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InterviewsNew Music
May 23, 2024
almark

Interview with Jason M. Norwood

“London ON, Canada, native, Jason M Norwood has been creating many projects since and before the year 2000. First forming his gathering HMR (Hope Mansion Recordings), then later joining with WEATNU in the early days. His music has bounced around from electronic, experimental, industrial, shoegaze, Berlin-school and post-rock. His work entails detailed music and soundscapes in the avant-garde territory. His current project 'angel on fire' has been showcased on WEATNU's sub-label Transmission Nova. He had much to say about his music process, what he has learned over the years and how he has contributed to the music scene.“

How are you doing today?

Jason M Norwood: I'm doing well. Just got back from a walk in the warm weather, which was good.

Glad to hear that, it must be nice up there in London ON this time of year?

JN: It varies. Cold last week, springlike this week. I'm not much of a winter person, so 17 degrees C is welcome.

It appears over the years you've been moving from different sounds, and have various projects. One being angel on fire.

JN: angel on fire's my second-longest project, which started around 2000 or 2001. It's probably the most “different" of the different projects I do, as it's primarily guitar-based. In fact, I only really used keyboards on the most recent record to see if they'd fit in, which I think they worked out well. Piano's always been a part of it as well, but adding e-piano was an experiment that worked out.

At this time I have the diamond silence playing, it always captivates me; and lures me in to listen to all of it. The post-rock aspect always draws me in.

JN: It's funny, because up until recently I couldn't figure out a genre for it. Originally it was a combination of being inspired by shoegaze and industrial music, and trying to create a “dark shoegaze" thing, but it's evolved so much over time (better recording equipment helps) that I couldn't place it.
The first two angel on fire albums were recorded quite raw on a 4-track with a guitar, bass guitar and a single mutli-effects box

https://youtu.be/nm9GKS0uJRA?list=OLAK5uy_mN-wg4BsmnQvk1EVg1iNQXDd3fPBP1nkI
angel on fire – the diamond silence

The flow of things via the music itself places ones mind in this relam of remembrance. Especially the mid to late 90's when bands were played on the airwaves. Where do you draw your influences from?

JN: Influences are kind of nebulous for me. The more ambient side of shoegaze, certainly, and (when I started) post-rock stuff like Godspeed You! Black Emperor with their shortwave radio segues. I was also listening to a lot of industrial at the time, but more the late 70's experimental stuff. Nowadays I have a hard time putting my finger on what influences it–angel on fire music is something that just sort of suggests itself in my head, and I roll with it. – When I started recording “the diamond silence", I was originally set to try making an all-acoustic album. My brain sort of hijacked the process and said “time to do some angel on fire". ?

That kind of happened with me when I was writing my album -ATD-. It was meant to be recorded to tape entirely then back to the computer, but I had a lot of tech issues. We get these happy musicial accidents.

JN: I love happy accidents in music; I'd rather hear that than over-processed, over-quantized music. It's one reason why I like to use loops of my own drumming rather than programming everything; it feels slightly more natural even if they are loops that I can build on top of.

Since you've been with WEATNU Records, you found a place to drop your earlier music, such as Minutes after, Jason M Norwood and now angel on fire's music. How has Transmission Nova served you, its sub-label?

JN: Artistic freedom, certainly, and community, which I think is incredibly important in a music business that just keeps squeezing artists more over time. angel on fire certainly fits Transmission Nova better than WEATNU, which is where jason m norwood resides.

Do you like the vibe on TNR? or Transmission Nova Records

JN: I do, and I like a lot of the music as well. I'm always just as interested in the artist as the art–like, where does YOUR music come from? Which is a good vibe to work with, even if angel on fire's kind of its own thing.

https://youtu.be/6i6sCnsXnko?list=OLAK5uy_mN-wg4BsmnQvk1EVg1iNQXDd3fPBP1nkI
angel on fire – the diamond silence

The track 'deep down' from your album the diamond silence does something to me, especially the droning part toward the end, and while myself I am very experimental in nature when I approach electronic music, but in the sense that it's organic and not electronic. The repeating voice: the whole album is hypnotic in nature.

JN: I think one of my earliest “wow" moments was when I started hearing about really early experimental artists like Stockhausen and John Cage. I've always been fascinated by the art of the tape loop, so that's where a lot of that comes from, as well as my fascination with shortwave radio (you hear that at the beginning of the album).

Quite the avant-garde in nature, but as a post-rock balance. There are all kinds of things via bass and guitar that make this album what it is, not to mention the vocals as a mystery in music.

JN: angel on fire's strange in that I have a hard time defining what a song is about, for the most part. Lyrics just sort of suggest themselves. There does seem to be a theme of isolation in the album.

From an influence perspective, I hear Pink Floyd as well?

JN: You're not the only person who has suggested Pink Floyd, and I do like them. I know I loosely based the structure of “the diamond silence" around Talk Talk's “Spirit Of Eden", which I can definitely say is one of those deserted island albums for me. The sonic space of Pink Floyd, maybe?

