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FeaturedInterviews+1
May 22, 2024
jmnorwood

Interview: Mike Brunacini

“Hailing from, Jamestown NY, Mike Brunacini is revisiting the vintage end of retro piano pop. Mike’s music takes us back to the yesteryear, a time long-past with a current modern invigorating sound, re-captivating those once great songs of the past. Influenced by the likes of Ben Folds Five, Billy Joel, Elton John, among others; a most prolific song writer and musician. His story is just as important as the music he creates. Releasing his latest music on Transmission Nova – special thanks goes out to Jason Norwood for doing this interview with him.”

Jason Norwood: One of the first things that struck me when listening to the first single from “Dying Leaves & Naked Trees”, “Four Way Stop Sign” is the imagery. You painted a small-town picture in the lyrics, do you draw a lot from Jamestown when you’re setting a “scene” for a song?

Mike Brunacini: Yes, a lot of the visual inspiration came from growing up in a small rust-belt town. My whole life I’ve been looking at these old factories where they used to make furniture. Jamestown was once known as the “furniture capital of the world”. I never had the chance to see that version outside of sepia photos. I’ve always longed to experience what it was like when this town was booming. A lot of people I grew up with have that “I hate my hometown” mentality, but it isn’t just here. That’s the message of the song. This is happening all over.

I should also mention that the cover art is a photo of Jamestown that I took when I was in high school. Fun fact.



JN: The idea of looking at old photographs, or old memories, is a theme that has grown stronger on this album compared to your last full-length, “Summer’s End”. Do you have a concept or a direction in mind when you start working on an album, or do you just let the songs happen?

MB: I have a history of swapping that thought process every other album. I’ll do a big concept album and follow it up with an album of stand-alone songs. I love concept albums and they make writing lyrics a lot easier for me. But once I finish a concept album, I end up having left over ideas that didn’t fit… or short little story ideas that only need one song.

As far as old photographs and memories go, that’s one of the big overarching themes of my writing in general. I’m obsessed with the passage of time in an unhealthy way. I lost of lot of important people in my life when I was around 11-14 years old, so there’s this impenetrable wall up between my childhood and now and it makes going back in time even more desirable.

JN: I notice that when you’re writing about the past, there’s a journey involved, not simply picking up the photo, looking at it, and putting it down. Does that also go for the style of the music? I can picture myself in my dad’s big Pontiac in the late 70’s, listening to some of this on the radio. And who, musically, inspires you?

MB: I like to think there’s a musical journey as well. I always focus on a strong melodic foundation, but the arrangement is where the journey kind of happens. I like to add little ornamental touches that change each repeated section so that the 2nd chorus or 3rd verse sounds new in some way. I also try to really focus on writing lyrics that match what the melody is trying to say. I take a long time to write lyrics… I’ve got dozens of song starts waiting for lyrics to come.

Ben Folds is someone who is an obvious inspiration to me. But less obvious might be someone like Steven Page (formerly of “Barenaked Ladies”). You hear that band name and think of a few goofy singles, but when he wrote a sad song, it was dark. He has a way of writing these incredibly catchy melodies that almost trick you into singing these lyrics until you really think about it. Wow… this song is about THAT?!

JN: That’s something I experienced when listening to your albums–that dichotomy sometimes between the lighter feeling of some of the music and the lyrics that can get a bit darker. How does Aftergloom, your other project, set itself aside from the material you release under your own name?

MB: Aftergloom is a side project I started when I realized it wasn’t going to sound like my usual stuff. I also just liked the name Aftergloom and the idea of starting something fresh and new. I was really inspired by Leland Kirby’s The Caretaker “Everywhere at the End of Time” project. I was also diving deep into the waters of dreamcore, weirdcore, and other internet aesthetics. I think it has something to do with how they capture the feeling of a childhood fever dream. It all feels so familiar, yet it isn’t.

The goal for Aftergloom is to tell a story spread across 3 albums. It’s called “Don’t Wake the Dreamer” and the premise is that of a young woman escaping the grieving process through her lucid dreams. Instead of moving on, she manifests her deceased parent in her dreams, unwittingly bringing to life a brand new being who realizes it needs the dreamer even more than she needs her dream.

