The NBTMusicRadio’s Top Singles/Tracks of 2014

and now the singles:

 

So here we go:

 

in 2014 we found that The PopSong is alive and well and in good hands from True Innovators rising up from all genres and musical tribes

singles 2014

 

Oh and the intricate AlbumTrack is in fine health too!

180 Plus-Minus – Young Once
179 Ramona Lisa – Dominic
178 Warpaint – Disco/Very
177 Just Shelley – Sweet Boy
176 Bohicas – XXX
175 Amine – Tawaraq
174 Afrikan Sciences – Need Want Have
173 Shilpa Ray – Lessons From Lorena
172 Sam Harrison Music– Ketamine Kim
171 Sky Ferreira & Ariel Pink – My Molly
170 Goldstar– Yesterday
169 Scott Krokoff– The Vow
168 Rival Boys – I’ll Believe In Anything
167 Anjali Ray– So Long
166 Cloud Nothings – Psychic Trauma
165 Reverted – Die My Saint
164 ROMAC– Robots
163 Lili Haydn– Tyrant
162 Kick Inside– Odessa Rose
161 Lacrosse – 50 percent Of Your Love

160 Aviators– Where I Belong (APO Remix)
159 Aubergine MACHINE– Call it Fate, Call it Karma
158 Mercy House – The Door
157 Banks – Brain
156 Andrew Cloninger – Discipline
155 Paul Bailey – You
154 TASITA D’MOUR– Change My Heart
153 Lucius – Nothing Ordinary
152 Vladimir Vorobyov – Gliding Over The Waves
151 John Zipperer & Friends– The Ballad Of Micah McDowde
150 The Crookes – Marcy
149 J’Rose– Cell Phone Heart
148 Sia – Chandelier
147 Abby Feferman Music– Mark My Words
146 Sir. O– Glimmer Of Hope
145 The New Pornographers – Brill Bruisers
144 Marga Lane– Aftershocks
143 KAT and the CANARIES – Close The Blinds
142 Neneh Cherry – Out Of The Black (ft Robyn)
141 Isrra – Indubstrial

 

140 208 Talks Of Angels– Blooming At Night
139 EMA – Satellites
138 Nikki Lerner– Curious
137 Guarded Jungle – So Unusual
136 Aaron English – X-Wing Drummer
135 Ify Jaegc– Who God Don Bless
134 Kendrick Lamar, “i”
133 Soulwinna – Work It
132 T. Gam – Do Only
131 Priests – Doctor
130 Alex Banks ft. Elizabeth Bernholz – A Matter Of Time
129 Swampcandy– 1000 Miles
128 Stefan Mørk – Why Angels Fly
127 Skriket– Black Magic & Vodoo Women
126 The Plastic Pals– Travelling
125 Magic Mountain– Drive
124 Marielle Ishkhanian – Cutting Board
123 Karen O – Rapt
122 Sylvan Esso – Play It Right
121 Ararur– Ela

120 Delta Moon– Nightclubbing
119 Just Walden– Romie Knows
118 Deers – Trippy Gum
117 Liesa Norman– Breathe
116 The Feel Bad Hit – Lend A Hand
115 Young fathers – Low
114 Sarantos solo music artist– Back and Forth
113 Royal Blood – Figure It Out
112 Seren Skies– Obscurity
111 Panophonic– I’m Disarmed ft Suzy Blu
110 EMA – 100 YEARS
109 Lyla Foy – Feather Tongue
108 Honeyblood – Super Rat
107 Nathalie– Play Reverse
106 Atonomic– 1000 Days Of Mystery
105 Neurotic Wreck– Without You
104 Alpha over India– One Last Chance
103 Sky Ferreira – Boys
102 Tideland– Edinburgh
101 Foreknown– The Truth About Flight, Love, and BB Guns feat. Catalina Bellizz

 

 

