Tag: interview (Page 1 of 7)

Z Berg Interview

May 14, 2018 /

Photo by Cherokee Neas @cherokeepresley

I spoke with Z Berg about her upcoming solo record, directing the new “Time Flies” video, and getting songwriting lessons from Mark Ronson.

Catch Z play Wednesday 5/16 in LA at Highland Park Ebell (get tickets here).

I noticed that you’ve tweaked the lyrics of songs like “Killing Time,” removing some of the words to simplify the song. How do you know when you’re done making changes, especially when you’ve been rewriting a song for many years?

The funny thing is a lot of times it’s never done. You just have to decide to be done. There are so many things I could go back and tweak forever, but you just have to kind of put it to rest. And I think there’s a certain point when you know when something works and something resonates when it hasn’t before.

I think you sang the Garageband demo “Spotlight/Curtain Call” — how did that come about?

I sure did! I wish there were a good story for it. I do a little bit of work for Apple, just internal stuff and Garageband stuff, and I have for a while. And it’s an interesting process, where they just want these little pieces of music for different purposes. So I sit down and write 15 things and see if they like any of them. It’s a great exercise as a writer to be able to do that…it’s an invaluable skill.

That’s fascinating. I love how your song “Lazarus” is self-referential, like a mythological song about yourself. Will that song be on the record, and can you share what inspired it?

Both “Killing Time” and “Lazarus” aren’t on my record. You haven’t seen me play in a while, have you? [laughs]. I’ll resurrect that song at some point in the future, then we can talk about it.

I’ve learned good vocab words (callow, nimiety, tutelage) by listening to your music. Do you recall the writing process for a song like “Narcissus In A Red Dress”? It seems like it would take longer to think of the wordplay and literary allusions than it would to write a more straightforward song.

I think I wrote the lyrics to “Narcissus In A Red Dress” in one sitting … it was a slow stream of consciousness. It’s almost like a rap song – when you look at the lyrics written down it’s like two entire pages.

[Writing] that was a moment where [producer] Mark Ronson taught me a particular lesson. The lyrics were much meaner than they are now, which is hard to imagine. He said: ‘If you do not convey your pain and instead only your spite and anger, you’re the one who looks like a villain, not her.’

So I sat down and I tried to put that it was anger because I was hurt, so it conveyed the actual anger and pain of the situation.

Now, with other writers, I have given them that advice plenty of times. I think when you’re really angry at someone, you forget that the way you speak (without context for your listeners) can make you sound like the villain.

Also, that anger is not a real thing. You’re angry because you’re hurt. In my general life I don’t really get angry; I don’t like being around it. You get angry because you’re hurt. And just to realize that anger is a mask for the feelings you’re truly feeling is really important to me.

You’ve consistently made creative music videos, from the synchronized swimmers in “What I Say And What I Mean” to the filmed-in-reverse “I’m In Love With My Life.” What can you share about your latest video?

It’s the first video I have directed myself, which was pretty thrilling, and the song is called “Time Flies,” and I wrote it about a year ago:

I’d love to touch on Are You Thinking What I’m Thinking. The poetic writing, rich imagery, and dreamy sound make it a total masterpiece… and I think you wrote it when you were just 14-16. I’ve always wondered what “Mrs. Actually” is about — it seems like the track with the most fictional or figurative lyrics.

The title came from a book. There’s a Bob Dylan book called Tarantula — it’s a psychedelic poetry book — and I was sitting down reading it, and I think I just started free associating from there.

I only recently went back and listened to Are You Thinking What I’m Thinking for the first time in like five years and it kind of blew my mind. I forgot. It’s weird — I think with most of my records, after I’ve finished them and toured them there’s always a lot of strife that comes along with those things. I have to put them to bed until the memories have faded.

[But listening to it] was pretty awesome – I loved it. I was really happy. But it’s funny because it’s easy to get really down on your own records, just to know all the expectations people had for it, and the loss of Charlotte after it – it was nice to be able to listen to it as an adult with fresh ears.

Your vocal work on a song like “Bridge To Nowhere” is gorgeous. Am I mistaken or have your vocals gotten higher in pitch over the years? Have you consciously changed the way you sing?