Musically I tried to, I tried to blend the sounds of dreamcore and weirdcore with a more grounded retro singer/songwriter type of vibe. It may not make sense at first as the album starts out sounding relatively normal, but the deeper you go, the stranger and dreamier it sounds.

JN: I noticed more synth work, but with the omnipresent piano. Is the piano the instrument you generally start off with when composing?

MB: Most of the time, yes. Occasionally I’ll start with an acoustic guitar, but I almost always end up bringing piano into it. I guess it comes from growing up listening to so much Ben Folds and Billy Joel.

Another fun fact, I started Four Way Stop Signs on a guitar!

JN: What does the process look like for recording? Do you record at a home studio and/or a professional studio?

MB: I record in my home studio which is up in my attic. I had to finish the space myself and I’m hardly a handyman, but it’s alright. Every spring and fall a few bats end up trapped inside, but I’ve figured out a way to safely return them outside. I usually start with a piano demo and build it up from there. At some point, I’ll remove the original piano demo and arrange a part more specific to the direction the arrangement is going.

One of my favorite parts of the process is arranging the backing vocals. It’s hard, time-consuming work, but I always love the results when I put the effort in.

Mike Brunacini in the studio.


JN: Do you play all of the instrumentation on a record?

MB: Most of the time, yes. Summer’s End had a few guests. Kameron Staten on saxophone. My wife Kristen on flute. My cousin Rand (of Ookla the Mok) on backing vocals for a few songs.

But on the new album, it’s all me. That’s mainly due to the time-constraints of having a full-time job and being a dad. It’s hard to find time to get a bunch of working adults together.

I have a future album in the works with live drums by Rosalie Hewitt. I’m hoping to be a bit more collaborative with that one. The goal is to try to record everything as “live” as possible. While still delivering a clean mix.

JN: I saw a post from you this morning about stereo equipment, and you release your music on vinyl. Do you think the physical format is important to experiencing your music in the middle of all these streaming services?

MB: I think the physical format is important to experiencing any music. I appreciate the convenience of streaming… it really is an amazing thing. But I prefer to listen to music on dedicated equipment and using dedicated time. I don’t have any argument about music sounding better here or there. I just like the inconvenience of needing to deliberately pick something off the shelf, place is on a turntable, clean it, play it for 15-20 minutes, get up and flip it, clean that side, and then listen to the remaining 15-20 minutes. It kind of forces you to pay attention because you need to actively participate in the process. I think that’s a good thing, but I completely understand why not everyone will agree with me. There really isn’t a right or wrong way to listen to music. If you’re listening to my music on cheap wish dot com earbuds while you multitask in a crowded room, I’m happy to have you along for the ride and grateful that you’re listening at all!



JN: So, what’s next for Mike Brunacini, aside from that live collaboration? Does the creative process continue solidly for you or do you get some time in there to breathe a bit? Do you perform live?

MB: I’m very excited to release this upcoming album “Dying Leaves & Naked Trees” I think it’s my best yet and I hope everyone ends up feeling the same about it. I have Aftergloom’s – Don’t Wake the Dreamer Pt. II ready for release at some point. It’ll be available online and as a VERY limited cassette run. After that I’ll be finishing up Don’t Wake the Dreamer Pt. III (the final installment) and that sort of live in the room album. I’ve been working on writing the album after that… but I don’t really have any lyrics yet. I’d love to work with a good lyricist at some point. A sort of Bernie Taupin to my “Elton John”.

I rarely play live. I haven’t been able to find a venue for sad unknown original songs yet. Maybe if I could get a band together, but that’s tough with how busy everyday life is. I’ve always been more interested in writing and recording anyway. My dream scenario is to be late 60’s Beatles or Brian Wilson. Just writing and recording music in a studio.

#WEATNU Digital Magazine – May 2024 – Jason M. Norwood
Introduction words by Almark

Follow on threads: @mikebrunacini
Bandcamp: https://mike-brunacini-transnova.bandcamp.com/
Official Site: https://mikebrunacini.wixsite.com/mikebrunacini
Linktree: https://linktr.ee/mikebrunacini
Kickstarter: https://www.kickstarter.com/projects/mikebrunacini/dying-leaves-and-naked-trees-on-vinyl

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FeaturedNew artist
August 21, 2023
almark

The Nightwalker – Nobody Can’t Escape From Karma

Finnish artist The Nightwalker comes to WEATNU Records with his debut release (Nobody Can’t Escape From Karma)
Le Clotêt Avec Garcés hails from homeland of Catalonia, originally releasing under a folk-grunge album in 2015 and moving this year to an electro sound. Producing music in the cold north under the land of lights. The Nightwalker brings influences from GusGus and classic electro. His music has been heard worldwide.
Hearing the melody that penetrates the heart and soul, you’re soon not to forget this tune.

