World-famous producers and hand-picked unknowns come together at the Red Bull Music Academy for an advanced course in the fine art of party-rocking
By Nick Aveling
RED BULL MUSIC ACADEMY with Prins Thomas, Georgia Anne Muldrow, Jake One, Theo Parrish, Sek One, many more. Term 1 Sep 23-Oct 5; Term 2 Oct 14-26. Podcasts of the sessions and more information at www.redbullmusicacademy.com.
DJ PREMIER with DJ Law, Son of SOUL, Johnbronski, DJ Taktiks, more. Manifesto Festival Closing Night Party, presented by Red Bull Music Academy. Sun, Sep 23. Revival, 783 College. Doors 10pm. $20 door, $15 advance from Play De Record, Slinky Music, Shanti Baba, Soundscapes, Ticketbreak.com.
The Red Bull Music Academy (RBMA) is coming to Toronto and you're semi-invited.
The music production workshop series, a kind of nomadic Willy Wonka's Chocolate Factory for producers, DJs, instrumentalists and vocalists, opens the doors of its headquarters at Queen West and Peter on Sunday. If you don't have a golden ticket – only 60 of 2,600 international applicants do – you'll have to settle for the silver lining: lectures will be broadcast live to the public online; and the Saturday sessions at the RBMA Festival Hub at 394 Queen W., meanwhile, are open to all.
“Musicians from different backgrounds – hip-hop, techno, drum 'n' bass, punk, soul, dubstep, indie and post rock – don't usually get a chance to meet with each other,” says Academy co-founder Many Ameri. “If they do, there's never time to talk about what really drives them to make music. [The RBMA] is a place where you leave the industry bullshit outside the door and concentrate on the inspiration behind your music.”
Since starting in Berlin in 1998, the Academy has two-stepped (or slam-danced, depending on whom you ask) its way through cities on every continent. Organizers admit they had no idea what to expect from Toronto. “We were at a point where we thought we'd go somewhere that we found interesting. We looked at Canada, two cities in particular – one was Toronto, the other you can probably guess. I'm aware of the rivalry so I don't want to add any fuel to the fires of hate,” says Ameri. (A hint: it starts with an M, ends with an L, and has an ONTREA in the middle.)
Given the RBMA's emphasis on live performances and musical and cultural eclecticism, Ameri says, Toronto was the obvious choice. “Wherever we go around the world, people are great with superlatives. But Toronto really is the most integrated, most multicultural city I've ever seen. We were also surprised by what a healthy music scene you have, how many good clubs and concert venues there are.”
A typical day at the Academy starts at noon and ends sometime around last call. During daylight hours, guest lecturers who “have been important and coined music styles in the last three or four decades” speak to groups of about 30 participants, themselves musicians from all over the world.
“After that,” he says, “we have eight studios on-site where participants get to work with each other and lecturers. That's where you'll have, I don't know, a Czech drum 'n' bass DJ, a hip-hop DJ from New Zealand and a producer from Japan making music with some booty-bass lecturer. That usually lasts from 6pm until about midnight.” Lecturers and participants then take it from the lab to the clubs, performing alongside local acts throughout the city.
A widespread and prolonged event – it's broken into two two-week sessions separated by a one-week break – the RBMA manages to be conspicuously clandestine. Lecturers aren't formally announced until the day they're slated to speak, and show promotion is largely unattached to the Academy itself. “Since there are all these gigs, word just sort of bleeds into the Academy,” says Ameri. You didn't hear it from us, but the fact that dancehall pioneer King Jammy, Stones Throw soul-jazz diva Georgia Anne Muldrow and Norwegian dance DJ/producer Prins Thomas are all set to perform during the Academy's stay in Toronto might just have some bearing on the lecture lineup.
DJ Premier, who happens to be spinning at Revival on Sept. 23, is this year's (non)marquee lecturer. He hadn't heard about the RBMA before being approached by organizers leading up to the event, but he didn't need much convincing to sign on.
“There's less money involved and everybody's just there to learn from each other and figure out where to go from there, so my main focus is definitely to help with that,” he says. “Anything to help uplift the movement of what we do, I'm always all for it. It's really that simple with me. I won't show them all my secrets, I'm not there for that, but I will show them how to develop an ear for beat production, develop a sound.”
Whether or not the event is a success, says Premier, depends on your definition. “Realistically, this is a really fucked-up business. I'll never sugarcoat how ugly it really is. Only time will tell if [the participants] turn into the next up-and-coming hot producers, so I just want them to look at me as proof that despite all of that, you can still maintain and do what you do naturally.”
Tuesday, October 9, 2007
An Interview with Dave Keuning of The Killers
When The Killers broke into the mainstream with their debut, Hot Fuss, they brought a retro sound that garnered critical praise almost as quickly as it climbed the charts. Back with their sophomore release, Sam's Town, The Killers have a new set of challenges: a backlash from the press and a grueling tour schedule. Killers guitarist Dave Keuning took a moment to speak to me from San Diego to tell me that all the fuss isn't slowing them down. If anything, he explains, it's revving them up.
You were set to play the Billboard Awards this past Monday but didn't. What happened?
Brandon [The Killers' lead singer] was sick and we had to cancel a couple shows because of his throat.
And now I'm actually in the San Diego airport, flying to San Francisco for a Christmas show.
So, it's been a week off for the band?
Yeah, its been about five days off, which is the longest stretch off we've had since mid-August.
Nice to get a break?
Yeah. We only had it because Brandon was sick -- but I still welcomed it.
So were you in Vegas during your time off?
I live in Las Vegas and San Diego. I have my girlfriend and son in San Diego. As soon as our Atlanta show was cancelled, I went there for the last two days.
And now that Brandon is better, the Sam's Town push continues?
