really feel like you’re seeing the person’s self coming out as opposed to little you know chicklets, little packaged things that are ultimately perceived as either kind of having no life or being even condescending. So allowing that kind of rougher edge to show, and I don’t mean a sharper edge or a nastier edge, just…

CS: a little more human?
DW: Yeah. Rougher and softer at the same time, was a huge breakthrough and I think I picked up things along the way about how to kind of finesse a little bit more, show a little bit respect. Like, don’t go there politically, don’t talk about this certain family member, or be careful about certain things, just because you don’t want to watch the audience squirm in discomfort.

And still get to say everything you want to say. That’s sort of the nice paradoxical challenge. But it’s a challenge. But I think ultimately you have to be a human being up there or else you lose.

CS: I asked my readers what questions they’ve wanted to ask you and many of them were marriage proposals…
DW: AWW…

CS: But here’s one I can ask. Will you be releasing any more of your records on vinyl?
DW: Probably not in the near future. Because people are lovely and I think it’s their prerogative and I think it’s really a big cost. They have to come to us and I can see where it would be awhile before would feel like they could.

CS: In your opinion, what is the most important political issue facing the world right now is there any one particular issue would like people to be educated about.
DW: I think people should not be afraid of . solar hot water heat Like people are kind of afraid of solar energy because they don’t think it’s efficient. And it’s getting better and better but I think people should really really not be afraid of solar hot water heat. Especially in Minnesota where actually cold weather, sunny cold weather is the most efficient climate for a solar panel. So Solar Hot water heat and aluminum recycling. Those I think, are the two big things, that we can have more control over.

And really think towards the empowerment of women not just as leaders you know but as participants they’ll be saving the world.

CS: My site, Collected Sounds is not only for music lovers, but is also a resource for Independent artists so I’m wondering what’s the best piece of advise you’ve ever gotten regarding your career and what advise would you give to somebody starting out?
DW: The best piece of advice I got was to create an audience. To try to create and audience driven career as opposed to an industry driven career. So try to build an audience as opposed to trying to build critical acclaim. Then one will follow the other. And then get great management too to take advantage of that and direct your career. I’ve seen unmanaged artists who are so great and the world deserves to hear them. They deserve more structure and administration. So don’t be afraid to have business around you. I would encourage people not to look at things as just business that’s just money which can interfere with your artist sonar.

CS: Sometimes that doesn’t come anyway, at least not for a while.
DW: Right exactly. So you know, you might as well take a risk and that’s probably more financially beneficial anyway.

Cutting your teeth is a really important thing to do because capitalism just takes women and says “how are you of service?” in the most general way and the first things it comes up are mothers and prostitutes, sex vehicles and leisure vehicles and caregivers. Women are more than welcome to be either one, but what the world really is hungry for is not necessarily what is the most efficient to capitalism. So you know, the world wants your ideas in all sorts of diversity of ways that you administer care and so it was really good to be in a scene as opposed to going up to the 85th floor and saying ‘Tell me what the world wants’ because they only know what makes money.

CS: Well, it’s been great chatting with you
DW: Yeah thank you

CS: And I look forward to your concert here in October
DW: Great, yeah, we’ll see you then. I’m looking forward to it too at the O’Shaunessey. OK thanks!

CS: Thank you (breathes a sigh of relief that I didn’t completly look like a fool…or did I? Hmmm)

September 11, 2005

The post Interview: Dar Williams first appeared on Collected Sounds.

“Be not afraid of greatness: some are born great, some achieve greatness and some have greatness thrust upon them”.

The sweet voiced Isobel Heyworth falls into the latter category, with her unassuming and a little shy off stage presence, a transformation is made when she clutches her acoustic guitar and starts to sing and sooth souls with her comforting music.

Isobel kindly agreed to answer questions about her music and provide us with an insight into what motivates her to produce such ethereal, friendly and welcoming music.

1. How did you enjoy opening for Patty Griffin at the Manchester Academy recently? Also, how important is it for independent songwriters like yourself to have uncompromising and intelligent singers like Patti and Thea Gilmore to light the way?
Patti Griffin was amazing; I haven’t seen her play live before so it was a real privilege to see her in action. It’s a very emotive experience to watch her play and I spent along time wondering why she was so different to other players in this. I think it’s just because she and her whole band are feeling it so much. They seem to not even notice the audience at all and at some point the line to the musician playing the song or the song playing the musician becomes very much blurred. It’s really fascinating to watch.

2. You recently graced the SWAP (songwriters and publishers) Festival that featured Thea Gilmore, Steve Earle and Damien Dempsey, with two uplifting acoustic sets. How important are events like that to you? Are you proud to be an independent singer/songwriter in an age of robotic artists programmed to perform?
Definitely. However cliqued the phrase “keeping it real” may have become it does endear because at its heart is an absolute truth. Music is a singer, guitar, pianist, whatever…. playing to bring pleasure and comfort to people. That should always be at its root and that’s why SWAP is so brilliant. It reaffirms the basic premise of music to people who might not otherwise believe it.

We live in an age where robotic artists have grown from a genuine popular demand so it’s hard to criticise. They are, I suppose, an efficient means to bring music to the masses but the entertainment value is maybe more to do with the spectacle. That’s all good but I really hope the truly affecting experience of a song that means a great deal to you, played in front of you by the person who wrote it is never lost. The true greats need no more than that. That’s what SWAP promotes and that’s why it means a great deal. Look at Steve Earle. He captured, uplifted and inspired a full Academy 1 for over an hour and a half with no more than him and a guitar. That’s astonishing, and a huge credit to him and his songs. It’s what its all about.

3. Highlight track on your debut CD ‘On the Back Of an Envelope’ is the warm, welcoming and caressing ‘Just for you’. It is reminiscent of your contemporary Emiliana Torrini in my humble view. Do you agree with this and what is the origin of this number?
I like being compared to all good musicians but I daresay that is just because of self-flattery. Just for you is one of the first decent songs I wrote on guitar. I had only been playing guitar for a year when I wrote it which explains why it is so simple but it’s a song I really enjoy playing and recently putting a piano part to it and playing with the band has really made me listen to it afresh. It’s one of my favourite tracks on the new album because of it.

4. What plans do you have regarding your music? Do you intend to branch out and have a full backing band with you more often, or are you getting increasingly comfortable with the intimate nature of your solo shows?
I do like playing with the band a great deal. It’s a lot more fun and a lot easier both physically, because it takes a lot of pressure off, and in term of getting the music across to the audience. It’s a lot more interesting for an audience to watch and listen to a band because there is more going on. You also have the advantage of volume where as sometimes people actually have to concentrate hard to hear you and everything you are doing properly if you are playing alone.

The flipside of all of that of course is that commanding a room to silence solo is a big deal. Because of the factors listed above, you have to be doing something special to make it work. It’s a mass, unspoken compliment from the audience. I love that and it keeps me focused on writing the best songs that I possibly can.

5. What was the last gig you attended as a spectator and does it feel strange watching other artists? Are you constantly making mental notes on their performance?
The last gig I saw was Alfie at Night and Day last night. They were great. Its brilliant watching how other acts because you can take a lot from how different people approach things. There are some really great acts around at the moment that really think outside the box musically and there are some amazing performers. Everyone brings some thing different to the table so you’d be a fool not to be interested.

7. Who or what motivates you in life and to make such endearing music?
First and foremost I suppose I motivate myself. I know how much a great song affects me and I want to do that to other people. Everybody is concerned with leaving some form of legacy be it by their children or through their work…. That’s what I want mine to be. So long as I have hope that I can achieve that I’ll keep doing it.

After that and perhaps more importantly, it’s the people who listen to it. People have said some really kind things about the music I do and without that I couldn’t do it. Its peoples belief in what I do that makes me think its worthwhile and so keeps me doing it. The one couldn’t exist without the other.

8. Do you have any other hobbies? I sense a tinge of poetry in your lyrics, do you read or write much poetry?
I do love poetry especially that of Yeats who is my favourite poet but I like Emily Dickinson and Blake a lot to. I work quite hard on my lyrics so its nice to read poets who make it look so easy, although it sometimes does make it all the more frustrating to come back to that with which you are struggling!

9. I recently heard some young emo kids/punks who had been to see Finch on my way home from the SWAP Festival proudly proclaiming that they can form a mosh circle at any gig. Would you like to challenge them to form one at an Isobel Heyworth gig, to ‘Best Dress On’ perhaps?
Yes, its got to be really hasn’t it? They couldn’t mosh to that, although there is a remix of Best Dress on which has got a pretty fat beat to it …it works surprisingly well and you could mosh fairly easily to that I reckon…

10. Are you alarmed by the ability of certain media and press institutions to make a band or artist so big via the vice of hype? Do you thing that the music loving public relies too much on tastemakers in the U.S.A. and the U.K.?
Tastemakers are just people who can predict trends by knowing their market very well. Hype is a big problem at the moment because it means that the little guy can’t compete and that leads to only hyped acts succeeding. Since the hype consumes so much money, record companies will only hype the safest acts. The safest acts are those that follow a successful formula / are similar to other winning acts which mean that gradually our music is becoming blander and blander. It’s the musical equivalent of interbreeding and that never leads to a healthy population.

Of course the natural and popular reaction is to blame the record companies but it’s not that simple. They are a business reflecting the wants of the population. Even if a musical big wig is a genuine music fan they can only produce what sells or they’ll go broke and be of no use to anyone.

The fact of the matter is that it’s very much multifaceted. It seems to me that the record companies maybe should take more of a risk with different types of artists. They could to redistribute the money they have by spending less money on more acts as happened historically.

At the same time though, the record buying public need to listen to a wider range of music, because there is so much they would like if they looked for it. There is already a population of music fans who do this (you find them at gigs) but it’s the mass population that need to be converted so the record companies can reflect this. Once you have a wider range of music being listened to you get back to a healthy cross pollination of musical ideas and a truly inspiring mainstream musical culture.

Unfortunately none of this can happen, unless that’s what most people want. All genuine music fans and artists can do is keep plugging away. The fact that they’re so many of us has got to be a positive sign, I don’t think it’s hopeless in anyway. Its hard work, but maybe that’ll just make it more rewarding in the end.

The post Interview: Isobel Heyworth first appeared on Collected Sounds.

For the new Alice Marie fan (or for anyone that hasn’t heard this story), how did you begin your musical career?
Accidentally. Erratically. Desperately! The other day I came across a Polaroid of me in front of the baby grand my parents bought when I was seven. I’m facing forward, but my hand is reaching back to the keys, as if I don’t want to lose contact with my new friend. That’s when I first took lessons but not for long. I was more interested in singing pop music instead of playing classical pieces, so I eventually stopped playing until poetry and what would become lyrics brought me back to the piano. I was in college then. I’ve been writing ever since — fifteen years — with long breaks when I taught English and wrote for magazines and television. Moving to NYC added some serious Emeril bang to my career. That was in 2001. I took excellent songwriting workshops, played out a lot more, and found a soul mate of a producer to record my CDs with. CD Baby and the Internet in general have been great gardens for my seeds to grow in. And meeting so many people with indie and major-label careers is incredibly inspiring.

You’ve become a mother since your first CD Equilibrium, how has that affected the songwriting/recording process?
During my pregnancy and the first few postpartum months, I wasn’t as productive, but I think that’s entirely normal, and I have no regrets about that. It’s been a privilege to be with my daughter full-time, finish and release a CD, and play out and write new material, even if it’s not at the pace or intensity it could be were I not a mother. Then again, I’ve actually gigged more since Amanda was born than I did before, so in some ways I’ve been more productive. I think the most significant change has been the limit that motherhood has put on my navel-gazing — and this is a good thing. I can’t spend too much time angsting about a performance that didn’t go the way I wanted it to because Amanda brings me back to the moment and gives me much-needed perspective on things. I also feel like a much better mother to my songs. The commitment I have to caring for Amanda has carried over to them. Giving birth naturally makes you feel you can do pretty much anything, which doesn’t hurt! Several songs have been inspired by pregnancy, motherhood, and moving to the burbs like “Could It Be,” “Black Reverie,” and “Easy Streets.” And I have a bigger heart to write with now.

What kind of response have you received from your latest CD Angels Near?
Surprising in the sense that almost every song has been picked as a favorite by fans and DJs. The industry might say it’s better to have an obvious “hit” but I’m honored that all the songs are resonating for people on some level. I don’t know that I’d call it a “hit,” but “I Was Seven” has taken on a life of its own. I thought it was the track most people would want to skip, but it’s been embraced in such beautiful, reverent ways, both in live performances and as a recording.

Which song(s) on Angels Near is most meaningful to you?
Good mothers aren’t supposed to pick favorites! But if I HAD to pick one, “I Was Seven” would be it because writing and recording it helped open me up to becoming a mother. When Sting said, “Music is its own reward,” I think that’s what he meant. The fact that it’s also helping raise money for RAINN makes it even more special. I also have soft spots for “Could It Be” and “It’s Amazing” because they’re just as raw and honest.