“Nobody Can’t Escape From Karma” by The Nightwalker
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Featured
August 1, 2023
almark

The great musician exodus

“If there is anything musicians need more, it’s an audience.“
Some might think that being a musician is a power trip, quite the contrary, it is a way to cope with ones own feelings. It alone helps bring emotions forth, from inside of a person and reveal what is hiding in our soul. We don’t do it to please others, but a simple need, or outlet must occur. People in general need art, and art helps the world feel. Without art, we all die inside, and dying inside is not something we want in a post-2000 world. Musicians need to share their work, it isn’t always for a career, but the side of an artist that most don’t realize, is that they are naturally performers. Something is brewing inside of you when you want to share your most intimate private moments, your music, with strangers, in hope that someone may discover you.

But those days are coming to a close, and while bleak as it may sound, the reality is a hard one to grasp. It’s a bitter pill… You can hope all like, and simply make music and you do it for the love of it, but your audience is nill to nothing. As it becomes more difficult for the artist to be heard, either through pay to play social media and other places, musicians in gross are leaving the internet. They simply pack up and leave, one by one, every day. You can follow this through Twitter, watching certain people toss their bags to the side of the road and say, “see ya, I thought my music was interesting, but I guess that isn’t so.”

This alone is a pandemic, and no one can do anything to stop it. Big tech is not helping, so we have to release music to other places and may never find our audience. A once ‘ray of hope’ is now diminished into a feeling of dread, wondering, “who will listen?” There isn’t much to say, there isn’t much to welcome, I bring you no kind words, but the truth. Musicians in general are their own audience; musicians listening to one another, and the fans of the world, finding the next pop wonder instead of the independent artist, who works even harder to be heard and finds little to no help getting their music discovered.

YouTube at one time would help boost the artist, but that was long ago, and Twitter, the same value, but as filters were put in place, we lost our freedom to be heard. This is a travesty of epic proportions, not to mention unfair. But then you might say, “just pay promo and you’ll find your audience.” This might be fine if the artist had money, but a starving artist is a starving artist for a reason. The days of free for all internet are long over.

Ask anyone in the music scene at this time and they will tell you, from the indie label to the free promoters and bloggers, “it’s hard, and we’re all suffering.” This comes from the world shutting down, and people don’t know where to find music. The tight grip from streaming services and lack of free promo has caused this to happen. Social media and Google have become censorship = socialism. We were warned about the loss of net-neutrality years ago. And we are all kept from seeing each other, in this digital wall all around us. The moguls who loom over us, with their tightly gripped wad of cash in hand, purposely find ways to “milk the system”. So… is there is a way out of this?
Pay it forward as much as you can, and help one another in this time of need, as #WEATNU has always done, simply put (artists helping artists.)

You become the fan of your fellow musicians, because, in no time soon are these juggernauts of the industry going to allow us to move forward. They stamp out art without regard, even if your music costs nothing, as they simply don’t understand the magnitude of doing this. Your fans are lost in a sea of digital 1’s and 0’s and it isn’t getting easier. Someone had to speak up about this, someone needed to, it’s up to the artist to find a way to correct it.


#WEATNU Digital Magazine
July 31, 2023

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Featured
June 29, 2023
almark

Synthesis Noir (EBM/Industrial) sub-label

A new generation of Industrial, Darkwave, Coldwave and EBM artists – take flight, as we start to build up our artist list for 2023. Another welcome addition to the already existing list of labels that are provided here.

One of (6) internet radios that #WEATNU had during 2015 has just been born.

Having our 3rd sub-label set for Industrial and dark electro type genres, just seemed like the right timing.
As the label continues to create more options for the listener, allowing in the known and unknown artist who poses “great talent.” Synthesis Noir promises to be something new.

