Tag: vinyl mag
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RAW Natural Born Artists: PIXELS at Terminal West: Art
Where can you find feminist, hiphop performance art, utensil jewelry, and photos of naked women standing near Atlanta landmarks? You’re best bet is a Raw Natural Born Artist showcase like the one held last Wednesday at Terminal West. Pixels featured music, art, photography, fashion, performance and make-up artists.
The visual pieces were hung on display on chain-linked fences that surrounded the main stage where three talented music acts would perform. Jewelry booths were set up in the adjoining room while performance art and a fashion show completed the evening.
Photographer Q. Oliver’s portion of fence was swarming with interested people all night. His stunning black and white photographs featured women of all shapes and ethnicities standing completely or partially nude in the middle of some of Atlanta’s busiest streets. I was told he captures the photos in the early morning hours to avoid too much attention from passer-byes and law enforcement. Check out Q.Oliver’s photos here.
Jewelry designer Mallory Wingo of WingostarrJewelery incorporates natural gemstones with everyday items like forks and spoons to create some very unique pieces. She strives to make customized pieces with the time consuming process of hammering letter stamps into the metal of her designs. Shop WingostarrJewelery here.
Danielle Deadwyler a.k.a Didi Xio’s performance art incorporated hiphop beats and social commentary on gender and race stereotypes. She first engaged the audience by having a man hold one end of a noose, wrapping herself up in the other end and pulling on it violently while she recited poetic verses. She then took the stage in a fierce mental rap while including the audience in a game of dice. Deadwyler’s performance was powerful and hard-hitting. Preview Didi Xio’s musical storytelling here.
These are just three of the many incredible artists on display at the Pixels showcase. Raw Natural Born Artists is an international organization connecting local artists to their community while providing them the creative freedom to perfect their craft. You can learn more about this organization and support local artists here.
Exclusive Song Premiere: The Lovers Key – “Bright Eyes, Black Soul”
We’ve got another one for ya! To accompany our recent interview with The Lovers Key (made up of guitarist Christopher Moll and vocalist Maco Monthervil), we’ve also go an exclusive song premiere of their latest, “Bright Eyes, Black Soul.” Get an earload below.
The Lovers Key with Vinyl Mag
All too often, music with a retro flair just doesn’t sound… authentic. Whether the artist is trying too hard to conform to a bygone era, or a combination of several influences results in musical chaos, often, it just doesn’t feel right. Enter The Lovers Key, a soulful duo made up of guitarist Christopher Moll and vocalist Maco Monthervil. Though the two create sounds undeniably reminiscent of Sam Cooke or the Temptations, there’s a kind of truthfulness to their approach that many musicians lack – and for good reason. Moll and Monthervil met during a period of desperation in their respective lives. Moll had recently broken off from his former band, the Postmarks, and placed an ad in the paper for a singer; Monthervil had recently been rejected by a producer and only hoped to be a backup vocalist. Fate brought The Lovers Key together, and landed us the interview with them below (not to mention an exclusive song premiere – listen below as you read!).
Vinyl Mag: You clearly have some very retro influences. Who would you say has influenced your sound the most?
Maco: People assume I grew up listening to Motown and all of that, but I only discovered that in my late teens. I was exposed to what all the other kids my age were exposed to; Pop, Hip Hop and R&B. My parents are Haitian, and played French ballads and Haitian folk music, which I loved.
I just remember being four, listening to that stuff, crying, but not knowing why. It was the minor chords. I also grew up in a Haitian church, so singing was more than entertainment. I started forming my own taste when I was about seven.
I remember liking Madonna’s music, Whitney Houston, The Carpenters, Boyz II Men, TLC, The Mamas and Papas, Carole King and James Taylor. Then, I became a teenager and got into Outkast, Missy Elliott, and Neo Soul. I discovered Jazz at the nursing home where my mom worked; that’s what they loved. After high school, I started studying Sarah Vaughan. I fell in love with Jimmy Scott, Esther Phillips and Minnie Riperton, and discovered Motown. Then, I discovered Amy Winehouse; basically, what I’ve learned from her is that a singer can sing a song however they want, as long as they’re mindful of the chord progression. She’s probably my biggest modern influence.
Chris: While I’ll always have my musical influences and personal likes…I don’t often talk about the mood influences and what influences me there either getting the heart pumping or tugging on the heart strings. That’s what turns me on musically!
VM: Your debut album is set to come out this year. What has making the record been like?