As a songwriter, is it easier to write the dark/painful songs or the more uplifting/positive ones?
I seem to be more eloquent and incisive when I’m in pain, but I’m having a great time with lighter-toned songs too. I recently wrote a bouncy road-trip kind of tune called “Gotta See Where This Goes,” and I had a great time with that. It’s good to put the top down and “soak up the sun” a la Sheryl Crow once in a while. “More” came pretty fast and easy, and I think that’s one of my most uplifting songs. “Madeleine” too.

You’ve had some recent concert dates, how are the shows going?
Really well. I’ve grown a lot as a performer since releasing Angels Near, and I’m very happy about that. A house concert and some of the open mics and showcases I did were incredibly intimate and supportive. I’m letting go a lot more and trusting the live experience more; that’s huge for the Type A girl in me.

Congratulations on having 2 of your songs, “More” & “I Was Seven” chosen for the CD: “Mindful Lullabies” (to benefit the RAINN organization founded by Tori Amos). That must be quite an honor. Your thoughts:
It’s a dream come true to be able to serve with my music. Since music has been so healing for me, it’s an honor to be part of the healing process for someone else.

What kind of impact are your songs having on the sexual abuse/trauma survivor communities?
From the time I shared the rough mix of “I Was Seven” with my mailing list, I’ve received beautiful messages from survivors that confirm my decision to share it. Messages like, “I was eleven.” Women have thanked me for giving voice to this all-too-common experience that’s all-too-often shrouded in shame. Kathleen Brooks, survivor and radio host for Darkness to Light, has embraced the song and my musical journey in general. We had a warm, insightful interview a few weeks back, and I hope listeners found it helpful and healing too.

How does it feel that your songs are being used in such a healing capacity?
It’s an honor and a beautiful surprise from the Universe. And a miracle. When I think of how scared I used to be to share my songs with anyone, even a close friend, and when I think of how depressed I used to be before acknowledging the songwriter in me, I’m in awe that my songs exist at all.

So, everybody wants to know: When will Alice Marie be coming out with a new CD?
When Amanda’s in college! LOL The funny thing is I’m halfway there — at least in the writing department. We’ll see what the Universe has to say about studio time. Right now, I’m really committed to promoting Angels Near and finding more of those intimate venues to share my “hope opera.” I’ve discovered context is just as important as content!

The post Interview: Alice Marie first appeared on Collected Sounds.

What inspires you to write songs?
Obstacles.
Emotions I have been processing for a long time and have been analysing. Friends and lovers. A search for spiritual solutions to problems. And a good piece of music.

Do you feel there’s a genre you belong to or are such categories irrelevant?
I belong to a lot of categories” at least with FULL LENGTH-World, Spoken Word, Adult Contemporary, Experiemntal..which proves that categories are irrelevant! Expression and creativity are the most important thing.

What’s your audience like?
Men, Women, Young Old. We have answered the question with the answer to the previous question.

Will you be touring europe sometime soon?
I’d love to! Going back to France would be a treat since that is where I got my start in music. 5 of the songs on FULL LENGTH were written in Paris with my collaborator and composer Paul Mahoux who hails from there. Say the word! As of now, no plans.

The post Interview: Ekayani first appeared on Collected Sounds.

How long before Amy Smith reaches your heart?

An Interview with Amy Smith by Dave Adair

The picture of refinement and defiance that awaited me at the end of my laborious ascension of the Liverpool Barfly steps was a refreshing and welcoming site. Amy Smith very kindly gave up some time before heading of to visit her mother in the city where she was brought up, studied and wrote songs in. The natural starting point for our frank discussion was her recent appearance at the USA industry showcase that is the SXSW Festival in Texas, whereby Amy went down better than a pro-capital punishment lobbyist. Does she have more of an American friendly sound then?

Amy Smith:”Erm, yeah you could say that my sound lends itself the US style and I have songs of mine that go down really well there. However, consolidating my sound in the UK is important to me as well. I am just trying to find the best home for my music at the moment.”

David Adair: Speaking of home; Amy is for all intents and purposes a Liverpudlian, so how would she define the local scene for the uninitiated and does she fit in with it? The artist produced a thoughtful gaze before replying;

Amy Smith: “Well I haven’t been here for a while; I have been touring a lot as a sessional singer, so I have not had much chance to check out the local scene. I am aware of bands that have come out of here and would like the opportunity to delve deeper into the Liverpoool scene.”

Does she consider herself a Liverpool artist, as that is what some people have termed her (although she was born in Warwickshire)?

Amy Smith: “Not really, and I don’t believe that the bands here would class me as one either. I have my own sound”.

The pelting percussion of the sound checking support band for tonight’s show; Ragz provided an intriguing soundtrack to this interview. Therefore, I felt it time to lunge into the meaty topic of Amy’s songs, as her ‘Songs from the Landing Tapes EP’ is due to be released soon. For me the EP draws together artists like Heather Nova, Norah Jones, Sandy Denny and Emiliana Torrini in order to fill a void in the folk/blues/pop genres. How does she feel about this summation?

Amy Smith: “I don’t really think about it. I just sing songs as I think they should be sung. I like to try and make my music folk/blues styled; my voice is changing all the time.”

I felt Amy was relaxing and relishing talking about her music and it was plain to see that she feels passionate about it. What about highlight track onthe forthcoming EP; ‘How Long’ that possesses a longing feel and tackles the subject matter of the course of true love with lucid depth and feeling?

Amy Smith: “That was written about my thoughts after a relationship is over. It is based on both past relationships that I have had and general observations. It is a song that asks for how long the feeling of awfulness that comes with a relationship ending, will last? It looks at the ending a relationship from both sides, as I have also ended a relationship and thought about the pain it is causing the other person.”

This number is immediately juxtaposed on the EP, by the soothingly feel good; ‘105ft High’ that is as lush and welcoming as songs from her contemporary Emiliana Torrini. How does she feel after singing such a positive and heart-warming corker?

Amy Smith: “It was a written a long while ago, while I was sat on a train station. It doesn’t mean that much compared to some of my other songs that are a lot more meaningful. So ‘105 ft High’ is a nice song for me to sing and is easy to get into.”

The above songs and others in her locker are very calm and soothing despite some of them covering a darker subject matter at times, so I had to ask; who or what makes her angry? A telling and thoughtful silence delayed the reply;

Amy Smith: “All sorts of things lack of tolerance. Extremism; religious and in general and you can add rudeness and egotism to that list as well.”

In order to draw things to a close I enquired as to which of Amy’s songs summed up her current mood and why?

Amy Smith: “I think it would be my last song; ‘In My Hands’ that is a personal reaction to past relationships with friends and others that didn’t make me feel too good. I want to move on from that style and be a little more abstract in future.”

Later on in the evening, the amiable and endearing songstress went onto produce a crisp and promising forty minute set, inclusive of the above number and the engaging ‘How Long’ that left people thinking and pondering life.

The post Interview: Amy Smith first appeared on Collected Sounds.

Randi Russo’s eloquence and honesty is matchless

The dexterously talented New York singer and artist; Randi Russo captures mundane life in whatever she does; dusts it off and serves it up as a patently palatable feast. Her last album; ‘Solar Bipolar’ that was released in 2001, still has people talking and the rustic cathartic nature of it and it has helped people let off more steam than they would have done spending a week in a sauna. Built around slightly curt, yet strangely welcoming and soothing numbers like ‘Matchless’ and the pungent ‘Lucy’s Plan’, saw Randi picking up the gauntlet from Patti Smith and putting a coat of varnish upon it. Randi kindly loans some of her time to talk about her new musical direction, as she uses the experience gained from Solar Bipolar and produced some calmer and more crafted offerings with another album looming on the horizon. As ever, the welcoming New Yorker is open and honest, providing a refreshing insight into the grass roots musical world.

David Adair: You have finished recording a demo featuring some crisp, enchanting and commanding more pop friendly numbers, than your raw and cathartic anti folk debut album ‘Solar Bipolar’ (S B P). How has your approach to producing music changed since 2001 the year of S B P’s release?

Randi Russo: Well, I’m looking to expand our sound as a band. I want to go deeper, lyrically and musically. My most recent recordings have more instrumentation on it. The songs seem to be darker and deeper (with the exception of Where You Wanna Go, which is somewhat more pop than rock). I’m not afraid to have songs that are over 5 or 6 minutes long, which my rep told me that would be a drawback, since labels want to hear songs that are anywhere from 2-4 minutes long. But I like the ‘epic’ songs… songs that go through a variety of emotions, songs that lyrically dissect opposing emotions and combine these seemingly two different emotions (happy & sad, vulnerable & confident, angry & calm, etc.) within one song.

DA: On the topic of S B P, congratulations on getting a distribution deal for this via Big Daddy Music. Do you think it is important for people to listen to S B P before having a foray into your alluring new material, or does it not matter?

RR:Well, some have told me that SBP is so good and hasn’t gotten the exposure that it deserves, that I should release an EP with new recordings plus a few songs from SBP. I’m actually considering this idea. Perhaps, I’ll put four or five new recordings, along with two SBP songs. I know I would like to put on We Forget (from SBP), because, since it was the last song on the album, I don’t think people always got to it. SBP is a long album (over 52 minutes) and some people just listen to the first few songs over and over again, and never get to the end of the album (I’m guilty of doing this as well with the music I buy). It’s great that SBP got a distribution deal, but without touring, the CDs will just sit on the racks, which doesn’t help much. I want to tour more to get people more aware of my music (both the old and the new stuff), but, financially, that’s not always possible.

Overall, though, I do not think it’s necessary for one to hear SBP before hearing the newer material. It’s nice to have people hear my music grow and change over time, but it’s not necessary.

DA: Two of your new songs have been getting some Radio play over in there in the U.S.A; “Shout Like a Lady” & “Release Me.” Are these representatives of the sound you want to attain and, how would you describe their sound for the uninitiated?

RR:I chose these two songs (with the help of my band mates’ and friends’ opinions) to be released for radio because they show both sides of what I do. Shout like a Lady is a stark, dark, haunting song that is also quite tender, vulnerable and cerebral. I love the instrumentation on it. Randy Jamrok (drums) does a great marching drumbeat on it; Lenny Molotov (lap steel, bass, keyboards and glockenspiel) makes the song absolutely stunning; and Lafrae Sci adds this great percussion. The song goes from a quiet beginning to a very large, sublime ending. It’s quite gorgeous (mainly due to Lenny’s contributions).
Now, on the other hand, Release Me is a cathartic, bluesy rocker. This is my other side… the less cerebral side and the more urgent, physical side. It’s also quite a spiritual song, in the same way that early blues were spiritual in nature, yet had those ‘sexy’ guitar riffs to accompany the spiritual side. I figured that the radio stations or DJs can choose which song better fits their format.

DA: How does it feel to be a New Yorker at the moment? Have your views changed over recent years?

RR: I love being a New Yorker. If you’ve lived here for over a year or two, you find that you become addicted to it (I’ve been here for over 8 years now). There are definitely moments when you hate it (noise, pollution, the busy-ness, the expensiveness of everything, and other stressors), but when you leave New York, you can’t wait to get back. It’s hard to imagine living anywhere else.

My views about NYC have certainly changed since 9-11. The city has become ridiculously uptight about security. A certain amount of security is needed, but to have guys in army fatigues with AK-47s standing around Penn Station is completely laughable; as if their green/khaki camouflaged suits would blend in with the concrete and white walls! It’s all for show. I’m angry that we have a stupid president and governor. Many politicians have exploited 9-11 to take away a lot of our freedoms and to use taxpayer money on defense and security. Also, my awareness of the great divide between the different economic classes in NYC has made me quite upset. It seems to get worse everyday. There is so much greed here, at the expense of hard-working people. I see both worlds everyday. Sometimes I do odd jobs for multi-millionaires (even billionaires who have real Picasso’s and Chagall’s in their homes), and yet, I also know people who live in squats that are scraping to get by. All this exposure to different types of people makes me a better artist/musician/lyricist, so I try to respond to it all objectively, and not judge it. But, sometimes, when you see too much material excess, you can’t help but be disgusted with society.

DA: One of the mainstays of your band; Randy Jamrok has recently fled the nest to Chicago. Has it been difficult to adapt to life without him in your set up and has your sound changed as a result or is it too early to tell?

RR: We’ll definitely miss Randy because his style was unique and he was one of the most dedicated and disciplined musicians I had ever met. It will be hard to replace him. However, we did find a new drummer – Pete Hayes of the Figgs. He’s a great drummer and we look forward to playing some shows with him. I’ve toured with him in the UK, while he was playing drums for Steve Shiffman, and I noticed that he’s simply an amazing, naturally talented drummer. I’ve seen him sit-in with bands that he’s never played with before and he just totally rocks and you could not even tell that he was playing with them for the first time. It’s too early to tell how our sound will change once he joins us.
DA: What are your current musical influences??

RR: I’ve been listening to a lot of Nina Simone lately. I also like to listen to Love (Forever Changes). My neighbour made me this CD of some avant-garde classical music and I’ve been listening to that quite a bit. I’m looking to expand my musical ‘vocabulary’. Of the anti-folk scene, Cockroach is still my favourite.
DA: Your last European tour was hailed a success by both yourself and people who went along to the shows, any more plans to visit Europe on tour?