We have about a week and a half left. We've still gotta do San Francisco, LA, Mexico, then we make up the Atlanta show, do New York and Jay Leno, and then we're done. For this year. Then we have a few weeks off for Christmas and then it all starts up again. January to Japan, Australia, back to Europe -- then back to America in April.
Is touring a part of the job you like?
Well, I like traveling, but I mean this last 3 months, it really pushed us. I'm not surprised someone got sick. It was solid, with very few days off, just touring, touring, touring. We went to Europe and back twice. I'm not surprised something came up and we dropped a couple of shows. It wouldn't kill them -- whoever does our scheduling -- to leave a few breaks here and there.
Have you guys been happy with how the album has been doing? It seems to be selling well, but not faring as well critically.
I try and not listen to the critics, they tend to just frustrate me. The review everyone talks about [in Rolling Stone], it's just completely asinine. I can accept that there are gonna be bad reviews no matter how good or bad we are. But he basically said that there were no songs on the album, and I have to disagree with that a little. He's just out to get us and I don't know what Rolling Stone's beef is -- but they love Fergie, a very established artist with a lot of credibility! They're catering to her needs. And that's fine, that's the kind of magazine it is, where Paris Hilton gets the cover and we get a bad review. But Led Zeppelin never got a cover and they never got any good reviews either -- and they turned out pretty good.
The press doesn't seem to be on your good side right now.
I'm not trying to single you out, but I think every journalist would be disappointed if they knew the truth. And the truth is, there is not much of a story in most bands, we're just making music. And they always ask, "What are the back stage stories?" Well, uh, we hung out before we played and then we played.
So Brandon's statement that your new album was a better representation of America than Green Day's American Idiot -- is that just a pseudo-rivalry worked up by the press?
Yeah, I guess so. That's been a little overblown. Brandon has some opinions, but I try to stress to people that it's not an American album and it sure didn't feel that way when we recorded it. We weren't making an American pride album, we were just making the best ten or twelve songs we could. I wasn't thinking about Bruce Springsteen when I was recording it.
[Brandon] took a couple jabs at Green Day that were questionable. I think he thought they were going for the easy vote -- that anyone who rebels against Bush looks like a punk rock hero. But we're not calling ourselves patriots. We try to stay out of the politics, and I think that's sort of the point that Brandon was making. Journalists, of course, they want a rivalry, they want a story. We just try to make good music, that's all.
Have things been harder with the second album, with all the negative press?
It's aggravating. People assume that when someone says some major comment -- Brandon or I -- that it represents the band. But it doesn't. And I even try and speak up for Brandon a little bit because he has different opinions on different days and they'll get one opinion and they'll put it in bold letters and they'll paint him that way. Maybe he was caught up in a moment or the next day changed his mind. But they don't print that part. They don't print the modest part. They make us look like assholes.
I definitely think people want rock stars to be brash -- so when they are it confirms that.
No, it's fine. I think there was a little more pressure this time around. I mean, there was pressure the first time, but because we just wanted to quit our jobs and get some money. This time around we're going for respect and proving that we can do it again. You know, our fans drive us to keep getting better. But all the naysayers are driving us too -- and there are plenty of them. So, we have a lot of motivation and I think we're at a good point right now where we're satisfied making the kind of music we want to. We might sell a few less records, we might sell a few more, it's still early on. We just wanna keep making good albums for several years
Any tracks off the new album you're especially excited about?
My favorite two at the moment are "When We Were Young" and "Read My Mind." "Read My Mind" is one we're really hopeful for. It seems to be everybody's favorite whether they're young or old -- that tends to be a good sign. When my mom and dad like it, it seems that's a good test, because they don't understand a lot of the rock stuff. If there's something in a song that they even like, that says something about it.
You were set to play the Billboard Awards this past Monday but didn't. What happened?
Brandon [The Killers' lead singer] was sick and we had to cancel a couple shows because of his throat.
And now I'm actually in the San Diego airport, flying to San Francisco for a Christmas show.
So, it's been a week off for the band?
Yeah, its been about five days off, which is the longest stretch off we've had since mid-August.
Nice to get a break?
Yeah. We only had it because Brandon was sick -- but I still welcomed it.
So were you in Vegas during your time off?
I live in Las Vegas and San Diego. I have my girlfriend and son in San Diego. As soon as our Atlanta show was cancelled, I went there for the last two days.
And now that Brandon is better, the Sam's Town push continues?
We have about a week and a half left. We've still gotta do San Francisco, LA, Mexico, then we make up the Atlanta show, do New York and Jay Leno, and then we're done. For this year. Then we have a few weeks off for Christmas and then it all starts up again. January to Japan, Australia, back to Europe -- then back to America in April.
Is touring a part of the job you like?
Well, I like traveling, but I mean this last 3 months, it really pushed us. I'm not surprised someone got sick. It was solid, with very few days off, just touring, touring, touring. We went to Europe and back twice. I'm not surprised something came up and we dropped a couple of shows. It wouldn't kill them -- whoever does our scheduling -- to leave a few breaks here and there.
Have you guys been happy with how the album has been doing? It seems to be selling well, but not faring as well critically.
I try and not listen to the critics, they tend to just frustrate me. The review everyone talks about [in Rolling Stone], it's just completely asinine. I can accept that there are gonna be bad reviews no matter how good or bad we are. But he basically said that there were no songs on the album, and I have to disagree with that a little. He's just out to get us and I don't know what Rolling Stone's beef is -- but they love Fergie, a very established artist with a lot of credibility! They're catering to her needs. And that's fine, that's the kind of magazine it is, where Paris Hilton gets the cover and we get a bad review. But Led Zeppelin never got a cover and they never got any good reviews either -- and they turned out pretty good.
