Interview: The Humble Grapes

In an exclusive interview, The Brooklyn-based band, The Humble Grapes, talks about how they got their band name, the musically-saturated NYC area, and musical production.

[ indiessance ]
What does the phrase humble grapes mean to you? How did the band's name come about? Also, how did The Humble Grapes develop into its current lineup? David and Brie, could you also describe your musical backgrounds?


[ David ]
The Humble Grapes is a name we came up with after spending about 4 months with the name The Big Deal. That didn't work. The Humble Grapes came from a lot of think tank hours where we tossed around so many different ideas. The idea behind The Humble Grapes is that its the translation of the Hebrew homonym for the word ah-nav. One spelling of the word means humble. The other spelling means grape. We thought there was something to that. We came up with the idea that we (Brie and I) produce the best under pressure, similar to a grape producing the best (fine wine) when squeezed.

The Humble Grapes are Brie and I. The musicians and other people involved are terrific people we've met along the way who help us in unique ways depending on the project.

My musical background- Classically trained pianist from 8-13 yrs old. Then I discovered the Beatles and that was that for classical piano but that education has totally helped me be the musician I am today. Have been playing in bands in NYC since I'm 16. I went to Berklee College of Music (which is where I met Brie) and studied songwriting, film scoring, and piano. That experience was invaluable as I was afforded the ability to eat, breathe, and sleep music for almost 3 years.

[ Brie ]
We were trying to come up with a name for the band after starting. We had been calling ourselves the big deal which as Dave likes to joke sounded like a Diner special. We wanted something that sounded rhythmically pleasing and we thought what about food? We were thinking apples or grapes, they have a history of being a fruit used in a lot of art and story telling And I asked Dave what does Grape mean in Hebrew? Which he explained is Anav. The word is a homonym like night and knight; humble and grapes. A grape; under pressure, humbled and squeezed, if its a good grape produces good wine. A person; who is under pressure but is humble can produce good work. We liked that idea. We try to work towards well crafted songs and continually develop, learn and change while we deal with pressures or everyday life and work.

Dave and I met in college and started writing songs. We've stuck to that duo essence and we've been lucky enough to find some great musicians to play with when we go into the studio or when we play live. We (Dave and I) write the music and then put together a fully arranged demo for the other players to hear. And then well run through it all with them before we have a show. So the line up has always been Dave and I at the core. We've been playing with Joey, Brad and Ben for a while, which has been great because its helped us develop our live show, building on past shows and ideas we come up with in rehearsal.

I was really influenced in my teen years by John Mayer and Stevie Ray Vaughan. My mother brought me up listening to great female vocalists like Barbara Streisand, Bonnie Raitt, and Linda Rondstat. I grew up listening to great songwriters from different genres, mainly classic rock; The Eagles, Warren Zevon. As a child I was involved in musical theatre and choir so I've always loved singing musical theatre pieces and performing. When I got older I listened a lot to Ryan Adams, again John Mayer, David Gray, Bonnie Raitt, Rob Thomas, to name a few... Working with Dave I've learned more and more about great bands and musicians since moving to NYC, I've definitely developed more love for groups like The Grateful Dead, Steely Dan, The Band, Tedeschi Trucks. I'm really into Father John Misty, Lana Del Ray, and Dawes right now.

Video: Young and Alive: The Humble Grapes

'Young and Alive' (B. Capone/D. Kaufman) 2015. Directed and Filmed by Mikhail Torich. Photographer/Production Assistant Teddy Bonsu. Filmed at the Cutting Room in NYC. Special thanks to Ryan Slater and Gerry Visco. Produced by The Humble Grapes and Ami Kozak. Engineered by Ari Raskin. Mixed by Ami Kozak. Special thanks to: Let 'Em In Music Recording Studio.

[ indiessance ]
Your bio mentions that The Humble Grapes will continue playing in the NYC area. Then possibly expand touring into the tri-state area. A heavy concentration of venues in Brooklyn flows into Manhattan. Touring America's largest city is a unique experience for any music group, and for you it has been home base. 



Could a band effectively continue to tour that specific area alone and remain busy? Are you still discovering new venues? How has such a musically saturated area affected your careers in various ways?

[ David ]
NYC is such a great city to be based in. One of the best qualities is the amount of fabulous musicians and artists who live within a 5-10 mile radius of each other. It's really incredible. We are never a phone call away from reaching out to this guitar player or that sax player to play a part on our song (ex. The horn part for our song Save Me was this awesome Julliard player- recommended to us by a guy who plays drums in a band I used to play in). So that to me is the best. The talent here is as close to infinite as possible.

Of course, because there is that great talent, trying to separate us from that is a big challenge. I think that challenge pushes us to try things, both musically and visually, that we might not have done had we lived in another city and not come face to face with all the wonderful artists that are here. So it's a challenge that I think we use to our advantage to constantly produce better songs.

[ Brie ]
We've managed to stay busy writing, creating, designing our EPs and singles as well as developing our identity through web presence and social media. I think we've had somewhat of interesting experience with venues because the way we've developed and created our music. We usually do more with social media, videos and web presence after we've finished a song and we'll debut new music at places we've been playing for a while like The Bitter End. We feel that if we can see, through social media, where we're having an impact we would definitely design a tour to bring our music to that venue. I think because NYC is so saturated, before jumping into a venue where no one knows who you are or only a certain amount of people know who you are, bands in our era of social media and outreach really owe it to themselves to use that outreach to their advantage. Find out exactly where the music is landing and see how to grow that fan base.

[ indiessance ]
Recording in the studio allows The Humble Grapes to flesh out songs with several sonic elements, but at the core of your new soul/pop single, Young and Alive, are the analog vocal and piano tracks. At the end of the song, David and Brie finish the track on their own. Highlighting the strong vocalist and keyboard parts. While pop music has been dominated by iconic electric guitar. But not to detract from the full band, which sounds excellent on the track. And HG also comes at listeners with various styles during performances, including a number of cover songs. Every track is a perfected production.



Does that reveal a perfectionist trait of The Humble Grapes? Also, recordings reveal which songs the band can make sound great, but are there any particular genres which you enjoy playing more than others? Out of your song list, which ones are your favorites?