RR: Yes… I was supposed to go to the UK again in March, but a number of circumstances got in the way (serious health problems, which have now recently healed, and deep financial problems). Now, I’m planning on going in June of this year. Let’s just hope some money falls my way so I can go!!!
DA: If you could change one thing about the music industry what would it be?

RR: Hmmm… just one thing? Well, I suppose I’d get rid of the big corporate monopolies (or the quintopoly, to be fair… maybe it’s a quadropoly by now?). They have destroyed music. Business people, who think they’re creative and “know” what’s going to be a hit, have no clue as to what constitutes great music. And those songs do become ‘hits’ because that’s all the masses are exposed to. Unless the people have (the expensive) satellite radio, they have but no choice to listen to crap. And the sad part of it is, is that they do not even know what great music exists out there. If you want to hear good music, you really have to search for it, and a lot of people simply don’t have the time to go searching. The major labels are the Wal-Mart’s, Targets, and K-marts of music offering low quality merchandise for the masses.

The post Interview: Randi Russo first appeared on Collected Sounds.

Janie is price-less and unparalleled

The Liverpool crowd gathered in the Stanley theatre proudly and patiently sat at their tables waiting like celebrities at an awards show for main act Rodrigo Y Gabriela. The cello propping, calm voiced and picture of prettiness Janie Price, was ably assisted by her guitar stroking sidekick Michael Jarvis to form the musical hybrid of ‘Bird’. It was long not before the calming and commanding opening number ‘Stalker’, ensured that followers were gained due to their longing and soothing sound. ‘Love Songs On The Radio’ along with the sombre yet potent ‘Falling Like Stars’ from debut album ‘Insides’ highlighted the cheery cellist’s depth and craft, as well demonstrating to gatherers that pop and integrity are not strangers in modern music. Bubbly and soaring forthcoming single; ‘Slowly, Slowly’ that was cheekily introduced as being about Geri Halliwell, drew the curtains on an uplifting and commanding set from this crisp, talented and enthralling pair.

The as charming and effervescent off stage Janie cheerfully led the descent down into the toilet graffiti decorated dressing room, before expressing disdain at the many “Penis drawings” displayed. I wasn’t aware that Har Mar Superstar had played the Stanley Theatre before? I was keen to find out how the London based songstress felt about the surge of guerrilla gigs happening in her home city and how did she fit in with that scene? A cheeky, charming and welcoming giggle introduced her response;

“Well, it is not hard to fit in there as it is a scene of its own. The general scene has not changed. I am actually a fan of guerrilla gigs, just deciding to turn up and play unannounced; Mike and I do it all the time. Recently, in Germany we were chatting with some Swedish handball players and when we told them what we did, they said ooohhh you must play for us and we did just that. So there it is Bird’s own kind of guerrilla gig.”

Some Swedish handball players have all the fun, eh? It was a suitable time to converse about Bird’s soft, soothing and seductive music. Debut album ‘Insides’ is musically supple and warm yet contains thought provoking lyrics, so I was intrigued to find out what influenced her writing more people or places?

“Well Iceland was a heavy influence that comes through on the album. The guy who co wrote it with me is Icelandic and we mixed it there. Generally, my music comes from observations; things that I see around me. ‘Rewind’ was written about a patient I used to look after when I was a nurse’.

The powerful Tibetan incense wafting around the room at the artist’s instigation must have had mystical powers, as I was just about to ask Janie about the standout track on ‘The Insides’ that is the psychological ‘Rewind’. This number displays melancholy with more pungency than you would find in a John Donne poem.

It was time to dissect Janie’s work with the precision and pride of a 14 year old science student having their first experience with a frog in a laboratory. Forthcoming single, the melodious and bubbly ‘Slowly, Slowly’ is an offering of pop music as it should be; honest and upbeat. Has the pop genre lost its way and is she proud to be called a pop artist?

“Hhhhmmmmm, I’m not sure.”

I felt forcefully compelled to interject;

“I mean a pop artist in the sense that you produce popular music. It is impossible not to like your music and the way you approach it. You are also the epitome of indie with your DIY ethic.”

The interviewee looked more relaxed as she elaborated;

“Well, the pop industry has not lost its way in many respects there are a lot of serious pop acts out there. I am proud to be an artist of popular music; The Beatles were pop music and The Red Hot Chili Peppers produce good honest pop music. I think I make good alt-pop.”

Last Christmas saw the release of AA single ‘Falling Like Stars’ and ‘Christmas Song’, the latter non-album number brought rhythm and realism to my Christmas, at least. Was she at all perturbed by the fact that it didn’t get as much credit as it deserved, perhaps because it deviated from the usual sap that is as much a part of Christmas as grandpa being sick after one brandy too many?

“Well, not really because it did as well as it could. It was a very limited edition offering aimed at letting people know that Bird is out there and it did that.”

Then a pensive look appeared on her face before it lit up like Einsteen’s once did;

“Maybe I’ll re-release it in a few years time when Bird is established?”

What about Janie’s musical diversity, as she used to be a drummer in a punk band. What was the band called?

“Mustang Sally. It is not a very punk name I know, but there you go.”

Having earlier witnessed their enthralling live show, I was intrigued to discover what she wanted people to take out of a Bird live performance and how she wanted to leave them feeling?

“Thoughtful and happy, I want them to feel it was worth leaving the front door for.”

How about; worth leaving Celebrity Wrestling for? I resisted adding.

With musical instruments creeping into Children’s top ten Christmas want lists like Shed Seven used to creep into the charts, how would she persuade someone to buy a cello? Emitting a mischievous giggle the humble songstress took on her reply;

“Ooooohhhh, I am not sure that I would. Don’t do it.”

Finally, in a admirable show of contentment Janie responded to a question about what she would change about the music industry and perhaps life? As follows;

“Nothing, you can’t change it. It is what it is.”
David’s review of her new single: “Slowly, Slowly” by Bird

Sparkling, comforting and vibrant alt. pop is delivered with flighty enthusiasm and feeling to skirt the territory of KT Tunstall, Bjork and Rachel Yamagata and produce that fresh feeling. Wandering instrumentals meet up with Janie Price’s comforting and composed vocals to provide a catchy offering with honesty and feeling. ‘Slowly, Slowly’, is in essence Bird’s debut single taken from tantalising debut album ‘The Insides’. Unless, of course, you were lucky enough to get your hands on a copy of the limited edition AA sided offering; ‘Falling Like Stars/Christmas Song’ that is now rarer than an Alec Ferguson smile.

The post Interview: Janie Price (aka Bird) first appeared on Collected Sounds.

The colourful leading Lady Miss T and her three fellow babydoll punks; Gabriel – (lead guitar), Dan (bass guitar) Andy – (drums) have been mesmerizing adventurous music lovers of late, mainly in their London base. Since 2001, Miss T and the Japanese Tourists have been pouring passion; lurid provocation and musical know how into their project and much like Sven’s England they have dug out a victory against stoic opposition (indie purists) and are on the verge of being signed.

The mercurial Miss T and co took the opportunity to divulge details of their appearance on a compilation CD that is to be released soon by the good people of Chromium Records. Also, they give an insight into the battles that a talented underground band faces in this cut and thrust musical world of ours and most importantly, they entertain us with their wit and wisdom.

Since the inception of your outfit in 2001, you have flitted mainly around your home base of London dazzling audiences. The four of you have based your performances on the laudable premise of entertainment & escapism. Do you make music to escape and for your audience to escape, also is there a cathartic element to what you do?
We definitely apply the idea of ‘escapism’ to both the making of our music as well as to the effects it has on our audience. As a band we function in two very different worlds – our day-to-day humdrum of tubes, trains & aeroplanes & then our evenings cocooned away in our studio where we can escape to the world of ‘Miss T & the Japanese Tourists’. Just as we are able to lock the world out – so we want to recreate that feeling in our shows for our audiences. A place that they can come to and for ‘X’ amount of time, be transported off into the realms of their shadows to revel & enjoy for a while what your day-to-day routine doesn’t allow for & then we deliver you safely back to your reality…… hopefully a little bit changed.

You have self classified your sound as “Babydoll Punk”, how would you define this sound for the initiated? Do you still feel that this term summarizes your music or have you changed?
As Gabriel (our lead guitarist) puts it: ‘I think our ‘Babydoll Punk’ has entered its puberty and started to secretly experiment & dabble in a few ‘not so conventional’ things.’ Our music has definitely ‘matured’, we as a band have matured & grown more comfortable & confident with the idea of pushing things to the edge, even over the edge at times. Trying new techniques, being more unconventional & not giving up when it doesn’t sound right the first time or the 100th time for that matter. We definitely believe in the old ‘work hard, play hard’ ethic – although having said that it would appear we haven’t quite made it to the ‘play hard’ part of the statement! So yes, I do believe our ‘babydoll’ is growing up – but she will definitely always be there….. Somewhere.

There does not seem to a band like you around in London, so is it difficult to find bands to play with and how is your sound going down on the London scene?
No, our sound certainly doesn’t fit in with the music & look that’s being touted around various music magazines etc…. In one way it works against us as there are a lot of bands out there all trying to sound like some or other band & well that doesn’t leave us many options to choose from when playing gigs & more than often we end up playing with bands that are on the other side of the spectrum to us.

At first this was a bit disappointing as it meant we weren’t always reaching our ‘target audience’ but then we started to notice that we were starting to see more & more of the ‘indie’ crowd showing up at our gigs. This was also helped by the fact that John Kennedy (Xfm Radio) played our music quite a bit on his shows & then we did some recording with Gordon Raphael – the man who discovered, signed & produced The Strokes 1st & 2nd albums – which also brought us to the attention of the ‘now’ crowd. The good news is that we believe everyone has a dark side, even ‘indie kids’ & well those of them willing to give us a listen to might be very surprised! We want to use our sound as a medium between people’s conscious and subconscious worlds, as a gate to their imagination. We want our songs to be paintings from Hieronymus Bosch, disturbing & unexplainable at first, but luring one to come closer. We don’t discriminate.

In my humble opinion your best number thus far is the bold and provocative Blondie crossed with Bjork and splatter of Maddona number ‘Little Girl’. It appears to have a serious message about exploitation do you intend to educate as well entertain with this number?
Educate, entertain, warn and tempt to be precise.

You seem such a close knit quartet. How do you resolve creative differences?
By using them. Coming from four totally different music backgrounds allows us the creative freedom of not ape-ing the style of ‘our common Idol'(with the exception of Billy),these differences becoming thus the advantage. We have a tremendous amount of respect both musically & personally for each other. Each idea, opinion, comment is tried & tested before we all decide which direction the whole unit will progress to.

Describe the songwriting process for Miss T and the Japanese Tourists do you all collective input or is each song the brainchild of one member of the group?
In 99% of the songs Miss T is the one who throws the spark of melody or lyrics and the rest of the band just catches the fire. Sometimes the song is the product of ‘innocent’ jamming in the studio & sometimes one of us will come with a riff or a beat & we will just work around it until something develops that we all fall in love with. We fall in love quite a bit!

You seem close to getting signed and have contributed a song to a compilation album released by Chromium Records. This is a celebration of material from a variety of up and coming bands. What song have you chosen to put on this album and can we expect a debut single anytime Soon?
The song being featured on the compilation ‘Showcase International’ is called ‘Killing me’ which has been produced by Gordon Raphael. With regards to a debut single being released we hope that the snow-ball effect will cause an avalanche with a debut single landing on your lap in the near future!

What are your current musical influences ?
As different as the past ones, anything from Buddy Holly to Marilyn Manson. Having said that the whole band went to watch Interpol at Brixton Academy this weekend – who we are big fans of & apart from the sound being rather dire we thought they were great.

Many indie & alternative bands are hypocritical in their criticism of manufactured boy and girl bands, as they are manufactured themselves with the use of drum machines, pre-recorded vocals and guitars. However, this cannot be said of you, so go nuts?

So you’re saying that Depeche Mode are manufactured? There is only good (honest) music and bad (pre-calculated) music, the means are irrelevant

How keen are you to exit the congested capital for a while and take your energetic live shows around the country on a full UK tour? How do want to leave people feeling after witnessing one of your live shows?
Very keen indeed. We would love to get out there & ‘spread the word’! After witnessing one of our shows we want the audience to feel as if they have just been privy to an accidental peep through the key-hole of a forbidden chamber. Exhilarated, breathless, turned on & above all at peace with their darkness.

The post Interview: Miss T and the Japanese Tourists first appeared on Collected Sounds.

Please tell us a bit about your music
Ok, well I’m Alessandra from Of Infinity and Of Infinity’s music in a nutshell is female fronted melodic/gothic/prog/heavy metal based out of San Antonio, Texas, USA. The band has been together since 1999 and we just released a new three song CD called “The Essence Of Infinity”.

