The NBT Music Columns : The CyberPR Blog (Ariel Publicity)16


This will be the last Column from Trevor for a while as he takes leave to wander the world and conduct his very own music tourism

. Man Behind The Monitor: Norvell Molex Jr  and The Jazz Suite

Trevor:  The Jazz Suite states to listeners, “It is guaranteed you will hear music that you never heard before.” What do you do to ensure this?

Norvell:  With the Internet become a main part of life and business finding music became an adventure! There is so much music out there between established and un established artist’s that it is incredible!! I mean the Internet has exposed me to jazz artists in Italy, France, Indonesia, Spain, and Lisbon just to name a few countries. With the world as your source for new music it is not that hard to guarantee that you can play something that your listening audience has not heard before. I personally have a Love for music that has been with me since childhood so Podcasting is a natural fit for me.      

T:  Where do you find your music for the show?

N:  We find the music every where …. We get some from you guys Ariel Publicity, and,, Broad jam, Airplay Direct, small internet driven labels like Blue Canoe Records, direct contact with the artists, or there manager’s. The music business is in such a traumatic time it is a time for growth and change I would call the music industry the eternal child for it never grows up, but it is always learning and evolving.

 T:  How has your experience with hosting on been? Would you recommend in to an aspiring podcaster?

N:  We have been truly blessed because I started at this as a novice, but because of it’s truly been educational. Jeff Dyson the owner has been remarkable. I just recently recommended to someone who wanted to start a podcast. The rates a reasonable and there are constant improvements to better your experience with the service.

T:  You’re also found on, where else can we find your show?

N:  Not to boast, but when we creating this show we took a day or two and saturated as many Podcast Directories as I could!!!!!! It worked I also had to concentrate on the presentation I want the listener to enjoy what the hear because they are taking there precious spare time to listen to what I’ve been blessed to do. Back to the main question I’m on Ski Valley Radio British Columbia, and 95 Laser in France, We have an Ok listing in Google, and other search engines.

T:  You were also featured in Podcast User Magazine talking about Podcasting and Jazz, for our readers who haven’t read the article, what was the essential point you were trying to convey?

N:  Writing that article gave me a chance to express my thoughts in two areas of which I have contention with the music industry and how jazz is represented. If you look at music today the battle’s that are being fought are over information! That’s right Information no longer do we allow company’s to tell us what we like via the internet we go out and find it. The article really focuses on how jazz has not been allowed to grow like other musical segments; I tried to chip away at the stereotypes associated with jazz. My goal was not to talk down to the reader, but create a hunger to find the different segments of music that have sprung from the seed’s planted by jazz. Like any other music jazz holds history, memories, and future dreams yet to be played here is my definition of jazz:   

“I will say that jazz to me is a “musical metaphor for what we wish to say and what we can’t say in life. As the melodic tones dance through our ears we inter pit a verbal response for a musical emotion. –Norvell A. Molex Jr.”


To read Norvell’s full article at Podcast User Magazine, go to: issue 21


To catch the latest show visit:


The NBT Review


Welcome to the very first NBT Reviews Blog.

Martin Smit who runs the NBT project and hosts the NBT Podcast reviews new releases from Lauren Fincham and The Strange Tones

AndChris Manik Moon the host of the NBT Bullets from the Belfry Podcast reviews the latest creation of South African industrial/electronic band NUL.

 Lauren Fincham :  Perfect Pain (Twelfth House Records)

 With a subtle shrug, the singer kicks of this 6 track EP with a sly soft ‘constant craving’ lullaby for the gentle outsiders, old priests and fallen dancers. You are caught up in an ambiguous take of hope and defeat. You are soothed but entranced by the glowing imagery at the same time.

While there are definite hints of artists like Jane Sibbery and KD Lang in the arrangements and production, what makes Perfect Pain stand out is how she twists the complicated modern ( for example an online relationship) with and into haunting glances at her past.This album is the sound of the artist taking stock of where she stands in her own universe and with fear or tension preparing to move on to brighter, perhaps even, more difficult worlds.To make a collection this dreamlike, Fincham is extremely lucky to have the perfect back up, the musicians are in sync, sympathy, and indeed understanding, of every word and melody she creates.

Tiny moments like the late night trumpet of the title track, the sad slightly dangerous viola on several tracks all contribute to this thing of thoughtful beauty.