100 Origin-X– A Dream
99 JazzElle Music– Hourglass
98 Tennis – Timothy
97 Owls of the Swamp– Garden
96 Tea that burns – One stop away
95 Jana Pochop – Deepest Fear
94 Sabina – Toujours
93 Hudson Arc– Leave It Buried
92 Liz Johnson – Stay
91 Autumn Blaze – I Killed A Man
90 Amatus– Punk
89 Afterthem – Hidden Cameras
88 Jeffrey Dallet Music– Bye Bye Middle Class Blues
87 Late Cambrian– Golden Time
86 Easy Bear– Run Virginia Run
85 Pete Gioconda – The Time of Great Waste
84 Summer Day Rescue– Memory
83 Angel Olsen – Hi Five
82 Visual Poetics Music– Happy Mother’s Day
81 Micropixie– Testosteronica

80 Abel Moreno – Dark Experience
79 Dalibor Luptak – Beech Tree
78 Anda Volley– Laura Inside the Ghost Machine
77 Gumshen – Bait & Switch
76 Blee– Feeling Like A King
75 Tallulah Rendall– Shine On
74 Chuck Eaton – Private Sky
73 Carlos Wilde – Rok Ma Wurld
72 T.O – Smart Phoney
71 Happy Otherwise– Love Like Lightning
70 Justine Electra – This Could Be The Most Beautiful Noise
69 Nix ExploderaMeravs Acoustic Mirror – Breaking Waves
68 Marvelous Southstar– The Wait Is Over
67 Kate Tempest – The Beigeness
66 Yellerwood –Embraced by Remote Calls
65 Mint Royale – Ring (feat. Willem Dafoe)
64 Radio Drive– Footsteps
63 Damon Albarn – Heavy Seas Of Love
62 The Barcode Bandits– Bury Me
61 Evi Vine– My Hands Are Tied

60 The Stray Natives– CNN
59 Prozaktly SA’s Lekka
58 Sid Griffin– Elvis Presley Calls His Mother After The Ed Sullivan Show
57 The Cheek of Her– Another Guy I Buried in the Woods
56 JULIE DIANO– Why
55 AstroAttack– Searchlights
54 Gary Herselman and Die Lemme – Maak Haarself Mooi (with Valiant Swart and Paul Riekert
53 Birdeatsbaby– My Arms Will Open Wide
52 Trinity Ward– Evaporator
51 Dandan– Travelling Soul
50 Anna Calvi – Lady Grinning Soul
49 Kat Boelskov– Movies
48 CHARL– THE PLAYER
47 Mika Kobayashi– Boku no Osoushiki
46 TripleX2000– Just A Lil Bit
45 TV On The Radio – Happy Idiot
44 bell’s roar– StepUp StepBack
43 Zeerox– Devil’s Elbow
42 Piqued Jacks– Upturned Perspectives
41 Jeff Hedeen – Let’s Face It

40 Juleah– The Sixth And Seventh Moon
39 Andrew Kay – Lay Down Your Arms
38 I AM NOIZE x DESTRUKTO – OBEY
37 Static People– Stars Fall
36 Strange Fiction– Josephine
35 Sisyphus – Alcohol
34 Midget Submarine– Soylent Green
33 Bianca Alana– Distance
32 Kill Kasper– Gossip, Lies and Promises
31 Amberland– Swan Song
30 Anne-Simone – Fire Rainbow
29 Ceo – Wonderland
28 Suzy Blu– Blu
27 The Galleons– One Enormous Thread
26 Agenda Plex– Innerself
25 Kras and Bijvoet – Olivia Newton John
24 Gary Herselman and Die Lemme – Namakwaland (with Francois van Coke and the Kalahari Surfers
23 Alvvays – Archie, Marry Me
22 Evi Vine– Porcelain
21 Norman Salant– The Civil War

20 Gemstones In The Wreckage – Absent
19 Rubber Clown Car – She’s So High
18 REVEL 9– The Good Fight
17 Odd Cardinal– Isolate
16 Jeffrey Dallet Music– Dear Dayton OH
15 Die Heiterkeit – Kapitän
14 Kate Tempest – A Hammer
13 Genna Marabese– Masquerade
12 Radioactive X Girlfriend ( RxGF ) – Belladonna Dream
11 Snowday– Prickerbush
10 Polar Dust– Drown in you
9 Ages and Ages – Divisionary (Do The Right Thing)
8 Young Fathers –Get Up
7 Alt J – Hunger of the Pine
6 Betting on one– Sunrise Keeps Me Awake
5 Charlee Remitz– Flash Flash
4 FKA Twigs – Two Weeks
3 JULIE DIANO– Hit By The Bang
2 Warpaint – Love Is To Die
1 Dilated Academy– Black Soul