Please tell us a bit about the band members and how you all came to know each other personally/professionally, what are your musical backgrounds/experiences?:
There are 3 members in the band besides myself and they are; Nazareth (Guitars), Kurtis (Bass), and new member Carlos Teller (Drums). Nazareth and myself met over the internet while I was living in New Jersey and he was in Little Rock…when we decided to start collaborating musically we took monthly plane flights back an fourth until I was 17 and moved to Salt Lake City, Utah which is when Naz moved there as well. We met Kurtis in SLC through an audition and recently all decided it was in the band’s best interest to move to San Antonio, Texas when given the opportunity to do so, which is where we met Carlos. Both Carlos and Kurtis have been involved in other punk and death metal bands prior to being involved with Of Infinity and Nazareth was previously signed in black metal band, Fallen Empire in which he opened for such bands as Morbid Angel, Danzig, and Nile. I’ve been classically trained in piano and voice for well over a decade and I’ve been involved in off-Broadway musical theatre as a performer and the Utah Opera & Symphony as a composer.

What are your influences, musical or otherwise:
Each member of the band has their own personal influences, so pulling from everyone’s favorites, I’d say a pretty a good list of the band’s general influences would be: Children Of Bodom, Nightwish, Opeth, Lacuna Coil, Cradle Of Filth, Type-O-Negative, Iron Maiden, and Theatre Of Tragedy. There are a ton of great bands that we listen to, metal and other genres, but if I were to list all of them, this interview would never be over!

How is the group organized? i.e who writes, produces, publicity, etc
Well, I would say that Nazareth and I do about 50% each of the band’s compositions but other members are welcome to write their own stuff and improve upon what we have done. I do all of the publicity, promotions, website, etc. and I really love it… I’m actually a marketing major at the university I go to.

What are you trying to accomplish with your music?
I’ve actually never been asked this question before I don’t think. I started writing music because the piano was there and I just did it… there was no motivation like money or fame. And, we started the band because we love metal and thought we could write some really good music to go in the genre. I guess for myself I would love to be able to do this for a living, that would be a major accomplishment and I know the rest of the band would love that as well. But the music itself does not have any kind of persuasive political, religious, or life message to it… were not trying to change peoples minds about anything. I mean, a lot of our lyrics are meaningful and you can get a lot out of them, but I guess we just really want to give people something awesome and new to listen to. Some genuinely good metal.

What are your feelings on the current Gothic/Metal scene in the US, as opposed to the European scene? Do you feel that most of the music lies within the independent artists/underground? Or do you feel that the genre as a whole is becoming more mainstream?

Obviously the gothic and metal scenes in the US and Europe are very different, and if you’ve listened to any of our music you’d probably be able to tell that we sound more European than American in our style, so you probably know which one we favor most. But, I don’t think either are bad… both are different and both have their good and bad points. I think that it’s the independent and underground artist’s job to keep the scenes fresh. Many times when I hear indie metal, its usually poorly recorded death or black metal and its not anything new or good, but there are these times when I come across a really awesome indie band that should be signed and I feel really good to know that there are new bands coming up all the time with good music, its just sometimes their hard to find. I’m not sure if either genres are becoming more mainstream, but I think, if you can get really good indie and underground bands signed to get them good production and a lot of distribution and still give them complete creative freedom, why shouldn’t they be mainstream? Is it such a crime that a large amount of people enjoy the music if it’s actually good?

What are some of the themes and meanings in your songs?
Alessandra: On this past CD we did some collaboration with Steinbeck Award winner, Paul Greulich, where we used some of his poetry within our lyrics. I don’t want to speak for him on what his meanings are in his writing, but Nazareth also writes a good portion of the lyrics, so I’ll let him answer this.

Nazareth: Most of the lyrics I write have something to do with transcendentalism, religion, honor, valor, etc. Like all lyrics though, the listener can usually figure it out or make up their own meaning for them. Most of the time the meanings they come up with are just as important as I had intended them to be.

What are your future plans regarding new releases and tours?
Right now were working on music for our next CD which will be a full length. It should be ready in a year or so. And were now able to play out and around San Antonio, TX, so we’ll be doing that as well as doing mini-tours through the major cities in TX and hopeful throughout the south when we have the means to do it.

A word from the band…
I want to thank you and Collected Sounds for talking with us. We appreciate your interest in the band!
I also want to let the fans know that we have our new CD out for sale at a few retail stores across the country, but if you’re not around any of the cities they’re being sold in, you can get it online at our site at ofinfinity.com as well as off CD Baby. Both are secure and trustworthy ways to order our music and the CD is only $5.00, so if you like the genre of music we are doing, go ahead and pick up “The Essence Of Infinity”.

Thanks and take care! J

[Of Infinity Official Site]

The post Interview: Of Infinity first appeared on Collected Sounds.

I know Julie used to be in My Scarlet Life. What did the rest of the band do before Jute?
Robb Shakespeare: I was involved in various projects in Iowa. In 1996 I started getting into digital recording and started my own project called Drip. I became frustrated with my surroundings and was making plans for a move of some sort. In 1999 I met Julie and Joe. I packed up and moved to Chicago.
Joe Axis: I was in and out of several bands here in Chicago throughout the 90’s…Most notably a space rock band called Is-U-Is, with my friends Dan Smith and Sean Wolfe (who are now the IDM duo Salvo Beta).
Julie Axis: Mike Dobkowski, our bass player, was in several bands out east including Gluestick and Aleutian. Joe St. Charles is also currently in his one man band called Chicago Typewriter.

How would you describe your sound?
Joe Axis: Our sound?… hmmmmm…let’s see. Dark, Sexy…we’ve been called intelligent. That’s a hard one, because in my mind we are always changing…moving forward.

What’s your inspiration when writing songs?
Julie Axis: Politics, news, media, the state of the world, flowers in my yard, confusion, seeing clearly, history, reading, traveling….
Robb Shakespeare: As far as writing songs, the best inspiration is always when you record a great track or figure out the perfect part. That propels you to the next stage of crafting the song.

What will the next album sound like?
Julie Axis: More confident than the first. “a violent narcotic” was written when we all felt a bit defeated. We have come out of that and emerged stronger than ever. I think you’ll be able to hear that come through on the next disc. It’ll have lots of ear candy and tasty bits as well as a few more up tempo tunes.
Joe Axis: The next album will definitely have the same Heavy/Headiness to it. However, there is a prevailing theme of strength and confidence to our new songs that I don’t feel was prominent on A Violent Narcotic. The new stuff has a slight Edge to it.

Will you tour Europe sometime?
Julie Axis: Oh, I hope so. We all want to. It’s a matter of timing it just right. We will wait until the second CD is done and then figure out what comes next.

What other bands do you like?
Julie Axis: Jane’s Addiction, Amon Tobin, Björk, Tool, Led Zeppelin, Pink Floyd, Curve, DJ Shadow, Radiohead, Broadway Project, Amstrong, Nobody, Black Heart Procession…
Robb Shakespeare: I like many of the artists Julie mentioned and so many more. Lately it’s been Air and The Cooper Temple Clause.

The post Interview: Jute first appeared on Collected Sounds.

Photo by: Lauren Jonik (at The Bitter End in NYC, February 17, 2004)

To be true to one’s highest destiny in the face of all obstacles is the greatest of aspirations. It requires tenacity, passion, faith and the simple, unwavering belief that the journey is not only worthy, but necessary. It provides the challenge— and opportunity— to be all of one’s self. The music of Marina V exemplifies the beauty that comes from following a dream and discovering yourself along the way.

Born and raised in Russia, Marina realized the importance of having the freedom to live your dreams and to think for yourself early on. “I grew up in one of the craziest countries in the world. There was absolutely no freedom of anything and the government would tell you what to think and what to do,” she explains. The creation of the title track from her second album, “Something Of My Own,” was influenced by the path of self-discovery that one embarks upon. “Something Of My Own’ is about basically trying to figure out things for yourself . . . being yourself and understanding who you are on your own without letting anyone tell you what you should be.” The dedication to embracing having a strong self of herself is readily apparent in Marina’s music. “Blinded by day and lost in lies / Feeling how I was always told / I’m living someone else’s life / Searching for truth to call my own / Searching for something of my own.”

The years Marina spent in Russia played an integral part in her musical development. “Because the Soviet Union was so closed, they did not allow any foreign music for a long time. For example, the Beatles were banned. The majority of western music— and by “western” I mean anything that is outside of the Soviet Union— was banned. I grew up listening to a lot of classical music and some horrible Russian pop music and some Russian folk music, but mainly classical,” says Marina who sings, writes and plays piano. “I think that influenced me tremendously. When I was in my early teens, I finally found some Beatles music and I became a fan that first day.” The seemingly disparate musical influences help to create a sound that is at once emotional, dynamic and moving.

Describing her live shows as “intimate and down to earth,” Marina especially enjoys bringing her music to life before an audience. “I always feel passionate about my music, but when people are attentively listening, I can tell, especially in a small audience. It’s absolutely amazing to see somebody totally feeling the songs and that makes me so much more excited and makes me even more passionate,” Marina enthuses, before continuing. “To me, that’s the best feeling ever. My favorite thing is performing live.” Breathing emotion into a song creates an almost sacred connection between an artist and the audience and even more so, to the song itself. In the spaces between silence and sound, music and words, lives something timeless and unlimited. While she has several favorite songs to perform live, the peaceful, rolling ballad “Ocean” is one of her favorites. “Ocean in a distant harbor / It seems you’re getting farther / I’ll walk still tomorrow / To my ocean in a distant harbor. ”

Marina’s commitment to pursuing her passion and to cultivating her talents that have led her to create new worlds musically, is the same that led her half way across the world— literally. “When I first came to America, I was fifteen and I came as an exchange student and they placed me in Springfield, IL, a small town. I went to high school there for a year and then, when I went back to Russia, I decided that I wanted to come back to America, no matter what. Nine months later, I moved back to America and Illinois was the only place I knew, so I stayed there and went to college there for four years,” says Marina. While she studied business, international politics and Spanish, Marina always played music and knew in her heart that that was to be her true path. “I knew that even before I started attending college, but that was the only way for me to stay in the country. . . I got a scholarship to college and that was pretty much the only way to live in the country. . . to have a student visa. I decided I’ll just go to school and do whatever it takes.”

With wisdom and depth beyond her years, Marina recognizes the impact that music and the art of creating has had on her life. “It’s almost a healing process. It’s better than any diary. You write down and share it with people.” Sharing the writing process with Nick Baker, who also plays in her live band, Marina explains, “We write almost everything together. He’s a great lyricist. I usually write the music and then, we sit down and co-write the lyrics.” Their creative relationship is one that is especially complementary. “I’m a melody person. Music to me, for some reason, comes much easier than lyrics and it’s always first. I usually hear melody and chords in my head and words come a bit later. . . I’m working on a few songs at a time, at all times.” The song “Simple Magic,” about the almost mystical quality of mutual attraction, begins softly with breathy vocals and crescendos into the soaring chorus. “I’m feeling your simple magic / I’m fighting the curse of your love and I can’t take it.”

Now living in Los Angeles and looking toward the future, Marina feels at home. “When I moved to LA, it totally felt right because most people who come here are ambitious. And, I really feel comfortable here because it’s kind of understood that you’re here to pursue your dreams.” Though she jokes about missing the change of seasons living in southern California, Marina has the perfect solution in mind. “Eventually, I will be travelling all the time— in the Winter and Fall to other parts of the country and the world to enjoy the changes of the seasons. . . My dream is to tour the world and have a little bit of free time in between shows to see around.”

In the Summer of 2003, Marina teamed up with the legendary New York-based manager David Krebs, who has managed bands such as Aerosmith and AC/DC. Thrilled about their partnership, Marina says, “I feel like it’s one of my big breaks, getting a well-known manager on my side. I’m extremely honored.” Passionate about what the future holds, Marina is also appreciative of where she is now— and of the roads she’s taken on her journey. “For me personally, success is being happy with what I do. Like right now, I feel very happy with what I’m doing and feel I am successful.” Indeed, Marina V has found a simple magic that’s all her own.

The post Interview: Marina V first appeared on Collected Sounds.

It has been said that there are no accidental meetings in life— that through each friend we make, a new world is born. Rarely do the beginnings of a friendship reveal the full extent of the beauty that the future will hold, but time and time again, the old adage is proven to be true: two are better than one.

The musical partnership of Laura Bell Bundy and Amber Rhodes had its genesis early on. Growing up in the small town of Lexington, Kentucky, Laura and Amber began to cross paths while competing in local beauty pageants as children. “Our mothers happened to be seeing each other at every event— if there was a pageant in town, we would be there. If there was an audition for a play, we would be there, so our mothers befriended each other. . . When they saw that Laura and I were like two peas in a pod, they made special efforts to hang out a lot and make sure that we went to each other’s houses,” explains Amber. Their mutual love of performing soon cemented their friendship. “Laura and I both took to the stage like ducks to water. We both loved it and ever since, we both have lived on stage. We truly feel complete when we are on the stage and when we are on stage together, it just adds to the whole equation.”