 Go to

To listen to and buy this cd.

 The Strange Tones :   We’re On Our Way (Meteor Sonic)

 When Tarantino goes back to making movies about quirky outsiders on the run, The soundtrack to that howling film should consist of tracks from this release.Raw roots rock n roll is the hardest beast to tame. Bands that attempt this often run the risk of being a novelty act or sunk in a pool of nostalgia. The Strange Tones though sidestep these problems with ease.

With  a perfect sense of humour, a healthy dose of self awareness, and the swagger of bands like the Cramps and alt country legends; X, The Strange Tones take music from the past and make it sound like it belongs, right here and now.

 Go here

To listen to and buy this cd.


NUL : Elektro Berzerk


A frantic beat (where’s my bpm monitor?), solid riff, nicely distorted guitar breaking in and the guttural Afrikaans lyrics rasped in repetition puts Nul firmly in place as the Afrikaans version of Rammstein. Though it lacks the bombast of their German counterparts –this, in my mind, is a good thing. The songs sparseness and angularity putting emphasis on the strong songline and lyrical message, a message to the ‘Rampokkers’ to get out, relate and stand vas!

Go to:

 Hear Lauren Fincham and The Strange Tones on the March 5th broadcast of the NBT Podcast

 And you can hear an interview and tracks from NUL on the Bullets from the Belfry podcast right now! 

If you want your CDs or song downloads reviewed or want to become a reviewer for us: Write to   

The NBT Music Columns : The CyberPR Blog (Ariel Publicity)15


The Man of the Night 

An Interview with Guy David of Night Guy Podcast


After starting with an electronic music podcast in Hebrew, The Night Guy found a desire to expand his audience and chat about his life a little; thus in January 2007 – despite a brief delay of the intended launch – the first English episode of The Night Guy podcast aired.  The debut was part musical and part autobiographical, and in August of 2007 the format expanded to Night Guy Electronic and Night Guy Rock.  Today we sat down with Guy David, the broadcasting guru behind the Night Guy podcast series.    

 T: We recently spoke with Anji Bee, who is both musician and podcaster, just as yourself, tell us a little about you music and also if you see the dual role of podcaster/musician as an emerging trend?  

G:  I think allot of musicians are discovering the podcasting media as a means of promoting their music. That’s how I started back in March 2006 with my first podcast, The 16th. I think both podcasts as a media and music have allot in common. They have many parallels  in structuring and the amount of creativity that goes into them. That might be the reason that so many musicians are drawn into podcasting lately.

T:  Do you play your own tunes on your podcasts?


G:  On The 16th I play my own tunes. That’s what this podcast is about really, my own music. On the Night Guy podcast I played my tunes on the first episodes since I was talking about my life, and some tunes where relevant to what I was saying. I also try to match other music to what I’m talking about. I currently focus more on other people’s music since there are so many great musicians who should be heard, and I want to help out any way I can. I also want to celebrate my love of music by playing the music that I like, and I happen to like the music of independent artists more then the corporate record companies driven junk.

T:  What got you involved in second life and what benefits do you see in it as a form of social media?


G:  I came into SL out of curiosity, then I discovered there’s a thriving art community in SL. I’m a digital artist as well as a musician and a podcaster, and I discovered it was really easy to open a virtual art gallery in SL, so at first I tried to use it as a means of promoting my art. Later, when I got more involved in podcasting, I discovered there are many podcasters hanging around in SL. Since I live in Israel, it’s the closest thing I have to meeting them, so I started hanging out on Podcaster Island and Podshow Island and lately on Edloe and Nowhereville where most of my podcasting friends hang out. I’m also planning on performing my own music in SL partly using a stream and partly using virtual music statues I created especially for this. Music has been one of the most exiting things to come into Second Life. Where else would I be able to see Lovespirals live? There are no geographical limits anymore, only time zone limits.


T:  Any other forms of emerging social media/social networking your  involved with that our readers may not be hip to yet?


