Category Archives: Popular Music

Kamara Thomas and The Ghost Gamblers: Where Country Music and the Cosmos Meet

Posted by musichistorian on

[left to right] Kamara, Amal Bouhabib, Jeff Malinowski

 When I first watched Kamara Thomas perform with The Ghost Gamblers on May 2nd at The Living Room in the Lower East Side, I was drawn by her style. She sported a cotton poncho top that was a combo of both a solid color and floral print fabric and a pair of pants with various religious symbols. Then there is her music, with song titles like “Stranded in San Antone” that include these lyrics:

You promised me the rivers of Damascus/ And your love was all that I was askin’ for/ instead you left me Stranded in San Antone…

As I researched the band, I learned they describe their music as cosmic country. The name of this genre and the catchiness of this acoustic folk and rock ‘n’ roll sound, intrigued me so much, I knew I had to invite Kamara to be the full-length music feature for May right here on Music Historian’s Hear; Don’t Listen.

A New Genre: Cosmic Country 

Aside from any country I hear on the radio, The Ghost Gamblers is the first band I heard of that plays cosmic country. Inside The Living Room, where shadows and flickering votive candles set a meditative atmosphere, Kamara explains the genre as she shares her personal history with music.

“In general, I think of myself as a priestess of country music. I was raised with country and classical music at a very early age.

“Before I was 7 years old, my mom was a big hippie and I had always listened to rock ‘n’ roll in my house. Then, when my mom “got God,” as they call it, she became a Seventh-Day Adventist – a religion that is on the side of fundamentalist Christianity. Afterward, I was cut off from rock ‘n’ roll, and also, as far as I could tell, fun. The only music my mother would let us listen to was country and classical.

“But I often wondered why country got to stay and why rock ‘n’ roll had to leave. Country talks about crazy stuff going on in the world just as much as rock ‘n’ roll. My mom just always told me, “Country was about life,” so it was okay.

“As I continued to live in this fundamentalist atmosphere, I adopted a philosophical point of view. I was always thinking about God and tried to integrate everything I was learning with my callings as an artist and singer. I also tried to integrate what I was learning with my own internal disagreements about the fundamentalist point of view. So naturally, my stuff is of a very spiritual nature and I always ask myself spiritual questions.”

Kamara and Jeff

Further in my conversation with Kamara, I learned her spiritual ponderings eventually transformed into journeys, which she shares through music. She says, “As my journey unfolds, the lessons I learn in my life end up becoming songs. One of the songs, “My Pretty Angel” is probably the most spiritual song you’ll hear.

“This song took my three years to write, because it accompanied me on my spiritual journey. When I get the inkling of a spiritual lesson I’m learning, I will write a song, but won’t finish it until the lesson has been fully learned or realized.”

I then wondered whether Kamara applied this process to all of her songs. She then explained to me how her creative cycles differ for each of her songs, and how they correspond with her spiritual journey.

“I write songs in cycles. Some are tiny ones, others are large. Some songs will take me an hour to write, and some will take me seven years. My spiritual lessons are cycles, and they are built into my song writing process. I found, the more I dealt with my spirituality, the more cosmic it became. So, that’s why it’s [my music] is cosmic country.”

Although I found my answer to “what is cosmic country,” I felt I was only seeing the tip of the iceberg on Kamara’s adventure with music. Then, she shared with me another important life lesson – accepting the path of music.

The Need for Solitude: Listening to the Still, Small Voice

She says, “There was a moment in my life I realized I was a musician, and it was weird because all my life, I was involved with music but had no idea I was being called to be a songwriter or a singer.

“As a child, I was heavily involved with church and I was a part of everything that had to do with music. I learned to play drums in the concert band, and I gained all of my singing experience from being in the choir, but I took it for granted. I didn’t realize I was actually a musician.”

When it came time for Kamara to go to college, she knew she wanted to perform, so she decided to pursue acting. However, she couldn’t put music aside. She explains:

“In my freshman year of college, I almost flunked out because I was involved in all these musical ensembles that would start as soon as classes ended, and continued until 11 at night, so I never studied for classes. I was also too involved in communities to listen to or even hear my still, small voice – one that wanted to say “Oh, I’ve been making music all my life” or “Oh, I’ve been a musician this whole time.” I didn’t hear it until I was alone long enough that it finally hit me.”

Kamara claims that solitude helped her discover her need to start songwriting. She found this solitude when she moved to Los Angeles after college to become an actress.

“I moved to L.A. to be an actress, and I didn’t act at all. I happened to stay in a part of the city that had everything I needed to do within a one-mile radius, so I walked everywhere, and fell into the solitude I needed to start writing songs. During this time I started to hear my still, small voice. Then it occurred to me I wanted to be a musician.

“That’s when I decided to move to New York, because I would never be able to cut my teeth into L.A. without a car. And, I could build experience in songwriting and performing.”

 For Kamara, this decision marked the end of one life chapter and the start of another – her life as a musician. Like the cycles of all things that exist in nature and in life, nothing is ever wasted, and that is what I learned from Kamara. She translates some of elements of her past experiences and spiritual lessons into songs. For example, Kamara’s experience with the west, inspired The Ghost Gambler’s hit, “Stranded in San Antone.”

A Place of Spirit that Inspired a Song

“This song is part of a larger story cycle called Tularosa,” explains Kamara. “Tularosa is an area in New Mexico, a place that really caught my attention. I first learned about it when I studied theater in college, and I started to see this place as a focal point for several American dreams. 

“When I traveled to the west, I felt a lot of spirit in that land. If you become still enough, you can almost listen to it. Learning about all that happened in Tularosa lead me to write several songs about this place. “Stranded in San Antone” is one of them.

“So, I was writing this song, but I soon found myself stuck. I had a block, and decided to do a spiritual exercise to find the focus of this song. I took out some tarot cards and did a reading. This helped me find the focus of the story I would tell in this song – one of a woman who did whatever she could to make something of her life and then paid the price of her decisions in order to battle through the rugged terrain.”

Nobody can turn away from the tune that pulls the listener into this story. Kamara’s voice tells the story through the eyes of this character, but it is her voice that expresses that element of rock and folk that excites listeners from the very moment the song starts.

The inspiration behind “Stranded in San Antone,” is very intriguing. How often have you been able to listen to the New York City’s landscape when it’s still? I certainly haven’t, because our city never stays still, and we certainly don’t stand still enough to listen. “Stranded in San Antone” is one of the Ghost Gambler’s songs that will take you to the final frontier of someone’s dream and personal journey.

As my talk with Kamara drew to a close, I learned that aside from being a musician, she is first and foremost, a full-time mother. Playing both roles requires a balance of determination and patience.

The Path and Miracle to Creation

“It’s amazing to play music with a little child in the house,” says Kamara. “I often tell people “I’ve never gotten more done with my music before my daughter was born.” This is because time takes on this new meaning – everything you do is in this allotted time.

“I have to plan what I’d like to do and actually see it though. When I have free time, to not do what I really want is like sacrilege. I think to myself, ‘let me use this time to help make something happen.’

“In this way, she’s contracted me and my husband’s life, but expanded it at the same time. We’re able to do so much more. And it’s great that she’s inside inspiration all the time. She loves music.”

Kamara also says the journey of motherhood teaches her the true value of creation.

“Doing this creative act – passing a human being out of my body and into the world – helped me understand the path and the miracle of creation more deeply. Now, I know how hard it can be to bring something into the world.

“I was in labor for 32 hours. Nothing went wrong, it was very normal, natural and painful; it just took a long time. It helped me realize that in the creative process, you sometimes have to push your creation out; sometimes, you have to trust that it’s going to come out in its own time; and sometimes it is painful.

“What my daughter brought to the picture is far more than what she took away. Now, and I have more patience with myself, and I am more determined.”

Future with The Ghost Gamblers: “It’s Our Time”

 Earlier, Kamara talked about how her spiritual lessons and songwriting process accompany one another in creative cycles. Aside from realizing these cycles, Kamara is now at a point where she can listen to her own inner voice, and reflect on her experiences, and understand how she’s gotten to this point in life. All of these reflections help her to pursue what life has called her to do – music.