Chris: It was a blast. It actually came together very, very quickly. The chemistry was there from the get go with Maco and I writing “Who’s The One You Love?’ and ‘Bright Eyes, Black Soul’ the very first night we met. I’d say that was a good night’s work.
VM: We saw on your website that you’ve been getting funding for the album through donations – has that been successful?
Chris: Yes…better than we thought. This initial round is the closest round of our friends and family and they are all play huge parts in helping us make this happen. It’s the new reality of how the creative world works and if that allows for us to have more flexibility and freedom, that’s great.
VM: Do you have any touring plans for the new album?
Chris: We just put the live version of the band together right before the holidays and it’s been amazing…playing some of the best shows I’ve EVER played in my career so far. I can only hope to take it a little wider and a little farther in the near future. Fingers crossed.
VM: You guys have a pretty interesting story about how you met. Can you give us more details?
Maco: Craigslist, on June 17, 2012. I had been working with another guy…something about a possible record deal. Then, things got called off, and he suggested that I become a background singer. So, there I was on Craigslist, depressed, disillusioned with life, and clicking on Chris’ ad cause it said something about minor chords and vintage organs.
Chris: Again…maybe it was fate. I put an ad on Craigslist…Maco answers and we meet up and “Who’s The One You Love?” and “Bright Eyes, Black Soul” drop out of the heavens. That doesn’t happen all the time.
VM: How do you make sure your old-school sound doesn’t seem outdated? Is there something you do to modernize it?
Maco: I try to make all my influences evident in my singing so as to not sound like a ’60s tribute band. I might be thinking like a jazz singer, but at the same time, I’m trying to ride the beat like a rapper, and emote like a Neo Soul artist. I said “try”. I also write exactly how I speak…so there’s never: “I’m feeling blue” or any of those phrases that people just don’t say anymore. I aim to write so that both the sentiment, and the imagery used to express it transcend time, but I want listeners to know that we’re very-much in 2014, and this is just what we like to make…right now. So, I’m not opposed to a very retro instrumental paired with more modern language…but just like you don’t hear me talk about a record player, but you won’t hear me reference an iPod either.
Chris: With all my music, whether it’s with The Lovers Key or The Postmarks, I just try and write from my heart and make sure that I’m always striving to write in a ‘timeless’ vein. I think that regardless of the sonic dressing, well written timeless music doesn’t age. That’s the goal.
VM: Are there any pros or cons to being a two-piece? Does it ever feel like there aren’t enough ideas or instrumentals?
Maco: the pros are the cons…the cons are the pros. The strengths can also be the shortcomings. You know exactly what you want, and are sure that the other person can help get you that…only, they’ll never want exactly what you want, so, there’s lots of compromising, pride-swallowing, allowing, trying, and eventually, you’ve got the best possible outcome…but that’s how the entire world works, so it’s probably easier with just two people.
Chris: Well…like a scale eventually you reach a balance. That’s the intended scenario…balancing with two during the writing process just makes it a little easier to find that center point. There is still give and take…but that’s what collaboration is about. As for musical ideas…my wells run deep.
VM: You’re from Florida, correct? How’s the music scene down there?
Chris: I’m sure like any other. It’s got its good moments and not so good moments. We do what we do and we’re supportive of the local scene but at the same time, it’s easy to become the big fish in a small pond but that does you no good in the ocean. So the goal is to be supportive and nurturing locally…but to ultimately get your music, ideas and visions out to a wider audience.
VM: If you could play a show with any artist, who would it be?
Maco: Do I have to be realistic, or no? Florence and the Machine…she seems like she’d be an incredibly nice person.
Chris: Van Halen or KISS in the 1970’s. It probably would be more fun off stage then on.
VM: We’re interested, since you clearly have such a love for classic music: what are your favorite albums of all time?
Maco: “Back to Black” by Amy Winehouse, is everything I love in one album. There are singers who sing to impress, and there are those who sing to express…she was the latter. Also, Speakerboxxx/The Love Below, by Outkast, “After Hours” by Sarah Vaughan, “Come To My Garden” by Minnie Riperton.
Chris: I always feel guilty, but it’s still my standard list. “Pet Sounds” by The Beach Boys. “Revolver” by The Beatles. “The Queen is Dead” by The Smiths. A guilty pleasure…I still have a soft spot for the first A-Ha album. I actually think outside of the dated 80’s production…there are some well written tunes on there. I feel better I admitted that.