Well it’s been a long process. For a lot of singers it takes a long time to figure out your range and where your voice should sit. So on every record, I feel like I’ve been in a different register for my voice.

On my first record, I kind of wrote everything too low, on the second Like record we overcompensated a bit and it’s all really high. On JJAMZ, it’s somewhere in between, on PHASES it’s much higher again.

My concept for the solo record is to make all my previous records make sense. I’ve finally found where my voice fits truthfully and how to bridge the gap between all the styles and time periods and genres of my music and figure out how to distill what is truly me … hopefully [laughs].

The first verse of “In The End” maybe (?) refers to the music industry limbo that can happen between albums, and the shift from JJAMZ to Phases kind of reminds me of the shift from the first to second Like record. How organic were each of those changes in sound/direction vs. how much was due to business necessity or label pressures?

I think it was a combination of things. Number one, that song started because it was around the time I had just sung on Cassadaga, the Bright Eyes record, and Conor [Oberst] sent me the email about what was going on, and the email said ‘the world is upside down and we’re walking on our hands.”

That was definitely a moment of time — between Are You Thinking What I’m Thinking and Release Me — we made an entire record that never came out. Not being allowed to tour, that is the time where everyone loses their mind.

So it was definitely a trying moment and a moment of change, and trying to figure out what our lives were going to look like, and also just watching the world change entirely. The rate of progress and technology and how quickly everything shifts is unimaginable to previous generations.

They were 100% organic both times. It may not sound like it, but you’re so right — both records and both switches happened in a similar way. We made a record then we spent years in limbo. With everything being so bad for so long that by the time we made those second records, it was such a feeling of triumph and positivity that the records reflect that in their sound.

It’s funny because they probably do sound like a business choice or pandering or like someone told us to make it more exciting. But it was a legitimate and organic feeling of absolute triumph and the phoenix rising from the ashes.

Last year you put a clip of “It’s Not Likely” on Instagram. That snippet might be the prettiest piece of music I’ve ever heard…wow! I’d love to hear that unreleased The Like album – is there any chance you’ll ever post those songs?

I’ll definitely think about it. I realized when I posted it that it was such a crazy experience to make that record. We went to England for two months and recorded the album, and went to New York and mixed it for a month.

And we mastered it and did the photo shoot … it was an emotional experience. And then the label just said ‘nope.’ So when that happened you kind of want to bury it and never think about it again.

“It’s Not Likely” has interesting lyrics about growing up, being haunted by the past, and whether you’ve hit your peak. How have your goals and definition of success evolved from being a young musician to an adult one?

In a lot of ways I think they’re very much the same. From the beginning, my goal was never word domination. I just wanted to make music that I loved and believed in and I thought made the world incrementally better.

So I think in that sense, I’ve done a pretty good job. The other goal is to survive and feed myself. So far we’re doing okay.

It’s really hard to communicate who you are and it takes being an adult to figure out what that really is and how to say it out loud. On all of my records I feel there are moments I broke through that barrier and figured out a way to communicate that was honest and real, but it’s just hard.

Now that I’ve realized what it is to make music that is fully representative of me, instead of merely a facet of myself or my personality or my taste, my goals are to delve deeper into that. To bridge that gap between what it’s like in my head and what I show to the world.

Thanks for sharing, Z! Follow Z Berg online and get tickets for Wednesday’s LA show.

Interview: Sam Farrar

March 6, 2018 /

I sat down with Sam Farrar of Maroon 5 to talk about his pre-show rituals, world map drawings, and favorite Phantom Planet album.

We also discussed the ups and downs of starting a music career at a young age and how the music industry has changed over the last 20+ years.

Photo courtesy of Maroon 5

You’ve performed at venues from the Troubadour and Roxy to the Hollywood Bowl, Madison Square Garden, and SNL stage. Do you have a favorite and least favorite type of show to play?

They all have their advantages and their disadvantages. I’ll always be a lover of The Troubadour because it was the first place we [Phantom Planet] ever played. The intimacy you get, being able to hear everyone, see everyone’s face, the reactions are way more intense, and I like that. I also like the way a small club sounds — you can hear your own band.