The press doesn't seem to be on your good side right now.
I'm not trying to single you out, but I think every journalist would be disappointed if they knew the truth. And the truth is, there is not much of a story in most bands, we're just making music. And they always ask, "What are the back stage stories?" Well, uh, we hung out before we played and then we played.
So Brandon's statement that your new album was a better representation of America than Green Day's American Idiot -- is that just a pseudo-rivalry worked up by the press?
Yeah, I guess so. That's been a little overblown. Brandon has some opinions, but I try to stress to people that it's not an American album and it sure didn't feel that way when we recorded it. We weren't making an American pride album, we were just making the best ten or twelve songs we could. I wasn't thinking about Bruce Springsteen when I was recording it.
[Brandon] took a couple jabs at Green Day that were questionable. I think he thought they were going for the easy vote -- that anyone who rebels against Bush looks like a punk rock hero. But we're not calling ourselves patriots. We try to stay out of the politics, and I think that's sort of the point that Brandon was making. Journalists, of course, they want a rivalry, they want a story. We just try to make good music, that's all.
Have things been harder with the second album, with all the negative press?
It's aggravating. People assume that when someone says some major comment -- Brandon or I -- that it represents the band. But it doesn't. And I even try and speak up for Brandon a little bit because he has different opinions on different days and they'll get one opinion and they'll put it in bold letters and they'll paint him that way. Maybe he was caught up in a moment or the next day changed his mind. But they don't print that part. They don't print the modest part. They make us look like assholes.
I definitely think people want rock stars to be brash -- so when they are it confirms that.
No, it's fine. I think there was a little more pressure this time around. I mean, there was pressure the first time, but because we just wanted to quit our jobs and get some money. This time around we're going for respect and proving that we can do it again. You know, our fans drive us to keep getting better. But all the naysayers are driving us too -- and there are plenty of them. So, we have a lot of motivation and I think we're at a good point right now where we're satisfied making the kind of music we want to. We might sell a few less records, we might sell a few more, it's still early on. We just wanna keep making good albums for several years
Any tracks off the new album you're especially excited about?
My favorite two at the moment are "When We Were Young" and "Read My Mind." "Read My Mind" is one we're really hopeful for. It seems to be everybody's favorite whether they're young or old -- that tends to be a good sign. When my mom and dad like it, it seems that's a good test, because they don't understand a lot of the rock stuff. If there's something in a song that they even like, that says something about it.
Magnatune an Open Choice, iTunes an Expensive Choice
On April 2, 2007, Apple CEO Steve Jobs along with EMI CEO Eric Nicoli announced DRM-free downloads at a new cost of $1.29 US-a fee that's $.30 more than the current DRM-formatted music. Shouldn't music be DRM-free anyway and not come at an extra cost? That's not what iTunes is saying or showing, as it still is going to sell DRM music for $.99 and DRM-free music for even more. Why put up with these over-priced songs, not only from iTunes but also from other on-line stores, such as Microsoft's MSN Music that sells over-priced music, and like iTunes, the music comes with DRM.
The new DRM-free songs on iTunes will be in MP3 and WMA formats and supposedly will be of "superior quality". That mention of superior quality, however, is merely to cover up the extra price and save iTunes from the UK's fair trading pressure of infringement on European trading regulations. Why should you have to deal with a company that makes you pay more for freedom? Freedom is not something you should have to pay for. Why pay for freedom when you can choose an on-line site that gives you options the other record-label companies don't offer?
Such a site exists, and it gives you many choices, including how you want to receive an album, such as a downloaded DRM-free format (MP3, WAV, OGG, FLAC or AAC) or a purchased CD that will be mailed to you, all without the extra "freedom fee". This site also lets you choose to pay what you think a particular album is worth, and it gives you the option of re-downloading a purchased song if you lose it due to a faulty hard drive or misplaced file. This site also gives you the option to back up music on another device, without restrictions on the number of devices on which you can store your music-something iTunes does not allow, and it's something I know I want to be able to do with music I purchase. And, the best thing of all, this site allows you the freedom to share an album and give the gift of music to your friends. If you buy an album, you can share it with up to three friends (based on the honor system).
What if I tell you it's all possible with Magnatune-the company that says "We Are Not Evil", and it's just that, not evil. Magnatune allows customers to do everything mentioned above-plus more. It's not only an independent, on-line record label, but also a company that wants to change how music is distributed and open up possibilities for less-known bands and artists. The artists and bands on Magnatune are not highly rated with albums or songs in the Top 100, but they still are great to listen to and download. All Magnatune needs is only one top artist to switch over to put it on the map as a mainstream label company. Magnatune takes big strides to label great-sounding artists, and one out of 300 artists gets signed.
The new DRM-free songs on iTunes will be in MP3 and WMA formats and supposedly will be of "superior quality". That mention of superior quality, however, is merely to cover up the extra price and save iTunes from the UK's fair trading pressure of infringement on European trading regulations. Why should you have to deal with a company that makes you pay more for freedom? Freedom is not something you should have to pay for. Why pay for freedom when you can choose an on-line site that gives you options the other record-label companies don't offer?
Such a site exists, and it gives you many choices, including how you want to receive an album, such as a downloaded DRM-free format (MP3, WAV, OGG, FLAC or AAC) or a purchased CD that will be mailed to you, all without the extra "freedom fee". This site also lets you choose to pay what you think a particular album is worth, and it gives you the option of re-downloading a purchased song if you lose it due to a faulty hard drive or misplaced file. This site also gives you the option to back up music on another device, without restrictions on the number of devices on which you can store your music-something iTunes does not allow, and it's something I know I want to be able to do with music I purchase. And, the best thing of all, this site allows you the freedom to share an album and give the gift of music to your friends. If you buy an album, you can share it with up to three friends (based on the honor system).