Junior Prom x Vinyl Mag
After making waves last fall at CMJ, just fresh off of tour supporting Panic at the Disco, an EP released a couple of weeks ago (Feb. 4), working on their full length, and preparing for SXSW, Mark Solomich and Erik Ratensperger are two very busy individuals. Mark and Erik formed the Brooklyn-based music duo Junior Prom after grinding in bands, rehearsal spaces, and venue halls across the city. Their single “Sheila Put the Knife Down” and the 2013-2014 ESPN College Basketball anthem “International” are both included on their debut Junior Prom EP.
With so much going on, we’re grateful these two took time out of their busy schedule to talk about their EP, the Panic at the Disco tour, and their enjoyment of pop music- no guilty pleasures here!
Check out the interview below, right after you check out their newest video for “Sheila Put the Knife Down” here!
Vinyl Mag: I’d love to start off and hear about your creative process for this EP.
Mark Solomich: In essence when we started, it was about a year of writing and playing together before we ever played a show, before we played for anybody really. So it took us a long time, trying different things and experimenting. Over the course of that time we made a whole album and scratched it, and then we made this EP. We made this EP after having written and recorded almost thirty songs. It really was a process of trial and error until we finally came across a sound we liked. We were trying to do something new, but really it was a matter of playing in rehearsal space, taking it home and trying different things on the computer, and really experimenting with the sounds; trying to make the guitars not sound as hard and some vocals not sound like vocals. It was a lot of fun and it was free because at the time we did not have a label yet, and we hadn’t booked a show yet.
Erik Ratensperger: And on top of that it was just us instead of a traditional band. It was just the two of us working on this and trying to figure it out. We both come from bands, we’ve played in bands all our lives, and we’ve arrived at this point where we decided to take things in this direction and this presented new challenges for us on both the live and the production end.
VM: “Sheila Put The Knife Down” and “International” are getting a lot of recognition, I’m a big fan of “Run Around The Back,” I think it’s a great song- Do you guys have any tracks you are particularly proud of or tracks that are your favorites?
MS: When you play songs live, you feel like “I know this one really brings out people.” So that kind of makes you enjoy that song more, but I think like the song “Big Timer” people really react to that song because it’s neat and just the vibe of it. And that wasn’t my favorite track before we started playing out live, but it might be now, but it really changes day to day.
ER: I feel the same way, it does change from day to day. Like Mark said, I don’t really think we expected “Big Timer” to be a stand out live song, but we noticed over just playing it live that people are reacting to that one. It’s a song you can just bounce around to. I think “Run Around The Back” is also a really natural jam. I think it’s hard choosing a favorite. I feel like I look at the EP as a whole as representation and a culmination of what we have been up to for the past two years; just laboring over these songs and now we’re to the point where we can kind of see how other people are responding, and that’s exciting.
VM: Do you think the city and Brooklyn have an influence on the music you are producing?
MS: Yeah, it does. Maybe not in an overt way where we’re trying to write songs that appeal to people in New York only. I think [being in the city] it can help with the multiculturalism and just what you hear when you walk into a bodega or hear what someone is pumping on their stereo on the street; you’re going to hear different things. So I think it definitely has influence, subconsciously more than overtly.
ER: I think that holds true for any environment or any city that you are in; it has an effect on what your music is, whether instrumentally or lyrically. As Mark said, I think being in a crazy multicultural city, that would definitely have an influence on sound. You know the stigma that comes with being a Brooklyn based band and I don’t think we ever deliberately set out to be positioned like that type of band.
VM: Who would you say are some of your biggest musical influences, who did you grow up listening to, and what are you listening to now?
MS: I think we have a common thread on what we grew up on. We definitely come from rock and we like punk music and played in punk bands as kids. That’s the bedrock of it. Really, ultimately it is the great songwriters, like The Beatles; we love great songwriting. As far as nowadays, I really don’t even listen to rock anymore, I pretty much listen to reggae, like Bobby Womack and Freddie McGregor, and a lot of funk.
ER: I’m on the same kick. I think that’s one of the reasons why Junior Prom works because of our creative collaboration. I think Mark and I listen to a lot of similar music and that streamlines the flow of our songwriting. And I’m sure we’re both familiar with every song on pop radio and what is very popular right now – and I enjoy it too. I don’t believe in guilty pleasures and I’m enjoying pop music. I think it’s a really interesting time to be an artist when there are people topping the charts who aren’t cookie cutter.
VM: I’d love to hear how touring with Panic at the Disco manifested.
MS: It’s a little bit of a murky thing, but from what I believe their management put us up for it, so it worked out well.