Right now, Kamara is finishing her residency with The Ghost Gamblers at The Living Room. They are also getting ready to release an album in September, and she’s currently putting together a free teaser, which she hopes to have ready in the next few weeks. As for the near future, Kamara hopes to get back into the studio and record the next record.

When she is not in the studio, she is raising a child with her husband, who is also the pedal steel player in The Ghost Gamblers. Kamara’s journey through motherhood is a large cycle that has just begun. Like the movement of celestial bodies in the cosmos; family, career and everything else that makes up life, all revolve simultaneously with one another. Some of these life cycles are small, some are large. Kamara’s cycle with The Ghost Gamblers is well underway. She says “We’re just getting up and running – it’s our time.”

“Put Yourself Out There”:Solo Guitarist, Hannah Winkler Shares Her Music and Story

Posted by musichistorian on

In today’s indie band culture, especially the one in the Big Apple, I too often feel that something is missing. Then it hits me – “Where are the solo guitar chicks?” I was happy to finally find one on a warm and rainy February evening, at Seth Glier’s set in Rockwood Music Hall. Here, I stumbled upon the voice and guitar playing of singer-songwriter, Hannah Winkler. 

One of the songs I heard from her that night, “Dear Love” – which is on her self-titled EP – left me in awe. It starts with an unsettling progression of minor 7 chords, followed by progressions of major 7 chords, and then finishes soundly on the tonic, the 1 chord. On top of these harmonies, she sings about how she simply cannot wait for love to arrive, even though it is warm and comforting.

I wanted to find out more about the girl with the intricate chord progressions and the disillusioned views about love. So, I invited Hannah to be my April music feature for the full-length interview right here on Music Historian’s Hear; Don’t Listen.

“The Paper Plate Song”

Hannah and I met at the café on East Houston, Sugar. In our conversation, I learned that Hannah’s relationships with friends both from her home in Bethesda, Maryland and the University of Michigan at Ann Arbor influenced her songwriting. She says:

“During my freshman year, I was writing “Dear Love,” and one of my friends wrote lyrics which I later set to this song. Coincidentally, the lyrics he wrote happened to describe something I was experiencing at that time – a long distance relationship. The lyrics just fit with me, and I just finished with what he started. “Dear Love” became one of my favorite songs to play.

“My relationships and my friends’ relationships in college inspired my music; we were learning a lot about ourselves at that time. Also, missing relationships from home, missing relationships from college while I was at home also inspired my songs.

“I wrote a song after I left college called “The Paper Plate Song.” When I wrote it, I was at a concert, and I missed my friends so much that I started crying and had to leave the concert. As I left, I needed to write down what I was feeling, so I searched for whatever I could find to write on, and it happened to be a paper plate.

“Until this day, I don’t have a title for the song; it’s just called “The Paper Plate Song.”

College was also where Hannah had her first performing opportunities for her own music. All her life, Hannah only performed solo classical piano pieces or performed in ensembles. Luckily, Ann Arbor offered her several safe and intimate spaces where she could practice as a solo artist and share music with her friends and the surrounding community.

“Put Yourself Out There”

“I would perform for friends in my apartment and at a local church that welcomed a lot of jazz musicians.

“I also participated in a student songwriting competition which took place at Ann Arbor’s premier folk venue, The Ark. The winner of this competition would get to open for an undetermined better-known artist at the Ark. I ended up winning the competition, and opened for Joshua James a few months later.

“Not only did I open for Joshua James, but I got my foot in the door and was able to play again at the Ark. Afterward, I performed at a large outdoor concert series, Top of the Park Festival. I also met a few dj’s and had the opportunity to perform on a few local radio stations.”

Hannah’s message to all soloists is, “Put yourself out there. You might meet people who can recommend you to a specific venue or a band in need of an instrumentalist.”

This is just one way a singer-songwriter can attract opportunities. I then asked Hannah whether her move to Brooklyn was a result of her hunger for more opportunity.

“Moving to Brooklyn, I was able to collaborate with several artists. I opened for Seth Glier and Theo Katzman at Rockwood. Then last Thursday night, I played at Googie’s with several other friends. I also sang back-up vocals on a record by the band called Guggenheim Grotto.

“Open mic night is also great way to meet people with whom you can collaborate. I also like taking breaks from doing my music, and helping other people with theirs. This is how I met Kat Quinn, another artist. I will be singing back-ups for her on her set at Rockwood.”

Aside from singing with fellow artists, Hannah also scored a short film by her friend from college, Perry Janes titled, Zug. Her most recent single, “Hide it Away,” which she produced with Theo Katzman, is included in the film. Another one of Hannah’s friends, Brian Trahan, also from University of Michigan in Ann Arbor, helped her produce her EP.

“I want to see who will help me bring out the best in my songs”

“While I was in college, Brian and I sang together in an a cappella group. I started recording the EP with him and I enjoyed seeing what he had to bring to the table. He is very influenced by rock and classical music, and for some of the tracks, we invited string quartets to help us complete the songs.”

Hannah adds, “Recording the EP was a wonderful journey. I like painting with music, and you get do that in the recording process.

“I have a lot of ideas of how the tunes should feel, and I appreciate hearing others’ ideas as well. I am currently trying to assemble a team of recording engineers for a full-length album – one with 10 to 12 songs. I want to see who will enjoy working on the album, understand my music, and help me to bring out the best in my songs.”

The Puzzle: Rehearsing with Hannah

 The experience of producing an album differs for each artist. For Hannah, her recording days started in Ann Arbor, Michigan, where she created her first album with Brian. Recording the single, “Hide it Away” in her Brooklyn apartment however, presented a different challenge. Hannah explains:

“We only had a chunk of time each day to record songs. We had to wait for cars and ambulances to pass,” because every passing noise could be picked up by the recording devices.

Prior to recording a song, Hannah and her guest-musicians rehearse a piece of new music for the best process. An on-going puzzle during these rehearsals, is figuring out what Hannah is playing on her guitar. She says:

“I’ve been playing piano since the first grade. Then I picked up guitar in the 9th grade, and taught myself. I still have never taken a lesson. From the moment I picked up guitar, I started writing my own songs. I occasionally looked up the chords in songs from my favorite artists, but I never really learned them well. So I wrote my own.

“Playing the piano for so long really helped my ear, but I could never translate my theory knowledge onto guitar. I just press my fingers down wherever and just play things that sound good. When I rehearse with bands, I can’t explain to them what I’m playing so I show them, and they get it. For some, it’s like a puzzle and they really enjoy learning. In turn, these rehearsals help me figure out who I’d like to work with in the future.”

I was surprised to hear that Hannah composes songs purely by ear. I have played guitar for years, and actually picked it up around the same time as Hannah, but I only learned formally.

When I wrote my own songs, I always used tablature and mastered simple major and minor chords. If I don’t have something written in front of me, I don’t know what to do. For Hannah, the power of experimenting and her gift for hearing is an outstanding musical asset.

As I continued my conversation with Hannah, I learned more about her song writing process. She has a few recipes for creating songs that are ready for “the-road-to-recording.”

Setting a piece of music to words

Hannah says, “I experiment with chords for a while until I find a structure I like. Then, I usually start humming a melody over it, and the words come last. That’s the hardest part for me.

“Occasionally, I’ve written music to poetry by my mother, E.E. Cummings and myself, then composed music to it; and this instance, I found it easier to already have the words. To already have a piece of music with a melody and then have to add lyrics to it is really tough.”

Since they are the only musicians creating their songs, the solo singer-songwriter is often challenged by their own compositional methods. Collaboration is definitely one solution that can ease this pressure. However, even the most eloquent songwriter has to push themselves to create a song that will successfully express their emotions or thoughts.

“Sometimes, when I am really upset, I find it difficult to express myself eloquently or poetically; I just want to scream about it and say whatever it is I am feeling.” Hannah adds, “It is hard to make that sound beautiful. Usually though, my best songs come out of these moments.”

 “I Really Love This” 

Like every promising musician, Hannah has set goals for herself and has identified areas for improvement. One of these areas includes becoming more comfortable with performing.

“It’s a very vulnerable thing,” Hannah explains. “Singing with a group of people is comforting as opposed to singing a personal song by yourself. I still get nervous at large gigs just as I’m about to perform, but I want to continue to do so. Once I’m on stage, I feel great.