What if I tell you it's all possible with Magnatune-the company that says "We Are Not Evil", and it's just that, not evil. Magnatune allows customers to do everything mentioned above-plus more. It's not only an independent, on-line record label, but also a company that wants to change how music is distributed and open up possibilities for less-known bands and artists. The artists and bands on Magnatune are not highly rated with albums or songs in the Top 100, but they still are great to listen to and download. All Magnatune needs is only one top artist to switch over to put it on the map as a mainstream label company. Magnatune takes big strides to label great-sounding artists, and one out of 300 artists gets signed.
An Indie Rock Guide to Surviving Thanksgiving
5 New Fall Albums That Will Help
Chances are you’re going to be home soon for Thanksgiving. Chances are you’re going to spend a lot of time sitting around yawning. Chances are you’ll be seeking some kind of escape – be it to a show downtown or to the private sounds of a new set of tunes in your ears.
To help, I’ve compiled a list, and short descriptions, of five new fall albums that can offer you said getaway. Follow my directions exactly and I promise your day of family intrusion and culinary infusion won’t also be one of musical delusion. As a thank you, just make sure to save me some cranberry sauce.
Damien Jurado: The Calm Before The StormThe morning of Thanksgiving is stressful. So before your awkward cousins from Omaha arrive, put on Damien Jurado's new release from Secretly Canadian, And Now That I'm In Your Shadow.
Jurado's mellow, solo-guitar folksiness will calm you down and put in perspective the lively family dinner you're dreading. "I can't get my soul to work/ I'll just talk loads of bullsh*t," Jurado sings in the halting "Gasoline Drinks." He's obviously talking about big family dinners, and those things family-time helps fortify against: loneliness, depression, finger-plucked minor chords. There's plenty of all three on this album -- and that's exactly why it's perfect for Thanksgiving morning. Listen and begin to gleefully anticipate the opposite.
The Stars of Track and Field: Embrace the ConfusionAs the family shuffles in, put on Portland's most melodic new offering, The Stars of Track and Field. Their excellent album, Centuries Before Love And War, shows a great deal of maturity for the young band -- they've added electronic textures to their already catchy tunes and the result is perfect. As the alluring smells of dinner-cooking fuse with the distracting chatter of a family running low on blood sugar, put on these euphonious and lilting songs. The way they balance two sounds, two moods, two styles and two vocalists will perfectly mirror the battle between hunger and insanity you'll be experiencing right before dinner time.
The May Fire: Bite, Chew and Swallow HardUnfortunately for most, listening to music during Thanksgiving dinner isn't allowed. But if it was... I'd recommend turning on The May Fire. The self-titled debut from this female-fronted Bay Area group has both a driving rhythmic pulse and an abundance of dynamic melodies -- which makes it the perfect kind of music to help you scavenge your way through a too-big meal. "Lost Control," which compellingly builds from a brooding intro into a fully-fleshed chorus resembles -- deliciously -- the structure of the feast: from petty appetizer, to hearty turkey, to rich pumpkin pie dessert. Just don't put this album on before the meal, it, like your mother always warned, may ruin your appetite.
The Silent Years: Enhance Your DessertI don't expect you to pass up whatever baked goodness your cousin Marge spent all day slaving over -- but since you'll be smiling during this course for sure, you should put The Silent Years self-titled debut on in the background. It'll make the pie even sweeter. You will be shocked that an album this fully developed, this well-paced, this energized, could be a debut release. The bouncy guitar-work of "Someday"? The atmospheric consistency of "Take the Money Out"? The direct but pretty vocals of "Lost at Sea"? You've heard this all before -- only last time it wasn't nearly as good. Just like your pie, Marge. Never tasted better.
The Gothic Archies: Post-Dinner Fun For EveryoneAfter everyone is satiated (read: stuffed), gather them around a stereo and turn on the new release by The Magnetic Fields' Stephen Merritt: The Gothic Archies' theme music for the Lemony Snicket's A Series of Unfortunate Events audiobooks. These tunes may not be Merritt at his most versatile, but they're definitely him at his most fun. Tracks like "Smile! No One Cares How You Feel" are perfect to entertain even the least dysfunctional family members -- before Turkey-coma sets in and you can escape to your room, or to the nearest
Chances are you’re going to be home soon for Thanksgiving. Chances are you’re going to spend a lot of time sitting around yawning. Chances are you’ll be seeking some kind of escape – be it to a show downtown or to the private sounds of a new set of tunes in your ears.
To help, I’ve compiled a list, and short descriptions, of five new fall albums that can offer you said getaway. Follow my directions exactly and I promise your day of family intrusion and culinary infusion won’t also be one of musical delusion. As a thank you, just make sure to save me some cranberry sauce.
Damien Jurado: The Calm Before The StormThe morning of Thanksgiving is stressful. So before your awkward cousins from Omaha arrive, put on Damien Jurado's new release from Secretly Canadian, And Now That I'm In Your Shadow.
Jurado's mellow, solo-guitar folksiness will calm you down and put in perspective the lively family dinner you're dreading. "I can't get my soul to work/ I'll just talk loads of bullsh*t," Jurado sings in the halting "Gasoline Drinks." He's obviously talking about big family dinners, and those things family-time helps fortify against: loneliness, depression, finger-plucked minor chords. There's plenty of all three on this album -- and that's exactly why it's perfect for Thanksgiving morning. Listen and begin to gleefully anticipate the opposite.