ER: I know their management is in New York and they might have seen us a couple of times. We got emails from our booking agent saying “Do you want to go on tour with Panic at the Disco…” Obviously, yes. We had not idea what to expect and we knew it would be big shows, but we didn’t realize that every night playing in front of 2,500 people would turn into just meeting an overwhelming amount of people who were there just for the music and who genuinely just wanted to enjoy themselves, see live music, and have no judgement or anything. Their crowd and their fan base is incredible and we were very lucky to play for them.
VM: You guys have definitely made a splash playing on tour with Panic at the Disco and you were a hit last fall at CMJ, do you guys have any plans for SXSW this year?
MS: We’ll be there but we just don’t know our schedule yet. We’ll definitely be playing some shows down there. We’re excited and we love Austin. We were just there a week ago and it’s hard to leave every time.
VM: What can we expect from Junior Prom in the next year or so?
MS: Definitely expect more show dates and we’re working on our full length right now. We don’t know exactly when it will come out, but we’re hoping the full length will be out by the end of the year, and of course more touring surrounding that. More online- we’re always trying to get stuff out for people to get into online, but the main focus right now for us is to do more touring and to wrap up this full length that we’ve been working on.
Roky Erickson with Black Angels at Terminal West
My two roommates and I went to see Roky Erickson. We were anxious to see what kind of people would be at a show featuring Roky Erickson (obviously The Black Angels headlined). We walked in behind a middle-aged double date. One of the women was wearing gold metallic go-go boots. Of course, The Black Angels are a psychedelic-rock band, so I was expecting oddities like this one. It was a sold out show.
We walked in in the middle of Roky Erickson’s performance, and I cried a little on the inside. I wanted to see him walk on, but I can imagine it: probably simply and without acknowledging there was a crowd of Black Angel fans before him. Roky Erickson got his start in 1966 after co-founding The 13th Floor Elevators. Later in 1974, “Two Headed Dog (Red Temple Prayer)” debuted a more rock and roll side of Roky, as compared to his original psychedelic style. “Two Headed Dog” became a single, which he of course, featured at the show. I assumed he was the reason most of the older folks showed up. He wasn’t alone on stage, though. He was accompanied by three guitarists, a beautiful keyboardist and a drummer, all of which were young and healthy. Roky seemed out of place. He still has long hair, although more gray and he seemed to be looking at the guitarists at either side of him, looking for a nod of approval I was looking forward to seeing him by himself. I wanted to see him on a stool with a guitar singing, “I Love the Living You”. Roky is the epitome of raw, so much so that his acoustic songs become revelatory. He is the only artist that can bring tears to my eyes and yet sing so simply. Nonetheless, he was there, in the flesh, a legend. I was glad to know Roky existed outside of my head. He left as simply as I assume he came out.
Enough of my swooning over Roky Erickson. The crowd multiplied, along with random puffs of smoke overhead (“eh-hem”). There was still a varied age group. To be honest, I had never listened to Black Angels prior to this night. The stage was set with four stand-alone canvases and one large canvas backdrop. Projections splattered the stage with trippy colors and star images. The music played but no Black Angels. I could feel the excitement gathering, and the crowd grew louder, but still, no Black Angels. After two or three minutes of this titillation, they walked on. I was expecting a grand entrance, but I guess you don’t need that when you’re the Black Angels. The crowd went wild, as the cliché goes, and they began. The drummer, a shaggy haired girl that looked like she could stare anyone to death, played a heavy, slow beat. Then the vocalist broke in. This was literally a psychedelic experience – not just The Black Angels but the event as a whole. To my right was a young, sweet couple and to my left a guy that looked like Mick Jagger’s clone. I was still having post-Roky effects, and it was all too much. I wouldn’t have missed this show for the world. It was a once in a lifetime experience, and I shared it with two great people, and that is what makes a concert review-worthy.
Axxa/Abraxas: ‘Axxa/Abraxas’
Sometimes, you have to learn to be happy exactly where you are. And, thankfully, once in a blue moon, musical acts like Axxa/Abraxas emerge and remind me again why I’m so proud to be living in Athens, Georgia. The project of University of Georgia alum Ben Asbury is a unique blend of music and art that never ceases to inspire with its melting pot of 60s pop, 70s psych and post-punk. On March 4, all of this wonderment culminates in the release of Axxa / Abraxas’ self-titled debut album.
