Category: Interviews (Page 6 of 11)

Interview: Mally Harpaz

November 16, 2013 / aftertheshow

Yesterday in Hollywood I had a nice chat with Mally Harpaz, the London-based multi-instrumentalist who plays with Anna Calvi. The band has a few upcoming shows in the US (LA + SF) before heading back to Europe.

Photo Credit: Rolf Neugebauer

After The Show: Now that you’re playing as a 4-piece rather than a 3-piece band, how has the dynamic changed?

Mally Harpaz: Adding keyboards makes the sound a lot bigger and fuller, so that feels really great and fits the new record better. It gives more room for dynamics, for the sound to grow really big and to get really small.

Are you not using the bass pedals on your harmonium anymore?

No, we’ve got a new guy, the keyboard player, to play the bass lines.

You play a lot more shows in Europe than the US…

It’s a harder tour to come to the US because everything is so far. France is really, really amazing for us as a market and it’s really nice to play. It’s harder here technically, geographically…But we always really love coming here.

You play drums, percussion, guitar, bass, piano…but what instruments that you haven’t played in this band yet could you imagine serving the music well, in terms of sound or texture?

We just started on this record using the hammered dulcimer, which is a really cinematic sound, and I think we’ll probably use more of that in the future. Tuned percussion sounds really fit the music. We might use more stuff like organs in the future.

What appeals to you about the songs on One Breath?

They’re really expressive and honest about emotions. I like the soundscape a lot. And the dynamics…It really carries you to different moods. There’s a good balance with really good songwriting and lyrics but also the music carries it, which for me is really important.

The live version of “Love Won’t Be Leaving” builds quite nicely – how much room for improvisation do you generally build into the songs?

That song particularly has a lot of room for it – the whole middle section is improvised. There are elements that come back when we play, but it’s quite free which is what’s great about the song…for all of us, it’s a lot of fun, that moment.

Can you talk about your creative process of recording instruments in the studio?

The first record and the second record were quite different in the way we approached recording them. We had like three years to record the first record, and then a lot shorter span of time [for One Breath], so it was quite different in terms of how we worked on arrangements and recordings.

A lot of the parts I actually used the piano to work out the part, but then I’d transfer it to the instrument that we chose. Some of the tuned percussion instruments, I found it easier to work out those parts on the piano and then transfer them. Some decisions were spur of the moment in the studio, some of the stuff we worked on beforehand before going to the studio. Which was really nice about this record, there were a lot of last minute studio spontaneous decisions.

I think details like hitting a drum with a timpani mallet versus a drumstick, for example, can make a big difference in the overall sound. You’ve been playing with Anna for many years…who makes those little instrumental decisions & how much collaboration is there in the band?

Anna does the writing of the music, but we do work on some arrangements together, and ideas. We get in the studio and try different things and we all suggest ideas and make decisions.

Anna Calvi’s Band: Alex, Anna, Mally, & Glenn

The shaker you play in “Blackout” is so important because it really drives the song forward – do you ever play to a metronome at all?

Live, we never use click tracks. Some songs work better recorded to click track, but we try to keep it organic. It’s whatever fits the song best, but I think we quite prefer it without click tracks.

You were the drummer of Lunatic Crash — how did that band come together?

I started it with a really good friend of mine who’s a great musician, Eran, in London and we had different lineups over the years.

Was that band the first time that you and Anna collaborated?

Yeah, she was in that band for a short while. We used to play a lot together…we had different projects, we used to always jam a lot, she’s an amazing musician and I feel like we really connect.

What attributes make someone a good backup or session musician?

I think being a really good listener and being intuitive of what fits the music best, and being free and passionate about it. I always tend to be part of bands rather than play sessions, per se. Play music you can connect to rather than do it as a job…be creative and imaginative about whatever project you do.

How do you continue to grow and challenge yourself as a musician?

I just play all the time, when we’re not on tour usually that’s how I spend my time at home. I try to listen to more music and learn more music. I try always to push myself in different ways in terms of playing, in terms of musicality as well.

Looking ahead, like in 5 or 10 years, do you see yourself still living this touring lifestyle?

Definitely. Music is what I love…it’s my biggest passion, so I can’t really see myself doing anything else. It’s my lifestyle.