The Stars of Track and Field: Embrace the ConfusionAs the family shuffles in, put on Portland's most melodic new offering, The Stars of Track and Field. Their excellent album, Centuries Before Love And War, shows a great deal of maturity for the young band -- they've added electronic textures to their already catchy tunes and the result is perfect. As the alluring smells of dinner-cooking fuse with the distracting chatter of a family running low on blood sugar, put on these euphonious and lilting songs. The way they balance two sounds, two moods, two styles and two vocalists will perfectly mirror the battle between hunger and insanity you'll be experiencing right before dinner time.
The May Fire: Bite, Chew and Swallow HardUnfortunately for most, listening to music during Thanksgiving dinner isn't allowed. But if it was... I'd recommend turning on The May Fire. The self-titled debut from this female-fronted Bay Area group has both a driving rhythmic pulse and an abundance of dynamic melodies -- which makes it the perfect kind of music to help you scavenge your way through a too-big meal. "Lost Control," which compellingly builds from a brooding intro into a fully-fleshed chorus resembles -- deliciously -- the structure of the feast: from petty appetizer, to hearty turkey, to rich pumpkin pie dessert. Just don't put this album on before the meal, it, like your mother always warned, may ruin your appetite.
The Silent Years: Enhance Your DessertI don't expect you to pass up whatever baked goodness your cousin Marge spent all day slaving over -- but since you'll be smiling during this course for sure, you should put The Silent Years self-titled debut on in the background. It'll make the pie even sweeter. You will be shocked that an album this fully developed, this well-paced, this energized, could be a debut release. The bouncy guitar-work of "Someday"? The atmospheric consistency of "Take the Money Out"? The direct but pretty vocals of "Lost at Sea"? You've heard this all before -- only last time it wasn't nearly as good. Just like your pie, Marge. Never tasted better.
The Gothic Archies: Post-Dinner Fun For EveryoneAfter everyone is satiated (read: stuffed), gather them around a stereo and turn on the new release by The Magnetic Fields' Stephen Merritt: The Gothic Archies' theme music for the Lemony Snicket's A Series of Unfortunate Events audiobooks. These tunes may not be Merritt at his most versatile, but they're definitely him at his most fun. Tracks like "Smile! No One Cares How You Feel" are perfect to entertain even the least dysfunctional family members -- before Turkey-coma sets in and you can escape to your room, or to the nearest
Seattle's Grunge Rock Phenomenon
Seattle-based Nirvana launched Grunge Music — and the Alternative Rock movement — into the mainstream with the realease of their 1991 album "Nevermind." Their emotionally abrasive, guitar-driven sound was entirely original blend of Punk Rock's trademark aggression, Heavy Metal's irreverant power and early Alternative Rock's addictive vocal melodies and set the tone for all Alternative Music to follow. Nirvana is still considered the definitive Alt Rock band.
The Early Years (1985 - 1990):Kurt Cobain met Krist Novoselic in 1985 and formed a friendship based on a mutual appreciation of the Seattle band The Melvin's. They began playing together and formed a band which they eventually called Nirvana. After recording a number of singles and one album ("Bleach") with a series of drummers, they met D.C.
hardcore drummer Dave Grohl in 1990 and invited him to join the band. Soon after, they signed to Geffen Records and produced their first major label album: the seminal "Nevermind."
Mainstream Success (1991-1992):Initially, Geffen assumed "Nevermind" would be moderately successful, like a number of earlier Alt Rock albums. However, the album's first single "Smells Like Teen Spirit," became an overwhelming hit on MTV. In the six months following the album's release it sold three million copies, overshadowing the popularity of Hair Metal and displacing Michael Jackson's "Dangerous" on the Billboard charts. "Nevermind" signalled the beginning of a new phase in popular music.
Pressures of Fame (1993-1994):With the wild success of "Nevermind," Nirvana became the unwilling voice of a new generation. Cobain, in particular, was seen as the spokesman for disaffected and disgruntled youths — a position he did not feel comfortable filling. In 1993, the band released "In Utero," which broke from the radio-friendly sound of "Nevermind" and upset many fans. During this time, as Nirvana continued touring nationally and internationally, the band members grew increasingly disillusioned.
Nirvana No More (1994):On April 8, Kurt Cobain's body was found, lifeless, in the spare room of his home. The details of his death are still unclear, but most accounts label it as suicide. What is known is that Cobain was crippled by the stresses of fame and constant touring, suffered from chronic bronchitis and a stomach condition and was in the process of fighting a heroin addiction. His death was mourned by music fans around the world. But while it ended Nirvana, it could not stop the rising popularity of Alternative Music.
Legacy:In their short time as a band, Nirvana popularized Seattle's Grunge sound and, indirectly, popularized many Independent and Alternative bands that had helped create that sound. Pre-grunge Alternative bands like The Pixies, early indie rock bands like Sonic Youth, other Grunge bands like Aice In Chains and even contemporary Alt / Indie bands like Death Cab For Cutie owe their popularity in some part to Nirvana — the first Alternative band to break into the mainstream airways.
The Lineup:
Kurt Cobain: Guitar, Vocals (1987-1994)
Krist Novoselic: Bass (1987-1994)
Dave Grohl: Drums (1990-1994)Other Drummers:
Aaron Burckhard (1987‚ 1988)
Dale Crover (1988, 1990)
Dave Foster (1988)
Chad Channing (1988‚ 1990)Other Guitarists:
Jason Everman (1989)
Dan Peters (1990)
Pat Smear (1993‚1994)
Discography:1989: Bleach (Sub Pop)1991: Nevermind (DGC)1992: Incesticide (DGC)1993: In Utero (DGC)1994: MTV Unplugged in New York (DGC)1996: From the Muddy Banks of the Wishkah (DGC)2002: Nirvana (DGC)2004: With the Lights Out - Box Set (DGC)2005: Sliver: The Best of the Box (DGC)
Awards:MTV Video Music Awards:
Best Alternative Video: "Smells Like Teen Spirit"
Best New Artist in a Video, "Smells Like Teen Spirit"
Best Alternative Video, "In Bloom"
Best Alternative Video, "Heart Shaped Box"
Best Art Direction, "Heart Shaped Box" Brit Award:
International Breakthrough Act American Music Award:
Favorite Heavy Metal/Hard Rock Artist Grammy Award:
Best Alternative Music Album, MTV Unplugged in New York
The Early Years (1985 - 1990):Kurt Cobain met Krist Novoselic in 1985 and formed a friendship based on a mutual appreciation of the Seattle band The Melvin's. They began playing together and formed a band which they eventually called Nirvana. After recording a number of singles and one album ("Bleach") with a series of drummers, they met D.C.