While during the beginning of the movement of We are the New Underground, our roots were Industrial, IDM, Ambient, Dark ambient, and from that day forward the digital underground scene continues to morph and evolve and we release what is sent our way. One more label added to the landscape, one more option for the artist. These labels of #WEATNU help to target various scenes of the music landscape.

If you’re into classic Industrial, Electro, and EBM, then Synthesis Noir will be a place to keep an eye on.
Our sub-label may include some goth-crossovers from Transmission Nova label as well.
A newer audience will find this great music and the #WEATNU machine will continue to grow.
Free to join, and great benefits allotted to the artist.
Other genres may include Futurepop, witchhouse, and many sub-genres that come to us.
If Transmission Nova is to guitar post-punk, then Synthesis Noir is to Coldwave and digital wires.

#WEATNU Digital Magazine – Almark
June 2023

Follow our Bandcamp: https://synthesisnoir.bandcamp.com
Twitter: https://twitter.com/SynthesisNoir
Post your music direct to our network to be considered, or
https://network.weatnurecords.com/public/d/12-synthesis-noir-industrialdarkwave-and-ebm-sub-label/14

Contact direct below

https://weatnurecords.com/contact/

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ArticlesFeatured+1
June 7, 2023
almark

Beyond the algorithm

‘In a music scene that is nearly impossible to be heard, yet alone be noticed, #WEATNU has been fighting for experimental music since the summer of 2014. Starting by forming the group We the New Underground, on Soundcloud that summer, but that was just the beginning of an idea that became a movement and finally a label that artists could stand behind‘

In this world we have formed, the musician is appreciated, not underrated. It is a city all its own, a hub for artists who long to be found, found by anyone they can. The seeker who wishes for something more than top 40 finds it here. Along with the many artists who release to us, with other sub-labels connected, forming a network, a machine for the avant-garde, a world that is so well hidden, few know about it, yet alone care to seek it out, but it’s there, and it’s been building for these 8 years. That machine is a self-running creation, that is helping the indie artist.

In a digital realm that is vast, a small drop of water that is made creates quiet ripples across the digital ocean. The original logo becomes those quiet ripples moving across the music scene.

The mainstream is this imaginary wall that we all fighting. #WEATNU didn’t climb that wall, we tunneled under it, forming our own underground. Using the internet as that underground, an underground that long existed, before this movement was made, even before the internet itself was conceived.

The mainstream is this imaginary wall that we all fighting. #WEATNU didn’t climb that wall, we tunneled under it, forming our own underground. Using the internet as that underground, an underground that long existed, before this movement was made, even before the internet itself was conceived.

We are the New Underground –

The Underground scene

The underground has always been the hidden driving force behind the music. When mainstream was releasing Disco in the 70’s, people in their own world were creating punk and later Joy Division starting the post-punk movement. Then the 80’s, while New wave was jamming and pop radio was pushing synth-pop. Industrial began to surface with groups like Throbbing Gristle, Cabaret Voltaire, Skinny Puppy, NIN, Ministry and Severed Heads then from Belgium, EBM came forth, with Front242 and UK, Nitzer Ebb. When dance was huge, Richie Hawtin in a club in the Detroit scene was spinning techno, then later DnB, Jungle, Electronica in the UK, and Vaperwave, Lo-fi, Synthwave, Retrowave, Dream pop on the internet. And concluding, one scene building off another, connecting them somewhat with each other.

The experimental end of this spectrum began with early hits from Coldcut, Ninja Tune, WARP Records Aphex Twin, Autechre, Squarepusher thus the IDM scene. Then trickling down to, Underworld, Boards of Canada, Tycho, Tosca, GusGus, and Röyksopp showing us the downtempo and chillout field of things. Each scene is born direct from the underground. A small niche of people find the music, and it drives straight to the heart of what they are longing to hear.

WEATNU encompasses all of these sub-genres in (4) labels.

A free existence to a musician is key to survival in a corp music world, and everything we do is free to the artist.

#WEATNU 2023

WEATNU Records

Housing all forms of electronic music, avant-garde, experimental and ever-evolving underground styles we are the bleeding edge of the DIY scene.

WEATNU Records – Founded 2014

IFMACA Productions

Our cinematic/chillout label and company for royalty free stock media, formed in 2021, and slowly rising to help composers who make film-related music, that you can listen to and enjoy.