[ David ]
Thanks for saying every track is a perfected production! Thats awesome.

Since we met at Berklee, our main objective has been to be the best songwriters we can be. What we've learnt in the last few years is the importance of production and live performance. Production helps us convey our song in the clearest fashion and the live performance really allows us to connect our songs to people in a face to face manner. As we produce more and more songs, I think we learn something about production that we didn't really know from the previous song. In that sense I wouldn't say our production has been perfected. One of our goals is that when you hear our song- you know its the Humble Grapes. The songwriting/ the production/ the performance. I think its a really exciting goal to strive and one that I think we're getting closer to with each new single we come out with.

One of my favorite aspects of the Humble Grapes is that its a really a cross-genre band. We easily can go from a slow Nashville style blue ballad (Only One In Love) to a gospel rock song (SSDD). The into pop rock (Save Me) then into classic rock (Honey) and into cabaret rock (24 Hours) etc. So I think we're not very genre specific and to me that's a huge plus with us. While you know our sound, you're not exactly sure what's coming up next.

All of these songs are my babies, but if I had to pick 5 I would say:

• Save Me
• Honey
• Brooklyn Bridge
• SSDD
• Sleep

[ Brie ]
I like the sound of perfected production. ☺ I think we want to produce well thought out work. It's very important to us. It sounds funny to use the term perfectionist. There is always room for growth or finding another way to bring out a sound or emotion in a better light. I learn something every session. A better way to describe something, or just changing tempo can open a door into a new choice. From my point of view, it's David that really has the talent for so much of the production. We produce together for sure, but I don't think it would be as well crafted if it weren't for his knowledge on instrumentation and ranges, placement and rhythm. I have always enjoyed working with Dave because he has the capability and patience to hear where I'm coming from with an idea or arrangement and to translate it into our demos. A lot of what it comes down to is prep work before we even get into the studio. We have a pretty well thought out identity to the song. And we work with people who are very smart and hear how to engineer and add to what we've brought in. That's very important. I always feel that a song is working when it moves like the inside of an old watch. Each piece is there and everything is connected to a rhythm and flow. And you can see it and hear it. Nothing is stepping over or covering up anything. It all exists at once, together.

I think we pull from a few different genres; blues, rock, pop, soul. We like to blend things together. I don't think we'd be happy or satisfied if a song was all one flavor. Everything is influenced by other genres.

Depending on my mood... I love our song Sleep, I like how fragile it is as some points but develops into a bigger bridge and I've always liked the melody of the verse and the lyrics. I also really love playing Honey live. I feel connected to that song because of the lyrics. My time in New York I identify with a lot of this girl's story and sometimes feeling a bit lost. It also has beautiful guitar parts.

Thanks you so much for your questions!!

Rue Royale

Groningen House Show (Ham Radio Communications)

photo by: Roland Kok

[indiessance]
the first Rue Royale song I ever listened to was the eponymous Guide to an Escape, which is clearly a grower—I like it more and more with each replay. and the background echo loop, which at first almost seemed out of place, instead merged into the mix like an essential ingredient—through out the song it carries a subtle sense of urgency. an escape. while the rich haunting piano chords then became a backbone of apprehension. Guide reaches deep.

I thought about how you both covered tens of thousands of miles touring Europe, and how you must depend on one another. also, in a sense I suppose, touring itself can be considered as an escape, as a songwriting duo pursues a creative dream. with that in mind, do you each serve as a guide to the other in a sense? but that question comes from a new fan's impression. could you please describe to me the real meaning of Guide to an Escape, how the inspiration for the song came about, and really, what it means to your hearts, because it sounds like a song that poured out of a heart.

[brookln]
Guide to an Escape (the song) is about stealing away from the journey we so often otherwise sing about. The journey to do the right thing, find peace or truth if it exists, reconcile the way we were raised with the way we now see the world, etc.. I am consumed by insecurity and questioning and am not one to settle easily. To the degree that it's exhausting, difficult and gets in the way of finding the peace I so desire. Guide to an Escape was written in a season where the fatigue was winning, peace was far and I was longing to not care about any of this journey but to rest.

[ruth]
In response to your comment about us touring so many miles and serving as each others guide: I feel like touring is an emotional journey full of highs and lows and with a lot of stressful and stretching times. We rely on each other for support constantly and yes in some ways guiding each other through great times and hard times as one can often be in a very different place to the other and needing a voice of reason and balance in the midst of this. Brookln is definitely the driving, visionary force for the band and I tend to rely on him for this as I can be a very slow mover who dwells on things for far too long.

Guide to an Escape by Rue Royale

[indiessance]
I liked the music video you did with Amsterdam Acoustics; how the neighborhood background activity blended with your performance of the song Blame, which can also be found on your latest LP, Guide to an Escape.

in one of your press releases, I found the statement: It’s all about the journey, not the destination. There the duo was in the Netherlands, next you were in Germany. how has touring, which has taken you all over the world, helped you advance as musicians, and also as people? what have become your favorite places to perform? can you talk more about this musical journey, which has taken place on both sides of the pond?

[brookln]
Touring has changed so much about us. Everything from our vocabulary and our taste buds to our preference of music have been informed by all of this globe trotting. Musically we've been inspired by the rooms we've played in, the weather and geography we've driven through and picnic-ed in and the bands we've met and listened to along the way.

[ruth]
I feel we have had our eyes opened wide and our minds too as we have travelled so much and met so many people with such different stories and history. This has been life changing in the most extreme way and to be honest I feel we are still processing these past few years.. it will take a while to get through all we have experienced.. maybe even our whole lives! We love performing in many places and in many different venues. We love house concerts still but also enjoy playing the festivals. Wherever it is we really appreciate being with people who take the time to listen to our music and support us on this journey. We have met many musicians too who have also played a part in our story, with inspiring tales of touring and with their own musical journeys. There seems to be a sense of community with some of these musicians and people and this plays a huge part in our story as they provide us with support and friendship on the road..

[indiessance]
thank you very much for sharing your thoughts, and may you be blessed over and over—over the road.