“The whole thing, like hiring, paying for a band, and covering expenses, can be intimidating, but it’s exciting. I hope to continue to perform more and more. It’s important for me to show people that I really love this and that I believe in myself.”

Hannah’s passion for recording and performing is unfaltering and infectious. Although she does occasionally worry about the challenges within the music industry now; it did not cross her mind when she decided to pursue this path. She says, “It definitely intimidates me, but I love it, so I’m going to continue with it.”

No Idea is Too Small

Hannah might have moved to Brooklyn for more opportunities, but her music career really started in Ann Arbor, Michigan. During this time, she learned to make connections with individuals, make herself known in a music community, and work with others on producing music.

That warm Friday afternoon at a café called Sugar, Hannah taught me that no performance or musical idea is too small. What can start as an open mic night at a little club in Brooklyn, can lead to a performance in a large line-up in Manhattan. What can start as a few words on a paper plate can turn into a beautiful song on either an EP or a full-length album. With her a beautiful voice, a passion for playing guitar, and a talent for songwriting, I feel Hannah Winkler will definitely receive a warm reception from both fans and fellow musicians in New York City.

Opening Doors: Imagine Dragons’ Bassist, Ben McKee, talks about the band’s exciting journey

Posted by musichistorian on

Creating hit songs, completing albums, and finishing nation-wide tours are series of feats in a recording artist’s career. This is why individuals who want to fully pursue music should be ready to dedicate their life to it and LOVE it, like the Las Vegas-native band, Imagine Dragons.   

In a telephone interview, Ben McKee, Imagine Dragons’ bassist, tells me, “We’ve all been playing music for a long time, and performance is where we feel most comfortable. It is magical to be in a space, especially an intimate one, where everybody can be a part of that same community. The music doesn’t become alive until you’re sharing it in a room with a crowd and feeding that energy.”

I saw Imagine Dragons perform at the lounge in Delancey, Pianos, on March 7th, and the experience from watching the band was electrifying. Their music was my greatest motivator for trekking out to Pianos to personally approach Imagine Dragons. Now, I am happy to bring my conversation with Ben to this month’s full-length band feature right here on Music Historian’s, Hear, Let’s Listen.

 The Busy First-Visit to the Big Apple: “That performance was our third one that day”

Getting this band’s attention was not easy. Following their showcase at Pianos, everybody in New York City wanted to meet Imagine Dragons. That evening was also the end to a busy first-time in the Big Apple. Ben explains:

“We drove all the way from Boston to make an 8:00am sound check earlier that day. We performed on the set of Mark Hoppus’s show on FUSE TV; then we had a couple of interviews at a few radio stations; went to another showcase; then made it to Pianos – our third performance that day.”

So what is it about Imagine Dragons that has recently caught the attention of disc jockeys, popular music figures, show hosts and of course, fans everywhere? The answer might hide in a sense of ‘mystery’ the band incorporates in both their music and image.

A Factor of Mystery: “We leave all the songs to the listeners’ interpretation”

When I listened to songs like “America” and “It’s Time” I felt that the singer, Dan was touching on the life philosophies and issues that affect everyone as a collective. Another song, “Cha-Ching” which the band performed at Pianos that night helped me imagine a more specific story – one about the tiring strife Americans experience when competing in the business world. These are the lyrics I recall:

“You’ll be a worker/ I’ll be your soldier/…/I’ve never seen this side of you…”

Dan Reynolds (right) and D Wayne Sermon (left) performing at Pianos

When I asked Ben about the meaning of “Cha-Ching,” he explained:

“Dan writes all the lyrics. He tries to write lyrics that are not so definitive. He focuses on something he’s feeling and tries to translate that into lyrics and a mood that people can connect with and attach their own meaning to. We leave the meanings of all our songs a little bit to listeners’ interpretation.”

Further into our conversation, I also learned the band’s name is another big mystery.

“The name, Imagine Dragons, is an anagram,” claims Ben. “We in the band all agreed on a statement and we switched the letters around to create this name so that nobody would guess the statement.” Fans from everywhere have already tried to decode the name ‘Imagine Dragons’ and uncover the hidden message, but nobody has come close. According to Ben, the band is “happy to keep it a secret.”

While the meaning behind Imagine Dragons’ name and music is undefined, their story as a band that gradually built their reputation on the popular music scene is clear and inspiring.

“When we met, we never thought that we’d go on to play pop music in a matter of years.”

Ben McKee, Imagine Dragons’ Bass Player at Pianos in NYC

In his early years, Ben’s love for music stemmed from trying to emulate his father on the acoustic guitar. By the 5th and 6th grade, Ben was forced into playing acoustic bass.

“Up until the 5th grade, I played violin, but then, my elementary school band needed a bass player. Later, in High School, I became part of a jazz trio, and that’s where I really learned to play the bass more proficiently.

“This led me to study at Berklee College of Music in Massachusetts, where I met Wayne (the guitarist) and Platzman (the drummer) who are in the band now.”

A few years later, a telephone call from Wayne led Ben to make the decision of pursuing performance and songwriting full-time with Imagine Dragons.

“Wayne started Imagine Dragons when he moved back to his hometown in Provo, Utah. Then, he moved his band to Las Vegas, and that’s when he invited both me and Platzman to join.”

Soon after the band was complete, the group created a definite style and sound. Introducing it onto the Las Vegas music scene however, was a challenge. According to Ben, Las Vegas is a great city to perform as a cover band, but original bands have a harder time gaining attention.

“A lot of venues will actually want to schedule cover bands in order to attract tourists. When we started, we played cover songs at Casinos by night, and spent the day composing original music. Then, we gradually introduced Imagine Dragons’ original sound into these sets, and found that people, both local and tourists, were stopping to watch us.”

This recognition opened the door to the next big opportunity – performing Battle of the Bands at festivals for four consecutive years and landing in first place a total of three times. Although they landed in third place at their fourth performance; this show would have the greatest impact on the group.

“Playing in front of 20,000 people… had the greatest impact on our career.”

“The Bite of Las Vegas is a music and food festival in Las Vegas, and the Battle of the Bands showcase within this festival is called Battle of the Bite.

“In our fourth consecutive and last performance at Battle of the Bite, we came in third place; just far enough to win a spot on the local stage. It just so happened, that when we performed on that set that afternoon, the promoter of Battle of the Bite was watching from the audience.

“Later that evening, Train, was supposed to perform on the same stage, but singer, Pat Monahan came down with a sore throat, and the band had to cancel their show. The same promoter who saw our show earlier helped place us in Train’s spot.

“Although we didn’t win Battle of the Bite, we played in front of 20,000 people that night. That moment had the greatest impact on our career.”

Imagine Dragons’ history holds a lesson – you don’t have to win every battle to open the next door in your music career. For Imagine Dragons, the opportunities that followed their performance at Battle of the Bite included a contract with Interscope Records in 2011 and working with popular music producer, Alex Da Kid.

“He believes in the music we are making, and he wants to help us bring it to more people”

“One of his assistants [Alex Da Kid’s assistants] presented him with a CD of our old music,” explains Ben, “and Alex connected with it and he loved our sound.

“He wanted to help us realize more of our own vision and work with us to release our music on a bigger scale. He believes in the music we are making, and he wants to help us bring it to more people, which is also what we want.”

Imagine Dragons is currently working with Alex Da Kid on their first full-length album, which they hope to release around this Fall. The title of their upcoming record is a mystery for now, and they can’t wait to reveal it to fans.* They also just wrapped up the music video for their single, “It’s Time,” and are planning to hit the road again in May. In the long run, Ben and the band hope to continue doing the one thing they love most – music.

“It’s been great, and we hope to continue doing it on a bigger scale.”

“Music is the primary way we express ourselves. We are not the most social people, and we feel we are in our element when we perform music. We feel that we can expose ourselves in a way that makes us feel less vulnerable than in other situations.

“We also love connecting with our fans as much as possible. Even with the increasing attention from the press – which we also enjoy – we always want to connect with those who travel great distances to see us perform.

“We are a band that lives and thrives when traveling on the road and performing live for crowds. It’s been great, and we hope to continue doing it on a bigger scale.”

“We never planned on doing music as second to our everyday lives.”

At the end of our conversation, I thought about the exciting road Imagine Dragons traveled so far. I realize an exciting journey like this one is rare, and it doesn’t come easy.