IFMACA Productions – founded Summer 2021
Our library of composers continues to build

Transmission Nova

The post-punk/shoegaze of Transmission Nova, alongside goth and alt-rock of the 90’s.

Opened in 2022
Transmission Nova – Founded Nov 2021, launched 2022.

Synthesis Noir

And this year Synthesis Noir, our latest sub-label will house, EBM/Industrial, Darkwave, and Coldwave music.

Synthesis Noir – Founded 2023 (opens Summer)

Internet radio

WEATNU [OUR] Online Underground Radio, playing 24/7 on rotation all music that is uploaded to us.
Freely send music to us.

WEATNU [OUR] playing the best of the underground, 24/7 Electronic, Avant-garde and beyond.

Alongside our sister station, Transmission Nova – WEATNU [OUR], which also plays Indie rock and shoegaze, goth, etc. Transmission Nova radio was the first before its label came years later.

Transmission Nova – WEATNU [OUR] 24/7 | Indie Rock/Post-punk/Shoegaze and Alternative. Internet radio: Playing the best of the Underground 24/7

Our movement hones in on “The Underground” of this modern era, where people are making music directly from their small bedrooms, tiny studio in their apt/flat. That obscure musician on YouTube you’ve never heard of, or the lonely talented musician that wants to be heard.

Along the way #WEATNU has formed Radio | Label | Magazine | and in 2023 formed its net-label to help the artist, who may not wish to sell their work, but instead be appreciated for it, under creative-commons licensing through archive.org.

#WEATNU – Net-label

WEATNU Records – net-label on archive.org – under creative-commons licensing. (opened 2023)

WEATNU continues to influence the indie scene

The image of #WEATNU – becomes invisible radio waves moving across the music scene, beyond web apps, beyond software barriers, and beyond the algorithm of social media, resisting restraint from the corp world. An idea is carried across the ocean, and around the world.

mind map of #WEATNU (c) 2023

Artists from different parts of the world

Artists from many places around the globe join us, we are a world-wide event. It started in the UK and spread to Australia, and now Russia where The Underground still thrives, thanks to the pioneers who keep it going; those early 80’s artists.

Artists and fans are given new options also in 2023, now that we have our network website.

Forum and social gathering

WEATNU Network – social network + forum, opened 2023

A free to join forum / social gathering for people to come together and share music, and to join #WEATNU, where one simply becomes part of the community, sharing each others music on the internet.

We are the New Underground seems to be influencing the music scene, in some way, by the people who hear the music we release to the internet. Those unknown musicians suddenly find a niche audience.
There are micro communities across the world and have been for years, and WEATNU is here as the lighthouse for all to see from endless miles on that digital ocean we are traveling over.

Some artists who have come through our doors went on to become semi-famous, even successful and some were already this way before they arrived, only needing a boost for their self-esteem or finding a new audience, even enjoying the community we have here.
For every person who can be helped here, they find their niche audience, and this continues to happen, due to the power of the internet.

What we offer is freedom to the artist and fans who alike wish to find music that isn’t mainstream, but has true, raw talent. Both the unknown and the known are welcome to join our movement. We need you all, now more than ever.

May we continue to grow in this hard music industry, but with your help, we will succeed.

We are the New Underground – We are all one.

Almark – #WEATNU Digital Magazine – June 2023

Join our network and get to know the community.
Follow us on Twitter: https://twitter.com/WeatnuRecords
Follow on Facebook: https://www.facebook.com/weatnurecords
WEATNU Records on Bandcamp – https://weatnu.bandcamp.com
Transmission Nova on Bandcamp – https://transmissionnova.bandcamp.com
IFMACA Productions on Bandcamp – https://ifmacaproductions.bandcamp.com/artists
Discord chatroom: https://discord.com/invite/4jy5wBR

Website: https://weatnurecords.com



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FeaturedInterviews+1
April 11, 2022
Leslie Keffer

Interview with Except Elephant

“Amsterdam’s Except Elephant’s music is tempting, sensual, and very unique. She will be releasing her first single, Mermaid, from her forthcoming EP on WEATNU Record’s sub-label – Transmission Nova this April. We discuss her music and visual art making process, her inspirations, and Amsterdam’s DIY scene.“

How would you describe your music?

Except Elephant: A mixture of indie rock, dream pop, some synths and post punky bass lines?

How long have you been playing and recording?