Laura and Amber came to New York City for a summer in order to audition when they were five and six year old, respectively. However, their lives soon would take separate paths before being reunited both creatively and as best friends, years later. When the Summer turned to Fall, Amber returned to Kentucky with her mother, who was a schoolteacher, while Laura and her mother remained in New York City. Laura found success in doing print work and commercials and in having bit parts in movies such as “Jumanji” and “Life With Mikey.” But, the desire to experience her high school years in her hometown led Laura to move back to Kentucky where she soon would reconnect with Amber— and unknowingly, set the wheels in motion for their combined futures. “She is one of those people that even if ten years go by, you could sit down and talk and it’s like you never lost the time. That’s the way it has always been,” says Amber, echoing the universal sentiment that true friendship stands the test of time. After graduating, Laura returned to NYC to pursue a career in Broadway theater (she would later appear in the Tony Award winning musical “Hairspray”) with Amber initially joining her for a summer to pursue dancing and musical theater, but the evolution of their friendship— and their lives— was about to take a leap forward.

Some of our most profound realizations happen in the midst of joy and in the spirit of having fun. After discovering how much they enjoyed singing and writing songs together in their apartment just for pleasure, Laura and Amber soon realized that their talents complemented each other and that they wanted to sing together professionally. Once they made the decision, as Amber describes, “there was no looking back.” A stroke of good fortune touched upon the canvas of their careers when they connected with the Brooklyn-based music production company, Stray Dog Music. When she moved to NYC, Amber got a waitressing job and one of her co-workers happened to inquire as to why she had moved to the city. When she told him she was a singer, he dared her to sing on the spot. “‘I felt compelled and sang a part of one of our songs.” Immediately blown away by what he heard, he put Amber and a friend of his who is lawyer in touch with each other. “We began working with the lawyer for a while, but he was having a hard time finding producers who wanted to take the time to develop artists. . . but then, he found Stray Dog through another connection. We came in and had a meeting and the rest is history,” marveled Amber before continuing. “It’s amazing how just one step can change everything. It can change your whole future.”

Believing in the importance of nurturing the creative process, the owners of Stray Dog Music— Axel Niehaus, Erik Steinert, Brian Callahan and Hugh Colocott— strive to develop the inherent talents of the artists they work with. “I really have a sense of family. . . Coming to New York City and working with Stray Dog, we carry that sense of family that we were raised on and adapt it to here. These guys aren’t four guys who are our production company, these are four guys who are our family that, if we have any control over it, we want to be working with for the rest of our musical careers,” says Amber. And, it is through basing their relationship on mutual respect, their musical collaborations flourish. “A lot of people want to take what they think is going to be really marketable and just mold you into that, as opposed to letting you express yourself artistically the way you want to be portrayed. Granted, they do know more than us. They’ve been in the business longer, so we do listen to them and take their criticism and their suggestions, but ultimately, they have been amazing at letting us express ourselves the way we want,” enthuses Amber. It is the unified commitment to excellence that remains the collective focus of Stray Dog Music and of Laura and Amber in every aspect their careers— from songwriting to performance to production.

Intuitive in her approach to songwriting, Amber has found that often, her best songs are the ones that flow naturally— and quickly. “The songs that come to you and take about ten or fifteen minutes to write are always the best ones.” While the writing process may differ depending on the song, Amber infuses all of her work with a sense of fun and optimism, as in “Goodbye Yesterday,” which she co-wrote with Hugh Colocott. So what if the rain cloud chases the sun down? / My day is still bright / Who cares if my love life’s takin’ a nose dive? / I will be alright / ‘Cause I’ve still got a song to sing and there is music yet to play / Hello tomorrow, goodbye yesterday. As a songwriter, Amber has discovered that the act of collaborating enhances both the process and the end result. “It helps you along in your journey. . . Everyone has their way of writing a song and the moment you collaborate with someone, you get to see what their way is and it can bring so much new life and color into a song that you would have never thought of on your own and it can be really fun.” It is this same desire to evoke joy while having a good time that both Laura and Amber bring to their performances. “You go up there and suddenly, you’re engrossed in music, where we’re having fun with each other and we have these great guys behind us in our band and you get lost in the moment and it’s a wonderful moment. . . You’re doing what you love to do.” Having their musical partnership based in friendship heightens the experience in ways that are both obvious to the audience and subtle to them. “Because we’ve been friends for so long, there is a comfort level. We know each other so well that we can predict our moves ahead of time. It adds to the enjoyment of it all.”

Standing upon the firm foundation of their friendship, looking towards their bright future, Laura and Amber are grateful for all that has come before them and all that is yet to be. “We’re both always really aware of how lucky we are,” says Amber. Blending lightheartedness with warmth, the music of Laura and Amber reflects the world their friendship has created— and openheartedly invites their audience to be a part of it. “Our music is about friendship. It is about who we are.” Indeed, it’s about the kind of chemistry that stands the test of time. You may have to back up, in order to walk thru / The other door that destiny’s opened up for you / It’s time to realize there are no accidents in life / So don’t be blind, just give it time / It’s gonna be alright! The friendship of Laura and Amber is much like all friendships— simply put, they bring out the best in each other and share it with the rest of us.

The post Interview: Laura and Amber first appeared on Collected Sounds.

Where are you based?
I am based in NY.

Where did you grow up?
I grew up in Lawwwng Island.

Tell us a little about how you got interested in music and when you started writing/playing.
I became interested in singing when I realized I could actually do it. I began writing when I was 17 after I had gone to see Nile Rodgers speak (Chic, produced Madonna etc) and he said go home and write. I went home, began writing and fell in love with it. When I think about it I had been coming home from school and singing my own melodies and words but never put it down or considered it something I could do for a living. No one in my family was in music so it was a shock when I said I was going to write songs for a living.

Describe your first performance (time, place and any feelings that went with it).
The first time I ever sang my own songs in front of people I played at the Bitter End in NY and I sang 7 songs, that was all I had. I was incredibly psyched and stupid enough to not feel nervous. I had a bunch of friends there and it was fun. Once I started taking it seriously I went through the nerves and the insecurities that can come along with performing but luckily was able to work through it.

How would you describe your style of music and who are your musical influences?
I write pop songs that have a rocky feel with lyrics that usually have an alternative twist. I know that the word pop sometimes has a negative connotation but the reality is The Beatles wrote pop songs. They wrote catchy, hooky tunes that stuck with you and that is what I consider pop. I was lucky because my dad listened to bands like The Beatles and Fleetwood Mac and my mom listened to Disco music so I was influenced by some really cool fun music.

Same 5 questions:

1. What is the best feeling in the world?
Being with my Hubby and my Dog
2. What is the worst feeling in the world?
Being away from my family.
3. What is your favorite beverage?
Water is human liquid Coca-Cola and Vanilla Shakes make me happy and a dirty Martini with extra olives makes me do and say things I normally wouldn’t.
4. What is your favorite word or phrase?
I can’t answer that in public.
5. What is your greatest accomplishment (so far)?
Opening up my own label and releasing 3 CD’s.

I had a bonus question for Jennifer. I’ve known her for awhile now and she’s played at my home during our House concert series. She has a song that I’ve always loved, and it was a big hit among my concert attendees. Jennifer was recently signed to Bardic Records and they sent me a little EP with 3 of Jennifer’s songs, re-worked. Well, this aforementioned song was on there, but it’s been changed. So I was wondering why (even though I had a feeling I knew, and I did), but I wanted to give Jennifer a chance to explain it to those of us who loved it the original way. (It’s still a great song, it was just more edgy and fun the way she intended it to be).

Bonus Question:
“Why change the tone and meaning of the song, ‘It Turned Me On’ from being about a girl getting a lap dance to a girl watching a man get a lap dance?”
This was very tough for me as it was a business decision by my label. They are trying to reach the Wal-Marts and the Targets of the world and feel that the content of the song could stop retailers like that from carrying the CD. Unfortunately when other people are putting their money and time behind you, you have to compromise and this is one of those instances where you have to give to get. I am still fighting for the original lyrics.

The post Interview: Jennifer Marks first appeared on Collected Sounds.

Photo by Denice Duff

Like watching a phoenix rise into the air, as Debby Holiday took the stage at The Gig in Los Angeles, CA, the atmosphere instantly blended into an open sky of emotion, musical passion and freedom. As all eyes were transfixed on the stage, it was obvious that in that space, something extraordinary was happening: Debby Holiday and her band reached a level of intensity, sincerity and spontaneity that enveloped the room and offered the audience an invitation into a world that was impossible to refuse.

Captivating audiences with the power of her voice and the strength of her stage presence is nothing new for Debby Holiday. As if proving the old adage about the apple not falling far from the tree to be true, Debby came from a musical family— her father was a songwriter and her mother was a concert pianist. While she has been singing for as long as she can remember, Debby began performing professionally when she was in her early twenties and she realized that music was truly one of her gifts. “When it hits, you know, you just know.” But, it is the connecting with other human beings through her music that she values most. “I really genuinely like people,” Debby explained. “When I was a kid, music pretty much saved my life. I think it is such an incredible gift to be able to communicate and have someone walk away and say, ‘Hey, I feel better’ or ‘I feel like someone understood,’ or ‘I just had a good time.’ That is what I like the best about performing— the experience of exchanging.”

To see Debby Holiday perform is to witness joy in action. She accurately describes her live show as “loud, energetic and giving.” The power of music is one that cuts across all boundaries and gets to the heart of the matter— and often times, right to the heart of the soul. “Music removes a lot of barriers. Most of us are moved by the same things,” said Debby. Songs like “What’s The Matter,” “That’s The Way It Is” and the ballad “Goodbye” are universal favorites for that very reason. “The songs that audiences respond to the most are the ones that were written from the most extreme depths of emotion.”

When songwriting, Debby Holiday draws inspiration from both the experiences of her own life and that of friends and loved ones. Sometimes, it is a combination of the two, as in “Goodbye,” which was culmination of mixing three or four experiences together to create the theme of the song— one of not wanting to end contact with a loved one. “I don’t want to do it, don’t think I can even try, I don’t want to hear it out loud, I don’t want to say goodbye,” sings Debby making conviction and vulnerability complementary in the space of a song. In addition to writing about the dynamics of romantic relationships, Debby touches on other themes close to her heart— like becoming a world in which we support and guide each other instead of opting for the path of competition. “I tend to write heavy love songs or heavy world songs— like “Things Change.” It seems fitting that Debby Holiday’s CD opens with “That’s The Way It Is” (which was recorded by producer Clif Magness who worked with Avril Lavigne on her debut CD) and ends with “Things Change”— two songs that are about celebrating the beauty of our differences and making the world a better place, while the songs in between explore our relationship to ourselves and our close loved ones. As in life, our ability to love ourselves begins deep within and stretches outward toward the edges of our lives and into our world.

Being true to herself is a key element in Debby Holiday’s philosophy towards music and life in general. When creating, it is essential for artists of all kinds to “do what makes you tick and be who you are.” Because neither praise nor criticism have the power to define someone or her work, Debby explains that she is careful not to take every outside opinion to heart and she realizes that staying grounded involves remaining humble and focused on what matters the most. “I just put on an Aretha Franklin record. . . Sometimes, listening to someone you really love reminds you what music is all about— the fact that it made you feel something.”

With a sound described as a combination of “Sheryl Crow meets Lenny Kravitz,” Debby Holiday has worked with fellow Los Angeles-based musicians Josh Freese, who played on “All I Ever Wanted” and “That’s The Way It Is,” Michael Duff, for whom she sang background vocals on his latest EP, and artists like Chris Pierce, Eric Colvin and The Larrys, sometimes sharing the stage with them. When performing her own material, she is joined by guitarist Bryan Corbett, with whom she does a lot of writing. guitarist Jeff Fedak, bassist Orlando Sims (formerly of Chalk FarM) and drummer Jonathan Dresel. “Before a show, I make sure I connect with the band, just so it doesn’t feel like five different people out there. We’re a team. It is important to connect with the people you’re creating music with.” Debby wholeheartedly embraces the immediacy of a performance. “You’re there, you’re going, you’re in the moment. You don’t have to think, you just do.” And, it is in those moments that Debby shares the undeniable truth that expressing yourself is a crucial key to living and an integral part of connecting. When asked what she hopes people will take away from her music, she said, “joy— and knowing that someone else on the planet feels the way you do. Someone else doesn’t want to leave someone they love or someone else is pissed off. I want them to walk away with the sense that it is okay to express yourself. So many of us are not taught that it is not only good, but necessary do so in whatever way you think you can be the most helpful to the planet.”

In addition to the pure love of it, there is another reason that Debby Holiday excels in her live shows and that is the honoring a kind of timeless reciprocity. “I just want to sing all the time. I just want to go out there and perform. I would love to have the experience of meeting people all over the world and seeing what it’s like to hear, ‘hey, I was going through something and that song of yours made me feel better.’ I just feel like I owe all the people that helped me through my childhood to put it back out into the world. . . I am hoping this is a way I can give.”

The post Interview: Debby Holiday first appeared on Collected Sounds.