But then you play Rock in Rio, where there’s 120,000 people, and people would think you’d be more intimidated and scared by it, but actually when there’s that many people, it just sort of looks like a wall that goes forever. And it’s crazy, and amazing, but it’s not nearly as intense to me for some reason.

Playing a song on an acoustic [guitar] in front of 5 people in my living room is way scarier than that.

Are there any tricks or techniques you use to amp yourself up or get in the zone for a performance, particularly if you’re not feeling in the mood to go out on stage?

I always have a cocktail [laughs], that’s pretty typical. I don’t drink too much because there’s a lot of responsibility on my plate, for how I play, but a shot of tequila is pretty nice, that calms me down a little bit.

But you also have to do things like make sure you don’t eat too close to the show. I try to put an hour and a half in between [eating and performing]. If you’re going to work out, that feels good, as long as you do it during the day.

And honestly I can’t figure out why some days I play really well, sometimes I won’t. I’ve really tried to get scientific about it: figure out how much I’ve eaten, and how much water I’ve had to drink. Some days my hands work better than others.

What about temperature, if you’re playing an outdoor show?

If it’s really hot and humid, it’s amazing because you can sing really easily. The humidity makes your vocal cords all soft and squishy — you can hit the high notes really easily.

When it’s really cold, it’s the opposite. But for the most part, I have to do a little bit of singing, stretch the hands out.

Photo courtesy of Maroon 5

You’ve created a mural, had an art show, and sell Samaps prints online. Where do you see yourself taking that project in the next few years?

It’s one of those things that just sort of happened and people reacted to it. I’ve always done art. I’ve drawn my whole life, I have tons of journals. People really reacted to the maps, they have a nostalgia. It’s very reliant on touring, though, so I wanted to do it in the city with a map that I got there. About 90% of the maps I’ve drawn are like that.

So the big question for me is whether or not I want to keep doing it this year. We have a couple tours coming up, and it’s a lot of work. It got creatively exhausting by the end of the last tour, so I’m not entirely sure I’m going to keep it up. I still do commissions for people, but I might have to adapt it into something else that’s a little easier.

Photo courtesy of Sam Farrar

How do you balance all your projects with your other responsibilities — music, art, family, etc?

Time management as a dad and a musician is so hard. It’s crazy. I write and produce music when I’m home – that’s basically my job — working with bands, trying to write songs for [big artists] and I’ll produce stuff.

My typical week is three or four days a week I have sessions with other writers or artists. The mornings before [the session] I’m up at 7, I get the kids to school. I finish up any work that I had from the day before, a mix or vocal editing. After the session, I get home, give my kids baths…it’s a long day.

But to me, the worst thing is being bored, as a creative person. I tend to be more creative and have more output when it’s constant — I don’t have time to think about anything but work, or kids.

It’s hard for me to do art full-on and music full-on. Touring is one thing because it’s a different side of the brain, but when you’re trying to write (or produce) songs and try to create art, they are hard to do at the same time. I kind of have to go back and forth.

I love the bass parts on “Always On My Mind” and “Hey Now Girl.” What do you remember about writing and recording those parts?

We did that record [The Guest] with [producer] Mitchell Froom. We sat down in rehearsal and I’m pretty sure Mitchell got me playing a certain motif and I went with it. The bass parts were always very, very well-thought out. We spent a lot of time on them. Alex [Greenwald] and I always wrote most of the bass lines together, he always had a pretty good idea of what he wanted to do. It was always about making the rhythm sections unique and not straightforward, but also catchy and not distracting.

We were such big fans of Elvis Costello, and their rhythm section was pretty much perfect, so I think we took a lot from that.

If you listen to a lot of those bass lines, the bass line always worked with the melody first and foremost, almost more than the drums. In fact, when we recorded The Guest, the bass was always the last thing we recorded. We’d track it as a band, and everyone would finish their parts, then I would come in at the end and make sure the bass parts fit with everything. There was definitely an importance placed on it, which was nice.

Is there a Phantom Planet album that sticks out as the one you’re most proud of?

 

You’ve been on a bunch of labels, including Geffen, Sony, Interscope, and Fueled by Ramen. How much impact did changing labels have on your work?

We [Phantom Planet] signed a record deal when I was 16 or 17 — I was in high school. And back then, it meant something. We were signing to the label that had Nirvana and Pearl Jam and all my favorite bands.