Thanks Mally! Anna Calvi plays tomorrow (Saturday November 16) at Royce Hall with Chelsea Wolfe — ticket info here.

Interview: Damaris Phillips

November 6, 2013 / aftertheshow

I caught up with Chef Damaris Phillips, star of Food Network’s new show Southern at Heart and the winner of last season’s Food Network Star.

Damaris shares her take on the relationship between food and music, her favorite Louisville bands and venues, and the best Taylor Swift karaoke songs.

After The Show: Do you ever listen to music while cooking? Would you recommend that people use music as a way to enhance the cooking experience?

Damaris: When I am throwing a party, I always listen to pop music of today OR the ’90s. I like to dance around the kitchen singing and gearing up for fun. For mass quantity of cooking, I’m going modern country, not too loud, but perfect for singing along and breaking up the monotony.

Thanksgiving cooking, I pull out old favorites from Ryan Adams or Lucinda Williams. And for Christmas, I ALWAYS listen to Christmas music. All-time favorite is Mariah Carey’s “All I Want For Christmas Is You.” Seriously, music makes everything more fun, more real, more alive.

Louisville, Kentucky plays a big role on your show Southern at Heart. What are your favorite local Louisville bands and venues?

I have always been a big fan of Joe Manning’s music….Also Cabin. And my favorite venue has to be Headliners. It reminds me of seeing G. Love and Special Sauce when I was 20 years old. I felt so cool. Also, I am always pleased when a concert is at The Palace Theatre.

Sites like Turntable Kitchen try to pair songs with recipes. Do you see any connections between music and food?

In my life, my mood affects my cooking, from technique to creativity to balance. Music highly impacts my mood so it would reason that if music affects my mood and my mood affects my cooking, then music affects my cooking. College Intro To Logic at its finest! I loved that class.

Since you described yourself as a “karaoke superstar,” what are some songs by southern bands that you love to sing? Would you ever share your singing talents on Southern at Heart?

I am often caught singing Dolly Parton songs at karaoke. Also the Dixie Chicks, Shania Twain, Miranda Lambert, Johnny Cash, Randy Travis. Maybe it would be easier to say which southern bands I DON’T love to sing. And in regards to karaoke on Southern at Heart, I don’t know if people can handle it!

On Food Network Star, you completed a lot of challenges under intense time pressure and stress. How did you achieve calm/balance and mitigate stress?

I would focus on my breathing to calm and re-center. I find that’s what I do most when stress starts to close in. I breathe lots of deep breaths.

And finally, what are your favorite Taylor Swift songs?

“You Belong With Me” because it is going to be AWESOME for karaoke. I’m saving it for my birthday party! And “Begin Again” because, let’s be real, we’ve all been there.

Ok that’s all I got. Thank you for this interview. Music and food – what a lovely couple. Almost as perfect as food and love!

Thanks Damaris! Tune in to Southern at Heart on Sunday mornings at 10:30 on Food Network, and check out DamarisPhillips.com

Interview: Wesley Verhoeve

October 18, 2013 / aftertheshow

Photo by Julia Robbs

Wesley Verhoeve is the founder of NYC-based music company Family Records, an independent label and artist management/development firm.

He’s also the co-founder of GNTLMN and writes about the intersection between creativity, tech, and business.

After The Show: You work on so many projects – what’s the breakdown like? Take me through a typical week or day for you.

Wes: It depends on the week and day. Some weeks I’ll have a client in town. Other weeks we have a new product launch…we’re working on watches right now for GNTLMN. Sometimes a new music release. I’ve realized it’s not so great if I try to work on multiple projects in one day…It really just depends on what’s more important that week.

On Sunday mornings I always take a couple hours to review my past week and see if I maybe missed something or got caught up on something. So, look back and then look forward to the next week and block off days for specific projects.

Tell me about the work you’re doing to connect tech and music start-ups in Europe to the American market.

That’s a newer thing…I’m trying to figure out how I can add the most value, for example to a company that’s successful in Germany and trying to come over to the US. Because I’ve lived on both continents, I can give them advice on how to adapt their product or marketing. So there’s product-focused strategy, and marketing-focused, and also introduction based (introducing them to people). It’s really pretty diverse…sometimes also curating.