hardcore drummer Dave Grohl in 1990 and invited him to join the band. Soon after, they signed to Geffen Records and produced their first major label album: the seminal "Nevermind."
Mainstream Success (1991-1992):Initially, Geffen assumed "Nevermind" would be moderately successful, like a number of earlier Alt Rock albums. However, the album's first single "Smells Like Teen Spirit," became an overwhelming hit on MTV. In the six months following the album's release it sold three million copies, overshadowing the popularity of Hair Metal and displacing Michael Jackson's "Dangerous" on the Billboard charts. "Nevermind" signalled the beginning of a new phase in popular music.
Pressures of Fame (1993-1994):With the wild success of "Nevermind," Nirvana became the unwilling voice of a new generation. Cobain, in particular, was seen as the spokesman for disaffected and disgruntled youths — a position he did not feel comfortable filling. In 1993, the band released "In Utero," which broke from the radio-friendly sound of "Nevermind" and upset many fans. During this time, as Nirvana continued touring nationally and internationally, the band members grew increasingly disillusioned.
Nirvana No More (1994):On April 8, Kurt Cobain's body was found, lifeless, in the spare room of his home. The details of his death are still unclear, but most accounts label it as suicide. What is known is that Cobain was crippled by the stresses of fame and constant touring, suffered from chronic bronchitis and a stomach condition and was in the process of fighting a heroin addiction. His death was mourned by music fans around the world. But while it ended Nirvana, it could not stop the rising popularity of Alternative Music.
Legacy:In their short time as a band, Nirvana popularized Seattle's Grunge sound and, indirectly, popularized many Independent and Alternative bands that had helped create that sound. Pre-grunge Alternative bands like The Pixies, early indie rock bands like Sonic Youth, other Grunge bands like Aice In Chains and even contemporary Alt / Indie bands like Death Cab For Cutie owe their popularity in some part to Nirvana — the first Alternative band to break into the mainstream airways.
The Lineup:
Kurt Cobain: Guitar, Vocals (1987-1994)
Krist Novoselic: Bass (1987-1994)
Dave Grohl: Drums (1990-1994)Other Drummers:
Aaron Burckhard (1987‚ 1988)
Dale Crover (1988, 1990)
Dave Foster (1988)
Chad Channing (1988‚ 1990)Other Guitarists:
Jason Everman (1989)
Dan Peters (1990)
Pat Smear (1993‚1994)
Discography:1989: Bleach (Sub Pop)1991: Nevermind (DGC)1992: Incesticide (DGC)1993: In Utero (DGC)1994: MTV Unplugged in New York (DGC)1996: From the Muddy Banks of the Wishkah (DGC)2002: Nirvana (DGC)2004: With the Lights Out - Box Set (DGC)2005: Sliver: The Best of the Box (DGC)
Awards:MTV Video Music Awards:
Best Alternative Video: "Smells Like Teen Spirit"
Best New Artist in a Video, "Smells Like Teen Spirit"
Best Alternative Video, "In Bloom"
Best Alternative Video, "Heart Shaped Box"
Best Art Direction, "Heart Shaped Box" Brit Award:
International Breakthrough Act American Music Award:
Favorite Heavy Metal/Hard Rock Artist Grammy Award:
Best Alternative Music Album, MTV Unplugged in New York
Music, Critics, And Crowds
Like most music obsessives, Joey Anuff is not particularly democratic when it comes to matters of taste. He extrapolated from this when he came up with Critical Metrics, a nascent music-recommendations engine. The idea animating Critical Metrics is one that contorts en vogue notions about the smarts of crowds and social networks, as well as the algorithmic under-pinnings of much of the Web: Rather than harnessing the collective preferences of an audience, Critical Metrics aggregates current and past critical opinion for, as of this writing, more than 23,000 songs on its beta site, play.criticalmetrics.com. "The way Joey looks at it is very ideological," says Yahoo! Music General Manager Ian Rogers, because he assumes "the wisdom of the crowds is not necessarily what you want.As befitting the vision of someone whose wide-ranging tastes skew connoisseurish (among Anuff's historical faves: jazz pioneer Ornette Coleman and Teutonic synth ensemble Kraftwerk), Critical Metrics scans opinions from mainstream pubs like Rolling Stone down to single proprietor music-geek blogs like fluxblog. Such catholic sourcing, at least in theory, aggregates critical consensus and cancels out individual prejudices. Rolling Stone may worship the new Springsteen album, but some Critical Metrics-scanned blogs will find it emetic. Some venues focus on big hits while others obsess over the "deep cuts" that never get played on the radio. One CM recommendation for the Beach Boys: "Vega-Tables," a rather amazing, if obscure, track from the legendary "lost" album Smile. By keeping the focus on the song and the publication, both listed with each recommendation, CM differs from online opinion aggregator Metacritic.com, best known for assigning scores to collective critical opinion. CM's recent Top 10 lists are significantly more diverse than the ones amassed from users of music social-network sites like Last.fm.ONE LONG-TERM PLAY FOR CM is to be part of a major online music destination's interface—one that can quickly get music fans from recommendation to purchase and thus get CM a cut of transactions. (Links to Yahoo's music videos are prominent on CM now, but Rogers declined to discuss whether a deal is pending.) As with anything online, there is also ad revenue potential. But for now, CM remains another interesting Web idea with no major partners or functional business model (albeit one with potentially major implications). For this, the 36-year-old Anuff (full disclosure: we're friendly acquaintances) put on hold a promising career in TV producing and moved back in with his Mom in Miami.Current CM competition, like iLike and Last.fm, are dominated by what Anuff terms "social metrics": They mostly point out what other music the fans of your favorite band dig. "I don't think they're garbage," says Anuff, but "I don't believe [social metrics] have the same level of authority" as critics' opinions. For this reason, he says, they do a poor job of solving "the programming problem every single purveyor has: How do you turn anyone on to new music?"This presupposes, though, that a lot of people feel they have a problem finding enough new music. The undemocratic music geek in me is compelled to cite the huge numbers of people—let's just call them "the mainstream"—who do not worry about this, who like what they like and/or hear enough new stuff through happenstance. Anuff is counting on the music-obsessed to help CM take off. "I am sure there are at least 5 million music heads in this country who consider music a food group," he says. He may be sweetly deluded. Or he may be on to something scalable, something that, like Metacritic, can be broadened to other media areas—movies, video games, and books. CM charts a new path toward a very old notion: that what experts have to say is worth hearing. In this arena, as a card-carrying member of the my-musical-taste-can-beat-up-your-musical-taste club, I agree. Now all Anuff needs is the other 4,999,998 of us. If they're there.