What have you done prior to releasing this album?
Before releasing DESTINY my current CD album on my own record label Dragonfly Lake, I have lived an entire life! I graduated aged 21 with a BA degree in the Creative Arts. One of my tutors was Professor Stephanie Jordan who was featured in this summer’s BBC Proms festival. I was also given training to be a classical operatic soprano. Later I was given a one CD recording contract by SI Music of Holland. That particular record company closed down so I created Dragonfly Lake to take full control of getting my songs and recordings out into the world. I also worked as a professional dancer for touring rock bands in the UK I am also an artist -I paint in oils. For more details look at www.dragonflylake.co.uk

What artists have inspired you?
No particular artist has inspired my method of writing songs, but I love listening to Mozart, Beethoven, Jim Steinman, Led Zeppelin and Pink Floyd. I think that Pink Floyd are the only writers to influence me directly, although I am developing an interest in ancient Chinese and Japanese traditional music.

Your songs are mostly based on myth and legend. What draws you to these sources for inspiration?
Although it sounds like I am inspired by myth and legend, most of my compositions and lyrics are an expression of my own experiences in life, some too personal to explain at the moment. Most of what I have experienced in life so far can be likened to a well known myth or legend. On DESTINY the only exception is Call Another Doctor. I enjoyed making up a character who is divorced with children and feels hard-done-by.

What will the next record sound like?
My next CD album will be a new collection of my original songs which just happen to be more challenging for my soprano voice! Today I am much more advanced as a singer. The songs are, even more, a celebration of the power of Nature or a recognition of Nature’s ability to destroy. And there I am surrounded by woodlands and nature on my website. See www.sally-french.com It will be bigger sounding than DESTINY although I am very proud that DESTINY is so intimate as well as moving.

What has the response been to this one so far?
Because I am female people have a preconceived idea of what my music is going to sound like and then when they actually hear it they are very surprised. It is not how they expected it to be. It is not at all cute and sweet. it is enormous and powerful. One young male fan said. DESTINY is a positive fresh new sound and a breath of fresh air amongst the choking and infectious manner of modern day popular music.

The post Interview: Sally French first appeared on Collected Sounds.

Where are you based?
Allston, Ma (Boston)

Where did you grow up?
Lowell, MA

Tell us a little about how you got interested in music and when you started writing/playing.
my great grandmother provided me with a piano at age three–i started lessons then, my grandmother paid for my singing lessons at age 9.It wasn’t very expensive back then, as the teacher was a retired organist–i think she charged my like $3 for a lesson that would go on much longer than a 1/2 hour! i liked singing a lot more than playing–found it “easier”, more gratifying. i devised “shows” for my family starting when i was three or four years old(I used to see the Lawrence Welk Show on TV—my grandparents watched it and i would compete with it) the shows would vary from Shirley Temple impersonations to “lives of the Saints”. (i was Catholic and very religious!)

Describe your first performance (time, place and any feelings that went with it).
i sang–in public for the first time–as lead in the school play in 4th grade–i was “peter pan” i adored it! and i had lots of piano recitals before then. not quite as memorable! i think i liked the piano teacher more than the actual lessons, he was a great guy and we had a great rapport.

How would you describe your style of music and who are your musical influences?
i guess i would say my music is original, melodic, theatrical. not really particular to any place or time.

it could be compared to nina nastasia, tom waits, eleni mandell.edith piaf, astrud gilberto. I have been influenced by 1930’s blues, jazz and pop as well as new wave and punk. I have been perhaps been influenced by the spirit of punk and new wave more than the actual sound—-strong women who write their own music for themselves.I am very interested in world music also–from bossa nova to flamenco to yiddish music–and just as the roots of those musics are in American jazz and pop, they are in my music too–perhaps more obviously at times. My music is stripped down and bare, It demands people to pay attention, there is no “production team” to hide behind.

Same 5 questions:

1. What is the best feeling in the world?
dancing wildly after a few cocktails in a cheesy discoteque.
2. What is the worst feeling in the world?
when people i am relying on let me down.
3. What is your favorite beverage?
coffee.alcoholic beverages a close second. heck i like ’em all. water.
4. What is your favorite word or phrase?
I love language that is campy and tongue in cheek. (see :Queer Eye for the Straight Guy for examples) hours of entertainment.
5. What is your greatest accomplishment (so far)?
Me!I am a self made gal.

Read a review of Leah Callahan’s CD Even Sleepers on Collected Sounds

The post Interview: Leah Callahan first appeared on Collected Sounds.

Where are you based?
I migrate between Los Angeles and outer-space. I really want to live in England at some point…and then Vienna Austria…one of my all-time favorite cities.

Where did you grow up?
Charleston, Illinois…i want to retire there some day. I love the big skies in the Mid-West.

Tell us a little about how you got interested in music and when you started writing/playing.
I’ve been singing and playing piano since I was aware of what music was. Both my parents are musicians. My dad is an oboe professor and my mom has a degree in vocal performance. I formally started studying classical piano and voice when I was 7 with my mom’s best friend…who at the time was working on her Master’s degree in Opera. I earned my degree in Opera as well, but in school, I had a very close girlfriend of mine commit suicide, and I wrote my very first song for her funeral. The floodgates opened and I couldn’t shut the faucet of creativity off. It’s horrible that my friend’s death inspired my first songs…but writing helped me through that difficult time and helped me say goodbye to her. I’ve been writing ever since about everything that moves, fascinates, hurts, grips, and illuminates me.

Describe your first performance (time, place and any feelings that went with it).
I don’t remember my very first performance…i was too young. But I remember the first performance where I played my own songs, and I threw up in the bathroom right before I went on stage. I was so nervous about telling my stories.

How would you describe your style of music and who are your musical influences?
I would describe my songs as extremely vulnerable and honest and exposed. I think it’s heavily influenced by classical music because that’s the world I came from before I started composing. Some of my favorite artists/bands and musicians are The Cure, Peter Gabriel, Kate Bush, Laura Nyro, Tori Amos, Nick Drake, Failure, NIN, My Bloody Valentine, Joy Division, Cocteau Twins..to name a few.

Same 5 questions:

1. What is the best feeling in the world?
There are so many…falling in love with something/someone, laughing through tears, finishing a song, kissing, breaking things, performing.
2. What is the worst feeling in the world?
Falling in love with something/someone, not finishing a song, losing someone you love, watching a human being hurt another human being, being made fun of, spit on, laughed at, rejected, or blown off.
3. What is your favorite beverage?
Diet coke mixed with Dr pepper, wine!
4. What is your favorite word or phrase?
Sometimes I can’t feel my left leg, but it’s not your problem.
5. What is your greatest accomplishment (so far)?
Living each day, one day at a time, one song a time, on love at a time, one glass of wine at a time.

Visit:
[Charlotte Martin Official]

[Charlotte’s Spotlight on Collected Sounds]

The post Interview: Charlotte Martin first appeared on Collected Sounds.

What’s the music scene like where you live?
Carmen: “To be honest, I’m not aware of what is going on really. But I know that usually people follow a trend, and that is “nu metal” right now. If I turn on the radio, in a general way, I’ll always hear that kind of music and influence everywhere.”

How long did this album take to make?
Carmen: “It took about two months in the recording and mixing process. Composition stretched freely for about a year. It was really nice, because we were responsible for the whole process together, with no outside interference. We had time to record it without that much stress.”

Are you going to tour?.
Carmen: “We don’t have anything to tell you for sure yet… there are a lot of proposals from all over Europe, and we can’t wait to get to different places and play live, but we are so remotely in a corner of Europe, that it is sometimes very difficult to get the terms we need. As I told you, there should be something happening this fall, but nothing is certain now.”

What music do you listen to?
Carmen: “I listen to a lot of different things. From classical music to lots of different styles. For me it is important to hear how people get their creativity outside in several styles of music, you can sometimes get inspired by things that seem very much out of your context, but work just fine when you blend them in with what you know.”

Have you found replacements for the band members who left?
Carmen: “We already have a full-time guitar player, Pedro, who fits the band very nicely… seems to have been born to play with us, as we share so many things and get along fine. We briefly had another drummer, and we were very happy with him, but his professional life made it impossible for us to work together, so presently we are again auditioning drummers. The last few gigs we played we went back to the ADAT backing track, but while it works on some contexts, there are times where we really hate not to have a drummer. That should be taken care soon, hopefully.”

The post Interview: Aenima first appeared on Collected Sounds.

What does she consider to be the deeper art; writing the song or singing the song and which does she enjoy the most?
“I enjoy the writing and singing equally but in different ways. Writing a song is more like a birth, and there is a certain level of labor pain associated with that. But creating a song is such a rewarding type of work, that even though it’s sometimes labored, it’s always worth the effort after the fact. Singing the song is more like dressing up your child and showing it off — still a lot of fun but much easier (although of course there’s still an art to doing it well). But I’d have to say the writing is the deeper art.”

What one rule or rules in music does Mason like to break?
“…I like to push the limits of what you expect to hear…in [and] out-of-key chords and things like that. I don’t have a music degree, so often I couldn’t tell you why I put the music together the way I did — just that that’s what my ear wanted to hear. Writing music is more intuitive to me, so I don’t consciously think about the rules much when I’m writing.”

And how has the Internet affected/effected her music?.
“As a confessed Internet junkie, I’d have to say the web has opened up numerous doors that have had an effect on my music. Surfing the web has exposed me to music from artists I would never had heard of, it has allowed me to learn a tremendous amount through reading articles and interviews, it has changed the ways I can get my music to people, and it has changed the way I interact with other musicians. I have met so many fantastic musicians through the Internet, and those relationships provide a great exchange of information and opportunities. Just as an example, I met a musician from the UK on Tonos.com. I recorded a vocal demo for a song he had written, and we exchanged a couple versions of it via email until we were both satisfied with it. In what other age could musicians from opposite sides of the Atlantic collaborate on a recording like that in just a matter of days? It opens the doors for so many creative possibilities.” And there are some fantastic musicians on this CD, Mark Skipper (Bass, Viola, Acoustic Guitar, piano, background vocals), Nathan Jones (Electric Guitar), Andrew Payne (Drums, Percussion), Steve Mauldin (String Arrangements), Christopher Jones (Organ), Wayne Hazelwood (Cello) and yes, Beth Champion Mason (Vocals, Acoustic Guitar and Piano) and that names…them all!

Where will Beth Champion Mason musically be going in the future?
…”I just want to be sure that I don’t stagnate. I want to build on my strengths, but always be experimenting with new sounds and new techniques, always learning and growing. I don’t think you ever “arrive” musically — there’s always a new musical avenue to explore, which is what makes the journey so fascinating”!

And “All I Have” is a fascinating journey. It is a journey into the biblical sound of song with non-musical influences by “God”… she says!

The post Interview: Beth Champion Mason first appeared on Collected Sounds.

Polish singer Gabriela Kulka makes piano-based music in a very intriguing way. Her demo CD-R includes her own songs and covers of songs by Iron Maiden’s singer Bruce Dickinson done in a unique way. The standout of these is “Tears of the Dragon” which also has some lines from Tori Amos’ “Caught a Lite sneeze”. Her website has more covers by Dickinson and some of Kate Bush as well. She recently released a CD called “King of Rats” via mp3.com. I asked her a few questions.

How long have you been writing songs?
To the best of my knowledge I began to write about four years ago, although I can’t remember precisely. I had my moments of joyful creativity times before, like when I attempted to teach myself to play guitar (with minimal, but occasionally useful results) a couple of years earlier – so I was always “into” music in one way or another. I played violin in grade-school, then came the whole guitar infatuation, learning Alice Cooper and Brian May songs etc. But the first song I actually wrote myself was in fact done with the help of the piano, and I remember being totally chuffed that I (apparently) single-handedly spawned a new creation that could stand for itself, had its beginning, middle, end, had its inner logic. It seemed almost supernatural to me then, in a gleeful, childish way. A rabbit out of a hat. It was called “Brother Wizard” and I’d like to think it stood the test of time considerably well. I was hooked from then on. There’s nothing compared to the feeling when a song starts to take shape.

What drew you to Bruce Dickinson’s music?
Power and beauty? I didn’t hear much Iron Maiden before I “discovered” Dickinson.. I had a vague memory of watching the video to “Tears of the Dragon” somewhere around 1994… but I only “remembered” the man some 4 years ago, the larger-than-life multi-talented fencing-flying-air-raid character that he is, just as I began to feel my way around heavy metal music – and thank God I found “Chemical Wedding” because it made me fall in love with the heavy aesthetics as such, although I haven’t found any album yet that would equal it in its mastery. To put it simple: it was a revelation. Few can conjure a feeling of elation and shivers-up-your-spine like this crew. The lyrics, both sharp and poetic. Bruce’s voice is amazing, and what’s more – he is an excellent songwriter, always has been, so are Roy Z and Adrian Smith …that’s why I think it doesn’t hurt the songs to translate them into a non-metal arrangement.