The life of a recording artist is not for the opportunistic job-seeker or entrepreneur, but for the most dedicated artist that is willing to devote years of practice to their craft. The road to bigger opportunities – whether it is a record contract with a big label, going on a nation-wide tour, or releasing a full-length album on a national level – is a long one. Luckily, Imagine Dragons accepted the challenge from what seems like, the moment they started.

Ben says, “We never planned on doing music as second to our everyday lives nor to escape our lives. This is our life and it’s what we wanted to do.”

*The full-length album by Imagine Dragons was released on September 4th, 2012 and it’s titled Night Visions. The record is available for purchase on iTunes.

The right place, the right time: Alyson Greenfield Talks about how Music is calling to her

Posted by musichistorian on

A few hours prior to her music video debut of “Mama Said Knock You Out” at the Church for All Nations on the Upper West Side, Alyson Greenfield works with music engineers and her drummer, Van Alexander on a sound check. Afterward, Alyson, Van, her make-up artist Seevon Chau, hair-stylist Gloria Espinoza, and I travel downstairs below the church to an educational playroom. Here Seevon and Gloria help Alyson get ready while I interview her for my Music Historian blog, Hear; Don’t Listen. 

Surrounded by baby blue walls and preschool décor, Alyson multitasked on a few things like communicating with her industry representatives on her cell phone; cooperating with her stylists as they prepare her for the show; and answering my questions.

I personally know individuals who would get frustrated with this kind of hype, but not Alyson. During my interview, I learned that Alyson has years of experience working several jobs as an artist; and I initially assumed it was this experience that taught her to be comfortable in these situations. Slowly however, I realized that her kindness and flexibility might be the result of her personal development rather than professional.

“I NEVER said to myself “music is the only thing I want to do in my life.”

Alyson Greenfield is a woman of several talents and she happens to be a musician. For Alyson, music is not just a career. It is also plays a great part in her journey to discover her full potential as an individual artist and a member of a collective artistic community.

“I have never said to myself “this [music] is the only thing I want to do in my life.” Nor did I think “If I don’t do this, I’m going to crumble!” I just feel that right now, being a musician is calling to me,” explains Alyson.

“I moved to New York City three years ago to focus on music. In addition to composing and performing music, I started an organization called Tinderbox Arts, and my other jobs included being a teaching artist in drama and dance at different elementary schools. It wasn’t until May of last year that I realized I didn’t have the time or energy for several jobs, and that’s when I decided to only run Tinderbox Arts and perform music.”

Alyson proves that working in the music and performing arts industry can be trying. Working multiple jobs is an obstacle – one which can overwhelm even the most organized and talented worker. So how does Alyson keep going when the going got tough? She says:

“I ask myself questions like ‘do I still want to do this’; ‘do I have something to say’; ‘do I have something different to offer’; ‘do I have time for this’?

“At the moment, I am focusing on meditation and yoga to really help me find a sense of calm and peace within myself, and ultimately help transform whatever I am doing into something that will help me become a whole person.”

These words really struck a chord with me and raised these questions: what did Alyson mean by being a whole person, and how could music help? I found my answers as I listened to Alyson talk about her greatest musical influences and her attraction to electronic music.

“Their songs are about fear and seeing love from different angles…” 

“Tori Amos was the first person to really influence me. Her original compositions and her passion for music touched me. I also liked Radiohead, Bjork, Peter Gabriel and Kate Bush for their use of electronic sounds in their music, which I found really epic and moving.

“Their songs are also about fear and seeing love from different angles. Their songs deviate from the storybook love and heartbreaks. For example, in his song, “Digging in the Dirt,” Peter Gabriel reflects on the feelings he has about his past: he puts his feelings upfront and addresses them.”

Alyson continues, “In this instance, some of the emotions you bring out in music are not always going to be pretty, but expressing them is part of being human.”

One of her songs in which I can detect this openness and fearlessness is “Understand the Sky.” In this song, Alyson openly reveals her curiosities about the physical world. She sings, Get it into your head that I live in a bubble globe… Get it into your head that I am an adventurer… ‘Cause I think I touch you like the sky touches the ocean… but up close, I know I’d have to keep swimming to try and touch the sky. Alyson tells her story behind this song.

“While I was living in Alabama, I had discovered my Casio keyboard could make dreamy sounds. One day, I was in my studio in my apartment, and I just started playing a few chords. The melody simultaneously seemed to come right out of me.

“I wrote about the sky because one day, I was looking up at it and I realized there’s so much I don’t understand about the realm I live in, like where it beings and ends. I also thought the subject of the lyrics would fit very well with the chords I composed.”

“I think electronic instruments transcend time and space in a certain way.”

One can easily interpret “Understand the Sky” as an acceptance or an understanding of how we might never understand the mysteries of the space in which we exist. The electronic harmonies and her immaculate vocals help transform Alyson’s thoughts and words into complete songs.

“I think electronic instruments transcend time and space in a certain way. I also think they help me get over my fear of things I don’t understand, and just help me push forward and get into making music.

“As for singing, I don’t think I’ve ever lived a day without singing. I’ve been writing melodies since I was a kid, and I feel like I always have to write something.”

This inner need for singing enabled Alyson to create a cover of Coolio’s “Gangster’s Paradise.”

“I feel the covers kind of pick me. I just start singing these songs in my home and then sing them in my own way.

“I’ve always loved “Gangster’s Paradise,” and always found it very moving. When I sung it in my own head, I realized I wanted to turn it into a cover song. So, I tried several instruments for the cover like piano, the guitar, a few synths, and then, I found the glockenspiel, which seemed to be the best instrument.”

Anybody can listen to or watch the music video of “Gangster’s Paradise” on Alyson Greenfield’s website. What you will not find on her website are the songs she performed this past Saturday on the stage at The Church for All Nations.

“All the songs I am playing tonight are all new and they’re not recorded. So, that will be one of my projects. I am also releasing a single of a song I recorded at the Converse Studio in Brooklyn last spring, and I will start work on a music video for that single too. My overall goals are to record music and share it with people.”

“I look forward to sharing more spaces like this with people and other musicians.”

Aside from sharing her music with her listeners, Alyson also looks forward to sharing her performance space with musicians, as well as work with other artists.

“One of my favorite parts of being a musician is interacting and collaborating with other musicians. I have collaborated with people on music videos as well as artists in other realms. I enjoy this work because I learn a lot and I feel like I am part of a community.”

While Alyson will still write songs and perform them by herself, she is more excited about the communal experiences that arise with being a musician; like performing with musicians in a space like The Church for All Nations.

“It’s important for me to perform in a space like this, and I am looking forward to sharing more spaces like this with people and other musicians.”

The right place, the right time

 Leaving the Church of All Nations that night, I reflected on my interview with Alyson and realized the following: We all too often hear that a composer’s or musician’s success is based on being in the right place at the right time within the industry. Yet, several musicians rarely think about whether music is calling to them at the right time and place in their lives. Alyson is one musician that carefully examined her circumstances, and listened to her reasoning and her inner voice before fully-pursuing a career in both music and the performing arts.

Alyson is definitely not a musician that acts without thinking or out of pure impulse. Making music is perhaps the only instance where she surrenders her mental toughness, logic and control. The end result includes intriguing instrumentation and harmonies; whimsical and sometimes existential messages; and a voice that anchors all these elements down into one song.

Avi Wisnia: Open, Unreserved and New

Posted by musichistorian on

 While every artist today enters the music industry ready to pave their own way through this unpredictable and sometimes threatening landscape, they all promote their EPs and records through the same tactic: live performance. This part of being a full-time musician excites Avi Wisnia.

“My schedule is kind of crazy,” he states, “but I love the challenges that come with it; I always play for a new audience. Playing one of my songs live is always a new experience, and I love the spontaneity and openness that comes with doing so.”

Roger Greenawalt on ukulele and band

After reviewing Avi Wisnia’s performance at CMJ 2011 right here on Music Historian’s Hear; Don’t Listen, I was set on interviewing him for a feature article. This past Saturday, I arranged a meeting with Avi backstage at the Brooklyn Bowl following his performance in the Beatles Complete Compilation with the Ukulele band.