EE: I started singing, as a hobby, about 13 years ago. I was singing in a band, started with covers just for fun and then we were writing our own songs. There was a big break from that for a while and I started making my own music about 3-4 years ago.

What is your songwriting process and what gear do you use to make it?

EE: Normally I just start writing without anything in mind and see what comes out. I usually get a bass line down first and then the drums. When I have the rest of the parts, I play with the vocal melodies and write my lyrics.

Do you play everything on the record or do you have a band?

EE: It’s just me and the Logic Pro x drummer plugin 🙂

Do you record your own music?

EE: Everything is MIDI, so I do it all on my computer and record my vocals at home too.

Photo by Except Elephant

What is your forthcoming album about?

EE: I am releasing my first single this April, Mermaid, which I believe is a very good introduction to what my forthcoming EP is mainly about. Choosing to make oneself able to see beyond the constructs we’ve been living in and imagine new worlds.

What inspired you to create it?

EE: The meaninglessness that the constructs we’ve been living in have created 🙂 By that I mean several kinds of behavior that lead to or arise from discrimination, oppression, destruction, dichotomy etc. How we treat each other (and even ourselves) and everything else around us as a consequence of the world that we’ve created. This is something I was working through also in my video art work the last few years and what troubles me the most in this life!

I love your artwork for your songs and on Instagram. What is the concept behind it?

EE: I’ve always used the human body (or body parts) in my visual art as a symbol for humanity as a whole. In my artwork for Except Elephant, I use it as a canvas to signify what makes us; a blend of everything around us, the magic of human power and the destruction this same power brings into the world. Sometimes it’s a bit more personal, just reflecting a mood or part of myself.

How do you create/make your art?

EE: I snap some photos of myself, load them into Photoshop, make cut outs and start playing with images, colors and textures. It’s not much different to making a collage.

Is Except Elephant an alter ego and if so who is she?

EE: I wouldn’t say she is an alter ego exactly. More of an exaggerated version of me. She feels like an alien in this place we live in, because she believes that life can be much different and nicer for everyone on earth. And that makes her angry and sad but also caring, almost motherly towards all humanity. She wants to embrace and heal the whole world. Quite ambitious…

What is the music scene like in Amsterdam?

EE: In Amsterdam you can find a little bit of everything, but it is primarily a clubbing/party city. A lot of the most interesting stuff for live music happens within the Alternative/DIY scene. From punk to Experimental Jazz, you can find some gems in the most unexpected places!

Do you play live?

EE: Not yet.

Your voice reminds me of Kate Bush, mystical and stunning. Who has had the most influence on your music?

EE: That’s very flattering as I consider her voice and her whole existence quite whimsical! I would mention Radiohead, Placebo and PJ Harvey, but I feel it’s all kind of like an interpretation of everything I have listened to over the years, with a lot of 90’s alternative and early 2000’s indie elements that have really seeped into my blood.

I’m dying to know what else you have in the works, any new projects coming up?

EE: I had a really nice collaboration recently with indie artist Uncool Paul, where I added a bit of a melodic synth touch to a couple of his songs from his upcoming album. And I’m excited to be working on a video for Mermaid at the moment. This will be a solo venture too, but I’m already planning ideas for my second single release and video which will be made in collaboration with another visual artist.

#WEATNU Digital Magazine – March 2022 – Leslie Keffer

Top photo: Susana Martins https://www.susana-martins.com/
Follow: Except Elephant on Instagram

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ArticlesFeatured
March 10, 2022
almark

Label/Sync – IFMACA Productions

Film-centered music is important

For years we have been building up new tools to help the independent artist. During 2017 there was a time of silence with WEATNU, where new ideas were bubbling under the surface and at a moment of sudden inspiration IFMACA – Independent Film Makers and Composers Association was born. The group began on Facebook that year. Composers and small filmmakers were the intention at the beginning, to collaborate with one another, but after some time, the group shut down and the idea of IFMACA went dormant.

That was until the year 2021, when the name was exhumed, or brought to the light as a new entity for WEATNU. “If composers and filmmakers could not collaborate and make projects together for fun, why not instead create a new subsidiary for WEATNU?” However, even today composers and filmmakers can be involved in collaboration through our discord chatroom. This thought-process started IFMACA Productions.