G:  I guess I pretty much go to the same places everyone goes. I have a MySpace page, a FaceBook page and I also Twitter allot. Social networking is about communicating with other people, so I just hang out where everyone is. I see no point in hanging out in a virtual empty room 😉

 T:  What advice would you have for an aspiring podcaster in building listenership?
G:  Podcasting is a community. Collaborate. Find podcasters that are going your way, doing things that are either close to what you’re doing or things that you find interesting. Take The Chillcast with Anji Bee for example. One of the first podcasts I listened to is Dave’s Lounge, and they did this thing where they switched for one episode, Anji did a Dave’s Lounge episode while Dave did The Chillcast. That’s how I found out about The Chillcast. Now I listen to both regularly.  Find innovative ways of collaborating with other podcasters, and people would have a better chance of hearing about you. I’ve been a consistent participant on the 100 Words Stories podcast’s Weekly Challenge (, and I know that not only some of my listeners come from there, but also some people I now consider friends came from this.

T:  What’s next for Night Guy? 

G:  The Night Guy podcasts are now in hiatuses. I’ve been developing a new comedy podcast in Hebrew, so I took some time off to do this. When they return in mid March, there would be some changes in them. Night Guy Electronica is going to be based on the playlists from my old Hebrew podcast for now, while the scope of Night Guy Under The Rock is going to grow and include more music genres. On Night Guy I’ll be focusing more on interviews, short stories and essays about the future. I’ve been fascinated about some of the developments I’ve been reading about in the fields of Nanotechnology (building machines on molecular scale) and Claytronics (matter that can be shaped in the real world the way CG graphics shapes virtual matter on a computer), and I want to talk about how those things would affect our lives in the near future.


For more from Guy, check out

The NBT Music Columns : The CyberPR Blog (Ariel Publicity)14


Music is What I Know 

An inside look at UC Radio Podshow with Michael Yusi

 UC Radio Podshow wasn’t Michael Yusi’s first attempt at web broadcasting.  With a USB headset, Quicktime, and a Chicago-based website in the late 90’s called “Mike’s Midwestern Updates”, he began broadcasting stories about the Midwest that were hard to believe, things like people freezing to death in their bathtubs because they opened a window to let the steam out, then fell asleep in the tub.  While the show was a success, Michael wasn’t fully passionate about the content.   As so many others did, he turned to Adam Curry after being a long time listener of The Daily Source Code.   Curry’s advice was simple, “talk about the things that you and your closest friends talk about when there is nothing else to say.”  Following that, the choice became simple.  Yusi grew up in a musical family and had plenty exposure to the greats, receiving his first three rock albums at age 11 (Led Zeppelin 3, Jimi Hendrix Are you Experienced and Jim Croce’s Greatest Hits).  He adds, “Music is what I know, it’s what I’m passionate about and it is easy for me to talk about it.  So, I ditched the stories and went with the music.  That was in October of 2005.”

 T:  What’s the biggest challenge you’ve faced as a podcaster?

 M:  Growing the audience.  I find myself at least a couple of nights a week staring at the ceiling at 3am trying to figure out new ways to drive more listeners to The UC Radio Podshow, as well as Pacific Coast Hellway which I co produce with Mark Yoshimoto Nemcoff.

 Honestly, I’m incredibly fortunate to have a listener base that hasn’t left me, which is fairly uncommon in podcasting.  And not only have they stuck around, but they’ve spread the word and been incredibly supportive of the bands that I’ve played by going to shows, buying albums and visiting their sites.  I’ve also been lucky in that I’ve formed some excellent relationships with bands.  I like to think it’s because I know what they go through daily trying to make it so we speak the same language. That’s led to some exclusive tracks and pre-release album give-aways from some amazing bands worldwide.  I’ve got a couple of bands that wear my t shirts when they play and promote the show for me from the stage by handing out stickers and the now world famous UC Radio promotional guitar picks. That’s huge and I can’t thank them enough.

    T:  How has the programming and format of UC Podcast evolved over the course of the shows history?

 M:  The show started out with me playing about 30 minutes of music and pretty much doing the DJ thing, simply introducing the music and playing songs back to back, as many times a week as I could squeeze in.  I got a lot of feedback from early listeners asking that I give more info about the bands, upcoming shows, but more importantly, listeners started asking me why I liked the songs and who I thought the bands sounded like.  The end of the first year is really when the show changed.  After listening to a number of my shows back to back, I realized that it wasn’t quantity, but quality and production that made certain shows really stand out.  I cut back to two shows a week, started only playing bands that I actually want on my iPod, and started to ditch the DJ act and just be myself.  The difference in the shows was immediate and the numbers started going up.