It's very possible, as we are influenced subconsciously by so many things growing up. Personally I can name my influences, such as 70's pop being one of the later ones in my life now. We grow into our influences and make music around them.

JN: I always like to joke that I make records to fill gaps in my own record collection. ?

It's hard not to notice the drumming on this album, have you always played the drums, is it a full set?

JN: I can play the drums; I'm not really a drummer. I've been lucky to help other people with their studios and recordings, and they let me get some recordings of just me playing a drum kit. So over time I've built up a library of these recordings that I can draw on. Occasionally I'll add rhythmic elements over top of that.

So there are actual real drums on the album?

JN: Mostly, yes. For the title track, I used an electronic kit I had handy. The rest of it is a real drum kit with (in the case of “static in mind", a mix of both). Even if it's an electronic kit, I still prefer live playing over programming whenever possible.

What happens when you begin to write music?

JN: With angel on fire, it's a kind of a general feeling that something's starting. Like I said, with “the diamond silence", I was originally going to work on an album of acoustic music, but angel on fire sounds started happening, so I just “switched gears" to recording the album that you hear.
It's a process of kind of giving over to a raw creative process and letting it define itself, which is probably why every angel on fire album sounds somewhat different.

Are you working on new music as of late?

JN: I’ve been taking a break, which for me is new territory—I normally go from one project to the next pretty fast. But it’s been nice to take a break even as I think about a couple ideas, including going back to the acoustic album and trying again. That’s a new project. I still have music in my head almost 100% of the time, though. ?

There is something about taking breaks from a just-finished album, that sense of accomplishment, which builds up in time and then you wish to make another one.

JN: I think I released my last electronic album in 2022. I had stuff written but it kind of fell out of favour, so that's a possibility. angel on fire happens usually once every four or five years, but you never know.

What are your thoughts on the surfacing of your music to a new crowd of listeners, via our entrance into threads.net

JN: I think that the relationship of musician-to-listener gets shoved aside a lot in online discussions. I love it when people hear my stuff and come at it with their own ideas, and I’m starting to see glimmers of that coming back.

Due to your struggle in the music scene after your endeavor HMR, would you have continued down that road had you not have found WEATNU those years ago?

JN: I'm not sure, to be honest. HMR had a very similar philosophy to WEATNU, but when the various bands disappeared, I decided to end it. I had already released my tiny little techno project Minutes After via WEATNU because it fit WEATNU more than it did HMR. After HMR's ending it was easy to fold what I do into the WEATNU ecosystem.

If you had something musically philosophical to say to the modern world, what would it be?

JN: Just to tune out all the noise that exists telling you to do things a certain way, and make the music that you want to make.
And, and….never throw anything away.

It was a pleasure to hear from you the first time talking about your music Jason.

JN: Always a pleasure. ?

#WEATNU Digital Magazine – April 2024 – Almark

buy angel on fire – the diamond silence on Bandcamp

https://angel-on-fire-transnova.bandcamp.com/album/the-diamond-silence

Follow Jason on Threads https://www.threads.net/jmnorwood

Follow Jason on Instagram https://www.instagram.com/jmnorwood/

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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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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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February 21, 2022
almark

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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December 10, 2021
almark

Interview: Leslie Keffer

‘This month: Leslie Keffer, a native to Ohio, spoke with us from her country setting about her music creation, her career in noise-related sound, and moving from small venues to larger festivals, including being an opener for Sonic Youth. – Now she uses the genre ‘microhouse and insectno‘ to explain what she does musically after her 10 year rest from the music scene. With new insight, she is releasing once more. It was an honor to speak to her.‘

Today I have with me, experimental artist – Leslie Keffer.

Hello Leslie, how are you today?

Leslie Keffer: I’m good. I am just making some AI art on the computer.

It’s interesting what one can do with AI to make art, how is that helping you as an artist?

LK: I really enjoy making AI art. Once you do it enough you know what prompt words do, what styles and you can start to create the images in your head. I will spend hours and days perfecting an image until what is in my mind forms through the AI. I have been making art showing the inside of the body. I am striving to show people how beautiful the inside of the body is. Most people seem to be grossed out or offended by it, which I don’t understand, because inside the body is where the miracle of life happens, the magic and the electricity. I find it so gorgeous and captivating.

How did you get into music first-hand?

LK: My first memory of music is being 3 or 4 and watching MTV for the first time. It was brand new back then and played music all day and night and I was just fascinated by it. I think the music they played on MTV in the 80s really got me into it. I was obsessed with Madonna as long as I can remember!

Many girls were in those days, as I recall, but like yourself, I was just as young during the 80s, and to embrace the 80’s, I had a Michael Jackson zipper jacket at the age of 6.

LK: Hahaha that’s cool!

Yeah imagine a little kid walking around with a Michael Jackson zipper jacket, laughs. Listening now to Inosculation – it moves me, it has a freeness to it, water-like. – What influenced you to write this new album?

LK: I would say nature and our woods. I go there and get moved and come back and write. I am also inspired by the body – by how it looks and feels inside and out. Trees inosculate when they grow together. I wrote the song about when humans inosculate psychically and emotionally with each other. I romanticized it in the song.