---

• youtube: guide to an escape
• youtube: Blame (live in Amsterdam)
• home : rue royale
• soundcloud : guide to an escape
• ultimate-guitar : guitar tab: guide to an escape (ver.2)
• discogs : guide to an escape
• wikipedia: rue royale
• spotify : guide to an escape
• bandcamp : guide to an escape

Rue Royale Tour Dates

Guide to an Escape

1. Guide to an Escape 04:07

2. Halfway Blind 03:36

3. Flightline 03:11

4. Get me Standing 03:58

5. Blame 04:06

6. Knocked Back to the Start 03:20

7. Crater 03:37

8. Meant to Roam 04:31

9. We'll Go on Alright 03:57

10. Foreign Night 04:10

11. The Search and Little Else 03:00

Interview: Eleonora Cutaia

Eleonora Cutaia founded AheadPR - a digital music promotion service.

[indiessance]
In a djsounds.com interview, you talked about how you keep your ears open for artists who do not necessarily fit into a specific genre, and are not afraid to experiment with new sounds. Considering how dynamic the many subgenres of electronic music have been, how does your business philosophy reflect the dynamic nature of digital music?

[eleonora cutaia]
At AheadPR indeed we receive the most diverse submissions and it is important to be 'objective' when evaluating the products. Even if I have a personal taste in music, thankfully I am able to go beyond the taste or genre factor, and rate music for the way it's produced, and for the potential it can have with the media and public.

[indiessance]
As it is essential for AheadPR to remain on top of current music trends, what are a few of the main media sources that you have come to rely upon in order to keep informed? What are other ways that you keep informed?

[eleonora cutaia]
When it comes to new music trends, I do not make it an obsession but I definitely try to allow myself to be exposed to different channels and outlets. Most of the times it's the music that finds me!

AheadPR helps a great deal as it allows me to regularly discover some extremely talented artists via the site submissions.

Running the label is another great asset as again, some great artists come to me through recommendation or word of mouth.

There is just so much music out there that it's literally impossible not to miss out. I guess this is one of the reasons why AheadPR is becoming increasingly popular: journalists and DJs can be a bit more lazy and rely on a trusted source to filter up quality content for them!

[indiessance]
Recording artists have emailed me MP3s that they produced with home recording equipment. They have their own web pages, blogs, MySpace profiles, etc. But few artists get the kind exposure that would take their sound to the next level. How can AheadPR help such independent recording artists and labels?

[eleonora cutaia]
The most important thing is the music to be produced to good standards. These days thanks to some great software, it has become so easy to reach professional standards even from the comfort of your home. You are right saying there are tons of artists who are trying to do everything themselves, but only a few ones get solid exposure.

With so much choice out there it is becoming even more difficult, so it definitely requires some budget to actually make some waves.

I am happy to have created AheadPR with these types of artists in mind, and it's great seeing the difference the campaigns make to them.

From magazine reviews, international radio airplay, licensing to labels, bookings: I have seen it all happen and I really do share in the artists' achievement.

I have seen some of my American clients coming to the UK for gigs, and they were over the moon, thinking it would have never happened so fast. It is unbelievable what an email to the right person can do!

Nick Howard

In an exclusive interview, singer/songwriter Nick Howard talks about New York City, songwriting and success.


[indiessance]
You are definitely having a successful run in recent years, starting with your freshman EP 6-pack Contradicted which received kudos from critics. I read your bio; what a big year 2008 became, being featured on "MTV, Fox, Comcast, TLC, CBS, ABC, the BBC, Vogue Magazine, Bloomingdale's and Lifetime"! Did this all hit like a ton of bricks - leaving you a bit mesmerized? Even early on, I imagine the world got bigger and brighter after you hopped from Brighton to New York City. A long leap across the pond can affect an artist's mode of living in a big way, where everyday habits, overall attitude - even their tastes in music, food, etc. can be affected. Can you share how your lifestyle has changed after taking a bite of the Big Apple? Are there any food and entertainment discoveries you've made that you really liked?

[nick howard]
Well it sounds very glamorous when you list it like that but between the lines there is so much work that has gone into landing these achievements that it definitely doesn't feel like a ton of bricks...more like one brick at a time :) Sometimes you work so hard to nail these things that you forget to take a minute and actually reflect on what you've done. When I read it in a sentence like that it is a bit mesmerizing so thank you for pointing them out...you've made my day :)

Moving to New York was definitely a massive change in pace, I had eased my way here by having smaller stints here and there leading up to 2004, so that helped a bit...but living this city is a lot different from visiting it. I can't stress how important this city has been and continues to be for me and this life/musical journey. It is an incredible place that picks you up when you are down and gives you a kick in the balls when you are lazy. There is nowhere else on earth like it, the huge mix of different people, cultures, music/arts, food etc etc has done nothing but educate me and cause me to look at life in a different way as well as to enjoy it more.

I was a complete wimp before I came here as far as food was concerned but soon learned that I wasn't going to have much of a social life if I didn't bite the bullet and try a few crazy dishes here and there...now you can find me eating sea urchin on a regular basis (well maybe not that extreme but definitely more raw fish than I'd consumed prior to moving here - which would be zero). As far as entertainment goes, there aren't many places that you could visit a transgender karaoke bar, a burlesque club, a singer/songwriter club, a jazz club, a rock club, several art galleries and then polish it off with a McDonalds within a two block radius :) To say this place hasn't opened my eyes to a lot of great art would be a lie. I'm blessed to be among a group of fantastic singer/songwriters currently doing the rounds in New York, its inspiring and I feel we're part of something really special.

[indiessance]
Some artists talk about the self-indulgent aspect of songwriting, whereas they are writing songs to entertain themselves as well. Are there any particular songs off your latest LP Something to Talk About that you really enjoyed writing, and also enjoy performing more than your other songs? A fan might guess - A Better Man. But sometimes an obscure, seemingly unassuming song can carry a special meaning for the songwriter himself - which the listener does not know anything about. Can you share a deeper - more detailed - look into one of your songs that might enhance its meaning for listeners?