I think when you’re that young, you feel like you’re invincible and your band’s amazing and it’s going to sell a lot. It didn’t sell a lot, but it got us on the map and we played some shows. And then Geffen got bought and we went to Interscope.

I remember going in to Interscope and we had a meeting with Jimmy Iovine, and we had “California” but they didn’t get it, they didn’t think it was a single…which is fascinating. Jimmy Iovine played us “My Name Is” by Eminem a week before it came out, so they were very occupied with hip hop stuff.

Long story short, they let us go, and we went to Sony. And it took a while. I think we must have had 50 or 60 songs lying around, including “California.” And Sony believed enough in “California,” which was great.

So we went in with Mitchell Frooom — this is after trying a few different producers. Those transitions are hard because you lose a lot of time and you lose a lot of energy. But we made it, we did The Guest, it was great and it did really well.

Then once we did the second record for Sony, they realized that we weren’t seeing eye to eye. Money was running out, streaming was starting to happen. So then it got a little tricky.

And I think after we left Sony and [before we signed to] Fueled By Ramen was a few years of trying to figure out where to go. We were watching the [music] industry collapse, while enduring it, so it was scary.

We got through it by playing a lot of college gigs, and “California” blew up. We were very blessed to have enough momentum to keep going.

Every label has been a very different part of our career and our taste and how we’re feeling about the industry. At the beginning it was all about not “selling out” and not putting your stuff in commercials, and being a true artist, and by the end of it, we’re touring with bands we don’t sound anything like just because we know kids will see it.

Photo courtesy of Maroon 5

Looking back now, are you happy that you started playing music professionally so young? How has that timing impacted your career choices and trajectory?

I wouldn’t change anything because I’ve had a really good ride. But the only thing that worries me is I’m turning 40 this year, and I only know how to make music and art. So if this industry collapses, and I can’t keep working in it, I don’t know what else I would do. And that’s a byproduct of starting so young.

I’m not proud of this — I’ve never had a “real” job or a boss, per se. I think those sort of experiences are really important as an adult, for work ethic reasons. So that’s a weird thing that I have to grapple with as I’ve gotten older.

Having said that, it’s awesome that I’ve been in a successful enough band. And now I’m in a really big band. And I don’t have to stress that much. I consider myself very lucky that I can make a living in the music business because it’s really hard to do.

Thanks Sam! Check out Maroon 5’s upcoming tour dates and the SAMAPS print shop to see more of Sam’s artwork.

Interview: Adult Mom

May 2, 2017 /

I spoke to Steph Knipe of Adult Mom about the band’s upcoming album, U.S. tour, and playing Rilo Kiley songs on guitar.

Adult Mom’s new album, Soft Spots, comes out on 5/19/2017.

Photo Credit: Bao Ngo

After The Show: So looking ahead to June, you’ll play your first west coast shows ever. What will those shows be like?

Adult Mom: It’ll be full band, and we’ll be touring out with free cake for every creature, which will also be full band. It’s a little daunting – we’ve never been out for that long, so I’m very scared about my health and stuff, but I think it’ll be fun. Hopefully there will be no issues.

Is there a song on Soft Spots that was the most challenging for you to write or record?

I think “Steal The Lake From The Water” was definitely the most intense song on the record, and it was definitely hard to write because I was very angry. And a lot went into recording it – we tried a lot of stuff and we were just experimenting a lot.

What about a song where the writing or the recording just went really smoothly?

I think a lot of the record was like that. But when we recorded “Same” – it wasn’t a full band song – but we were finishing up the record and we were going to add a song, and I had written a solo song and played it for Mike [Dvorscak], and said ‘what if we just put a microphone on the other side of the room, and I just play this nylon string?’ And we put it on the record. I did two takes of it, and we just added a couple harmonies and that was it. It was definitely the breeziest song to record and it was really cool how that worked out.

It’s interesting to listen to a song like “When You Are Happy” as a slower, acoustic song in its earlier form. Is there going to be any chance for people to hear the original incarnations of the new songs at all?

Yeah, definitely. I’m working on putting out a demo tape actually for all the songs on the record. I think it’ll be a show-exclusive tape, so you have to come to a gig to get it. Maybe, we’ll see – we haven’t worked it out yet.