A story of nature en electronica, much like something the Orb may have done during their beginning. – You’ve been on hiatus for about 10 years, but you’re coming back into the music scene, how does that feel and where do you hope it takes you?

LK: I had to take a much needed break from all of the touring, booking shows, and writing music when I was living in Nashville. I was worn out and not creating to my fullest potential. I moved back to Ohio where I am from to regroup. I did a lot of healing in my body and soul. I learned Kundalini Yoga and delved deep into mediation. Through all this I found my way back to expressing myself creatively and started working on music and art again.

And is the process of making new music, even possibly more melodic music, serving you well?

LK: I’ve always wanted to be able to create structured songs as well. It’s not that I don’t enjoy playing noise anymore. I just found myself naturally writing these microhouse songs, and I didn’t even know what it was until someone told me. I just love making beats. Currently it’s more of a challenge for me to write songs like this so it’s a lot of fun experimenting with something new and growing into something else.

Since we’ve been discussing your music, what started your music journey?

LK: I started playing acoustic guitar when I was in 6th grade in bell choir at church. Then in college I played in bands. Right after college – I just started playing noise music when I lived out in the country and it just became my way of life. I started meeting other people who played it online and I set up a tour through them and hit the road by myself. After that, I became friends with them and played shows with them for the next 15 years.

In small houses and settings?

LK: A lot of them were house or warehouse shows and dive bars. Then I got to play some cool venues, especially when I was playing in Laundry Room Squelchers based out of Miami, FL. I toured with them for over 10 years.

I understand it brought you some media attention, especially through the indie scene with VICE, and Pitchfork.

LK: I knew some folks who wrote for magazines and I got really lucky and they liked what I was doing and wrote about me. I didn’t know all of them so it was really cool when reviews would come out. I always felt so honored!

That must have been pretty amazing then, and you opened for Sonic Youth?

LK: When I was starting out I got an email from Carlos who booked ‘No Fun Fest’ in New York City which at the time was one of the biggest festivals for noise and avant-garde music. He told me Thurston had heard my tapes and wanted to collaborate with me. I thought it was a joke, but it was real and we became friends so I got to open for Sonic Youth a few times and did live shows with both Kim and Thurston.

Would they do another round with you again these days?

LK: Oh I don’t know about that! I always would do it if they wanted to.

Hearing your album: I really like the beat on ‘Internal’ btw

LK: Thanks!

Since we’re on the subject, you’ve just released a new album, the one with the girl on the front cover with earth-like things, fungus and so forth on her body. Would like to talk about it? Its story is fascinating.

Leslie Keffer – Belong to the Earth (album)

LK: Its about a girl who has to go underground and hibernate because she becomes too overwhelmed with energy from other people and American culture. She goes there to recharge and store up inspirational energy. She emerges from the ground and re-enters the world during a global pandemic. She stays in the woods to survive and in the process becomes one with nature.

For your creative process, you’re using an all hardware setup, is that right?

LK: Yes, I use (2) Korg Kaossilator Pros, a Korg Volca Beats, and a Korg micro synth.

That seems just right for this type of music. Especially for the bug-like sounds.

LK: I am obsessed with bug sounds. I probably over do it. I call my music “Insectno” when people ask what genre I am because I literally don’t know what genre I am anymore.

And you should, since it’s who you are. Identity is very important to an artist. It’s good to share this in common with you, each artist doing their own sound, it’s freeing.

LK: Yes your music doesn’t sound like anything I’ve heard

Thank you, I appreciate that, musicians can put themselves into a bubble sometimes, but I think personally that’s a good thing.

LK: I definitely go into a bubble. I go into my makeshift studio and will spend hours in there and think it’s been 30 minutes.

Time can really take you away when you’re in the zone, as I call it

LK: I call it catching the Spirit

That’s nice, as I believe in a place called the Cone of Silence, it’s a place, I’ve found, it’s mysterious and like a rabbit hole. This of course deals with music creation. – Is there a lay-down process in DAW, EQ’ing, mixing and so forth after the music is done. Do you sequence in recording?

LK: I play it all live as I record it. Its always just one track. I don’t have the patience to multi-track and overdub. Rat Bastard masters a lot of them.

That’s seriously impressive, considering It’s all well mixed first try. Are you using a mixing board, and record it to DAW?

LK: I use a mixer with the EQs straight up. Then I run it into my computer and record it in Audacity. I just try my best to have the levels correct when I go to record.

What artists, would you say, influence your music creation?

LK: I am really into Kate Bush and a lot of pop music, but the last few years I have been listening to a lot of techno like Tommy Four Seven, Adam X, and Drum Cell. I like creepy industrial sounding music.

Would you say it has fueled the type of music you are making now, or are you taking your own route?

LK: I think my intention every time I make a beat is to make a techno beat, but I can’t figure it out and my beats end up being something else entirely.

How did you find your way back to music scene?

LK: I just was ready to be expressive again. I really want to share myself with the world and connect with people even though I sometimes have to hideout from time to time to regroup.