 

 

 

 

 

 

 

The NBTMusicRadio’s Best Albums of 2014

Once again the internet and music mags were a buzz the whole year long about the supposed ‘death of the Album’ they tried to tell us that its only songs that we should care about and not the long-form art . and once again they couldn’t be more short sighted and just plain WRONG! so that said here we go : 150 totally amazing albums from artists all over the world and from every musical tribe conceivable  and of course, all played on the NBTMusicRadio

Albums 2014

150 Lucius – Wildwoman
149 Derek Zhao – Legends Of A Goddess (Original Ballet Soundtrack)
148 Highasakite – Silent Treatment
147 St Vincent -St Vincent
146 The Crookes – Soapbox
145 Ferni – After Burn
144 QUI – Life, Water, Living
143 The Capsules – The Long Goodbye
142 robotmonkeyarm (part two … cinema vomitif & the white mask of Doom!)
141 Liesa Norman – Vanity Project
140 Milagro Saints – Mighty Road Songs
139 Melanie Dekker – Distant Star
138 Glacial – We Are Serious and We Mean It
137 The Drip Effect – Dinosaw
136 Neneh Cherry – Blank Project
135 The Clouds are Ghosts – Fractures
134 Air for Effect – methylation Breeze
133 Spotlight Kid – Ten Thousand Hours
132 Seasurfer – Dive In
131 Nicki Kris – Dream Big

album1
130 SwampCandy – Midnight Creep / Noonday Stomp
129 Strange Anthem – EP Volume One
128 Blood Letters and Badmen – Blood Letters and Badmen 
127 Ralf Dee – Your Time Is Now
126 Perfume Genius too bright
125 Lightfoils – Hierarchy
124 Noelle Johnson – Beautiful Soul
123 Our Silk and Wheel Assembly Evil ~ Love ~ The
122 Elephant – Elephant
121 Charli xCx, ‘SUCKER
120 The Feel Bad Hit Of The Winter – The Feel Bad Hit Of The Winter
119 Adam Balbo – Demons
118 Jeff Larson – Close Circle
117 Lyla Foy – Mirrors The Sky
116 Interpol – El Pintor
115 The BHD – Nothing Is Colder Than You
114The Pretty Fragile – I Can Bite Harder Than You
113 Flying Lotus – You’re Dead
112 True North – True North
111 The Bug – Angels And Devils
110 Aaron Holm + Matthew Felton – Transitions Seattle

album2

109 Terry Davidson & the Gears – Sonic Soul Sessions
108 Steve Mednick – Nevermind the Rain
107 David Gergen – The Dreaming
106 Kelley Hunt – The Beautiful Bones
105 Static People – Weird Creatures
104 Jack White ‘Lazaretto’
103 Hanna Fearns – Sentimental Bones
102 Shannie – Blame It On The Moon
101 spike flynn – Rough Landing
100 Ekpyrotic – Symbols of Transformation
99 Jebediah Good Thrust – Monarch Butterfly: That’s High
98 Ani Difranco – Allergic To Water
97 Deborah Henriksson – Traces
96 Opera Chaotique – Bukowski
95 Jenai Huff – Grace and Elbow Grease
94 Trent Miller – Burnt Offerings
93 Caribou – Our Love
92 John Zippert – Full Circle
91 Angel Olsen – Burn Your Fire For No Witness
90 Mark Cashin & the Lil Hussy Cashology
89 Tune-Yards – Nikki Nack
88 Parquet Courts – Sunbathing Animal
87 Genus Inkasso – Under Seals Broken By The Lean Solicitor
86 Worldview – Pop Philosophy
85 Annie Keating – Make Believing
84 Phil Gammage – Adventures In Blue Country
83 The Legendary Ten Seconds – Tant Le Desiree
82 Laura Rain And The Caesars – Closer