A song like “Paws” is so good and catchy, and it’s also really short. When you’re writing, what makes you decide to end a song (and not add another verse, for example)?

I think it’s just when I feel like I’ve hit a resolve in the lyrics, where I’m happy with where I’ve ended up in writing the words — that’s why I end the song. It’s just one of those feelings where you’re like ‘I’m done with this train of thought.’ And a lot of the shorter ones just end up like that.

I’ve discovered so much new music I really like through your Twitter – bands like Infinity Crush and Crying.

I went to school with the members of Crying and that’s where I met them, that’s where I first heard them. Other bands like Infinity Crush I’ve met mostly through the internet. I used to be heavy, heavy on Tumblr and I met a bunch of those artists just through Tumblr and also being on Twitter. Every band has a Twitter so everyone eventually meets on that website.

I read that you played a lot of Rilo Kiley covers when you were learning guitar…”Pictures of Success” is a great one to play. What were your favorite ones to play?

“Science vs Romance” is definitely a biggie. “Wires and Waves.” Anything off the first two records. I only learned bar chords because I learned “Science vs Romance.” I don’t do Blake’s parts, I do Jenny’s parts (the rhythm guitar) [laughs].

“Survival” has almost a million listens on Spotify – that’s amazing. Do you have any career goals in terms of this next album that you want to share?

My career goal for this album is to try my best to not force wanting it to be successful, if that makes sense. Obviously I want the album to be successful. I want people to listen to it, to buy it, to come to my shows. But I’m trying not to put so much pressure on it, because it’s really scary and if nothing happens with the record, it’s a heartbreaking feeling. So I kind of just want it to exist and for people to like it. That’s all I can ask for really.

Thanks Steph! Check out Adult Mom’s tour dates, and catch the band play at Junior High in LA on 6-12-2017.

Q&A with Eisley

March 20, 2017 /

Sherri DuPree-Bemis of Eisley talked to After The Show about the band’s new album I’m Only Dreaming, her favorite lyrics, and touring with Coldplay.

Catch Eisley play at the Troubadour in Los Angeles (with Civilian and Backwards Dancer) on 3/27.

Photo Credit: Katherine Bliss

After The Show: I love “When You Fall” and “A Song For The Birds.” What songs from the new album are you most connecting with right now?

Sherri: ‘When you fall’ is a big one for me because it’s a love song to my daughters. It’s the first song I’ve ever written about them both, and referenced things about them specifically, so it’s pretty personal and close to my heart!

Did you call the album I’m Only Dreaming to poke fun at your long-term sleep troubles, or did you choose the title for a different reason?

Haha, no but that is actually funny and I should just tell people that! It’s actually a nod to the Beatles song ‘I’m only sleeping’. We’ve always been massive Beatles fans and when that idea was thrown out we just loved it and felt it was the perfect fit!

It’s interesting to listen to the progression from early Eisley songs like “Becoming You” and “Laughing City” (when you were a kid) to a song like “When You Fall,” which you wrote about your own kids. Lyrically, the songs on this album are still whimsical but they seem more rooted in reality and less fanciful. Was that a conscious decision or just a natural byproduct of being older and having your own family now?

I always felt that, if I weren’t a songwriter I would write books and I was heavily influenced by authors like CS Lewis, Madeleine L’Engle and Neil Gaiman as a kid and ever since I fell in love with that style of writing (fanciful is a good word), I have made a conscious effort to put that feel into my lyrics. It’s more fun to sing and I love the feel. But as I’ve gotten older and gained life experience, there’s more meaning behind the words.

After performing with your sisters and brother for so many years, how does it feel to take on more vocal responsibilities and rely on newer band members on this tour?

It’s been a learning experience – but a great experience! Everyone in the band is just so talented and kind and loves touring with us, and you can’t beat that positive energy on the road. Singing everything is exhausting but I love singing so much so it’s been really fun for me to push myself as a vocalist!

What’s one of your favorite lyrics that you’ve ever written?