What do you think about the current music scene, its culture, is it different now, or harder to get your music heard?

LK: It may be a little harder for me because I am not on Facebook. I was off social media for 5 years and just got back on Twitter and Instagram to share my music and art with my friends again. I think the music scene that I know is still thriving if not more so!

It appears to be, now with more platforms, but the music will play through the noise and be heard.

LK: I believe that.

Since you’re a new artist with us, what you do think about #WEATNU in general?

LK: I think it is an awesome label with really unique music I had never heard before and didn’t know about. I love that you can get support from a label and still own your music and release what you want when you want. There seems to be a lot of support between the artists as well.

It appears we are running out of questions, do you have more to add?

LK: ummmmmmmmmmmm

It’s coming, I can feel it! Waiting for the next phrase.

LK: I just messaged my friend and asked him what he would ask me about my music if he could ask one question maybe he’ll come up with a good one.

That’s a good idea, you picked a life-line here on “Who Wants To Be A Musician” …

LK: My friend wrote back and asked 3 of the questions you already asked me! The one you didn’t ask was – ‘What did you think about making music while you weren’t creating, did you find other things to do?’

Ah: so – What did you think about making music while you weren’t creating, did you find other things to do?

LK: I missed making music, yet I didn’t make time for it. It was a reminder of the life I left behind in Nashville and I had to sort myself out and recharge so I couldn’t let feelings of longing for the past in. So I hiked all the time. It was my muse. I just saved up all that inspiration from the forest until now and it just flows free right out of me. I don’t get those negative feelings anymore about creating.

PTSD can do that as well, you just don’t want to make anything, but you find something to make you happy for the time, video games are a great help in this case.

LK: I am actually in music therapy for PTSD and the songs I’ve been releasing are part of the way I work things out in my mind. It’s very therapeutic and healing for me. A lot of my music and art is about my experience with trauma and healing.

WEATNU Records is now going to open its label up to even more music, with the sub-label coming Transmission Nova.

LK: That is the word on the street. I think it’s an awesome opportunity for the Indie Rock/Shoegaze and Post-punk bands, including artists who want to be on a label and still be in control of their music.

Do you think Indie rock artists would benefit from it?

LK: I definitely do. It’s hard getting out there, because there is so much more access to music now. You would think it would be the opposite, but personally I get overwhelmed by all the options and probably miss out on a lot of great music.

Where do you see WEATNU Records going in the future and do you think it has helped artists during its 7 year stay?

LK: I hope WEATNU continues to grow and keeps finding unique artists to put out.

Thank you, we hope it continues to serve the community of artists for years to come, in all its options to them. You’ll be bringing to the New Year, new music on WEATNU Records, is that right?

LK: Yes, the plan is to have something in February or March. I hope to make something new and exciting for myself and everyone else.

Very cool, we hope to hear something new and creative from you soon.

Just one more thing: What movie in your mind sparks a memory that you are most fond of?

LK: “The Sound of Music” It reminds me of growing up and my Grandparents and getting to stay up late and eat popcorn. I love most of the songs. And it’s kind of bizarre that it’s my favorite, because I really don’t like musicals at all. But I do love the Sound of Music.

It’s one of my fav films too, and those songs are very memorable.

Thank you Leslie for doing this interview today – I wish you well with your journey and career in music for all time.

LK: Thank you! It was fun.

#WEATNU Digital Magazine – Dec 2021

Follow Leslie Keffer on Twitter | Instagram | SoundCloud | Audius

Buy direct: Diaphragm by Leslie Keffer

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December 23, 2019
almark

Interview with: City Cowboy

‘This month Swedish artist, City Cowboy spoke to us on his music process, influences and future work he wishes to accomplish, it was a pleasure speaking to him‘

How are you today, City Cowboy? 

CC: Great, thanks!

Would you mind telling us your story of how you entered music? 

CC: Sure thing! Growing up we had a piano in our home and my older sister took lessons. I used to sit by the piano too (when she wasn’t there) and just play around and gradually found that I could play too – without lessons! It turns out I have a pretty good ear when it comes to identifying notes and chords, but not perfect pitch. As a teen I bought my first synth, a Roland D5. I remember making my first multitimbral tracks with Steinberg pro 12 and 24 on an Atari ST. The excitement of first recording a bassline for instance and then adding strings, then drums and so on was great. Such a creative joy. Then I tried to add some vocals along with the background. The lyrics for my first songs were really pathetic. One early track was a real “bohoohoo-story” called “Turned down again”! My music making “career” had thus begun. Many years later, I started making music with a Yamaha Motif workstation that I still use today and under the name City Cowboy. And here we are!

How long have you been writing music?

CC: Since 1989

What types of music do you write? 

CC: I guess I would call it pop or synth pop. I solely use a workstation synth so I don’t include any other instruments, even though I do play the guitar and bass for instance. I like EDM and sometimes I do more electronic stuff, like the two Kraftwerk covers I have done so far. 

What processes do you use to create music? 