[nick howard]
This is a very good reflection on the songwriting process. The largest part of the writing process is self-indulgent, I know for me its my way of dealing with life's emotions, experiences and observations as well as my own personal thought and feelings. That said, when you are writing a song, particularly a melody, you aren't going to come up with a good hook if it doesn't entertain you. A Better Man is a fun song to play, and I think that a large part of that is the melody however the lyrical aspect is important as well, especially given that I have found that the song has taken on a much larger meaning past its original context (which is about a relationship gone wrong and a guys desperation to make it right) and now just feels like a much bigger and more important statement about how I want to live my life...music is awesome like that.

Another interesting song is The Pressure. I got to a point half way through Something To Talk About where I was completely stuck, I had to re-record all of the track's I had recorded with another producer, was struggling financially to keep the process going and was really struggling to come up with the next song. The Pressure is basically my feelings and emotions through that time period put to music and lyrics and came out of a really low point for me...it ended up being the song that would end up on The Hills and open up so many doors for me...just another ironic notch on this crazy journey.

[indiessance]
When it comes to film and television, music plays such an important role when it helps carry the theme of the screenplay, and sets the mood for viewers. You have had tracks featured in the soundtracks for The Hills, Army Wives, [and] LA Ink. Most people seem to spend more time watching TV than they do listening specifically to music. What thoughts were going through your mind the first time you heard one of your tracks playing in a TV show you were watching? Imagining millions of people all watching/listening at the same time, that's a lot of ears! Do you set out to write songs to catch the ears of many listeners, or does your music simply have a natural appeal? What aspects of your music reveal its entertainment power?

[nick howard]
My thoughts surrounding that placement in The Hills was that there had been a mistake and that I was about to suffer a major embarrassment. I had blasted my mailing list and all of the other social networking outfits, told friends and family to tune in to the show, my sister even bought me a 'congratulations' cake but I was prepared for the worst. Fortunately for me, my career and my pride, about five minutes into the show there it was - my song, the background music to Lauren Conrad getting asked out by a model...soon to be ruined by a scene change and the introduction of Spencer whining 'Heiiiiidiiiii'...still, I'd had my moment of glory so was happy for him to ruin it :)

The response from that one placement was immediate, that's the great thing about the information age, I could track the increased mySpace hits (about 10,000 that night) and thousands more over the next few days. The placement was aided by an Entertainment Weekly blog which mentioned the song and drove more people to my website. I don't write songs to appeal to others, they have to appeal to me first. I will write a particular theme or genre, but I need to behind the music, otherwise it just won't sound right. I think you have a choice when it comes to production about the 'sound' you want to get. I want my songs to be produced in the best light, and that's what I did with this album...the fact that the songs are licensable is a bonus and I'm really fortunate to have had some success in that arena. I've had some odd licenses too - for instance two of my songs have appeared in the show LA Ink on TLC, a show about tattoo artists. It's pretty ironic that I don't have any tattoos and probably never will...it's also ironic that one of the two songs used is called My Mistake :)

[indiessance]
Songwriters can receive inspiration from a variety of sources. I know of one artist who gets her song ideas from news stories. Perhaps a movie inspires, or a novel. Do you typically come up with a catchy chorus hook first? Or maybe you write a set of lyrics first, and then put that to music. While you are writing songs, can you give us a view into the gears that are turning in your mind and heart? I understand how songwriting can be an esoteric activity, whereas an artist taps into their emotions and pours them out onto a page. And sometimes even the songwriter can be surprised by the creativity that flows off the tips of their fingers.

[nick howard]
The ideas can come from any of those, but I think the catalyst that gels it altogether is the spark. It is an often elusive, never readily available and uncontrollable event that needs to happen at some point during the writing process in order to take music and lyrics and turn them into a song. I find that music sparks (chords, notes etc) come much more easily as they are usually the product of a mistake or accident than the lyrical melody spark, that is something that can take years to happen for a certain song, but can also come out of nowhere and you can end up with your best song in five minutes. I know some people have a better ability to control it and switch it on whenever they feel like it...I wish that were the case for me, that way I wouldn't constantly find myself rummaging for a pen and paper in the darkness at 3am :)

Thanks for having me :)

Nick Howard Tour Dates

Interview: Andrew Heath

art by April Monic

In an exclusive interview, Andrew Heath of the Mesa-based band, We Are They, talks about performing in Tempe, fan appreciation, and collective pastimes.

[indiessance]
There must be venues in California that appreciate how We Are They delivers metal to the masses.

[andrew heath]
Well, I wouldn't say we deliver much metal, but a lot of places that are sceptical of us at first are won over by the end of the show.

[indiessance]
Do you think the touring buzz will ever wear off any time soon?

[andrew heath]
Touring was definitely an experience with the highest of highs and lowest of lows. We're a dysfunctional family, so we can take it. We can't wait to get out there again.

[indiessance]
Which venue gives you the biggest headrush?

[andrew heath]
As for the biggest headrush, that usually depends on crowd response. I'd say our favorite shows have to include The Real Bar in Tempe, Arizona in September of 2006 because we packed a bar meant for about 150 people with 200+. The crowd was louder than we were, it was insane. The venue gave us two encore songs, much to the dismay of the promoters due to time constraints, because the crowd wouldn't stop chanting our name. Another show would be The Ridglea Theater's main stage in Fort Worth, Texas from this last tour. We played an open mic there on our first run through Texas and they invited us back to the main stage on our way back. It was incredible. The crowd loved it and we put on a great show. Ryan was so excited he forgot to put shoes on before the show.

[indiessance]
Have you performed at any total dives?

[andrew heath]
As for dives, we've played in sushi restaurants and even an abandoned building. Anything for a gig.

[indiessance]
The musical style of We Are They is eclectic. Could you help clear up any confusion, by describing the specific sonic ingredients that are combined to make up your music? What special quality or contribution does each member make? What are the main genre additives?

[andrew heath]
Wow. This one's always hard. The band was brought together from try outs, so no one knew each other before it formed. We've all evolved to love many, many different styles of music, so we just play with whatever sounds we like. Tyler will have a cool jam going on an organ and we'll build off of it, or Ryan will make a polka/jazz guitar riff and we'll go with it. Anything that sounds cool or fun to us is what we do. We don't have limitations or a specific kind of formula.

[indiessance]
In-between venues, the yellow line can get long. Travelling like sardines on road trips must get monotonous at times. What does the band do to break the monotony of a long distance? Any favorite DVDs? Do you have a favorite collective pastime?