A part that includes label/sync for the cinematic composer and small film studios, also including music for YouTube creators. The music that is with IFMACA Productions is a continual growing library of highly professional musicians and composers. Some of which are cinematic-driven and may include video game music as well.

As the library grows, sync will eventually happen. It was time to introduce everyone to this next part that has been progressing behind the scenes. IFMACA Productions gives the composer a chance at a career, and it also gives them the ability to be part of a cinematic label. Music is released to all streaming platforms and licensed for use as sync in the future.

Listen to our artists

Artists are taking interest in IFMACA Productions

As a sync company, we are ensuring that the small producer, video game designer, film class, limited budget director, all have one thing in common. They each need music that sets the mood for their projects. The music we produce is full of that sound that others are seeking. Film-centered music is part of our artists work, as we are electronic/avant-garde and beyond. In the future, this may expand to our 2nd label, Transmission Nova (TNR), which is centered on Indie Rock/Shoegaze/Dream pop/Post-punk and Post-rock. These extra genres might work well in unique and dramatic ways from a film perspective. Artists will be showcased in our WEATNU Records – Spotify playlists, so everyone can hear their music.

The Composer and small film studio benefits

The small studio, YouTube Creator, art gallery, etc, could benefit. IFMACA Productions is finding its way onto the film landscape and starting small.

IFMACA Productions releases music for the indie film director who is looking for something a little different. This includes music that is driven by the passion of the artist, in a way only known to the composer. It is the film producer who will find what they are looking for, in a niche market, instead of being directed toward a massive audience, large-sync, ad-sync, HBO, Netflix, etc. Our artists for a competitive and affordable price will sync instead with small production studios. As this part of the WEATNU machine grows, so will the artists and audience we house, thus allowing more opportunities for everyone involved here and in time our website will be created when sync begins. To add to our library, see the links below.

Join our Discord chatroom on IFMACA

Find us on Twitter: IFMACA Productions

Follow us on Facebook: IFMACA Productions
Find us on SoundCloud: IFMACA Productions

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FeaturedNews
March 4, 2022
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Transmission Nova – WEATNU [OUR] 24/7 Radio returns

A strange turn of events bring forth interesting results, and things are in a constant state of flux with WEATNU. During 2016 our radio had 6 running stations, one being our main WEATNU [OUR] and another, returning harder than ever, our indie rock/shoegaze/dream pop/alternative and post-punk radio Transmission Nova. Last year in November, a new sub-label with the same name took flight and became an integral member to our movement. Now both label and radio are as one! This means artists who are with Transmission Nova (TNR) or TransNova Records label can also upload direct to our radio Transmission Nova – WEATNU [OUR]
Both artists on and off the label are welcome to upload to our second internet radio. So far, we are playing all the past music sent to us during the year of 2016, but we are eager for even more to add to us. Not only is Transmission Nova – WEATNU [OUR] playing post-punk as a darker edge to the guitar underground but we will have gothic rock, and other heavier guitar-related, grunge, post-grunge in time. The format will find its level, just as our first radio WEATNU [OUR] has with many types of avant-garde and electronic music. Experimental music is what drives us here and our radio hails to the days of college radio during the 90’s and early 2000’s.

To join our radio simply add subject line
Transmission Nova – artist request
https://weatnurecords.com/weatnu-our

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Listen live: Transmission Nova – WEATNU [OUR]

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February 21, 2022
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Jason Martin | Starflyer 59 Interview

“Since 1994, Frontman Jason Martin – Starflyer 59 has been releasing album after album beginning with Tooth & Nail Records. Now on their 16th LP ‘Vanity’, and spanning from a wide array of styles, starting in petal stomping Shoegaze, dreampop, post-punk, post-rock – lo-fi elements, then mid-range radio pop alternative and middle of the road. SF59 has found merit in the cult circle of the music world. The music hails back from the yesteryear, as Martin says, “He’s always felt like an old soul, and he’s only reached mid-age” Special thanks to Jeff Cloud for allowing this interview over at Velvet Blue Music. Growing up with Starflyer 59 as a teen in the 90’s, was a personal fav of mine, and a real honor to speak with him. – This one is for the ages.”

Did you grow up listening to Chet Adkins or surf music playing on the hi-fi during your childhood by chance? Did your parents listen to all kinds of stuff when you were a kid?