CC: I start with an idea for a song, it could be that I start with a chorus for instance. I play it on a keyboard and try to come up with words too. If I like it enough I try to compose a whole song with verses, bridge etc. When I know how I want the song to be, roughly at least, I do the sequencing on my workstation. I then record it onto my Tascam multitracker. Last, I work on the vocals and mix and master.

How are you involved in the Indie scene? 

CC: I try to make myself heard through diverse channels, my music can be found in various places on the net. I have also done some local “publicity stunts” here in my home town. (Even as a Santa…) As part of WEATNU records, I agree with Almark’s vision that everyone deserves to be heard. If there’s any quality there, it should eventually be discovered, one hopes.

What is happening in the music scene around your area of Sweden? 

CC: Well… I think the best place to be here in Sweden is probably Stockholm, our capital, or another of the major cities. That is not the case for me, I like country living so I try my best from here… Cowboy style…Yeeehaw!

Are you playing live or do you wish to online, perhaps through our label? 

CC: So far, City Cowboy hasn’t done any live performances at all. That would take some practical arrangements so to speak. But who knows in the future?

You just released new music, would you like to talk about that or something you might be working at the moment?

CC: My latest release is called “Down the Aisle” and it’s a bouncy, happy track celebrating love and marriage. As a Christian, I do believe that marriage is the highest form of union between two people. Something to cherish these days. For this Christmas I plan to make my version of the medieval song Veni Immanuel available to my fans. It’s an absolutely delightful song and I chose to do the lyrics all in Latin. So beautiful. I hope folks will appreciate it and that they won’t think my interpretation of it is too modern.

Are you working professionally or for the love of music? 

CC: Well, this “ol’ cowboy” has a regular day job and does his musical cowboying in his freetime! What I would really like is for the whole world to listen to my music. To really have people’s attention! The best thing is when I get a personal message or mail from someone who has been touched by one of my songs. It happens now and then.

You said you began with Atari ST, that’s interesting. 

CC: True. With a built-in midi interface, the ST was launched as more of a professional musician’s computer than the Commodore Amiga I believe. I played my fair share of games on it too of course! But that’s how I started sequencing songs.Delightful stuff.

What kinds of music are you passionate about when you listen in your quiet space? 

CC: If someone really had me in a stranglehold and FORCED me to choose just ONE favourite group, I think it would have to be Pet Shop Boys. Just for the sheer quality of their output through so many years. Their songs are really atmospheric I believe, and they always pay attention to lyrics. There’s often a melancholy touch there. Having said that, I do also give ample credit to Depeche Mode, Erasure, Jarre, Kraftwerk and Jay-jay Johansson for instance. That’s just within the synth genre. I do like other genres too and know quite a lot about classical. Bach is a favourite of course, Mozart too, but also romantic era stuff like Grieg. Early Music is also interesting. I dig jazz as well and hiphop. Some genres don’t interest me very much, including country, blues, soul and R&B.

How does the music begin, in your mind or outside? 

CC: In my mind I would say. Or by playing around on some kind of keyboard. It doesn’t have to be a synth of course, it could be an acoustic piano too. I’m quite a skilled player if I may say so myself! 😉 I never, EVER use any “ready made” beats or grooves or anything, I do everything on my own. If I do stuff that’s hard to play right, I might slow things down while recording of course. This kind of music does take some quantization. Other genres don’t need to be so rhythmically correct. 

Music theory or by ear? 

CC: I play by ear exclusively, although I have an understanding about score and musical theory like intervals, chords, rythm, your dominants and subdominant parallels and stuff…

How did you come up with the name “City Cowboy”?

CC: Well…first off, you need an artist name, right? Although I find that at least here in Sweden, a surprising amount of people actually use their real names as artist names. That definitey doesn’t suit me, as the person behind City Cowboy is very private and secretive… So…the cowboy is one of the most iconic male “figures” in the western world, right? And I thought the contradiction of a cowboy in the city was quite interesting. What does he really do there? He can’t work with his live stock, now can he? He probably wears a hat, but he can’t strap on his gun belt. Does he go to bars and drink? I don’t know, I just liked the name.

This is our 5th year: where do you see weatnu records going for 2020?

CC: In 2020 I think WEATNU Records might be ready to lift itself from the shades of relative obscurity and become an important player, really becoming the voice of smaller, upcoming artists.

How is #WEATNU helping artists from your point of view?

CC: WEATNU helps artists by being a fair label, a radio and now also a Digital Magazine. Great with this threefold power.

Marmite or Nutella? – Trick question.

CC: I never eat Nutella. The other I don’t know what it is! Not sure it’s available in Sweden. Try to eat healthy stuff mostly!

Thank you City Cowboy for doing this interview with us, good luck to you and your music. May your Christmas be well and Happy New Year!

CC: Many thanks for interviewing me!

#WEATNU Digital Magazine – Dec 2019

Follow City Cowboy on Twitter: @CityCowboooy



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November 29, 2019
almark

Interview: Jason M Norwood

‘This month: Jason M Norwood, native to London, ON, Canada and long-time veteran here – was kind enough to give us his words about #WEATNU, his former artist name, Minutes After, and his latest release under the Berlin School music he creates.’