I suggest starting with the album’s first two singles (below), “I Almost Fell” and “On The Run”, especially if you’re a little weary of heavy psychedelia. Their sound is quite different from the rest of the album, yet still fits ideally between the other eight tracks. “I Almost Fell” is what would happen if A Flock of Seagulls was transported to the 70s, while “On The Run” dips deeper into straight rock n’ roll. This track is simultaneously reminiscent of the Doors and today’s surf punk bands – an odd but strangely satisfying combination.
The rest of the record proves to be much more expectedly 70s, a lot more lyrically inclined. “Ryan Michalak (Is Coming To Town)” opens the album in an instrumental haze of violin before jumping into a fuzzy-voiced tale about – what else – an old friend returning. Harder tracks like “So Far Away” make me feel like I’ve turned on an old Cream record, while more thoughtful tunes like “Painted Blue” tell me, “Close your eyes so your mind can see.” Groovy, no?
If at all possible, try to pick up a physical copy of the album – Asbury was in part picked up by the Captured Tracks label because of his demos’ stunning D.I.Y. silkscreen art. But don’t take too long eyeing this inevitably gorgeous cover art. You’ll want to get to listening to this psych masterpiece, stat.
Target x Peter Pilotto Collaboration
Target is a company full of geniuses. Right in time for Fashion Week, when we’re all coveting the world’s most expensive clothing, the mass retailer dropped its collaboration with designer duo Peter Pilotto – a range of clothing items priced from $14.99-$79.99. From sexy skirts and jackets to quirky sunglasses and bathing suits, the collaboration makes it easy to look like a million bucks without maxing out your credit card.
Peter Pilotto – the brain child of designers Peter Pilotto and Christopher De Vos – is a brand known for its eye-catching prints and joyful colors; thankfully, they didn’t let their creativity slip when they began work on the Target line. In a collection eerily – and excitingly – similar to that of their Spring 2014 Ready-to-Wear show, neon-bright yellows, blues, reds and oranges pop out of graphic patterns like a call for summer from all us fashionistas.
My favorite piece in the collection is a sunny yellow bikini top structured like a bustier, with a blue and black floral print creeping up to the bust. It’s playful and attention grabbing, but still sophisticated enough to be flattering. And who could resist all those fitted printed dresses? They could take you from work to cocktails in a pinch. Finally, for all those shy gals out there, you can get your pattern fix with fun accessories like rounded sunglasses, slip-on sneakers and beach totes and towels.
The collaboration was released February 9 and is still surging strong through London Fashion Week. I suggest ordering your favorites online – stores are emptying out like it’s the Apocalypse! But, hey, who could blame shoppers for picking up thousand dollar designs for less than $80? I say join ‘em.
Street Style Profile: Kristine Leschper
On a recent snowy day in Athens (I’m sure those of you in town remember it well), we met with local musician and art student, Kristine Leschper. Kristine is the irreverent and mysterious vocalist behind Mothers, and she’s just as interesting as her music. For this weeks street style review, we asked Kristine to wear an outfit with a story:
The Jacket:
“The jacket was my grandmothers in the 1940’s/50’s. I was at her house a few years ago looking through her incredible collections of clothing, art, and trinkets that she had gathered over the years. I told her how incredible the leather coat was, and she said, ‘take it – looks better on you!'”
The Ring:
“When I was eighteen my father gave me this ring, because he wanted to be the first boy to give me a diamond. “
I have to admit, I almost teared up a little when Kristine told the ring story…but I held it together for a short conversation to find out a little more about Kristine’s style and inspiration:
Vinyl Mag: First, what are a few of your favorite things?
Kristine Leschper: Bones, ivy plants, teeth, and winged insects.
VM: What/who influences your style, or what kind of things inspire the way you dress?
KL: I joke that I dress like a teenage boy in the 90’s. This outfit is pretty put together for me – I usually end up wearing a lot of corduroy shirts and denim jackets.
VM: What are you currently listening to?
KL: Angel Olsen’s “Tiny Desk Concert” on NPR… over and over.
VM: Are there any shows you’re excited to go see in the near future? (local or otherwise)
KL: I’m really stoked about Real Estate in March, and Daniel Rossen in April.
VM: Lastly (and most importantly), If you could pick a superpower what would it be?
KL: Invisibility!
If you haven’t had a chance to check out Kristine’s music or amazing prints, follow the links below!
Thanks for visiting Vinyl Mag for this weeks Street Style Profile.
Words with Crushed Stars’ Todd Gautreau
Todd Gautreau has been a force in the music industry for years, and his current project, Crushed Stars, proves exactly why. With his newest album, Farewell Young Lovers, we not only feel the dreamlike ambiance of the record, but also sense a true, wizened passion for music. We talked with Gautreau and got the scoop on the new album, his influences, and even his feelings about Spotify.