An Interview with Jesse Laz of Locksley
We moved to New York three years ago in August – in 2003 – and that was basically the beginning of the band. I was already out here; I had already gone to NYU for two years. Sam had been in college, Kai was out in San Francisco, Aaron was in Wisconsin – we’d played together before in high school, and college wasn’t working for us, so we decided to all move out to New York and try life out as a band.
You met in high school?
We all met in high school. We all went to high school in Madison, Wisconsin. Sam was originally from Alaska – he grew up in Anchorage. I grew up in Milwaukee, Kai and Aaron grew up in Madison. We all ended up at the same high school, and even though we weren’t in the same cliques or the same social groups, through various happenstances we ended up playing together.
Aaron and I met, irony of ironies, in weight training class. And then we somehow got a show booked, but we didn’t have any songs. Aaron put it to me to find a drummer. Sam had been playing in all sorts of groups; he ran sound, he didn’t go to high school but was doing music everywhere. I think he owed me a favor – I’d given him a ride home, he’d been like “I owe ya’ one.” So I used that to rope him in. Not quite a ride home, but still.
A favor's a favor.
Right. I think the first thing we ever did was a battle of the bands. We didn’t really have songs, so we did a lot of sketches and skits, kind of goofy stuff. But it was fun; people seemed to respond. And when we did well in the battle of the bands we kept going.
It was all just a lot of fun. Aaron had a bass around so he played bass. I had a guitar from my cousin, so I played guitar. Kai could play fast so we put him on lead guitar – it was that kind of thing. None of us were incredible musicians, we just played in a band because why not. I didn’t really have designs on rock stardom – I always figured I’d be a heart surgeon or a movie star. [Laughs]. I’m still looking into the heart surgeon option.
So you headed out to New York to give the band a try. And how was that transition -- from the heartland to the Big Apple?
For the first year and a half, when we all lived together in a one-room loft, it was frustrating. Kai and I eventually moved out and it felt like the band wasn’t going anywhere. We started getting some fans, but after a year that wasn't really enough – we'd gotten evicted after spending thousands on building a practice space, we'd had all our equipment stolen and were having trouble getting insurance money for it – it felt like the band was in its last throes. It’s never the way you imagined.
The midwest made you too optimistic?
You think you’ll just go out and be the biggest rock stars you’ve ever heard of. But it just wasn’t happening for us. We were trying to think what out next step would be. Move to France and be a vagabond band? Drag a gypsy caravan from town to town? Go home?
And then we thought, why not give it one more try. I had some extra money from my day job and I wanted to produce an EP. I had no idea, but I had that egotistical lead singer impulse, “I know how to do things.” It was clear I had no idea what I was doing, but Guy Benny, who’s now our manager, he was helping out and offered to produce the EP – and all for no charge. That was quite an opportunity. He just started acting as our manager – that was a year and a half ago, and once he started working with us things just started happening. We’ve all become good friends. And now we can’t imagine the band without him.
He's the fifth Locksley?
Definitely.
Since then, things have looked up: TV spots, MTV rotation, and now a debut full-lenth?
Yeah, someone had found our EP online and liked the songs, and he’d contacted the Stars channel. They wanted to use one of our songs for a promotion – they were doing an “On Demand” thing and we had the song “Don’t Make Me Wait.” On Demand – Don’t Make Me Wait. It was like… duh. They loved it. Somehow it ended up that they didn’t just use it in a commercial, but the commercial became basically just a music video of us performing the song.
One day we’re about to give it all up, the next, they fly their whole crew out to New York and we end up doing a $200,000 budget music video shoot – a music video that they paid for entirely. This was 2005, that could be called our first "big break.”
Not a shabby break.
No, not at all.
And then from there, it was on to MTV? All the while, the band is unsigned and independent?
Well, yeah. Later that year we played the Dewey Beach music festival – we’d never heard of it. But when we were there we met a guy from MTV licensing. He was doing the college circuit. He liked the songs and wanted to license some of them – for the background music for shows. But we fostered a relationship with him and every time they were looking for something, they would keep us in mind. And then when MTV was doing that show, “Why Can’t I Be You,” they wanted the Cure song, but it was gonna’ cost them an arm and a leg. So he suggested us – since we have a similar aesthetic. And we wrote the song for them.