Interview by: Almark

Hello Jason, please tell in your own words what #WEATNU has done for you. Tell us a story of your own?

JN: I like to search for new music a lot, and I can’t remember for the life of me how I discovered her, but I discovered an artist named Adryelle, and reached out via Twitter to mention I was a fan.  Almark and I got talking through Twitter threads, and I discovered that he ran this enterprise called WEATNU.  Running a tiny little label myself, we got talking on that score, and at the same time I was looking for a home for Minutes After, a techno-based solo project of mine that didn’t fit with my label’s aesthetic.  The rest is fairly normal—I sent Almark some music, he liked it and asked about releasing it, and I signed on.  I liked the concept of WEATNU being an artist-helping-artists collective, which is something I’ve always strongly believed in.

It’s funny, because I’ve since devolved my label into an artist collective.  Minutes After is shelved, but for the first time I get to release my 25-year-long solo project (stuff under my own name) with WEATNU—no talk of “I want another Minutes After” album, just support for the broader sense of what I do.

I get to talk to a like-minded label head, I get to support an idea that I agree with, and I get to be a part of a community where I can offer my skills and bounce ideas off of others.  What’s not to like?

How did you first find out about #WEATNU and what were your thoughts initially?

JN: I think I got drawn into #WEATNU because I saw a kindred spirit in this unwieldy thing called the music business.  I’d been running my own thing, Hope Mansion Recordings, for a while, and it was nice to see something in operation that was designed to help artists.  At the same time, I had a rare side project called Minutes After, which was heavily techno-based and didn’t sit right on my own label, so I decided to give it a home I liked and respected, where it would be a little cozier.

I can’t say there was anything specific I wanted out of #WEATNU going into that.  Out of head-to-head conversations between two people trying to do something different in music, the whole conversation seemed to develop naturally.  I also liked the idea of supporting something whose ideals I agreed with.

Fast forward to now, and although Minutes After has ended, we’re talking about releasing the Berlin-school electronic music I release under my own name.  It’ll be the first time in 25 years I’ve put that project out under a different label, which gives you an idea of how I get along with #WEATNU.

What do you feel #WEATNU is doing for the modern indie artist, how is it serving them, because now we have our magazine once again?

JN:  I think the word “flexibility” is the first thing that comes to mind.  In a world where artists can be independent and make good quality albums in the comfort of their own personal studios, sacrificing things like artistic control isn’t really necessary.  Also, technology has led to a lot of possibilities as to how a label can operate.  So, #WEATNU doesn’t look to sign people to take control, I think it’s about asking the artists “What do you need?”  It’s all there, but you have the freedom to operate on a loose alliance or a full signing, and everything in between.

I’ve always felt the most interesting independent labels are the ones where you like one artist, you get curious and start crate-digging through the label roster, and #WEATNU has that in spades, but also it uses what’s there to give artists a platform to talk about what they do—hence, the magazine.  Not only putting out music, but providing the story behind it in a way that fans want more of now than they ever did.

Where do you see #weatnurecords going, now that we are nearing our 5th year?

JN: I think the label will continue to do good things!  I think the fact that its different approach is what gives it prominence—this idea that artists and labels can make the goals a common drive rather than have an employer/employee relationship is healthier, and it will allow the artists on #WEATNU the chance to show what they can do without having to change themselves or their art.

Almark – #WEATNU Digital Magazine – Nov 2019
Proofing: Jason M Norwood

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January 25, 2016
almark

Interview with: Victoria Bourdeau

“Canadian native, Victoria Bourdeau has been playing on WEATNU [OUR] (main) for some months now. We finally had a chance to get an interview with her this month. Her music comes from an influence of modern dubstep, Electronica, Deep House and Nordic pop.”

Interview by Almark

How long have you been a musician?

Victoria Bourdeau: You know, that’s an interesting question! I first started writing song lyrics in 2005 when the dream really came alive in me to do something outside of the box, and it’s become the greatest creative outlet for me besides drawing. When I got my first guitar on Christmas morning of 2009 I played it immediately, however something felt off, realizing I was a left handed guitar player with a right handed guitar I simply turned the guitar around and played it upside for two months until I got my father to help me re-string it.

What does music do for you when you create it?

VB: It opens up every possible door for creativity, and self-exploration, it’s like giving birth to a new way of embracing life. With different styles come different sounds, and with that you challenge yourself to become a better writer, and artist.

Any new material at this time?

VB: Yes! I’ve just finished recording a new track Called “Captive” and I hope to have it out shortly. Besides electronic music, I am constantly writing, EDM is just one side of what I do.

I understand you play the guitar and you also create electronic music using iOS apps?

VB: Yes, that’s correct, I create the electronic music from my phone, usually starting with the bass line and building the track around that.

Is WEATNU helping you to be noticed as an artist?

VB: Of course! Ever Since I’ve had contact with WEATNU the amount of support and encouragement I’ve received over Twitter and through the community of connected artists as well as through this WEATNU Records has been truly astounding to me. I still can’t believe all of the things that have happened this year, it’s just mind blowing. Also I want to take this time to thank friends and family that stayed by my side when things got rough, Thank you!