[andrew heath]
We didn't have ANY luxuries on this last tour, so all we had was a deck of cards and Ipods. We played a lot of card games to pass time and whenever we found a place to stay, we'd watch a movie. The whole band is pretty big fans of the show Lost, so we have all of those on DVD, and we found a cheap movie theater in Florida during the tour to see The Dark Knight when it premiered. Andrew wouldn't let us miss it.

[indiessance]
Had read on the band blog that We Are They and the band's lead singer parted company; that was announced in September. But it takes more than that to make a band with a heavy concentration of talent to fall apart. Has this event actually caused the band to become more cohesive?

[andrew heath]
Yes, indeed. We're working hard to write new material and search for a singer. Andrew and Ryan are trying to see if they have what it takes to fill the slot if we can't find a replacement, but it's been a hard search so far.

[indiessance]
After checking out the We Are They MySpace profile, I get the impression that the band is not taking everything too seriously, and having fun.

[andrew heath]
Oh yeah. We love to convey our sense of humor and fun. We're not trying to be the next group of badasses to come into the music scene and destroy every other band. This is fun for us and we want everyone to know it and to come have fun with us. Even if you hate our music, we'll still hang out with you.

[indiessance]
Also noticed that you all seem to have an appreciative attitude toward your fans. Have your fans been reflecting that appreciation back?

[andrew heath]
Our fans have been great. We appreciate them so much. So many musicians will go out and sign autographs for hours and not look a single kid in the eye. I'd love to sit down and have lunch with every fan we have. I'd love to get to know them. We're here for them, and we'll respond to them as much as possible.

[indiessance]
What are some of the cools things fans have been saying?

[andrew heath]
We've gotten a lot of comments about how we're fun and unique and that's great. That's what we like to hear.

Another thing I'd like to point out is that our band is completely drug and alcohol free. We're not extremists who'll bash you for taking part in said substances, it's just not for us. We feel like it'd be a factor we don't want or need in our lives.

---

• PureVolume: Interview: We Are They
• YouTube: Red Owl's Nest [Tempe, AZ]: We Are They
• YouTube: Red Owl's Nest [Tempe, AZ]: We Are They
• Warner Bros.: The Dark Knight (2008)
• MySpace: Songs: We Are They
• PureVolume: We Are They
• MySpace: Songs: We Are They

The Heaven Seventies

[indiessance]
One of the strengths I hear in The Heaven Seventies is the range of styles in your music. My favorite track is "Devotion", while "Shawty Is a 10 (Remix)" sounds like a track that R&B fans could get hooked on. With that in mind, I can't decide which track might be considered the proverbial A-side, because there are a few strong tracks.

[loren]
We aren't album artists; albums are no longer the way people experience pop music, for the most part. We release songs a single at a time. When we write, every song is written as an A-side; there are no "B-sides" for us right now.

[indiessance]
When you work on a song, are you targeting various styles in order to widen commercial appeal? Wouldn't it be cool to see one track climb one chart, while another track climbs another? I think the band could engineer a couple of crossover hits.

[loren]
Our music covers a large range of styles because we're interested in a wide variety of music. When I had a rock band, I was always coming up with ideas in all the genres of music I was listening to at the time (soul, modern r&b, uk garage, chart pop, rap, experimental, etc.) and had to set those ideas aside because they didn't work in the context of the unified sound that the band was trying to achieve.

The Heaven Seventies was based on the idea that a group of musicians could be successful without having to tie itself to a specific genre of music. In this case, we're making music for the pop charts, so as long as we're expressing something people identify with and putting a catchy hook in their heads, it doesn't matter whether all of our songs fit on the same chart. I find the idea that we could be on several different charts at once rather exciting.

[nilay]
It's not that we target styles to widen commercial appeal, it's that we consciously try to make each track an "A-side." Since we're trying to write the best pop music we can, it's only natural that we look to crossover influences like hip-hop and R&B, since those artists have proven that today's audiences want a little ass-shakin' with their guitar playing.

[will]
I think it's entirely possible to have two Heaven Seventies songs on two different genre specific charts at the same time. Pop artists today are less and less restrained by genre or musical style, and audiences are responding positively. You could argue that genre boundaries are becoming less clear as well, but the boundaries that do remain are being violated more and more frequently. Crossing genre boundaries is a goal of the band, and something that we want to do more and more.

[indiessance]
The Heaven Seventies is an indie rock band fully loaded with talent. I count two lyricists, two vocalists, three keyboard players, four guitarists, etc. This concentration of talent is obviously another strength of the band.

[loren]
The Heaven Seventies are a trio in the studio right now, and there are 5 of us (or 6, perhaps) when we play live. There's sort of an "extended family", people who are members in the back of my mind even though we may not be working with them actively right now. The lineup has changed and it'll keep changing. This isn't the easiest band in the world to be in---we work incredibly hard.

I tend to like people who can "hold their own" in the studio. Of the four people who've worked on our studio output thus far, we all play guitar and keyboards, two of us have played drums for touring bands, and two of us have produced records for other artists, so we have a lot of performing and recording experience. I take the majority of the vocal duties, although occasionally you'll hear somebody else on a track. (My younger sister is a great singer, so we're trying to feature her a bit more.)

[indiessance]
During the songwriting process, can there be a barrage of ideas sparking off a few members at the same time?

[will]
Our songwriting process has been very collaborative. Often the kernel of a great idea will come from one member, and often that kernel will need to incubate with that one member for some time. As a band I think we're very good at nurturing and embellishing the creative kernels that individual members bring forward.

[nilay]
Songwriting is fundamentally a lonely process -- although we've done it in groups, sometimes the only way to get inspired is to whack away at a guitar alone for a while. Our collaborative strength is really production -- once we seize upon a core idea, we work well together in bringing new textures and layers into the mix. Will once told me he figured we use about 80% of what we come up with together as we work up a song's final mix, which is astounding to me, especially since the three of us all have very different (but overlapping) musical influences and backgrounds.

[loren]
Our songwriting and production process is a well-documented thing; we have written guidelines that we follow when we sit down to write a song. Ideas come from everywhere, and we make improvements and refinements until we have something that feels right and works on as many levels as possible. No idea is considered sacred and anything is fair game for improvement, so most of the time, the final product is unrecognizable from the original idea. The time it takes to make each song varies, but we always spend a lot of energy on the chorus.