During our conversation in the poorly insulated loft right above the Brooklyn Bowl stage, Avi talked about the obstacles he had to overcome before entering a studio. These challenges followed his from his pre-college years all the way to recording his first full-length album, Something New. Today Avi leaps over hurdles in order to do what he loves most: getting others excited about music.

“I want people to feel like they’re taking away something they haven’t heard before”

“I feel music is all about expressing yourself in the moment and creating that communal experience with the audience.

“Whenever people listen to me perform or sing on a record, I want them to feel like they’re taking away something they haven’t heard before – a mixing of different styles – something new.”

Avi Wisnia at the Brooklyn Bowl, January 14th.

Something New is also the title of his first full-length recorded album, one that evolved from his 2007 EP, Avi Wisnia Presents. As I researched Avi’s background online, I noticed he rerecorded many of his songs from his first album for his latest one. Further into our conversation, I discovered that rerecording these songs was essential to Avi. He wanted to present himself as the same musician from his EP on his full-length feature.

“I started performing my own music for people while I was in college, just to see their reaction. They would come up to me and ask for copies of my music to take home with them. This led me to recording an album.

“I brought my band from New York City to New Jersey to make this record in the a Synagogue where my father was a rabbi. My uncle, who was a cantor in that same temple, engineered our recordings.

“Working on this album was a real grassroots effort: I felt like were recording the songs just as they were in that moment. Everything we recorded for Avi Wisnia Presents was only a first or second take.

“Creating Something New gave me the opportunity to rerecord these songs exactly the way I always heard them in my mind. Although I felt more pressured to realize my own songs, we really made the most of the recording space – incorporating different sounds to bring the most out of the songs.”

  The ability to hear a brand new song before writing it to paper is nothing short of amazing and sought-after in the music industry. However, it would be years before Avi learned to trust his own ability.

“I didn’t accept the idea of projecting my influences through my own music, but then I embraced it”

“It took me a surprisingly long time to put songs onto paper. I thought if the song wasn’t going to be a masterpiece, then I didn’t want to write it down. I didn’t get over this until college, and before that; I never really allowed myself to finish songs. I eventually realized that every song I composed wasn’t going to be complete or perfect.

“For a long time, I also didn’t accept the idea of projecting my musical influences through my music. At first, I didn’t want to sound like someone else. Later, I embraced the fact that I couldn’t escape my influences. Now, I channel all the songs I grew up listening to through my voice and live performance.”

Avi proves to me that a musician can’t escape his or her greatest musical influences. These help shape an artist’s proclivity for a specific style. For instance, some tracks featured on Something New include musical elements popularly used in 20th century music, like ‘song quoting,’ which is present in the title track, “Something New,” and the 12-bar blues form in “Rabbit Hole.”

I then ask myself, why call a record from today, which pays so much homage to the styles that were new before our time, “Something New?”

The intimate mix of Bossa Nova, west coast jazz, acoustic folk, and blues 

“This was my first full-length album, and it was an introduction to me as full-time recording artist. It displayed my flexibility and diversity as a musician.

“Also, I want people to hear a new mix of different musical styles,” some of which include acoustic folk, west coast jazz, blues, and Bossa Nova.

I then asked Avi what he liked about these genres, and he responded:

“Looking back to all the records I listened to growing up, my favorite track on every album was the last, the really quiet and intimate one. You find that same intimacy and mellowness in folk, west coast jazz and Bossa Nova. Although they are different styles, they channel that same idea of mellowness and intimacy.”

Songs like “Rabbit Hole” and “Sink” focus lyrically on intimate issues like foolish young love and hitting rock-bottom. Musically, the slow tempo and improvisational style in “Rabbit Hole” helps both the attentive and recreational listener transcend to a silent space, closed off from the busy world. I asked Avi to talk about “Rabbit Hole” and I was surprised by his motivation behind this track. It was not what I initially assumed.

“One night, while I was half-asleep in my college dorm room, I wrote down a line that stuck in my head. I then spent the next 5 hours into the morning hours trying to develop it, and soon, it turned into a song. While it made sense to me as I wrote it, I still had to be sure it made sense in the morning.

“When you experience a moment like this, when an idea for a song just comes to your mind, you have to let it take you places. Just go with it.”

Avi then also explained that not all songs come to him as naturally. The story behind “Sink” is dramatically different.

“Sometimes, you have to put work into a song. Then the inspiration comes later”

“For “Sink” the idea of melody and rhythm were there, but I had trouble with both the lyrics and tying together different segments of the song. 

“When I took the song to the studio, I wasn’t sure how to communicate the track to either the musicians or the producers. Something was missing, and the song wasn’t translating. I also struggled with this song when I performed it for others.

“Sink” was the last song on the album to get attention, and I, along with my musicians and producers, felt it was holding the rest of the album back. I was pretty sure I would throw “Sink” into the trash.

“Then one day, when I was visiting my childhood home in northern Philadelphia, I went down to the basement and found a Fisher Price Xylophone. I started playing and found that the range of sound on this toy-xylophone fit the octave within “Sink.” So I brought to the studio, put a microphone to it, and started playing. Afterward, we invited some friends to sing a simple back-up chorus, and eventually, all these elements happened to sync everything.

“Sometimes, you have to put work into a song. Then the inspiration for the song comes later.”

The uncertainty of the next hit song, masterpiece, or duration of the next full-length recorded album may frighten some, but not Avi.

“The constant change allows me to express myself in different ways”

 “As I got more into the business, I had to remind myself that in the end, it is all about being excited by music.

“Before I became an artist, I was a music teacher for pre-school aged children. When I gave them a music lesson or handed them an instrument, they were always excited to play music. Even if their playing did not sound like a song, they were happy to express themselves.” This gratifying experience encouraged Avi to adopt a more positive attitude towards in his own life as a musician.

“Every time I go on stage, I remind myself to be open and unreserved when performing. I shouldn’t worry about being “good enough.” Music in this way can be very forgiving; and it’s a great way to get rid of the hang-ups in life and enjoy the moment.” And he wants to continue doing this even as a full-time recording artist.

“I love going on the road and meeting new people and also feeling the vibes of different cities. The constant changes in location challenge me to express myself in different ways, and I never want that to stop. I always run in to something new.”

A Conversation with Radiation City’s Randy Bemrose: The Process of Creating and Releasing “The Hands That Take You”

Posted by musichistorian on

On December 3rd, I interviewed Randy Bemrose, the drummer from independent, Portland-based group, Radiation City.

Randy Bemrose

I originally learned about the band from a showcase at the Brooklyn pub, Spike Hill back in October. I had briefly talked with front man, Cameron Spies and keyboardist, Patti King, right before they took the stage. Naturally, I wanted to continue my conversation with Radiation City, so I invited them to be an interview feature for the month of December right here on Music Historian’s Hear; Don’t Listen.

In my conversation with Randy, I learned about Radiation City’s song writing process and their experience releasing the album, The Hands That Take You.

“What you hear on the record is often a first or second take”

“I would say the making The Hands that Take You was fast and loose,” explains Randy. “The sound was literally the result of emotional release.”

“Park,” a song off their debut album, is what Randy describes “a cathartic song about the budding relationship between Cameron and Lizzy (one of the keyboardists and singers). There’s this palpable excitement, a great deal of doubt and about a thousand miles between the two of them.

“I think we all appreciate the catharsis while being careful to not wear our hearts on our sleeves.”

As the conversation continued, I also learned about how Randy’s musicianship and skills are always tested during recording sessions. He explains:

 “We don’t take too much time to over think our music; our last album was truly a collaborative effort. On a number of the songs from this album where I played the drums, I had never heard the tunes before we started tracking. So what you hear on the record is often a first or second take. It was certainly a learning experience for me.”

Further in the interview, I became curious about the typical composition process behind every Radiation City song.

“We start with what we call the Nut – the basic idea for the song where one of us, or sometimes, Cameron and Lizzy collaboratively create. We then cut some sort of demo and play it as a group and start wood-shedding from there.

“Sometimes that demo will become the foundation for the framework of a song, or sometimes we’ll have a particular sound quality that requires starting over from scratch.

“From here, the recording and writing processes intertwine, and we basically flesh it out as we go. This is when the part of “fast and loose” come in” – the time of emotional release.”