 I started talking more about the influences I was hearing in the music, comparing bands to mainstream acts that people would recognize.  I began answering listener emails on the show, which led to people asking about my political stance (don’t even remember how that started), my opinion on social topics etc. so the show became about half music, and half me just talking about whatever came to mind or was in the news that seemed to interest the listeners.  I’ve also done over 75 classic album referrals in the last year and a half.  That has been a big hit and I wish I’d thought of it earlier.  As far as I know, I’m still the only podcaster out there doing album referrals on a weekly basis.

 Two other things had an incredible impact on the show.  The first was the realization that people were actually listening and that I had more of a responsibility to them to produce a better show which led to some outlay of cash on things like compressors, mixers, mics and software and as the show started to sound better, my confidence grew exponentially.  The second was the fact that I started getting email from places like Iraq, Afghanistan and other places where we had soldiers getting shot at for us.  These guys somehow had found the show and were thanking me for putting them out there for their entertainment, as a little blast from home.  That’s pretty humbling and it made me think of the impact that my show could have in an entirely different light.  I mean think about it.  Here I am, safe and sound in Hollywood, doing something I love, listening to music and talking about it, while half way around the world some poor kid is huddled in a hole trying not to get shot while listening to my show.  Then, when he gets ten minutes off and some computer time, he emails me to thank me.  I swear, I get those emails once in awhile and just shake my head in disbelief.

    T:  What was the reason for hosting the show on PodShow rather than its own site?

 M:  Just to be clear, I do have my own site.  You can find shownotes, GoDaddy sponsorship details and a lot of other info about myself and the bands I play at

 As for hosting, I hosted my show off my own server for the first two months, then I went to Libsyn, which is a great company.  About 14 months in, I was offered a contract by The Podshow Network and I haven’t looked back.  Not only is the distribution reliable, and they’ve helped me get sponsorship from GoDaddy for the show, but the talent that I get to work with daily and have access to, the minds that are defining and shaping New Media and looking well beyond what’s happening with podcasting right now, blow me away on a daily basis. I’m really proud and honored to be associated with The Podshow Network.

 T:  For aspiring podcasters, do you have any tips for growing their listener base?

 M:  Work your shows.  Develop content that is interesting, well produced and that will speak to the listeners in one way or another.  Don’t just play bands, play bands you like so when you talk about them, that comes through.  Don’t do a show about cars just because you think they’re cool and you know how to drive.  Don’t talk about politics if you aren’t willing to spend the time to really get under the hood.  Figure out what moves you, what you’re passionate about, then do a show about that.  I guarantee you there are people out there that will share your feelings.

 Most importantly, take ownership and be passionate about your shows.  Use urban guerrilla tactics to spread the word.  Stickers on menus, gas pumps and in record stores.  Give away T Shirts to hot girls because you know that guys will look at them and go to the site expecting to see the girls there (make sure your logo is chest high).  And don’t take yourself too seriously.  Have fun with your show and the listeners will have fun listening.  Some of my best shows were done when I had nothing planned other than the bands I was going to play, or I was sick as a dog and hopped up on Nyquil and Theraflu.  I like to take the David Lee Roth approach to podcasting.  When you’re doing the production, promotion and distribution, it’s all work, but when you’ve got the mic in front of you, if you’re not having fun, how can you expect anyone else to?

  T:  Where do you plan to take the show in the coming year?

 M:  Well, I just resurrected my second show, “Sonic Wallpaper” at, which is where I play 8 of the most commented on songs from the UC Radio Podshow in the previous month.  It’s like a greatest hits show, if you will.  I don’t talk much, just intro the bands and give you 35-45 minutes of good solid rock.  As for UC Radio itself, I just did my first interview with the band Urbansnake and it was a huge success.  Listeners loved it, and the band thought it was great so I’ll be doing more of that.  My hope is that I’ll be able to get one interview in a week, on the Monday shows, and do an album referral on Thursdays shows as it is now.  I’d also like to start doing more live interviews with bands around Hollywood, so you can look for that as well.