I was stockpiling ideas for this band for years before we started it, and every time we sit down to write songs we come up with a bunch more. We have literally hundreds of song ideas sitting around waiting to be used. Some of them are really good, and I think the hope that they'll be heard helps drive us forward.

[indiessance]
Something interesting that is offered on the band's Web site are downloadable multitrack bundles of a few songs. Which could be used by fans to create mashups. Is The Heaven Seventies the first band to offer such bundles? Beyond predictable YouTube hosted mashups, what other trends do you think these bundles could lead to? Do you think the multitrack bundles could become a way for various bands to "collaborate" in the future?

[nilay]
I think we're already seeing this -- if Radiohead can make a mint selling "naked" tracks on iTunes, the future is basically here. We might be the first band to think of the bundles as being an integral part of the release, however -- traditionally consumers would get one version of the single and DJs would get another with acapellas and instrumentals. That's all changed now, though -- everyone's a DJ! People don't simply watch or listen to media anymore, they want to use it and interact in all kinds of ways, and there's no reason a band should sit back and pretend that they "own" their music -- as soon as you ask one person to listen to it and make an emotional connection to it, you owe just as much to them as they do it you.

[loren]
The only other band I can think of who've started giving out multitrack bundles of their music are Nine Inch Nails. I had the idea years ago before it was possible to actually do it, but it's not that original of an idea; any musician who falls in love with a track wishes they could get a hold of the original multitrack tapes and play with them. NIN have amassed quite a large community of online remixers around their multitrack bundles, and I believe they recently put at least one of the "unofficial remixes" on an actual album of theirs. I'm proud of them, because they're one of the very few artists to publically embrace the art form of unauthorized remixing. (Negativland are another, and the rap/r&b "mixtape" community is arguably another, although the arrest of DJ Cannon and DJ Drama is something I find quite unsettling to say the least.)

---

• myspace: the heaven seventies
• youtube: the coldest day of the year @ abbey pub chicago (2008)
• h70s: the coldest day of the year

Elika

Below is an exclusive interview conducted in 2008 for the Dreampop/Electronic band Elika, based in Brooklyn.

[indiessance]
What is the meaning behind the title of your new EP Trying Got Us Nowhere? Which contains a track titled Nowhere - is there a connection? What particular themes may fans find in your music?

[eva]
When I wrote the lyric I meant that in life regardless of faith, vision, drive, and good intent - sometimes things simply don’t work out. As far as themes in the music: love, death, guilt, hope, heartbreak and everything in between.

[indiessance]
You recently launched the new album in February at The White Rabbit in Plymouth, England, during your UK tour. Britain is known for its support of the performing arts. Did the Brits treat you good? What do you like about touring the UK? Which English venue was your fave?

[brian]
Yeah, the UK tour was a great time and a non-stop hangover. The people were very supportive of us which heightened the mood of the tour. Favorite venue was probably the launch at White Rabbit, we killed it that night.

[eva]
I agree about the gig at the White Rabbit being the best. It was like a homecoming. There was a lot of traveling and hijinx throughout the tour and at the end it felt like people really embraced the music.

[indiessance]
Ulrich Schnauss noted the shoegaze and electronic elements in your music. On every track of your mini-album, I can hear the balance you achieved between vocal, guitar, percussion and electronic elements. Was there a lot of sonic experimentation going on in the studio? Considering the finished product, do you feel that Elika has taken its sound to the next level?

[brian]
When we went into the studio with Jason all of the material was written except for Confidence Killed My Spirit and Defeated from the vinyl. We had a clear idea of what we were going to do and how to make our noise. This album is a definite step forward for Elika.

[eva]
I feel like we are both really confident about the kind of music that we are making now. As far as experimentation, I think that’s happening more during our live set.

[indiessance]
A reviewer for thechickenfishspeaks.com commented that Eva's "voice feels forced into the beats", but I can't see how a vocalist who is singing, playing keyboard and percussion at the same time could let the melody loosely drift over the rhythm. In that sense, such a comment seems unfair. On stage, Eva, you are synchronizing percussion instruments with electronic soundscapes. How do you feel about this reviewer's comment?

[eva]
You know, you just have to do your thing and not everyone is going to like it. I find criticism refreshing as long as it’s constructive.

[brian]
I’m a fucking NYC public school teacher, there isn’t a negative comment around that could hurt my feelings.

[indiessance]
As Shoegazing's ambient sister, Dream Pop weaves "bittersweet pop melodies into sensual, sonically-ambitious soundscapes" (Wikipedia). And many more comparisons may be applied to Elika. Your influences include Slowdive, My Bloody Valentine and Flying Saucer Attack - which generally represent shoegaze and electronica. What other bands inspire your songwriting? Are there any particular albums that you listen to more often than others?

[eva]
There was a reason why we chose to record with Jason Martin. I am inspired by his songwriting because he is never trying too hard. I enjoy honesty in music: people talking about their everyday shit, what they know, and the universal truths. There are too many political poser musicians out there; I’d rather hear about someone finding their baby teeth in a drawer or something. That kind of stuff wrecks me in the best way and makes me feel ok to be alive. Built to Spill has always had a way of grounding me like that.

---

profile @ myspace.com
homepage @ elikamusic.com
record label @ fiercelyindie.co.uk

Elika Tour Dates

Aaron Acosta

In an exclusive interview, Aaron Acosta talks about technical aspects of sound design, soundscapes, career ambitions and mentors.

[indiessance]
Your previous album is titled Frequency, Amplitude & Time. How do these three terms relate to sound design? How does each affect how we interpret our surroundings in a unique way?

[aaron acosta]
These are the elements that comprise our interpretation of sound. Pitch is how we perceive frequency, amplitude and volume; all sound events happen in time or a duration. I try to manipulate these elements to change the perception of the sound event. For instance, in the CD, songs like Water Study Song, I take a short sound event, like water dripping, and manipulate the frequency, amplitude and time of the event. So hearing a sound that was originally 3 seconds expanded to 60 seconds, increasing and decreasing the pitch. This allows the listener to discover interesting aspects of the sound.