What project do you find most challenging?

Family Records. I’m spending more time thinking rather than doing. The problem with music releases is that there’s so much released, and it’s so ephemeral. I’m thinking about how to make releases stickier.

How do you reach a balance between consuming and creating?

That’s a good question. It’s a little bit in flux. My friend Frank Chimero is a designer and he had an article about this particular topic – being a freelancer/creative can be kind of lonely. I can get caught up in talking a lot. It’s very easy and fun for me to consume magazines, books, and all that stuff, but while you’re doing that you’re not actually making anything. Making is more important for me.

I’m trying to be very conscious of that. I’ve scaled back some on the podcasts I listen to, blog posts I follow, people I follow on Twitter…there’s so much to consume that I can’t create anymore. Doing things like going out into nature is more interesting to me than reading about it.

Where do you get ideas for the articles you write on your website?

It’s either something I’m dealing with myself – and writing it down to help work through or crystallize it – or something a friend talked about. A lot of times it will be sparked by something I hear or read.

It’s funny…my most popular/shared one is the coffee shop post [published in Fast Company, “Why You Should Work From A Coffee Shop, Even When You Have An Office”]. That was a quick one to write and turned out to resonate more than articles I’ve spent a full day slaving over. You never know!

Thanks Wesley! Keep up with his latest projects at WesleyVerhoeve.com.

Interview: Mahina Gannet

September 26, 2013 / aftertheshow

Mahina Gannet is a tour manager and leads the Artist Relations team for Governors Ball Music Festival. She has served as Production Coordinator for huge Death Cab For Cutie and The Postal Service tours and is currently tour managing Neko Case.

After The Show: What’s your background career-wise – how did you get started working in music?

Mahina: I started as an intern at Superfly Presents, a concert promoter based in New York City during my senior year at NYU. That internship led to my first full time job in music, working for Superfly as their Office Manager.

What’s a typical day for you when you’re working on a tour?

A typical day on tour depends on where you are, the type of show, the size of your band and crew and what position I’m filling. Currently, as TM for Neko Case, I start my days earlier than load in, simply to catch up on emails and all the other advance work I can’t accomplish once we start loading in the show. There’s usually a bank run, a hotel run and then load in.

My job really focuses on backstage, not the stage itself, so I spend load in time putting up information, setting up dressing rooms, the production office, catering. I make sure the band has whatever they need. I work with the promoter rep on backstage security, guest lists and show settlements. I work on the logistics for getting to our next city. I’m sure there’s a lot more but essentially it’s just making sure everyone (band, crew, management, agents) is well informed for all show related items and as happy as possible.

How helpful was attending NYU Stern School of Business…do you apply what you learned to your current jobs?

I’d say attending NYU is directly related to what I do now. But it was completely unintentional and not because of New York University, per se. It was one of those “right place at the right time” situations. A very good friend of mine, Tom Russell, now co-owner of Founders Entertainment and The Governors Ball Music Festival, was a displaced Tulane University student during the fall of my senior year due to Hurricane Katrina. A Manhattan native, he transferred to NYU while his school recovered from the storm. He was at the time already an intern at Superfly and happened to be in my International Marketing class. We had to partner up for group work and he was the only person, aside from me, not wearing the typical Stern suit and tie uniform. I immediately introduced myself.

Tom eventually got me my internship and we’ve been friends ever since. So – was NYU helpful in getting me my first job? I’d say for its location and the notch on my resume, yes. But up until that point, I had no intention of working in the music industry. And I honestly only had two classes from NYU that still stick out in my mind as useful: my business law class and my entrepreneurship class.

The actual Governors Ball festival is only one weekend, but how long do you work pre and post that weekend? And how do you remain so calm and in control in the midst of the chaos of working a festival?

Gov Ball is essentially 7 months of work for me. I usually start working on it in January and don’t finish till a month after the festival.

And RE: Calmness During Chaos – lots of deep breaths. Managing Artist Relations at a festival is by and far the most consuming gig I have. It really does take a lot of energy to maintain a state of calm. But in all seriousness, I practice a lot of yoga in my personal time and really do try and apply those fundamentals to working in such a chaotic environment.