What else do you listen to?
I wouldn’t frown at any particular genre; it’s a question of what sparks my interest at the moment. I listen to a lot of heavy music, Alice Cooper, Megadeth, Halford, Iron Maiden but I most of love the classic singer/songwriter stuff. Kate Bush, naturally. Tori. A lot of Joni Mitchell, Suzanne Vega. Plenty of Björk, who is my favourite sound craftsman(woman) alongside Peter Gabriel. I’m a huge PJ Harvey fan. I think I could name on and on and on and it would be just an endless litany of artists whom I find inspiring, from very alternative to unabashedly mainstream. I seriously dig musical theatre. I love Sting, Rasputina, Queen and Brain May, I adore Laurie Anderson, Patti Smith (best live-show ever), Fleetwood Mac, A Perfect Circle, David Bowie, Fiona Apple, Diamanda Galas…. On the more classical side, Prokofiev… all in all it’s really a huge, exciting field to explore and I love the sense of adventure in discovering new sounds through all the indirect linking and scattered credentials.

Will you do a tour?
I would love to. For now I’m mostly locally active, cafes and clubs around Warsaw. I’m for most part unknown to the general public, but of course my efforts are to change that. So if anyone would put me on a bus and give me a few bars to play around Europe, I’m more than ready…

What’s your next project?
I’m writing songs constantly. Not exactly at a lightning-fast speed but there is always commotion, there is always a number of them incubating. The demo is, after all, a loosely connected best-of sorta collection, but I keep writing and recording, improving my skills at both, so, in a way it’s hard to say precisely what the next *project* will be. I hope it’ll involve polishing up a number of tunes for commercial release. At the same time, there is a number of side-projects like a tribute album, which is still a bit of a secret, but I’ll possibly, maybe, probably participate in it, I’m also writing lyrics for another performer at the moment, which is exciting because it’s very far from my own musical roots…aaaand soon might be doing vocals on yet another friend’s project. So thankfully there’s a lot going on.

Do you have many fans?
Let me put it this way: I feel I do. There is no official data, as you may imagine but more often than not I’m grateful for a surprisingly good reaction to what I create, from often unexpected sources. The majority of my music’s traveling to people’s homes is, so far, via Internet, and I receive a heart-warmingly positive feedback from a lot of online acquaintances and friends. And then there’s a fierce little army here in Warsaw and Poland. Not large in numbers but the energy…. man!… Some might tell you recognition doesn’t matter much, but it’s a lie, even on the minimal scale I am experiencing. A pat on the back in the right moment is what pushes you forward sometimes. You can’t be dependant on it, but it gives you that extra energy-injection.

The post Interview: Gabriela Kulka first appeared on Collected Sounds.

Born in rural Martinsville, Virginia, Magdalen Hsu-Li began her musical career in 1997 by founding her own record company, “ChickPop Records and releasing her debut EP “Muscle And Bone”. Since this musically successful but unlikely rural beginning, Hsu-Li has released two additional CDs, “Evolution (1999)” and her latest musical expression…”Fire”. Singer-Songwriter, Piano Player, Poet, Painter/Artist, Speaker/Educator and Business Woman, Magdalen Hsu-Li is indeed a Renaissance of Musical Expression (Evolution) — A frontier’s woman into the ‘wilderness of song’!

How does the Past both musically and personally relate (effect) the present and future tense of your music?

I have done a great deal of work on myself to develop as a musician and as a person in the past 5 years and certainly this has had an effect on my music. I am always reviewing my live show in videotapes and looking for ways to better it. Personally as my social life has blossomed and I have gotten better at building community with others…I think this has taught me (as a performer) how to better connect with people on an emotional level through music. Relationships are often are about balancing your own needs with the needs of others. Having a successful live performance is also built on that concept. The performance is for the audience…not just for yourself. Every great performer knows this.

Are there any non-musical influences that have influenced your music?
Definitely…the five element philosophy of Chinese medicine has had a huge impact on my work as well as the poems of Rainer Maria Rilke and the way he looked that the world. Also painting has had a huge impact in my musical process and how I go about creating songs. I am still painting…just through music

How would you describe your music?
Pop rock alt folk singer songwriter music with a tinge of country, jazz, and punk.

As a singer/songwriter what do you consider to be the greater (deeper) art: writing the song or singing the song? And which do you enjoy most?
I’m glad you asked this question! Hands down I love the process of songwriting more than performing. Performing is great but often I feel a great deal of pressure when touring even though 90% of my performances go very well and there are great turnouts. When songwriting…. I feel free and powerful. I could stay up writing songs all night long. I love the actual act of creating and the craft of songwriting. I love listening to and studying other people’s songs and trying to figure out how they did what they did. Sometimes I analyze other people’s songs and pick them apart in a scientific way to understand them…just because it turns me on.

What one rule or rules in the business (theory) of music do you like to break?
I love breaking the myth of the starving artist. That is such a lie that people tell artist from the day they are born and it’s so sad that so many artists psych themselves out with this myth. There is always a way to make a great living from music or any art form if you are willing to use your creativity to the business aspect. People think that creativity should only be in art and the business should be in business. But the most successful business people use their intuition and creativity to problem solve and figure out how to make things work. It’s important to work from both ends using your creativity. I also would like to break through the glass ceiling for Asian Americans in the American music industry. People don’t think it can be done right now but I know it can and it should happen soon!
Why (what inspired you) and when did you form, “CHICK POP RECORDS”?
I formed CHICKPOP in 1997 when I first started touring and making records. There was the inspiration of necessity I suppose in why I created my own company.
What is the most difficult thing about running (owning) your own record company?
I work full time when not touring at booking and being a boss and manager. I don’t mind the hard work but sometimes I would like to spend 100 % as opposed to 50% of my time in practicing and creating and bettering my songwriting and live show. I would also like to combine my music and painting. I currently don’t have any time for painting. I think if I did that I could just take off and become a monster musician and artist…. music and art would just pour out of me like a force of nature.
What is the most surprising thing about running (owning) your own record company
That it can be done successfully and that there are thousands of other indie artists doing it right now. That was not something people did 20-30 years ago. People didn’t just make their own records and retain their power and profits. Major labels controlled everything back then.
And finally Magdalen, what will you be (sing) tomorrow?
The set I will be performing today at Luther College in Decorah La
Redefinition
Divided States
All Those Words or Bittersweet
I Still Don’t Love You
Where Would I Be
Assimilated
Evolution
As I Am
Fire
Spirit
Chink
Country Fried Chinese Girl
Drum Thing
Muscle & Bone
Fuck Bush (Possibly)
© Steven Digman 2003

The post Interview: Magdalen Hsu-Li first appeared on Collected Sounds.

What inspires Sarah Fimm?
“I am inspired by everything… People inspire me, cookie dough inspires me, being alone inspires me. I try to really remember what is important, and once I started learning what was really important; it became a lot easier to become inspired. I hope that makes sense. It’s a very hard question…

“A Perfect Dream” she continues, …”is based on conversations I had with homeless people. That’s why I sampled them. Dale is of course my favorite, the title track. He gave me the idea for the Perfect Dream. And It makes my heart hurt to listen to him…that’s how I knew it was good… People are just windows. People that struggle are fascinating…which is all of us. So I will never be out of information. I am an idealist and also the queen of humanitarian ramblings.”

And what one rule (or rules) in the business and theory of music does Sarah Fimm like to break?
“All of them”…

The post Interview: Sarah Fimm first appeared on Collected Sounds.

Where are you based?
New York, NY

Where did you grow up?
I was born in Mechanicsburg, PA and when I was 9 moved to Fishers, IN.

Tell us a little about how you got interested in music and when you started writing/playing.

I’ve been singing my entire life, basically… When I was 9 years old my grandmother died and left me her baby grand piano… I started taking piano lessons then and continued for a few years, but then quit because I wasn’t very good about practicing.

Even though I wasn’t taking lessons I’d still sit down at my piano when I was bored or unhappy and just make up these songs… I don’t know where they would come from, but I could sit there and play whatever came out of me for hours.

When I was 21 I bought a guitar with some money my grandparents sent me for books for college…

Shortly after I started writing lyrics (I was minoring in English and always liked writing, anyway) and about 8 months later I was on a plane to Vancouver to record my first album with a friend!

Describe your first performance (time, place and any feelings that went with it).
I think my first REAL performance… playing/singing was in my parent’s living room. I had a living room concert and invited a bunch of friends.

It was the first time I had played my own material in front of people. I was really nervous, but at the same time, I knew deep down that night that I wanted to perform all of the time.

I love connecting with people in that way.

How would you describe your style of music and who are your musical influences?
Style is rock/pop and I think you can probably hear a little bit of Sheryl Crow, Sarah McLachlan, Neil Young in the songs…

I have a wide range of influences and listen to everything from Beethoven to Dave Matthews Band… some of my favorite artists include Patty Griffin, Ani Difranco, Radiohead, Fiona Apple, Tori Amos, etc., etc.

Same 5 questions:

1. What is the best feeling in the world?
Being loved.
2. What is the worst feeling in the world?
Feeling completely alone; grief; knowing someone doesn’t like you…
3. What is your favorite beverage?
Iced tea with lots of ice and lemons!
4. What is your favorite word or phrase?
Riiiiiight.
5. What is your greatest accomplishment (so far)?
Learning to play my guitar, write lyrics, and release several albums all over the course of about 4 years!

The post Interview: Jessica Weiser first appeared on Collected Sounds.

Where are you based?
Los Angeles

Where did you grow up?
I grew up in Burbank, CA. So completely un-exotic, it’s not even funny.

Tell us a little about how you got interested in music and when you started writing/playing.
I wish I had some amazingly quirky backstory…but honestly, it’s pretty standard stuff. When I was really tiny, I would crawl in any grown-ups’ lap when they were at the piano bench, just to get a better view of their fingers.

My uncle had a friend named Peter who would play “Mandy”. That was my favorite song in the world.

I was constantly trying to play my own songs, and asking my parents if they could teach me how to play like Peter. So, they called the most respected teacher in town and asked if she would take me. But I was too young. I had to stay on a waiting list until I was five.

I studied with this teacher for a few years, loving every minute of it. But I was so sneaky, I had taught myself enough to understand music by playing by ear. I couldn’t read a note, even though I could play all my songs – just by hearing them once. My teacher knew I was bright enough to do really well, and so she hired this really crinkly, bald, old composer from somewhere in the Soviet Union to come and work with me once a month. His name was Dr. Podalski. He was really terrifying to me. But I learned a lot of discipline.

Soon, I outgrew my sweet teacher, and moved on to a teacher in another town who was famous for her strictness and hard work. I had to audition for her. But she accepted me.

After years of study, she realized that I was just mostly interested in writing my own stuff. In high school, I used to forgo doodling for writing music on blank sheets. I was a freak. But my new teacher supported my efforts and allowed me 15 minutes each lesson for reviewing my new songs. She helped to sculpt my songwriting techniques. Very wonderful and supportive.

Out of high school and finished with my formal training, I just continued to write my songs. Every day I work on something. It’s like breathing.

Finally, one of my friends told me that I should record my work – something I never considered before! So after years of pondering the idea and wading through terrible songs and recordings, I finally came up with the collection of tunes that was acceptable and recorded All Girl Band.

And I’ve continued to move on from there. I just can’t stop.

Describe your first performance (time, place and any feelings that went with it).
My FIRST performance was when I was five and I played Pop Goes the Weasel. I was excited – but mainly because my mom bought me a new dress.

I don’t remember my first performance of my own music. I used to play in so many recitals and competitions that I can’t remember when I crossed the line into my own work.

But I do remember the first time I decided to take my music seriously and played at an open mic in hopes of being booked for a show. It was a coffeehouse in the San Fernando Valley on a Sunday afternoon. I was so sick I thought I would vomit. The girl who went before me sang a capella. I remember thinking that if she had enough balls to sing in a shaky voice without anyone backing her up, then I should have nothing to complain about.

I was booked after that first show.

How would you describe your style of music and who are your musical influences?
I call my style of music “quirky, confessional storytelling with a piano on top.”

I think over the years my music has become less sparse. I’m working a lot now with Kevin Benson who is a techno artist. So our sound is really more like taking emotion and piano and straining it through knobs and gadgets. We’re trying to juxtapose the fluid, natural sound of the piano and my voice with the edge of electronics.

Influences? Top of the list: BOB DYLAN. If I could only write the stories he does!! And I love the character of his voice. I adore Paul Simon, Kate Bush, and Dead Can Dance. Paul has the great storytelling thing going on too while Kate transcends with her emotion. DCD is just awesome. I really get into the sound of their work. And I can’t leave out Robyn Hitchcock. His album “Eye” is SO inspiring. He did so much with so little. Beautiful.

Same 5 questions:

1. What is the best feeling in the world?
Excitement. I love the rush of adrenaline when I get excited about something. It makes me feel like I could fly.
2. What is the worst feeling in the world?
Um…when people say bad things about me. I can’t think of a single person on the planet that doesn’t want to be liked. We all try so hard to be good and decent, and when that backfires for whatever reason, it feels terrible.
3. What is your favorite beverage?
Root beer. Though, a cup of cocoa does wonders.
4. What is your favorite word or phrase?
I don’t know!! For a few years, I would just explain everything I didn’t know by saying “I’m Bob.” ie: “What do you want to be when you grow up?” “I dunno. I’m Bob.” How dorky is that? Bob was my alter-ego, the person who didn’t have to have an answer for everything. So that would be my favorite phrase. “I’m Bob.”
5. What is your greatest accomplishment (so far)?
I’m proud of so many things! But, musically, I’m most proud of the work I’m doing right now. I see a lot of growth in my writing and that feels really good. But in a year, I’m sure I’ll have a new thing to brag about. So, this is a very dated response. Ask me again in a year. And then the year after that.