As Radiation City worked to release The Hands that Take You, Randy claims time was the greatest obstacle.

“It didn’t leave us time to half-step or second guess”

“We had the release show booked before we had even started recording the second half. In hindsight, this was a blessing and a curse.

“On one hand, it forced us to keep our noses at the grindstone and didn’t allow us the time to half step or second guess. On the other hand, we were incredibly stressed out about it – we were cutting things way too close for comfort, not to mention prudence in some respects. Creatively, we were pretty confident about it, but a lot of the business involved with releasing the album was truncated.”

The expedited effort was definitely worthwhile. The Hands That Take You was released on a national-level with the help of the record label, Tender Loving Empire.

“It was great, having their assistance in getting the record out there as opposed to pushing it ourselves and waiting to shop for the next label,” stated Randy. “They are hard workers and salt-of-the-earth kind of people – sweet as peach pie.”

This accomplishment might have helped Randy decide that he had found the right group – the one he hopes to stay with “forever.”

Coming together from different backgrounds

Before Radiation City, Randy spent 10 years being part of at least a dozen bands. He also lived in New Orleans for some time, drumming in NOLA groups Jean-Eric and The Bellys.

Radiation City at Spike Hill in Brooklyn. (Left to Right) Matt, Randy and Cameron

At the time Randy was living in New Orleans; Cameron was in San Francisco, playing in a group called Raised by Robots, as well as another group, Spesus Christ. It was here Cameron met Lizzie; and the two started collaborating shortly afterward.

Meanwhile, the bass player, Matt, was playing in The Shotgun, The Intelligence, and a few other groups from the Northwest; and Patti was completing her performance studies at Truman State College in Missouri.

While they all come from different performance backgrounds, Randy, Cameron, Lizzie, Matt and Patti are all true musicians that have a natural ability to collaborate and create some of today’s most notable progressive rock music.

“We take our art seriously. I wouldn’t have it any other way.”

(Left to Right) Lizzy, Matt, Randy, Cameron and Patti

In addition to finishing their latest west coast tour, Radiation City just released a remix by PoPoPePe of their third single off The Hands That Take You, “Babies.” They are also scheduled to play a New Years Eve Show in Portland with Nurses, Wild Ones and DJ Beyonda.

Randy also talked about Radiation City’s riveting plans for 2012. They include:

“A video for “The Color of Industry”; a spring single release for South by South West; a summer album, and a ton of touring.”

At the end of our conversation, I thanked Randy for his time and expressed how I appreciate when musicians are honest about their work. He replied, “Of course. Interviews where people are just whistling Dixie don’t thrill me much…unless it’s the classical quick wit of John Lennon, or something.

“Anyways, we’re not super serious people, but we do take our art seriously. I wouldn’t have it any other way.”

Seth Glier’s Food for Thought: Giving Back to Communities with Food and Music

Posted by musichistorian on

Thanksgiving is upon us, and I would like to talk about how one up and coming singer-songwriter gives to his own music as well as to communities all across America. Seth Glier is currently wrapping up the Food For Thought tour. The tour is an effort that helps food banks all over the country feed the hungry.

Seth Glier: The Next Right Thing

In my interview with Seth Glier for the Music Historian blog, Hear; Don’t Listen, I talk to Seth about his efforts towards tackling hunger. In return, I learn about the genuine thought, emotion and experiences Seth puts behind his music.

The Food for Thought Tour

“We started planning this tour in April of 2011. At first, we were reaching out to performance venues and organizations in the community to help make this tour happen. Then, we looked at the schedule and noticed the tour would take place a few weeks before Thanksgiving. So we wanted to do something that created a feeling of thanks, and decided to collect food for people in need,” explained Seth.

Hunger currently affects 146 million Americans everyday – that’s one in every six people. As part of their Food for Thought tour, Seth and his guitar player, Ryan Hommel make time between shows and traveling to deliver collected donations of canned food to food banks. The two video blogged about one of these stops last Sunday: the Akron-Canton Food Bankin Ohio.

Guitarist, Ryan Hommel

In my telephone conversation with Seth, he tells me, “When we went to Ohio, we learned 45% of the state lives on food stamps. We also learned that the Akron-Canton Food Bank sends over 75,000 pounds of food to 40,000 people a week. By next year, they would like to send a total number to 20 million pounds of food. It was apparent that this type of tenacity is needed when tackling hunger.”

Seth also claims that making this effort and making these extra trips are worthwhile. He says, “I am happy to see how many people actually bring out food. When people came out to the New York City show, they stop to Whole Foods or Duane Reade on the way just to purchase extra food to help out with our efforts. They are going out the extra mile to help out a neighbor.”

In exchange for going the extra mile, Seth Glier charges only one can of food for concert admission on this tour!

Seth adds, “This tour is about providing hope and information; it is about inspiring fans to take action in their community. Although I know I can’t patch hunger in the world, I can do it for the communities I visit on this tour.”

“I’ve gotten to where I am today because of communities”

As I talked with Seth and listened to his answers, I started to wonder about what motivated him to give back to communities. He says:

“I’ve gotten to where I am today because of communities. The same three people that came to the Rockwood Music Hall for my performance last year came back to see me perform again this year. They also help spread the word about my performances in New York City to their friends and neighbors.

“I also enjoy returning to these communities and playing live music for them. For me, playing live is a great time and place to let go and share my personal stories and experiences with a group.”

Seth Glier at the Rockwood Music Hall 11/11/2011

“Whenever I share personal parts of my life on stage I feel that people hold it with them”

Seth’s need for sharing his life stories both in music and on stage is a fundamental part of his emotional process – one of the many factors that contribute to his song writing. Seth says, “Whenever I share personal parts of my life on stage [and through music] I feel that people hold it with them. My stories might be too personal for some, but for the right person on the right night, it can stay with them.”

That night, November 11th, 2011 at the Rockwood Music Hall, one of Seth’s stories definitely stayed with me; the story he shares in the song “No Place to Land.”

Seth tells his audience that he spends a lot of time away from home and when he returns, it’s like déjà vu – the feeling that he never really left. Although he is close to his parents and likes his childhood home, he also feels home is something you have to find and make alone. He says, “Home is a place of inspiration, not a destination.”

“No Place to Land” definitely resonates with me at the moment. I will soon look forward to starting a life somewhere in New York City. While I’ve spent some years away from home as a college student, I spent the last two years of my post-grad life at home. Now, I will begin the process of relocating in a new place once again.

Some of the inspirations behind Seth’s songs like “Too Hard to Hold the Moon” and “I Don’t Need You” are very personal and sometimes trying. Seth’s lyrics tell stories about growing up with a father that battled sobriety and a mother whose strength often overshadowed her compassion.

“I believe if you go too long without unveiling, you get a little wound up”

 Further in the interview, I wanted to know what Seth experiences when he shares his most personal stories in his songs. He describes this process of sharing as a purifying experience:

“I always feel lighter and more open. I believe if you go too long without performing or unveiling, you get a little wound up. The creative process for me might require a lot of preparation and careful thought, but the emotional process requires a lot of back and forth communication.”

Seth’s artfully constructed songs come from years of developed musicianship and dedication.

His guitarist, Ryan, grew up listening to Steve Ray Vaughn, Stevie Wonder and learning to play Motown, Soul and Rhythm and Blues. Meanwhile, Seth’s musical development started when he wrote his first song at the age of 13.

Seth developed a liking for classic song writers like Randy Newman, Billy Joel and Joni Mitchell, and he picked up the guitar and piano as musical tools that would help complete his lyrical compositions.

He also claims that learning more about music certainly helped him communicate better with people around him. It is no wonder Seth is such an intimate performer. Further, his openness and comfort in front of an audience makes the intimate concert experience a genuine one.

“I would love to play live for more people…and make a large performance seem just as intimate as the Rockwood Music Hall concert”

  I then asked Seth where he sees himself and Ryan in their career a few years down the line. Here is what he had to say:

“When people talk about a career, I feel like they’re referring to a list of checkpoints that have nothing to do with music or performing, like being on MTV. I would love to play live for more people. I would like to touch thousands of people a night and make a large performance, like one at Radio City Music Hall, seem just as intimate as the Rockwood Music Hall concert.

“I think there’s a place for intimate spaces in pop music – it’s not easy to create, but then again, most things never are.”