Besides being able to manage schedules, logistics, and accounting for bands, what type of personality makes someone well-suited to being a tour manager?

I think someone is a good fit to be a TM if they have a well-balanced personality themselves. The TMs I admire not only have a great job, but have great home lives as well. For me, it’s a combination of being relaxed, taking charge and being aggressive, being super organized, punctual and a good traveler. And at the end of the day, knowing it’s just a job and that I can go home to my loving family anytime I need.

I’ve heard horror stories about dishonest promoters and ill-equipped venues. What’s the most challenging thing that you’ve ever dealt with as a TM?

Gosh – I don’t know if there’s anything specific…Assuming that it’s not the tour’s fault for not advancing the show properly, awful promoters / venues are usually due to a lack of awareness about the other parties involved. Most bad days are due to either bad communication or a lack of understanding that most touring people just want simple comforts: a clean shower, clean towels, a safe place to put their stuff, laundry machines, good food. These things are the least difficult but most commonly overlooked – that’s when it’s most frustrating for me.

Is it ever a struggle to balance being professional and in charge while also being fun and friendly? It seems that once you’re traveling and living so closely with bands, a TM could easily go one extreme (too business-oriented / babysitter) or the other (too friendly and like another member of the band).

Yea – but I think a lot of people struggle with that balance in any job. I think it’s more accentuated on tours because you are working, living and traveling with your co-workers. But I just find that there’s a time and place for both. I’m there to get a job done, and when it’s done, I love to hang out. A lot of TMs I’ve seen definitely can go to either extreme (some actually thinking they are a member of the band, some so distant the band can’t talk to them) but it’s like everything else in life. It’s about finding your own personal balance that then can be translated to all the other facets of your life.

What are your current favorite albums or songs?

To be honest, ever since I’ve been touring full time, I don’t listen to as much music. I think that’s because it’s so hard to find time when it’s quiet. But, I will say over the last couple years, I’ve loved a band called Surrogate more than any other. I highly recommend them. There’s also this band Bad Rabbits I love, I always go back to LCD Soundsystem and recently I fell in love with Haim.

Any future projects you’d like to share, music or otherwise?

My most current project is that I started a Supper Club (aka an underground restaurant). A few friends and I essentially create a restaurant for the night at a house, invite 15-20 people we know and serve a three – four course meal paired with cocktails. I’m super lucky that I live in an area surrounded by amazing agriculture, so everything we bring to the table is made locally. It’s pretty awesome and will hopefully lead to me starting my next company, a local restaurant in Chico, CA.

Interview with Wussy

September 9, 2013 / aftertheshow

Photo Credit: Dan Kulpa

Wussy is comprised of Chuck Cleaver and Lisa Walker on guitars + vocals, Mark Messerly on bass, Joe Klug on drums, and John Erhardt on pedal steel. In between studio albums, Wussy keeps their name out there by constantly releasing extras – rarities, b-sides, demos, and acoustic songs.

I got details on Wussy’s upcoming 5th album from Chuck, who also answered questions about sequencing the record and older songs like “Motorcycle” and “Pizza King.”

After The Show: For the new album, you recorded more songs than you’ll actually use…How do you decide which tracks make the album? How much input does Shake It give?

Wussy: This time it was surprisingly easy…Lisa put 11 of the strongest of the 16 songs we’ve been working on in the perfect order and that’s gonna be the record. Shake-It! [record label] pretty much lets us do what we want. Our patron saints, they are.

I think “Pizza King” is the one song that epitomizes Wussy’s sound. Why is it one of your favorite songs to play live?

It’s one chord and has amazing noise potential.

If any band could cover a Wussy song, what band and which song would you want?

Skynyrd – “Magnolia”

UK’s Damnably Records released Buckeye, your first official international release. How did that come about? Will they also release your new album in the UK?

George and Janis got in touch with us and were really nice so we put a record out with ’em. As far as we know, they’re releasing the new one as well.

“Motorcycle” is such a brilliant twist on a salvation song…it tells a story, and I love the third verse’s line “Rapture isn’t what I thought it’d be / but Jesus and his angels ride with me.” Do you remember the songwriting process for it?

We made the music up together and Lisa wrote the words.

How has the balance between your regular jobs and being in the band changed over the last few years? Are you able to devote more time to the band now?