Jason Martin: Not really, my dad listened to Frank Sinatra and stuff like that, my mom listened to Christian rock.. Stuff like Larry Norman, Daniel Amos, and Kieth Green. My music pool was not really large until I became a teenager and found bands like the Smiths, New Order and the Pixies…from there I got really into music and started playing drums, guitars etc..

The more I listen to Vanity, the more it grows on me, such as in the past with other albums you’ve done. The synth just melts on ‘Life in Bed’ plus the vocals on this album are very clean, and bring out more of what is hiding on the other albums. Was this an intentional change?

JM: Thanks, glad you like the record. The more upfront vocal sound was a decision by TW Walsh who produced and mixed the record.

What would you say helped form the sound of what SF59 became? Leaving the early noisy sound, to the more sparse clean sounds of Vanity?

JM: Its just been a long time. The shifts in sound through the years was mainly just wanting to do something a little different for each record. Most of the old records were done in my early 20’s, not really sure I could even make music like that any more…but one of these days I would like to try.

The album was lost through time, until brought to light and mastered.

The Morellas Forest record that you played drums on with your brother in 1988, was just recently released to Velvet Blue Music, was that a fun trip of nostalgia for you?

JM: It totally was, I hadn’t heard that record in a long long time. I was 15 when we started recording that record…bittersweet hearing it now after all these years.

I’ve always had an affinity for your 2001 album Leave Here A Stranger, it was a huge transition for me as a listener. How do you feel about it now? What were your influences at that time, and was there a certain sound you were trying to achieve?

JM: Thanks! At the time I wanted something lo fi..it was a hip thing around then listening to records like Pet Sounds and stuff like that, so I thought we would try to make a record in that mode.
I’m not sure how much of it we actually pulled it off, but I do like the record.

How did you end up collaborating with Dave Bazan for the Lo Tom records?

JM: I met Dave in 1998 or something like that. We are old friends, I’ve always dug his voice and we thought, It would be fun to collaborate on some tunes. Tw Walsh and Trey are also old friends , so we all got together and made a couple of records.

Lo Tom – Jason Martin

Jason Martin goes back to his roots of heavier rock-related music with Lo Tom, in much the same way with his 2006 album My Island on Tooth & Nail Records.

Circa 1998

Is there any gear that you always hold on to? A fav guitar or pedal or whatever?

JM: I am always buying and selling old guitars and gear, so a lot of stuff I had way back when I no longer have…wish I did. The only gear I have kept from the early days is a 1993 Fender MIJ Jazzmaster, an orange Boss Distortion Pedal and a baby blue Boss chorus pedal. Those things have pretty much showed up on every record I have made somewhere or another.

Does it feel like a dear friend is leaving when you hear the final song on one of your albums, including Vanity?

JM: Well…it kinda feels more like someone who has stayed too long is finally leaving. The records take a long time to make and it is very hard to hear them clearly for a while after they are done.

What’s next for SF59?

JM: Not sure right now, possibly a new Ep.

As we get older, our tastes change, especially our influences, what has changed in your music influences these days?

JM: I think the older I get I like a lot more music that I didn’t like when I was young..Not saying that is always a good thing, when I was young I knew what chords I liked and so on…Now I like certain lead guitar styles and playing that I thought would have been a bit lame when I was young, what can you do…

I was about 18 when you released ‘Gold’ in 1995, (a friend let me borrow the CD for a year) do you remember how it felt to tour in those days, was it fun? I had the pleasure of once seeing those early bands of Tooth & Nail at The Warehouse in Bartlesville, OK around that year. Do you remember doing that show?

JM: It was fun,..Being a young kid and going on the road playing guitar how could it not be. I do remember playing the Warehouse in Bartlesville, always a cool place to play.

Were you self-taught in both guitar and drums, and you also play the piano, is that right?

JM: Pretty much self taught..My buddy Randy Lamb who was the bass player in Morellas Forest taught me an E minor and a D major chord, I kind of just figured out other stuff from there. I think to this day I don’t do the right finger shapes for some of my chords, but its too late to change:)

Anything in closing?

JM: Thanks for the interview. I appreciate it.

#WEATNU Digital Magazine – Feb 2022

Get the new album ‘Vanity’ over at Velvet Blue Music

Vanity by Starflyer 59
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