Stephie Coplan and the Pedestrians Take on the Music Industry

Posted by musichistorian on

Stephie Coplan and the Pedestrians: A new band on the music scene

“We’re both addicted/ But their drug is meth and mine is the Simpsons/ ….’Cause where I’m from, when you’re mad at someone/ You don’t use knives,you go onto Twitter and ruin someone’s life…” 

These quirky and humorous lyrics come from the song “Take Me Back to the Suburbs” by the new and upcoming band, Stephie Coplan and the Pedestrians.

During my interview with Stephie Coplan, she explained, “I wrote this song last August (2010) when I started working for a non-profit in Newark. During my 20 minute commute between Penn Station and the non-profit, I continuously observed individuals whose lives were so much different from mine.

“Many of these individuals lived in poverty, had a disrupted education, and coexisted with crime on an everyday basis. Though these problems stared them in the face, they just accepted this as their reality and that there’s no way to overcome it. I couldn’t help but feel like everyone has just sort of given up – and this made me most sad.”

“Take Me Back to the Suburbs” is the first song I heard from Stephie Coplan and the Pedestrians when I researched the band. I initially learned about this band while making my CMJ concert schedule earlier this month. As I educated myself more about the band, I became so impressed with Stephie’s lyrical composition, vocals, and her piano playing, that I wanted to see her play live and potentially talk with her. So, I did, on Friday, October 21st at the Dominion.

During my first conversations with, Stephie Coplan, I noticed just how passionate she is about music and starting a full-time recording career. So naturally, I invited her to be the interview feature for Music Historian’s blog, Hear; Don’t Listen.

In this interview, Stephie answered my burning questions regarding her song writing and taught me that a serious musician should always remember the following three things: 1) Believe in yourself; 2) Practice; and 3) Don’t set overwhelming goals that you expect to accomplish by tomorrow.

Stephie grew up learning songs by some of Broadway’s most beloved like George Gershwin and Roger & Hammerstein. “Learning how to play seemed very much like a puzzle – one that did not involve English words, but music,” explained Stephie. 

Learning to play pieces and practicing enough to become a promising songwriter and performer, takes years of dedication. The decision of pursuing a professional recording career in the popular music industry though, is a complicated one – or at least I imagine. I then asked Stephie about her decision to pursue this career path: how did she know when it felt right? She explains:

“The desire to be a professional musician had been brewing in my mind for a long time, but I didn’t have the confidence to do it because I didn’t think I was good enough. 

Believe in Yourself: I started playing my songs for producers, … their response was I should be doing this full-time

“When I started performing in college up in Boston, I was in a toxic long-term relationship with someone who really enjoyed telling me how mediocre I was; and I believed him! After I finished college, I broke up with my boyfriend and moved to New Jersey. I really felt like it was my chance to start over, and I started playing my songs for producers, A&R people, and musicians. Their overwhelming response was that I should absolutely be doing this full-time.”

Stephie has been playing for audiences for quite a while. She participated in many classical music competitions and jazz ensembles as a high school student.

Although performing solo on piano and vocals was new for Stephie, her music background helped her overcome this obstacle early in her career. However; like every great musician, Stephie still had her challenges.

“First, it’s really hard to be creative and write all the music and lyrics, while being your own publicist, manager and booking agent. Yet, I feel very lucky that I have work; and it’s rewarding to know everything is going well with the band.

“Secondly, I struggle in balancing what I naturally want to write about with what the public wants to hear. The majority of popular artists are not writing about poverty in Newark, but pining about heartbreaks.”

During our conversation, Stephie admitted that when she was starting out, she often compared herself to other performers. While Stephie was a great instrumental performer, learning to play and practice with a band was new territory.

Practice: We became a band in March and started recording in May

“After I graduated college, I was being courted by a label in Hoboken, and the guy who wanted to sign me really wanted to put a band together.

“My manager and I auditioned people, and that is how I met my bassist, John. After the audition, John had to go away temporarily for a show in Louisiana. So I continued to work with the label.

“Then, things were not going so well with the label, and I eventually decided to hold auditions for a drummer by myself. When John returned from Louisiana in March, I had finally found the band’s new drummer, Shane. In May (2011), we started recording an album.”

 I was amazed to hear that a brand new band was able to not only tour, but to start recording an album in only two months. Several bands take a year to rehearse and perform before they start recording music. In Stephie’s case though, one artist knew what she wanted and knew how to search for the right band.

Stephie says, “When I auditioned drummers and bassists for the group, I knew exactly what I needed.

“Time and rhythm are my weaknesses, and I wanted a band that could really lay the beat down. Sometimes my excitement makes me rush in a song and stray away from the beat. John and Shane have an incredible sense of time, rhythm and grove, so they keep me in check!”

All musicians dream about making it big, but Stephie believes that the end goal of an established career comes from dividing that end goal into numerous little steps.

Don’t set overwhelming goals that you expect to accomplish by tomorrow

According to Stephie, it is really hard to be recognized in the industry without any recordings. By recognizing her challenges, she and the band have set their sights on releasing an EP by the end of this year.

Stephie says, “Everyone’s first question is “let me hear what you sound like” and I can only use words to describe it. So I’m hoping that with this upcoming EP, we can start doing some weekend touring though Boston, Portland, Washington, DC, Philly and Chapel Hill (North Carolina).

“We are also releasing a music video on November 19th for the song “Jerk,” announced Stephie. “We worked on this video with director David Dutton, who also directed “Internet Killed the Video star” for the Limousines.”

“Jerk” is also on Stephie Coplan and the Pedestrians’s debut EP called, “Nervous But Excited.” Brooklyn-based producer, Ben Gebert, is their album producer.

The album title appropriately describes where Stephie Coplan and the Pedestrians are in their career right now.

“Nervous but Excited: it’s definitely how we feel about releasing the album.” Stephie also hopes this album will take her band to the next career step: a year of full-time performances.

As of now, Stephie Copland and the Pedestrians are slowly making a name for themselves. They received recognition from the Hoboken Music Awards and have been nominated for the “People’s Choice” in new music. 

Stephie and her band have set their sights on a plan for a future in the industry. Stephie says:

“We’ve worked with a few managers in the past, and we learned that it is much better for the band to do all the publicity, marketing and managing until you find the RIGHT team; the one that really understands where you want to go, and understand you as people and musicians.”

Rarely have I ever heard a songwriter or performer talk about practice, confidence, persistence and thoughtful planning as tools for success. Very well, success means something different for different people; but for Stephie Coplan and the Pedestrians, it just might be taking on the music industry on step at a time.

CMJ Music Marathon 2011: NYC’s Cornucopia of “New Music”

Posted by musichistorian on

College Music Journal Marathon, the largest and longest-running music industry event of its kind, dominated the performance scene in Manhattan and Brooklyn this past week. Up and coming bands on the independent music scene, were the focal point of this massive 5-day city-wide festival. CMJ traditionally attracts college students, young professionals from all walks of life and members of the music industry and press. As a young professional and a ringer in today’s “new music” scene, I was sucked into CMJ and now, I have a new happy concert memory.

Avi Wisnia: “Something New” at Rockwood Music Hall

(From left to right) Toru, Avi, and Gil

My CMJ celebration started at Rockwood Music Hall in New York City last Friday afternoon. I came to this rustic, cozy and bohemian bar to see Avi Wisnia – an artist from the independent record label, MPress Records. Although they’re a new band, Avi Wisnia blends musical elements common in older genres like the blues and 1950’s west-coast jazz. The song “Rabbit Hole” is an ode to the 12 bar blues style and American jazz.

The acoustic bassist, Gil Smuskowitz, opens “Rabbit Hole” with a syncopated melody; which is repeatedly improvised on both the piano and guitar throughout the entire song. “Rabbit Hole” also makes a great anthem for those cold and nippy autumn days. Avi sings you know it’s a good thing we’re in here it’s starting to pour/… we’re in these close quarters but somehow we’ll make due/ well it looks like I’m stuck in this rabbit hole with you.

This funny song of young and foolish love will warm your insides, especially when you’re consuming your favorite cocktail. On the other hand, “Something New” – the title track on the band’s newest album – is far more riveting and upbeat.