You have some pop elements in your music, does that somehow create a bigger picture for your electronic sound?

VB: I’ve never really thought of it in that manner to be quite honest with you, when I started out and still to this day, I’ve just wanted my sound to be unique enough, but familiar enough to the general public so that they get to experience a new vibe from my work. The intention was never to gravitate attention, it has always been simply to lift people’s spirits up and to inspire them.

As far as the area you live, is there a scene in your part of Canada?

VB: Honestly everybody just does their own thing which I think is cool.

What goals do you have as a musician?

VB: I try not to set goals because i feel they can make a person close-minded, I just go with whatever feels right for me in that moment, and just embrace every moment as it comes about, good or bad.

You also sing, are you planning on releasing anything in the future with your vocals?

VB: That may be a possibility for me one day in the future but for now I prefer to just let the music speak for itself.

Do you have any fav artists under WEATNU or WEATNU Records?

VB: Mm hmm, One of the artists that stands out a lot to me in not only style but class as well is Em Baker (Plike). Her sound is dark and atmospheric but leaves a very genuine and delicate impression on listeners.

What do you think about the current scene of electronic / DIY musicians these days?

VB: I think it’s wonderful, although I’m saddened that not more are recognized in the way they should be.

You’re a passionate and poetic person, how does music fit into your background, how did you begin?

VB: Music has always been apart of me. Just before I was born my father would crank up music to find that I was keeping perfect time to the harsh and violent beats of Motley Crüe . At just four months I was whistling, and by ten months I would hum myself to sleep.

I began music by studying the way different artists portrayed and conducted themselves on stage in a way that would get the crowd going, bringing the fans into that moment with them. If the artist was disconsolate, you felt it, if exuberant you felt that! It’s all about finding your path and growing from there.

Being one of the youngest of WEATNU, what do you think you can bring to your generation?

VB: I hope to be able to give back to people through my music and to inspire people to go after what they want in life contrary to what they believe they can succeed.

What influences you as an artist / musician to write?

VB: That’s a hard question to answer because everything in life inspires me to write, the bare leafless tress of winter clinging to life for one more season, the light of the moon at night, the miracle of life, the tides of the oceans and how the sea creatures respond to the different levels of water in their environment. Every little aspect of life is truly miraculous and breathing taking for me so it’s hard to answer that completely. I’m sorry.

Dreams of becoming?

VB: Someone who is able to inspire at least one person.

Tell us more about your new EP?

VB: Captive? Well It takes the form of many styles some of which are mixed. Deep House, Trap, EDM, Heavy Bass, Nordic Pop ect. For me it’s all about pushing the limits and not staying in one square box, because in time if I want to focus on one platform, it’s not something that wouldn’t have been familiar in my other music. The point is to stay as original as possible but also to constantly change it up, to have it be that no two songs are alike. I want each song on its own to speak for itself. That to me is how to keep things alive and is what the songs on my coming EP represent.

If there was one thing in life you could be remembered for what would it be?

VB: Being a risk taker.

Where do you see #WEATNU going in the next decade?

VB: I see it becoming a world-wide spread community of thriving artists.

Bagels or Donuts?
VB: Why do you do this to me!! Both are great but I’m afraid I have to choose Donuts, I’m so sorry Bagels!!

#WEATNU Digital Magazine – Jan 25, 2016

Follow Victoria on Twitter:

‘With all respect: We lost Victoria in 2018, she was a greatly talented artist and one of us, she will never be forgotten.’

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November 2, 2015
almark

Interview with Corbin Roof

“A most prolific and unique musician. Corbin Roof comes from South Carolina with his genre-jumper electronic music. Now transitioning into sleep therapy and ASMR. Part of the #WEATNU machine, promotional indie supporter and music lover.”

Interview by Almark

Being one of the leading supporters, promoters of #WEATNU in a whole, you also write your own special style of electronic music. Would you like to talk about what it means to be a genre-jumper?

CR: It’s a term I coined as I started creating so many different types of musical pieces as a solo artist. I used to focus on just one type of genre per piece I was writing, but eventually I decided to starting putting two opposing styles together per song. Eventually I started writing more electronic rock music as it is easiest for me to produce with what I have readily accessible as far as instruments. The next album will also contain some electro-acoustic.

It’s a very cool concept. I hear all kinds of things, like a mid 90s sound, Fatboy slim, Dust brothers, NIN in your music, did you listen to a lot of those bands during that time?

CR: Fatboy Slim and his videos by Spike Jonez were a staple for me back in the 90’s. I saw NIN live in Columbia with the Jim Rose circus sideshow opening for them. I’ll never forget the level of stereo effects in that concert as sounds seemed to bounce from every sector of the crowd. I didn’t start wanting to create that kind of music though until after “The Fragile” album finally came out.

I hear a very NIN driven influence on Crowd Mover, along with a early 90s hip hop synth melody happening in the background.