From what we understood it wasn’t a reality show, but a sitcom. Whoops. So we wrote the song [“Why Not Me?”] with an total misunderstanding of what we were writing about. But it turned out well anyway. And they actually paid for a video -- our second for free -- and the show was on MTV every night for a year or so.
And now you've got a full-length record, "Don't Make Me Wait." What's the next step, touring and support?
The record comes out January 16th. We’ll be touring nationally. For an unsigned band, we don’t have tour support built into our budget – it’s just a lot of what we can afford. We’re doing a lot of college radio promotions, college shows, that helps pay for it.
We’ve recently done an overhaul on our live show. We’ve cut the matching outfits – they seemed to bother everyone. We’ve tightened up the transitions, hopefully made everything a lot more energetic. We really hope our fans are into it and we hope to bring out a bunch of new fans because of it.
You met in high school?
We all met in high school. We all went to high school in Madison, Wisconsin. Sam was originally from Alaska – he grew up in Anchorage. I grew up in Milwaukee, Kai and Aaron grew up in Madison. We all ended up at the same high school, and even though we weren’t in the same cliques or the same social groups, through various happenstances we ended up playing together.
Aaron and I met, irony of ironies, in weight training class. And then we somehow got a show booked, but we didn’t have any songs. Aaron put it to me to find a drummer. Sam had been playing in all sorts of groups; he ran sound, he didn’t go to high school but was doing music everywhere. I think he owed me a favor – I’d given him a ride home, he’d been like “I owe ya’ one.” So I used that to rope him in. Not quite a ride home, but still.
A favor's a favor.
Right. I think the first thing we ever did was a battle of the bands. We didn’t really have songs, so we did a lot of sketches and skits, kind of goofy stuff. But it was fun; people seemed to respond. And when we did well in the battle of the bands we kept going.
It was all just a lot of fun. Aaron had a bass around so he played bass. I had a guitar from my cousin, so I played guitar. Kai could play fast so we put him on lead guitar – it was that kind of thing. None of us were incredible musicians, we just played in a band because why not. I didn’t really have designs on rock stardom – I always figured I’d be a heart surgeon or a movie star. [Laughs]. I’m still looking into the heart surgeon option.
So you headed out to New York to give the band a try. And how was that transition -- from the heartland to the Big Apple?
For the first year and a half, when we all lived together in a one-room loft, it was frustrating. Kai and I eventually moved out and it felt like the band wasn’t going anywhere. We started getting some fans, but after a year that wasn't really enough – we'd gotten evicted after spending thousands on building a practice space, we'd had all our equipment stolen and were having trouble getting insurance money for it – it felt like the band was in its last throes. It’s never the way you imagined.
The midwest made you too optimistic?
You think you’ll just go out and be the biggest rock stars you’ve ever heard of. But it just wasn’t happening for us. We were trying to think what out next step would be. Move to France and be a vagabond band? Drag a gypsy caravan from town to town? Go home?
And then we thought, why not give it one more try. I had some extra money from my day job and I wanted to produce an EP. I had no idea, but I had that egotistical lead singer impulse, “I know how to do things.” It was clear I had no idea what I was doing, but Guy Benny, who’s now our manager, he was helping out and offered to produce the EP – and all for no charge. That was quite an opportunity. He just started acting as our manager – that was a year and a half ago, and once he started working with us things just started happening. We’ve all become good friends. And now we can’t imagine the band without him.
He's the fifth Locksley?
Definitely.
Since then, things have looked up: TV spots, MTV rotation, and now a debut full-lenth?
Yeah, someone had found our EP online and liked the songs, and he’d contacted the Stars channel. They wanted to use one of our songs for a promotion – they were doing an “On Demand” thing and we had the song “Don’t Make Me Wait.” On Demand – Don’t Make Me Wait. It was like… duh. They loved it. Somehow it ended up that they didn’t just use it in a commercial, but the commercial became basically just a music video of us performing the song.
One day we’re about to give it all up, the next, they fly their whole crew out to New York and we end up doing a $200,000 budget music video shoot – a music video that they paid for entirely. This was 2005, that could be called our first "big break.”
Not a shabby break.
No, not at all.
And then from there, it was on to MTV? All the while, the band is unsigned and independent?
Well, yeah. Later that year we played the Dewey Beach music festival – we’d never heard of it. But when we were there we met a guy from MTV licensing. He was doing the college circuit. He liked the songs and wanted to license some of them – for the background music for shows. But we fostered a relationship with him and every time they were looking for something, they would keep us in mind. And then when MTV was doing that show, “Why Can’t I Be You,” they wanted the Cure song, but it was gonna’ cost them an arm and a leg. So he suggested us – since we have a similar aesthetic. And we wrote the song for them.
From what we understood it wasn’t a reality show, but a sitcom. Whoops. So we wrote the song [“Why Not Me?”] with an total misunderstanding of what we were writing about. But it turned out well anyway. And they actually paid for a video -- our second for free -- and the show was on MTV every night for a year or so.
And now you've got a full-length record, "Don't Make Me Wait." What's the next step, touring and support?
The record comes out January 16th. We’ll be touring nationally. For an unsigned band, we don’t have tour support built into our budget – it’s just a lot of what we can afford. We’re doing a lot of college radio promotions, college shows, that helps pay for it.
We’ve recently done an overhaul on our live show. We’ve cut the matching outfits – they seemed to bother everyone. We’ve tightened up the transitions, hopefully made everything a lot more energetic. We really hope our fans are into it and we hope to bring out a bunch of new fans because of it.
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