album4
81 Jim Wurster – Raw
80 Joan As Police Woman – The Classic
79 Achilles Wheel – Stones Two Sand
78 Ross Baker – Two Suns Were Visible In The Sky
77 Citizen Of The World – City of Million Lives
76 Scott Morrison – The Corner Shop
75 Aire Espiritu – Put Back Charlie
74 Anda Volley – Inside The Ghost Machine
73 Christian D And The Hangovers – Cut Loose and Live
72 Panophonic – Sounds Of Desolation
71 Jumine – Blue Dunes
70 Wild Axe – Pines
69 Karen O – Crush Songs
68 crash fasts – Superchroma
67 SPC ECO – The Art Of Pop
66 Martin Lorentzson – Together
65 Lia Ices – Ices
64 Kick Inside – The Field
63 Sarah Duet – The Mercy Tapes
62 Manilow – Cease and Desist
61 Wild Birds & Peacedrums – Rhythm

album5
60 Sky Ferreira – Nighttime My Time
59 The History Of Colour TV – When Shapes Of Split Blood Spelt Love
58 Rowan Stuart – Hidden Doors
57 Buford Pope – Sticks In The Throat
56 Azwel – From Now On
55 Stellarscope – The End Is Near, I’m Not Prepared
54 Nomadic Attic – Nomadic Attic
53 Gumshen – Progtronica
52 Mirel Wagner – When The Cellar Children See The Light Of Day
51 Banks – Goddess
50 A Small Glass Ghost – ∞
49 Anna Calvi – Strange Weather
48 Ernest Troost – O Love
47 Stoney Spring – Right On Heliotrope
46 The Ukiah Drag – In The Reaper’s Quarters
45 Beck – Morning Phase
44 Sylvan Esso – Sylvan Esso
43 Tweedy – Sukierae
42 africa south rhizomatiks vs Isadora dustmite junk – Warmachine – nomadology
41 My Brightest Diamond – This Is My Hand

Albums 2014f
40 Juleah – entangled and entwined
39 Zola Jesus – Taiga
38 Wisdom / Waskid Beatz – The Gifted Ones
37 Betting on One – The Story So Far
36 Mr Kito – Where Are The Lizards?
35 Fire To The Stars – Keep You Safe
34 Kevin Nolan – Frederick and the Golden Dawn
33 Leah Capelle – Leah Capelle
32 Ade Hodges – The Horns Of sacred Animals Vol 1 ft Sean Derrick Cooper Marquardt and others
31 Kyle Carey – Northstar
30 Norman Salant – Nebraska
29 birdeatsbaby – The Bullet Within
28 Sisyphus Sisyphus-
27 Kat Boelskov – Divided
26 Suzy Blu – Blu
25 Kate Carr – Dark Days
24 Hudson Arc – The Motive Of Hope
23 Tv On The Radio – Seeds
22 Conor Oberst – Upside Down Mountain
21 Die Heiterkeit – Monterey
20 Zeerox – Penshaw Woolies Eat Deer
19 Micropixie – The Good, the Beige & the Ugly
18 Trinity Ward – Reactor
17 Polar Dust – Into The Burning Water
16 EMA – The Future’s Void
15 Galleons – Cloud Physics
14 Radioactive X Girlfriend – Any Other Way
13 Kras and Bijvoet – Berlin Recordings
12 Alt J – This Is All Yours
11 Damon Albarn – Everyday Robots
10 Andrew Kay – One For The Road
9 Young Fathers – Dead
8 Jonathan Segel – Shine Out
7 Charlee Remitz – These Veins
6 FKA Twigs – LP1
5 The Known – Ornithology
4 Warpaint – Warpaint
3 Sid Griffin – The Trick Is To Breathe
2 Kate Tempest – Everybody Down
1 Gary Herselman and Die Lemme – Rigtinbefok

 

 

 

 

 

RISE ROCKETED

water on canvass

by Helge Janssen

You can hear tracks from the Band on the NBTMusicRadio’s MirrorBall Sessions every night at 10 PM Berlin Time (9 PM UK 4 PM New York) http://nbtmusicradio.playtheradio.com

Headlining the Easter Festivities @ the Bluff Yacht Club on Saturday 30 March was Durban’s dance Rock Electronica band Rise. It was a surprise to discover the Bluff Yacht Club as an idyllic oasis nestled amongst the core of Durban’s heavy pantechnicons and crate carrying trucks to and from the cargo holds of freight ships. The predicted rain backed off and the evening turned out to be a no-wind perfect out-door late summer event!