[indiessance]
According to the Wikipedia, sound design can be understood as the manipulation of audio elements to achieve a desired effect. Is such a desired effect typically a specific emotional response? When you are developing sounds in a track, are you targeting emotions and imagery?

[aaron acosta]
I originally did my musical works by accident really. I was trying to get my sound design chops up for film and theatre. I concentrated on things that were evocative of imagery, but open to interpretation. The kind of sound that has a space saved for an image. I like to think of it like some of the listening exercises we had in my classes in college. Being in a dark room and listening to compositions like this, you explore imagery that is half yours and half the composers. I love hearing about the imagery that people who are more creative than I am come up with when they listen to my sounds. I like the idea of using sounds that free people from having to think about tunes or traditional composition. Because this is unconstrained by an obvious song structure, it allows the listener to create emotions and imagery freely.

[indiessance]
Are there any movies that you would have liked to design the soundscapes for? Are there any movies or novels that helped inspire sound designs? Do you first have a story in mind before you sit down to begin working on each design?

[aaron acosta]
So many great movies! I love the Tim Burton films. I really like animation. For a sound designer and composer, you have free range in a way. You are unconstrained by reality, and get to participate in creating reality for the project. Lots of fun. City of Lost Children is one of my favourites. I would do the sound for that just for fun. I love the imagery, it is very inspiring. I love horror movies. As a genre, horror has sound that directly effects the audience. As far as reading, I am not into novels as much as books. I read really heavy stuff, recently, I have been reading several Taoist works and some books on quantum physics. I don't pretend to understand it, but it does give me inspiration. I kind of say, what would this concept I don't understand sound like? That is where a lot of my work starts. Sometimes I try to communicate an experience of an environment, like Carlsbad and Cave from Wave were inspired by Carlsbad Caverns in New Mexico. I wanted to convey how I felt in that space. Others are about street corners, a snowy field, the ocean.

[indiessance]
These days, popular video games can outsell blockbuster movies. The Halo 3 soundtrack contains a total of 32 tracks - a nice sized project for a sound designer. And that entire soundtrack is filled with great epic soundscapes. Are video game projects just as desirable to you as movie soundtrack projects?

[aaron acosta]
For me video games are a little bit more desirable than film! I play video games and love the idea of a being immersed in the story, landscape and emotions of the piece. Video games give you goals that create vested interest in the story and the survival of your character. The time you spend on these games in many cases is the same amount of time you would spend reading a novel, but with a good game you get to experience and participate in the novel. You get wrapped up in the mythology of the world that the designers have created. This is very fertile ground for any sound designer and composer. Games I like to play are the Final Fantasy series, Fatal Frame, Resident Evil, Silent Hill, Siren. Sound plays a major part in these. Of course with modern technology, these experiences are every bit as satisfying as a major motion picture, in fact I feel more so.

[indiessance]
Brian Eno is known as the father of ambient music, but he was also a record producer, music theorist, etc. What other hats might you be wearing in the future?

[aaron acosta]
Right now, I have been giving a lot of thought to installation art. Taking something else from the Eno play book. I would love the opportunity to use my lighting design and set design skills to create a sound design installation that will allow the audience to experience my projects fully. Right now, I have to get off my ass and develop some drawings so I can beg for money and studio space to do that. Something I have never done, but have a great interest in. I would also love to collaborate in such projects. I am also getting my bachelors of education, so in the future, teaching is something I would love to do.

[indiessance]
Have you worked with anyone who has helped shape or develop your sound? Have any particular sound designers influenced your work?

[aaron acosta]
So many. In my degree at the College of Santa Fe, I got to work with great teachers that shaped not only the way I work, but the way I look at life. David Dunn and Steven Miller from the contemporary music program at the College of Santa Fe opened me up to electro acoustic music. I could not have developed my first works without them. David Stout at the College of Santa Fe film department was always there for me and developed what I think film sound could and should be. I also find his art installations inspiring. Jim Lyden, and Clark Duncan from the theatre department at CSF allowed me to explore sound design in theatre, and make a ton of mistakes. And in general, I think every director i work with, every project I collaborate on shapes my work and how I see the world a little bit. That's why I love this work. Every project is a chance to change your perception, and learn about people.

[indiessance]
You also compose electroacoustic tracks - a genre that does not have a clear cut definition. What elements do you use in such compositions that might characterize them as electroacoustic?

[aaron acosta]
Well, I learned that there were two major camps, the Pierre Schaeffer, Musique concrète camp that takes recorded environmental sounds and juxtaposes them to come up with a composition, and the German Electronic Music that involves purely electronic synthesis of sounds. Modern electroacoustic music is a mix of both of these. I think people who work in this type of music are driven more by sound and our reaction to it. This means you do not feel constrained by song structure, 12 tone equal temperament, or standard music notation. Elecroacoustic music uses electronics to create and/or manipulate sounds in a purely evocative way. Right now the CBC is playing a piece about circuit bending. It is another example of finding sounds and compositions in unusual places. Right now, I think electroacoustic can either be a term that excludes popular music, but is slowly starting to infect it.

[indiessance]
The 60x60 project organizes an annual event - a concert featuring 60 tracks by 60 electroacoustic artists. You have been contributing compositions to 60x60 since the project's inception in 2003. How has 60x60 affected the development of your craft?

[aaron acosta]
60x60 is such a great idea. It is amazing to think of the cross section that participate in it. I also love the time limit! It forces you to choose your words carefully. Every year since 2003, I think, this year i have nothing I can submit, but then something strikes me and i am able to create something. I have also been getting inspiration from the shorter pieces to expand upon them and create longer ones. I cant say how much i love the idea of the project. Listening to the cds is like spending 60 seconds in another composers head. It is a great opportunity. Recently, collaborations with video and dance artist is exactly what i love. I love the idea of other artists work being influenced by mine and would like to see more of it in the future. I love to see other's interpretation of their experience of my work.