 Mostly, I’m hoping to start developing more offshoots from the show, maybe a show with just interviews, or just album referrals, but UC Radio is my baby so it will always be the central character in my play.  I like to say that it’s my therapy and my addiction which keeps the whole thing spinning in a slightly out of control circle, and I like it that way.


So, give it a listen,

The Manik Music Rant episode ONE


Chris Moon aka Manik plays in several strange and wonderful ‘difficult alternative’ bands and will be hosting the NBT offshoot podcast for darker music ‘Bullets From The Belfry’ starting in feb 2008. 

An alternative dj in South Africa…that in itself is an oxymoron…look, I love music, i just feel that everyone else should feel the same.

My musical appreciation started in the 70’s, and like any young lad if it was loud and raucous it was great. Led Zeppelin, Deep Purple and Uriah Heep ruled the roost, Status Quo and Thin Lizzy were heroes and David Bowie the ultimate rebel. A couple of friends and I started a mobile ‘disco’  because we wanted to bounce around to the kind of music we liked, not the drek dished out at the local school hop.

By the late 70’s, rock was disappearing up its own sphincter and the disco kids wanted Donna Summer and Saturday Night Fever – on repeat. I wanted something else – I ‘found’ The Ramones, my mates were distressed, what’s this, no complicated chord structures and no guitar solos, no nodding along knowingly. On the disco kids’ side….no shiney shirts, doo-wop choruses and carefully synchronised  dance moves to a bog-standard m.o.r. beat….. I abandoned the mobile disco thing. Look, I know a dj  , is supposed to, play to the crowd, but what do you do when the crowd knows squat? 30 years later, things haven’t changed. Alternative to me is exploring new sounds, new experience, new innovations, these days I get requests for tracks 20/30 years old!! Not that I’m averse to the odd classic, mind, but Siousxie Siousx’s (bless her) ‘Peek-A-Boo’  aint one- not with the wealth of what the Banshees have put out….(She has a new album, its great, what do you mean you can’t dance to it ‘cos you haven’t heard it the necessary 15.4 times?). 

South Africa is small, musically (yes it has a wealth of ethno-centric music, but we are talking ‘rock’ here). There has always been a  serious lack of exposure to new music – back in the 70’s there was one radio station that played ‘pop’, by the 80’s on that there was one dj who attempted to break new ‘alternative’ music. The only place to hear music even remotely off the mainstream was in music clubs – discos by any other name- and they were few and far between. Being a small market means directly that in heads through the door, alternative music had/ still has a very small market. Clubs that cater for such don’t last long, those that do, some become legend, some bland out and cater to the masses. I don’t like the term ‘alternative’ any more, its meaningless, its been out-marketed. Alternative today means ‘rock-in-general’, quite frankly, an alternative to R n B, house, ‘disco’. Labels are evil – look, I go to a ‘goth’ club today and hear…….well basically house with gloomy vocals..hooray, either that or metal…. *clicks on rant mode * 

Metal aint goth!!, It aint even ‘alternative’ (in the original context), its distorted testerone-driven over amplified play-by-numbers drivel performed by misanthropes with bad make-up and no sense of humour!!


*end of rant *

 Anyway, where was I…..there was a time I’d nip down the nearest (only?) alternative club and hear a wide variety of sounds, from electronica to rockabilly, ska to rock, metal even, ‘disco’ even. The emphasis was on new, ground-breaking, the only skill being to keep a thread going. Clubs that would be a meeting place of like minded- music freaks, alternative in music, alternative in thought. A place where some eager young pack with a couple of instruments between them would have the opportunity to do stuff – good or bad!! Dodgy photostatted fliers with forthcoming events, always something happening, something new, something to look forward to over a few pints – a musical meet-n-greet! Glory days.  We’ve gone backwards, that’s gone. Now, music has become so Balkanised that you’ll hear one genre-all night- each ‘artist’ trying to sound like each other, the only skill demanded that the dj ‘beat-mix’ , the only demand that the dj keep the dance floor packed the masses catered for and soothed with similar sounding, uncomplicated rhythm-pah! As cutting edge as a plastic butter knife. The internet-good and bad – good that its a never before dreamed of wealth of access to new music, at your fingertips, listen to it NOW. Bad in that it is also a wealth of bands that sound like bands that sound like…..Bad in that, hey, why go to a club when all I need is here, why go and physically interact with real people with other real interests in other things, other music………