Opening the set was acoustic guitarist Tony Liddel. Tony has an ease of presence and good command of his cover material. A Crowded House and U2 fan, he soon had the audience relaxed and singing along! It would be wondrous to catch him singing his own material.

The last time I saw Rise perform was at Origin about two years ago at the launch of “Water on Canvas” when the line-up consisted of Martin McHale (DJ, programming), Kerry Wood (lead singer) and Colin Peddie (guitars, backing vocals). They have since notched up huge successes playing massive outdoor events and festivals. However, Martin (ex 330) has left the band and has turned his energies into managing the direction of Origin Nightclub. Filling this huge and difficult gap with aplomb is Donna Peddie (keyboards, backing vocals, percussion (including drum pad) and Dan Wilson (bass). Dan was absent from this Bluff gig as he was at Splashy supporting featured guest artist, Ant Cawthorn-Blazeby.

RISE,1

Rise has progressed to become the premier dance Electronica band of Durban…if not SA….and have rocketed their way into the ever present with their growing innovation, their layered musical constructions that overlap and extend the depth of the aural experience taking the discerning listener into an exciting multi-dimensional territory. Delving into this most important yet largely neglected base (within the average S.A. band) has had a profound effect on Rise’s confidence. With perfect vocal pitch and texture Kerry has thus been freed to spread her wings more broadly, allowing her voice to play with the instruments and richness presented, all of which decisively matches her gift at every level. Added to this, Kerry has a performance energy of unpretentious earthiness and drive and she is exuberance personified. At this gig she had the audience begging for more…and more…and more….

Colin’s guitar work startles! Taking the jangly bits of the Cure influences and mixing it with the driving rhythms of the best of New Order he has found a sound unique to Rise. This live version of ‘All We Have Is Now’ was electrifying! In the highly competitive world music scenario this transformation is no mean feat and it would be interesting to see if this groundbreaking work becomes the well earned stepping stone towards an international stage.

COLIN PEDDIE - lead guitar

Of deep import too have been the subtle yet compulsive melodies of Donna’s discoveries, and her percussive range wings a relationship within the rhythms that are inventive and fresh. She is quiet and unassuming yet displays great strength and focus.

The expansive, inclusive lyrics (“Be The Change” still seems largely under-rated in my humble opinion!) gives body to their work enabling the band to find an important niche in the current politico/social context. “Pop Tart” has been cleverly contextualised to deliver a decisive blow to the shallow meanderings of the corporate music scene by surrendering completely with the pay-off line: ”I believe all the lies…” and deserves to be their next big hit!

Rise is rock solid! They have transcended their respective influences and are creating a unique contribution to the South African music scene.

I could not agree more with a fan statement on Reverbnation: “There are no borders in music when looking for beauty. Feel the beauty of music forever.” Respect and support from I&SON.

Buy their album: “Water on Canvass!” Support their live performances! You will be uplifted and energised!

A live album surely would be the next best thing!

https://www.facebook.com/letitrise?fref=ts

www.riseband.co.za

Lou Gottini (0824589653) booking agent and general manager.

Support

NbtMusicRadio has always been and hopefully will always be a free service for bands and musicians, from all over the world, and for the listeners from every walk of life. However as the ”little radio that could” has grown to become quite the cult pleasure, the costs in running it have increased. So now we have this nifty Support Button, where you can give a little bit and happily know that you are keeping us on the air and providing a platform for new brilliant music, created by great artists, that otherwise may not be given a voice.

so: Support Already

just click on the button.. you know you want to!

The Return Of The Skyt Muties

SKYT MUTIES STORM THE BARRICADES

 

Skyt Muties have their roots in the alternative music scene of Joburg in the late 80s, and consist of Andrew Kay on bass and vocals, Dave Pickover on drums and Charles Grass on guitar.

 

The band formed in the wake left by the demise of Andrew’s glam-rock trash band the Party Dolls following a near-fatal motorbike accident that put him in hospital and  left him out of action for a few months.  Once he was back on his feet he worked in the props department on the Bles Bridges movie, and soon after, was approached by Dave Pickover and Stephen de Swardt to form a band. They used as their base of operations Stephen’s house on a farm outside Potchefstroom, where they would jam on weekends, and turn the volume up to 11.