---

cd @ cdbaby (wave - aaron acosta)
cd @ cdbaby (frequency, amplitude and time - aaron acosta)

profile @ myspace
home page @ aaronacosta

samples: wave
mp3 @ aaronacosta (carlsbad)
mp3 @ aaronacosta (deception)
mp3 @ aaronacosta (far)
mp3 @ aaronacosta (wave134)

samples: frequency, amplitude & time
mp3 @ aaronacosta (traffic)
mp3 @ aaronacosta (fire study song)
mp3 @ aaronacosta (beat 61203)
mp3 @ aaronacosta (ddd3)
mp3 @ aaronacosta (medical)
mp3 @ aaronacosta (earth study song)
mp3 @ aaronacosta (nebulous)

review @ smother.net

David Broderick

In an exclusive interview, David Broderick talks about his new EP 'Miles from the Highway' and the Denton, Texas music scene.

[indiessance]
In Denton, Texas, the University of North Texas houses the largest music school in the nation. Add to that a metro population exceeding 7.5 million, and you have the perfect environment for a music culture to thrive in. How did the Denton music scene help you develop your craft? Are there plenty of venues that you like to perform at there?

[david broderick]
I had been coming to Denton for years to go to various shows. I lived in a town right in the middle of the metroplex so Dallas and Fort Worth were roughly equal distances, but Denton always drew the coolest bands. I think one of the biggest influences Denton has provided is its huge jazz scene, and the high population of musicians in general. The town has to cater to that so in return there are a lot of places to play; Hailey's, Andy's, J & J's, Rubber Gloves, Dan's Silverleaf, The Secret Headquarters which actually just closed down. As a musician you can pretty much always find a place to play, and if you cant then you can always get on 35 and head to Dallas, Fort Worth, OKC, or Austin.

[indiessance]
You informed me that Midlake, Robert Gomez, Baptist Generals and Fishboy all come from Denton - and that list goes on. Are there any other up-and-coming Dentonites that we should know about? Which Denton bands do you like the most?

[david broderick]
There is this great band I checked out a few weeks ago called Mom. They're one of the most interesting, beautiful things I've ever heard from the area. Grab their CD if you can find it anywhere. I'd say Midlake has been my biggest influence from a Denton band. I see them every time I get a chance, and I actually just got back from having coffee with the keyboard player. I've really enjoyed everything they have done from the time I was in 8th or 9th grade. They're incredible.

[indiessance]
'Points off the Center' - the A-side from your new EP 'Miles from the Highway' - has a Latin vibe with shuffle rhythm and percussion. Are there any particular Latin music genres or artists that inspire you?

[david broderick]
I like a lot of bossa nova jazz stuff, but I'm not particularly into any latin artists. I think I'm just attracted to some of those rhythms and qualities because they have a strong beat to them and you don't hear it too much in most modern music coming out. It's really catchy and has an interesting, almost dance quality.

[indiessance]
The phrase 'miles from the highway' can be found in the lyrics to 'Points off the Center'; the lyrics sound tight. Do you feel that good lyrics are important to a song?

[david broderick]
I definitely think that lyrics can make or break a song, and that's definitely the area that I'm most self conscious about. I try to write in as few words what I would like to say and in a non-direct fashion. Whenever I try to say too much I end up ruining what I started with. I focus on melodies a lot too. A strong melody that gets stuck in your head is a good melody. A unique melody that you find yourself singing without becoming obnoxious is a great melody.

[indiessance]
How does the title of your EP tie into the meaning of 'Points off the Center'? What is the meaning of the song?

[david broderick]
Both the title and lyric refer to just getting away from things. I was just ready for a change in my surroundings. It's kind of ironic because where I'm living now, I can see highway 35 from around the corner. The album as a whole is about seeing something new, but 'Points off the Center' is actually about going back to how things were when most everything new ends up being the same.

[indiessance]
A song titled '7/4 Shoreline' by Broken Social Scene is played in non-standard 7/4 time. I seem to hear a non-standard time signature in 'Give a Hand' from your new EP. Mainly, I'm referring to the drumbeat that comes in with the Roswellian news flash. Is the drummer playing a non-standard beat?

[david broderick]
Actually that song is standard 6/8 time, but it has a bit of a "gallop" to it which might give it an odd feel. The section after the second verse is played very loosely though. I think it opens that area up a lot into a melodic dream-like state which suits the song well and adds to the dynamics of the song before such a rigid and dissonant crescendo.

[indiessance]
One year ago, more than 50 eyewitnesses - including several airline employees - saw an unidentifiable flying object above O'Hare Airport. For 60 years, Americans have been reporting this unexplainable phenomenon. 'Give a Hand' has a news flash track that sounds like an early Roswell report. Could you describe what 'Give a Hand' is about? How do you feel about the UFO phenomenon?

[david broderick]
'Give a Hand' is the opening song on the EP and I think serves two purposes. On one end it gives you some insight to the main character of the album, but it also is me sort of telling myself that putting myself in a new area isn't necessarily going to be an amazing new experience. I think it's kind of best stated with the lines "There's nothing in the woods you can't find in the city where you're from." I can say I'm not particularly interested in UFO phenomenon, although there is a ridiculous website about how Earth was colonized by aliens and Jesus was one of the aliens. I have fun browsing through that place.

[indiessance]
Are there any particular producers or engineers who have helped develop or shape your sound?

[david broderick]
I recorded, mixed and mastered this album on my own so I would definitely say that I have some influences as far as that whole aspect goes. My brother had a home studio off of his bedroom and he was always messing around in there. I read an interview with Brian Deck, this chicago guy who has done a lot of big records, and I really like his style and way of seeing things as far as mixing goes. I like listening to lots of records and seeing what kinds of sounds they use, and tones. The new Animal Collective is great; I'm still absorbing both Midlake albums. I don't know.. It's really such an overwhelming thing to take on and just a really big learning experience. I've learned a lot about how I play and how I write.

[indiessance]
What are some of the extra musical instruments you use to flesh out your tracks, and help define your sound? Any particular effects or synths that you like to use?

[david broderick]
On this record I have used a lot of flute samples. I think they have this warm, rustic quality that exaggerates the whole "living in the woods" vibe. I also messed around with a lot of different overdriven synth sounds, and organs. For the most part everything else was pretty standard. A lot of tape delay was used, and played around with trying to get a lot of "warbling" sounds on some of the leads.

---

profile @ rippletunes.com