The post Interview: Terami Hirsch first appeared on Collected Sounds.

Where are you based?
Melbourne Australia

Where did you grow up?
New South Wales and Melbourne Australia

Tell us a little about how you got interested in music and when you started writing/playing.
I started writing stories when I was about five and completed my first short movie script at age 15. Music began taking over from about then and I started to put my stories into poetry and song and made a firm decision (to the school guidance counsellors dismay) that I was going to be a singer/songwriter/performer. First trashy band at 18, second less trashy band at 20 and finally getting to do what I really want to do 5 years later.

Describe your first performance (time, place and any feelings that went with it).
With my trashy band at someone’s house at 18 years old. Lot’s of young girls who thought we rocked as we were an all girl band. think Courtney Love meets Tori Amos (a scary though I know). I was really nervous but thought I was pretty cool afterwards when everyone liked us. It was fun but I could never do that type of stuff now.

How would you describe your style of music and who are your musical influences?
Arrggh that question!!! Ok so what I normally tell people is I have piano, violin, viola, guitar, accordion, percussion, trumpet and also as of March electronic beats. It’s lush, can be folky, can be alternative but always diverse and we surprise the crowd by throwing in styles and songs you wouldn’t expect like bluegrass! I would say I have been heavily influenced by Kate Bush and Tori Amos as well as Neil Finn, Billy Bragg, Bjork, Ani Difranco and lot’s of lesser known but equally amazing musicians such as Stina Nordenstam, Anja Garbarek, Split Enz, Ruby and loads more. I’m pretty much influenced by what I listen to whether it be folk, electronic and even ragtime.

Same 5 questions:
1. What is the best feeling in the world?
Being in love, seeing people touched by your music
2. What is the worst feeling in the world?
Being alone or being afraid
3. What is your favorite beverage?
Ginger Beer & Cloudy apple juice
4. What is your favorite word or phrase?
‘Curious’ & the person who I love’s name (can’t tell you)
5. What is your greatest accomplishment (so far)?
Touring America and Canada in 2001 & being true to myself and my music

The post Interview: Emaline Delapaix first appeared on Collected Sounds.

Where are you based?
I’m based in Brooklyn, New York.

Where did you grow up?
I grew up in the town of Katonah, which is in Westchester County, about an hour north of New York City.

Tell us a little about how you got interested in music and when you started writing/playing.
I’ve been singing and playing ever since I can remember. I come from a musical family and we were always singing and playing instruments during family get-togethers. My cousin is Felix Pappalardi (producer and bassist for Mountain, producer for Cream) and Michael Barbier who has engineered and produced for everyone from Cinderella to Blues Traveler. I started ukulele at 4, piano at 6, violin at 8 guitar at 9, bass at (upright and electric) at 14 and have also added banjo, accordion, mandolin and a bunch of other things. I started writing in high school and continued through college, receiving a master of music in composition and theory from SUNY Fredonia.

Describe your first performance (time, place and any feelings that went with it).
First performance I can remember? Probably singing at a nursing home when I was a kid. I remember enjoying performing and doing something that gave joy to the audience.

How would you describe your style of music and who are your musical influences?
My style is a good mix of folk, blues, rock and whatever I feel is appropriate for the song I’m writing. My influences range from Bach and Bartok to The Beatles, The Roches, Cole Porter, Joni Mitchell, etc.

Same 5 questions:

1. What is the best feeling in the world?
Enthusiastic applause after a good performance.
2. What is the worst feeling in the world?
Waking up from a nightmare and not remembering where you are!
3. What is your favorite beverage?
A big glass of ice water.
4. What is your favorite word or phrase?
This week it’s groovy
5. What is your greatest accomplishment (so far)?
Continuing to be able to perform and record my music.

The post Interview: Lisa Brigantino first appeared on Collected Sounds.

photo with Amazing Grace (I am in love with her doggie!)

Where are you based?
Mason, Texas

Where did you grow up?
Traveling overseas until I was 17, moving every 1 – 3 years.

Tell us a little about how you got interested in music and when you started writing/playing.
I was living on Peshawar AFB in Pakistan when I was 12. I went across the street to the baseball field and saw a lone GI sitting on the bleachers. I walked up to him and listened to him sing and play his guitar. It was like I was hit by lightning. I immediatly went home and told my parents I wanted a guitar. There were no guitars available on Peshawar. When we moved to Okinawa later that year, my parents bought me a $10.00 guitar ar the PX on Kadena, AFB.

Describe your first performance (time, place and any feelings that went with it).
My first performance playing guitar and singing was when I was a junior at Kubasaki High School on Okinawa. I entered & won the Talent Contest, singing a song I’d written, “My Lords Song”. When they called my name as the first place winner, I just stood there. Someone had to push me out on the stage. I was so totally shocked that I had won. It was a very thrilling, exciting night. I remember my parents were so proud, happy and literally beaming.
And I won $75.00!!!!

How would you describe your style of music and who are your musical influences?
Eclectic, Americans, folk, country, pop. I think my musical influences come from hearing all different types of music growing up overseas.

Same 5 questions:

1. What is the best feeling in the world?
Love
2. What is the worst feeling in the world?
Depression
3. What is your favorite beverage?
Dr. Pepper
4. What is your favorite word or phrase?
“Do what you do.”
5. What is your greatest accomplishment (so far)?
Learning to rise above obstacles & be positive!!

The post Interview: Beth Williams first appeared on Collected Sounds.

Where are you based?/Where did you grow up?
Toronto

Tell us a little about how you got interested in music and when you started writing/playing.
I started taking piano at about 6years I guess.. (I begged my folks for lessons and would wake up at ungodly hours to practice…. A very abnormal child some would say!).. I’ve been singing for as long as I remember speaking.. in younger years I joined various children’s classical choirs and growing up I always took part in all the school musicals.. in university I found a better space for my voice and felt like it was time to start really writing…enter cd #1… and I was off.

Describe your first performance (time, place and any feelings that went with it).
Umm.. nervous a little? Excited mostly… it was in December 95?!.. time flies.. I can’t remember the exact date.. that was my first official show.. it was at a crappy little hole in the wall at queen west of Bathurst in Toronto… the only place that would take an unknown gal such as myself.. but my first REAL performance was in highschool at one of your good old talent nights.. I got up and sang one song and wasn’t nervous really… but probably totally in my own world.. I’m not sure if I ever even looked at the audience!

How would you describe your style of music and who are your musical influences?
Hmmmmmm.. this is always a tough one.. storytelling is something I always say… folk… I love the idea of folklore and stories and legends and history being passed down through songs… I’m influenced by so many things really… there was a time when I really wanted to be a jazz singer so it was Anita O Day.. but I love piano.. so Kate Bush, Tori Amos.. Sting is so amazing and versatile.. Jane Siberry is daring and free and I truly admire that.. Neil Finn is my absolute fave though (!)

Same 5 questions:

1. What is the best feeling in the world?
Feeling free/strong/ confident/having your eyes open to notice all the most amazing things..
2. What is the worst feeling in the world?
Feeling closed or trapped, financially or otherwise… judging yourself too harshly for simply being human .. I beat myself up too much(!)
3. What is your favorite beverage?
Hmm.. in the summer.. oj and cran juice mixed together.. winter.. Starbucks chai latté .. yUMMMY!
4. What is your favorite word or phrase?
No worries (!).. I like to call people pet names.. tease them.. ‘freak”.. oh.. when people say “take care”… I think it’s sweet
5. What is your greatest accomplishment (so far)?
Probably touring in Australia.. I’m not really sure.. everything feels like a blur sometimes.. with music there’s been so much… sometimes I think the greatest accomplishment is when I actually stop long enough to enjoy it for a brief second or two!

The post Interview: Andrea Florian first appeared on Collected Sounds.

Where are you based?
Minneapolis, MN

Where did you grow up?
Green Bay, WI and Chicago, IL

Tell us a little about how you got interested in music and when you started writing/playing.
I couldn’t sing or play any instrument until my freshman year in high school. I sang along with the radio for hours on end and strengthened my voice.

I became interested in playing the guitar from listening to my father play all the time while growing up. A friend of mine taught me a few chords…but I couldn’t stretch my fingers to play the chords if my life depended on it. I put the guitar down and then tried again about a month later with great success.

I’ve been singing, playing and writing music ever since.

Describe your first performance (time, place and any feelings that went with it).
I think it would have to be the talent show my sophmore year at NDA…I had been in plays for years and even a musical or two, but this was my first time, singing and playing in front of an audience.

How would you describe your style of music and who are your musical influences?
I’m really bad at stuff like this…uhm, I guess my music is folk/rock/blues. The problem in my defining music stems from the vast range of styles in my CD collection. I love Beethoven, Grace Slick, Tori Amos and Melissa Etheridge as well as Little Kim, DMX and Massive Attack. Vocally I would say Sinead O’Connor has been the biggest influence, but in college I got hooked on Nina Simone and Ani Difranco. I love it all.

Same 5 questions:

1. What is the best feeling in the world?
laughter
2. What is the worst feeling in the world?
betrayal
3. What is your favorite beverage?
water!!
4. What is your favorite word or phrase?
presents
5. What is your greatest accomplishment (so far)?
national champion in Tae Kwon Do.

The post Interview: Anne Deming first appeared on Collected Sounds.

Photo by Adam Tow

Where are you based?/Where did you grow up?
I’ve lived in the San Francisco Bay Area all my life. Grew up in Silicon Valley, went to Stanford University, now living and working in the same endless suburbia, with occasional trips up to San Francisco proper. I’ve been itching to move somewhere else for years, just to have a change of scene, but I know I’m going to miss it terribly when I leave. It’s home.

Tell us a little about how you got interested in music and when you started writing/playing.
Oh, that started way back, in the pre-cognizant years. According to my parents, I started singing before I could really talk — I’d listen to the record player and sing back the melodies note for note, but the words would be absolute gibberish. And I’d climb up on the piano bench of whoever’s house we happened to be visiting and plunk on the keys. When my dad asked me if I wanted piano lessons, I said yes, and ended up taking them for twelve years pretty much without complaining. I wrote my first song when I was six, I think. It was a little thirty-second piano piece called “Church Song.” And I wrote my first song with lyrics when I was thirteen, but I’m not going to share that with you because the words are too embarrassing.

Describe your first performance (time, place and any feelings that went with it).
I don’t know if I can really remember my first performance. It depends on what “first,” I guess. I had my first piano recital when I was six, and it terrified me. I played one of my own songs in a school talent show when I was in fourth grade and that terrified me too. It’s a recurring theme: I perform, I get terrified. It still happens. I enjoy it most when the audience sort of sneaks up on me. I used to play in the lounge of my college dorms, and sometimes I’d go through a couple of songs and look up to find a little crowd gathered around the piano, just listening. Those are my favorite kinds of performances. But I guess I’ll have to get used the expectant-audience way of doing things eventually.

How would you describe your style of music and who are your musical influences?
I’ve decided that it’s best described as “folk-pop” or “alternative pop.” It’s not as folky as real folk music and not as glossy as mainstream pop. I think I sort of aspire to be the third corner of a triangle, where the other two are Sarah McLachlan and Tori Amos. Those are my two most obvious influences, to the point that I actively try to listen to something else so that I don’t become a mere knock-off of either one. But really my influences are all over the map…Afro-Cuban music, jangly guitar rock, madrigals, modern jazz, epic movie soundtracks. I love absorbing music that’s sort of foreign to me at first. Their presence in my own songs is very subtle at the moment, but I think that’ll change.

Same 5 questions:

1. What is the best feeling in the world?
Connection. That feeling of sudden understanding, of being in the same place. The “I know exACTly what you mean” moment.
2. What is the worst feeling in the world?
Boredom. I don’t mean those lazy afternoons spent lounging around the house; those can be nice. I mean long-term boredom, when you’re doing something that doesn’t excite you for months or years on end, but you keep doing it because the force of habit is too strong. The kind that leads to mid-life crises. I hate that kind of boredom with a passion.
3. What is your favorite beverage?
Freshly squeezed orange juice. Hands down.
4. What is your favorite word or phrase?
“Hmmm,” if that counts as a word.
5. What is your greatest accomplishment (so far)?
That’s a hard one. I haven’t accomplished anything great yet. If anything, it would be that since I decided I wanted to do music for a living, things have actually been coming together — I’ve got a record, I’m performing a lot, I’m starting to garner a little attention. So my greatest accomplishment thus far is taking the first few steps. The journey’s just started.

The post Interview: Vienna Teng first appeared on Collected Sounds.