Unfortunately, it hasn’t changed at all.

Music journalists love your music, but why do you think it isn’t more popular commercially? Maybe because there’s a bias against older musicians or bands that aren’t brand new?

When we got to the crossroads the devil had gone home.

Other details:

-John plays lots of pedal steel on the new album.

-The cover artwork design will possibly be black light day-glo.

-Lisa and/or Chuck will perhaps release solo records one day.

+Stay tuned for the upcoming album — Wussy.org

Interview with El May

August 1, 2013 / aftertheshow

I spoke to Lara Meyerratken, who makes music as El May, about the album she’s currently recording, playing and touring with bands like Ben Lee, Nada Surf & Crooked Fingers, and composing music for commercials.

After The Show: You recently filmed a music video for “I Played A Role” in New York – how was that?

El May: It was really fun – it’s a very dance-y music video. We actually went up to people on the street and asked them to listen to the song (not out yet – it’s on my new record that hasn’t come out yet). People were sweet and it was intense having to get over any embarrassment, dancing in the street with strangers.

As a multi-instrumentalist, how you approach the composing process?

I’ve found the best way to start writing for me is a beat – either I find a loop or I make some beat in Pro Tools. When I’m really starting from scratch it’s usually with a beat…occasionally even a synthesizer sound or synthesizer bass.

I really like the sonic textures and layers on “Draining A Lake” and “Don’t You” – is that something you consciously strive to create, or is it more just a result of being able to play so many instruments?

I think because I record my own things at home usually, it gives me a lot of time to get a little bit lost and try things. It comes from really getting absorbed in it and having the luxury of trying things. And probably the layering thing is sometimes maybe…too many layers [laughs]. With my new record there’s still layers vocally.

I was thinking about what attributes make someone a good session musician or backup musician…Like is there a certain personality/skill set better suited to playing backup?

Oh that’s a really good question…in Sydney I met Ben Lee when I was in my teens and that was just totally kids enjoying music, punk rock. When I toured it was just me having fun as a kid, you just do what you love.

In New York in the early 2000s, no one had keyboards in indie rock, then it started to be cool, so if you could find someone who could play keyboards, that was an asset. I was a good personality type for and it was more natural for me to be a backing person then because I didn’t really have an agenda to do my own music. Eventually it felt almost painful to play someone else’s songs – I knew I should do my own thing. To be in charge of your own creativity and destiny you have to be a little more assertive and confident and have follow-through. If you know that you’re being called to do something else, that requires a lot of strength…and stepping out, it becomes hard – it can make you feel very anxious.

What was the timeframe chronologically when you recorded and toured with Crooked Fingers, Luna, and Nada Surf?

Luna was early on – probably 2001 or 2002, and then ongoing with Britta and Dean…I did a lot of touring in late 2002 and early 2003, right before I toured with Nada Surf, I think over the summer of 2003. In 2004 Ben & I made Awake Is The New Sleep in LA. Right around then I got a call to come and sing on a Crooked Fingers record. I was thrilled about that and I loved Archers of Loaf when I was a kid.

You’ve composed and recorded music for commercials like Dell, Google, Comcast, Kelloggs, the charity RED…How do projects like that come about?

I get approached through different music houses. I started doing that (demoing on commercials) when I was in New York. When I moved to LA my friend Sam Spiegel got me working on a bunch of demos. You submit with a bunch of different people. The advantage that I have is that I made my own record and EP. Having made them on my own and people knowing that – it was a real draw for people because they thought, ‘oh, you know how to record as well’

I know you had songs placed on Pretty Little Liars and The Lying Game…has licensing to film and TV been as effective as you had hoped in terms of exposure?

Even from the commercials I’ve definitely gotten fans. Not as much as you would think – the Pretty Little Liars fans are so dedicated. I was a bit surprised with “Don’t’ You” – a lot of people were writing about it online. They all help a little bit, mostly it helps me live and get paid a little bit on what I do.

I’m so amazed and grateful when that happens…especially when you make something in solitude…it’s incredible that people are even imagining it [being used] in a scene.

Thanks Lara! Check out ElMayForever.com + stay tuned for her upcoming album (the working title is The Other Person Is You).