CR: I bought a bass effects pedal that had great distortion patches. For some of my earliest albums I had would forgo guitars completely and just use distorted bass.

The album Sampler: ElectroRok is very speaker punishing, kicks you in your arse pretty hard.

CR: I LOVE DISTORTION (if you can’t tell)!!!!!!! I use the Scream distortion effects processor on Reason for literally most of my drums. Gives a more rounded sound quality to add distortion with some other clean percussion.

Are you using a heavy hand on the low EQ freqs in this album, really shakes the room on subs?
Though as you can guess, not everyone has access to subs. True, the distortion is very punishing on this album. How many instruments are you playing on the album?

CR: That’s that sub bass!!! I take it upon myself to listen to my music over at least three different sets of speakers before allowing the public to hear any piece. I usually start out with the Roland monitors while creating and mixing. Then playback on the iPhone6 to examine clarity over very small speakers. Then I have a small Bluetooth speaker that adds a little bass to it. Lastly, I listen to the piece over the car stereo; that also is equipped with sub bass, and test overall quality and peak volume.

Also, I’m playing seven different instruments over that album. Just bare in mind The Sampler albums span the last nine years, and I had a lot of different equipment back then.

So it’s a work as you go type album?
How did you happen to make all tracks sound like they were recorded in the same time period?

CR: That is due to a process I fine tuned for recording and mixing using Sonor and Reason. I had a PA system that I was running all the recorded instruments through. There is a faint hum or hiss in the background, and when I had an older DELL laptop I would occasionally get some bleed through of static from the computers audio processor. Something I couldn’t get a round with that recording process but now that I’m using a different laptop and recording process, I have lost that static.

You’re an advocate for the indie artist, what do you see happening in #WEATNU? 

CR: I see a lot of unclaimed opportunity for those not understanding why promoting others works most effectively for artists not willing to pay for promotion. If we started charging for promotion packages, like the spam I get and disregard all the time on Twitter, our movement would implode in a short time as members decided to weigh other options. WEATNU is what we as a whole make of it and as more join in I’m seeing that there are more and more serious supporters that are willing to promote other WEATNU artists, and the radio helps as well.

What is missing from #WEATNU that could possibly be corrected to further the advancement of this movement? Allowing us to reach the masses as this is our goal?

CR: Well I am forgoing the video for UNSTOPPABLE for a little while to work on two promotional videos for the WEATNU movement. I was actually waiting until this interview to unveil this idea to you and the rest of our members: artists placement. In the second year of WEATNU’s existence I would like to get more involved with each of the artists that are willing to take part in artists placement. And by the third year actually put artists placement into effect. There are some extremely talented musicians and minds in our movement and those that are dedicated from the beginning of their membership until the very end should be given a chance to find placement in film, TV, and advertisement if they so choose. It will show a real commitment from the movement to find placement for their music and in turn if they truly understand why the movement works so effectively for those willing to support it they will be more inclined to donate their time and money to its cause.

That’s a great idea, how would you go about giving them placement in tv?

CR: Well sites like Music Clout make you pay for a subscription through them to get “opportunities” to submit to various movies and advertising. This would NOT be a subscription or membership… It would be an opportunity for those that have seriously donated time and or money to WEATNU. I would talk personally about this to each member that fits that criteria and work on outlets for them on an individual basis. Each of the opportunities that are on those sites are posted all over the Internet, if you know where to look or even more importantly have the time to look. Weatnu Records is where I would start. I may not always have the time, as a father of soon to be 2 little girls, to make music, I will still devote my time to helping others.

It seriously just depends on what the opportunities posted are looking for. Some are just looking to fill a library of music for whatever is needed at the time the agency needs it. The problem is that our members are sitting on a LOT of great music that needs to get out there, but they don’t necessarily have the time to put into finding where it can go and be heard or hopefully heard.

So you’re working on yet another album, this time under Roofy?

Yes, but not under Roofy, only Corbin Roof. It’s an acoustic electronic album, “I’m starting for next year.” Roofy will have TWEAK YOUR PATH finishing out this year and then REWIRED next year & a few here and there collaborations. While I’m focusing on Corbin Roof branding next year to get into position for the children’s album 2017.

I figure shooting for a goal that far ahead will help to solidify the brand by that point as the sleep aid/ambient ASMR albums have been selling pretty well in comparison thus far.

You’ve also been writing on a new blog through tumblr called The Greatest Unknown musicians of our time, how is that going?

CR: I sometimes feel like I need a huge office with a cheap yet highly functional IKEA desk. Just got in all the musicians info for their spotlights on November’s blog, and already got the next batch of musicians together for December. So if anyone is interested, they can contact me and get on the waiting list. I have decided to contact Jordan Pier of Leaving Richmond at the last minute as his EP just came out (which is amazing) and really needs some exposure. “Just doing my job…” or something to that effect.
I have decided to just delve into everything I can possibly to continue the campaign for Roofy and start branding Corbin Roof with the goal of doing some “street” performances of my up coming album “The Semi-Hollow Box”.

#WEATNU Digital Magazine – Oct 29, 2015

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