Vinyl Mag: Your new album, Farewell Young Lovers, just came out on the 21st. What kind of response has it gotten so far?
Todd Gautreau: The response has been very positive; it’s some of the best press we have received so far.
VM: Do you have any touring plans for Farewell Young Lovers?
TG: Nothing extensive. just some occasional dates. I’ve always believed Crushed Stars is best experienced on record.
VM: You’ve worked with Stuart Sikes, someone that works with some pretty big names (White Stripes, Modest Mouse, etc.). What has that experience been like? How did that connection come about?
TG: My drummer, Jeff Ryan, introduced us a few years ago. Usually I will record most of the parts in my home studio, and I will bring to Stuart to record the drums, mix and apply the finishing touches.
VM: You haven’t released a new album in a few years. What has made this album take so long?
TG: In between Crushed Stars records, I usually do a Sonogram record. The last one, How We Saw Tomorrow, came out last spring, then I started Farewell Young Lovers, which took about three months to record.
VM: Who are your greatest musical heroes?
TG: I admire the way Steve Kilbey has been so prolific, both with The Church and his various collaborative projects. Brian Eno has also been more influential than most people will ever realize.I admire artists who’s longevity can be attributed to their constant evolution and exploration, something you don’t see as much of in the music industry today. Most things now have a shorter shelf life. Instead of nurturing artists, labels just sign whatever’s hot at the moment then move onto to the next thing.
VM: We’ve seen that you’re very anti-Spotify. Can you tell us more about your opinion on that issue?
TG: I realize many people will disagree with me, but in my opinion streaming is very damaging to indie artists, because it is replacing record sales and providing a fraction of the royalty rate in its place. Last year, CD sales continued to fall across the industry, but for the first time digital sales also dropped significantly, largely attributed to the rise in streaming services, primarily Spotify.
I understand a $10 a month subscription for unlimited on demand music is, for many people, an offer that is too good to refuse. I have heard the rationalizations used – ‘Oh, I use Spotify to discover new music, then if i like it i buy it.’
But last year’s drop in sales suggests this is the exception rather than the rule. A streaming service removes any incentive to actually purchase music, since you have unfettered access to it any time you want, why buy it? And let’s be honest, in this digital age it is easy enough to discover new music without using a streaming service.
Another excuse is, ‘Well I may not buy the record, but if the band comes to town I may go see them and I may buy a t-shirt.’
Most indie bands tour one to three months per year. The last two indie shows I went to were artists with a significantly larger following than myself, and there were maybe 30 people in the audience. When you factor in the costs of touring, playing to small crowds even if they all buy t-shirts is not going to replace the lost revenue from the decline in record sales due to streaming. There are several articles online, most notably by David Lowery and Damon Krakowski of Galaxy 500, which delve deeper into the math.
Others blame the labels for the unfair royalty allocation to the artist. There is some truth to this, but as a label owner I can attest to the fact that even when you factor in the label portion, streaming revenue is minuscule for indie music.
This concerns me not only as an artist not a music fan. With lower revenues, ultimately labels will sign fewer acts and retain only the ones that are most profitable. This is already happening and it will result in less variety and fewer choices for listeners.
I don’t agree with a pay-per-use model for music. You don’t buy a book and pay the author only on the days you read it. You don’t buy a jacket and pay the designer only on the days you wear it. So you shouldn’t expect to pay a fraction of a penny each time you listen to a song. Artists won’t be able to survive. Your favorite band may be able to struggle through releasing 2 or 3 records in their 20s, but at some point they will have to earn a living and do something else.
I understand there is little we can do to stem the tide of streaming’s popularity. It’s too easy for someone to pull up a song on Youtube, Pandora or Spotify, why pay a dollar for a download? We can only try to change people’s attitudes towards the value they place on the music they listen to.
As an artist, all I can do is keep my music off of Spotify to retain a modicum of self-respect. I would rather give my music away for free than have a company like Spotify profit from my loss.
VM: Where do you see yourself musically in 5 years?
TG: There are a couple of things I want to do musically that fall outside of the Crushed Stars or Sonogram umbrellas, so new projects will be hatching soon. Hopefully, I can continue to juggle them all.
The Casket Girls – “Same Side”
Our favorite (weirdo) darlings The Casket Girls have released a new track off of their upcoming album True Love Kills The Fairy Tale, out on Feb. 11 through Graveface Records.
As if that wasn’t enough, here’s the trailer for the album. Dive in.