Well since we’re speaking of ‘When You Fall’ already, one of my favorite lines on the record is in that song is says “Bless the day you came here, One came fast and the other brought snow”. I had both of my daughters at home and my first daughter was born very quickly and easily and the second one, it snowed in Texas as she was being born!

Anything you want to share about how you assembled the order of songs on the album?

I honestly let our producer Will Yip and my cousin/co-writer/bassist Garron come up with the sequence! I’m not skilled in that area.

As a teenager, you accomplished major (perhaps surreal) things, such as opening for Coldplay at The Hollywood Bowl. How do those earlier experiences in Eisley inform your attitude today towards making music, touring, and your long-term goals?

I just feel truly thankful! I got to do tours that other bands would dream of and had such rich and beautiful experiences. Through the years I’ve seen so many friends’ bands struggle and fall apart due to the industry and personal struggles and it’s taught me to continually be thankful for the fact that I’m still getting to play music that I love, every day, with people that I love!

Thanks Sherri! Eisley play next week at the Troubadour in LA.

Q&A: Morgan Paros On Tour Life

February 28, 2016 /
Photo Credit: https://www.instagram.com/mallorymturner/

Photo Credit: Mallory Turner

Morgan Paros is a violinist and singer based in Los Angeles. She talked to us about her experience on the road, giving us an inside look at touring life.

After The Show: Have you encountered any unexpected or surprising things while being on the road?

Morgan Paros: This summer was my first bus tour and we slept on the bus most nights while our driver drove to our next tour stop. We had a full bus and when I boarded most of the beds were already claimed, so I ended up on the top bunk…and I was excited at first. The first week of tour I barely slept however due to the sway of the top bunk! I could literally feel my stomach lurching side to side at night. Yet, somehow by the end of tour I was totally acclimated and slept great at night haha.

Have you ever experienced any traveling or transportation challenges — like a bus or van breaking down? 

Yes, nothing too dramatic…on my summer 2015 tour with Hunter Hunted, we were traveling back to Los Angeles and driving during the daytime. The bus kept overheating through the mountains in Arizona, so we would frequently pull over to let the engine cool down…which added many additional hours of drive time. It was a vicious cycle of having to stop to let the engine cool, but then adding drive time and more overheating.

How do you maintain relationships with family and friends when you work away from home so frequently?

Phonecalls and FaceTime become the best way of checking in with loved ones. On bus tours you get a little more privacy and daytime freedom since you generally wake up in the city you’re performing in. That always helps – then you have more of a routine and can make calls before your afternoon soundcheck. On van tours, there is generally heavy daytime driving which makes it harder to find quiet time to call before shows. Also, about a week into tour, I’m adjusted to my schedule and so is my family…and we are definitely supportive of one another from afar. I update them on every show, the sweetest fans I meet, and cool places I visit.

If I’m lucky, I also get to see old friends and family in cities I perform in. Lastly, my family will always make it to a couple shows on tour to visit me on the road! That’s the real treat too, because they always bring awesome food and goodies to share with the rest of the band and crew!

What about playing the actual shows — is it exhausting to travel night after night?

Yes, it is tiring to play shows nightly. But, there is a rhythm to it…music pun intended. There is an enormous energy and high I get from performing and meeting fans that carries me through any tour and often coming home is bittersweet…until I sleep in my bed again haha!

How do you get enough sleep, eat healthy, and take care of yourself?

On a bus tour, I sleep in my bunk at night during drives to the next city. Sometimes if I had a late night or didn’t sleep well I can catch a quick nap before soundcheck and get geared up for an awesome show. Eating healthy is getting way easier now that healthy whole foods are popular again. I always pack a giant bag of healthy snacks for tour in the event there’s nothing easily accessible. We are also big Whole Foods market fans and will frequently stock the bus fridge with goodies when there’s one nearby! Showering will happen at a “day room” (rented hotel room) or occasionally the concert venue will have nice showers.

Hunter Hunted is also big on working out. No matter the city, we will always find a cool place to run, play basketball, or even hit the batting cages. We actually have a special rating system for hotel gyms. We are known to periscope our workouts too…and I may or may not teach a class called “Hot Bod by Morgan” 🙂 You’ll have to check periscope next tour to find out!

Thanks for sharing Morgan! Keep up with Morgan’s music projects on Instagram and Twitter.

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