Audience at Rockwood Music Hall

“Something New” quotes 4 different songs: “Smooth Operator” (Sade); “Eleanor Rigby” (The Beatles), “I Will Survive” (Gloria Gaynor), and “Pumped-up Kicks” (Foster The People). “Something New” was the perfect ending to Avi Wisnia’s set. Everyone in the audience, including myself, was curious about the singer’s next improvisational surprise but before we all knew it, the song was over. “Something New” is the single on Avi Wisnia’s newest album, which is now available on iTunes.

Purity Ring Steals the Webster Hall Show

That night, I came to a larger performance space, NYU’s Webster Hall. Here, the experimental electronic group, Purity Ring opened the 7pm line up. Purity Ring’s sound is undefined; their songs chill me to the core. Though the band is a duo; they together created a performance of theatrical proportions. Singer, Megan James and sythesizer player and automator, Josh Kolenik stole the show.

Nobody in the audience ever saw James’s and Kolenik’s faces, only their silhouettes, which were outlined by flashes of colored lights. James and Kolenik purposely programmed these lights to flash along with the

Webster Hall reception for Purity Ring's show

down beats in their songs. In addition to an eccentric lighting effect, Purity Ring’s clever use of automated and synthesized rhythms and incomprehensible sounds in tracks like “Belispeak” and “Ungirthed” transcended listeners to a deep dark abyss of nonsensical musical ambiance. Purity Ring’s performance was out of this world!

Britain’s Emmy the Great hooks Brooklynites at Spike Hill

On Saturday, I took the L train to Bedford Avenue in Brooklyn to a pub called Spike Hill. Here, music video distributor, BaebleMusic lined up bands to perform throughout the day and evening. One of the first artists in the line-up included the up and coming singer-songwriting duo from England, Emmy the Great.

Emma Moss and Euan Hinshelwood tune up at Spike Hill

Emma-Lee Moss sings beautifully with a clear and crisp pronunciation. The one track in which she exhibits this vocal skill is “Paper Forest” – a song that celebrates living in the moment, whether it be joyful or somber. In this song’s last verse, Emma sings, Oh come and we will celebrate the things that make us real/ the things that break us open and the things that make us feel/ like these accidental meetings and the partings of our ways/ that are not so much our choice but in the blood that we are made… . Those who gathered at Spike Hill to hear Emmy the Great were hooked by Emma’s bold and poetic storytelling.

Spike Hill in Williamsburg, Brooklyn

Select 5-7 bands each day, and personally chat with them!

One can describe CMJ Marathon as a cornucopia of new music; but the abundance of bands and performance venues can be overwhelming for first timers. If you plan on attending the next CMJ, I suggest you research a few bands you’d really like to see and, if time permits, select 5-7 for each day. Unless you are Hermoine Granger from Harry Potter, there is no way you can attend every CMJ concert; so take your time in deciding!

I also discovered CMJ is an intimate festival where attendees are in close physical proximity of every band. In addition, bands are excited to talk about their music with attendees, and I can attest that every musician I met at CMJ was welcoming and open to conversation. I look forward to continuing my conversations with a few of them. I hope to learn as much as possible and I can’t wait to record and share these conversations with readers right here on Music Historian’s Hear; Don’t Listen.

Ava Luna: A Band in Transition

Posted by musichistorian on

A band undergoes several transformations, hardships and disappointments before they gain recognition from music lovers and record producers. Brooklyn-based band, Ava Luna, is no exception. This band has persevered through some of the toughest and, sometimes, seemingly impassible obstacles and are now reaping the benefits. Front man, Carlos Hernandez has been with Ava Luna every step of the way. He enumerates on his experiences in this first full-length band feature article for Hear; Don’t Listen. 

“Hated to practice; but loved to write”

 Carlos started the band at 17 years old. Over the course of his music training, Carlos consistently trained in classical piano. Over the course of his training, Carlos learned he “hated to practice but loved to write.” This led to an interest and pursuit in piano composition. Carlos also developed an interest in rock and roll; and the band, Weezer became his favorite group. At 17 years of age, Carlos had a new passion and goal: writing music that people his age would listen to and love.

Along with his best friend at the time, Nathan, a synthesizer player, Carlos stared a band called Ava. In later years, the original band members adopted the second name, Luna, after they learned about another band also called Ava.

The band’s early fall-outs

In the early years, Ava Luna created three albums, all of which Carlos claims were “disasters.”

“Back when Ava Luna first started, people called it cabaret; somebody even described it as the Rocky Horror Picture show – something I definitely didn’t want to hear.” In his mind, Carlos perceived the band’s sound as something darker and with less pizazz. Comments like these shocked him.

In addition to the response from audiences; problems started brewing between Carlos and Nathan. The two original Ava Luna members ended their friendship once they both finished college. Afterward, Carlos decided to continue Ava Luna as a one-man band.

“How can I make this group sound?”

After the band broke-up, Carlos rethought a lot about what he wanted in a band. “I literally sat down one day and thought ‘how can I make a band with no people in it, and how can I make this group’s sound?’ If I wanted to have a future with this band, I had to define a clear sound. I thought about my musical background and asked myself how I could make a band that represents this and gives me the opportunity to compose and offset the soul music influence.”

(Left to Right) Carlos, Julian, Becca, Anna, and Felicia

Carlos also thought of how he could contribute instrumentally to the band, and picked up singing and guitar in addition to playing synthesizer. He also asked his younger brother to play drums. Eventually, Carlos decided to compose intricate vocal lines for multiple singers, and this led to inviting three back-up singers to the group. A drummer would soon follow, and Carlos’s old band mate and friend, Nathan, reunited with Ava Luna.

Ava Luna today is a “group of musicians that come together and combine their eclectic tastes”

Ava Luna is now a 6 person band. They managed to go on tour after only a year of performing.  And though they were still experimenting as a band, they received a greater response from audience members.

Carlos describes Ava Luna today as “the group of musicians that come together and combine their eclectic tastes.” Ava Luna might

Ava Luna perform at the Baseline Stage of the U.S. Open

have started as an experiment but over time, it became a long-lasting band in which everybody has a free say and the ability to play around with how ever much they want.

Carlos adds, “I can now understand what makes my band members like this music, and my job is to see how I can make everybody feel satisfied.”  Their latest performance at the U.S. Open in Flushing, Queens, New York proves this.

The group’s musical magnitude, dedicated and flawless performance stirred the most attention from the passing crowds that day. I was in the middle of that crowd photographing and video recording this band the entire time. I might have gotten the back of many people’s heads but the performance was worth every minute!

Recently, a record label invited Ava Luna to create a new album titled “Service LP.” They will also tour New England, Canada and some of the mid-west as an opening act for Toro Y Moi. Their first show is tonight at Webster Hall in New York City, and their last show is on September 25th in Minneapolis.

Greater opportunities and commitments also equates more complicated time and work management for the band. In my conversation with Carlos, I learned four of the band members have full-time jobs. They all try to make it to rehearsals 2-3 times a week and when they can’t, all singers and instrumentalists perform their parts in their own times. At rehearsals, Carlos conjures up ways he can synthesize rehearsals to temporarily fill the absent instrumentalist or singer.

“We have day jobs, but we play enough shows to support the band…It’s a lot of work”

Carlos also works several part-time jobs in order to make time for the band. On a normal day, Carlos communicates with the band members through constant emails concerning Ava Luna’s upcoming performances.

Becca, Felicia and Anna: Ava Luna's back-up singers

“We have day jobs, but we play enough shows to support the band; it is self sufficient. It is a lot of work,” concludes Carlos with conviction. Yet, Carlos wants to continue the group and further develop it professionally.

“When you step back and look at how far this band has come, it’s an accomplishment”

I asked Carlos where he would like to see Ava Luna a few years from now. One of his wishes is for Ava Luna to keep their sound without any compromises, or without changing their music in order to satisfy another major band’s musical taste. Carlos also says, “I want to see how far this can go. When you step back and look at how far this band has come, it’s a great accomplishment.”

Ava Luna’s mix of blues, soul, rhythm and blues, and folk in their songs, makes this independent group unlike any I’ve ever heard. I hope this band will go on more tours and make more albums. I finally asked Carlos what keeps him motivated to stay in the music business and he candidly replied, “It’s not a choice; this is just what I do.”