“The Muties always had a BIG sound, as Stephen was partially deaf, so in order for him to hear anything we had to play really loud.  Add to this Dave is a big lad, who knew only one way to play drums, and that was to pound the skins with all his might.  Stephen was also in the business of making PA speakers, so we had an inside track to getting the gear we needed to play at top volume. I wanted our music to have a hard, industrial edge, which I felt should reflect the state of the nation at the time. Fashionable music had become soft, and I had this vision of a musical explosion in my head.”

 

Thus the Muties were born, the name taken from a character in 2000 AD, the pooular sci-fi comic that was best known for creating the character of Judge Dredd.  The comic had at its core a humorously apocalyptic vision, and in one of the stories a mutant called Feral (half dog half human), a particularly rebellious mutant youth, had emblazoned on his T-shirt “Skate Muties” as he was a skater.  Andrew adapted the name to take on the meaning of Skyt, as in a low-class South African male of questionable character.  Andrew’s vision of SA was tempered by the vision in the comic, and this influenced the writing and early sound of the Muties.  Andrew was also heavily influenced by the writing and songs of Jonathan Handley of the Radio Rats. In songs like 9mil, which have survived to this day and remain a firm crowd favourite, a gritty sci-fi edge posits the anti-hero in an uber violent, sexist and racist context, a comic-book portrayal of characters that were all too real in South Africa at the time, and naturally who remain so in the new, Democratic dispensation.

 

The Muties literally exploded onto the Joburg scene with a triumphant show at one of the Merv the Swerv events at Jamesons in 1989, that had on its bill the Genuines, the Dyslexics and the Unhinged, as well as many other great bands on the scene at the time.

“For some reason the Genuines decided to play a jazzy set that was laid back, and when we hit the stage, all hell literally broke loose,” remembers Kay.  “It was incredible, chairs flying and a mosh pit that included the whole club, this mass of heaving humanity, sort of all screaming together as the Muties provided the soundtrack to a catharsis that was evidently in great need by the audience at the time.  I’ve never experienced anything quite like it before or since.”

 

Sadly, The Muties disbanded on Andrew’s artistic exile to Britian in the early 90s. “I had to leave as everything was freaking me out, I couldn’t take the hatred and violence anymore, and although our songs were violent, the Muties were definitely a peaceable band.  We incorporated aspects of flower power into our apocalyptic vision, if you can picture such a thing.”

 

One could argue an early and tenuous link to sci-fi films such as District 9 and naturally the phenomenon that is Die Antwoord, who have expanded on the theme to a far greater depth. The Muties never limited themselves to the sci-fi angle, though and on Andrew’s return to the Beloved Country in the mid 90s The Muties reformed briefly.  Andrew had taken up musical studies full time at the Wits School of Music, and had signed to peermusic SA, who fronted the money for a recording that became “unto Thine Own Self Be Cool”, five tracks recorded at Willem Moller’s Sharp Street studios. The writing is upbeat, melodic, catchy and carefree, a world away from the apocalyptic vision that was 9 mil, and also is a testament to the times in as much as the New SA was itself going through a honeymoon period of transformation during which so many positives seemed possible.

 

Gallo records showed interest in signing the band on the strength of the EP, and began negotiating on a deal with the Muties, which for various reasons never materialised, not the least being the band disbanded once more. Just before that happened though,  the Muties recorded a number of tracks at Sharp Street with Willem Moller once again at the helm.  Andrew is in contact with Willem at the present time, and who has so far unearthed a total of seven Muties tracks from the vaults, which will become the backbone of that first Muties album.

 

In the meantime Stephen de Swardt has tragically passed away, but after Dave contacted Andrew in 2012 and posted Unto Thine Own Self Be Cool on Youtube, it was decided to reform the Muties once more, and rope in the services of Charles Grass, with whom Andrew had worked in 2012 under the name AK and the 47s.

 

The Muties’ first gig is happening in Joburg on the 31st of October, literally 13 days before Andrew’s 50th birthday.  The band is rehearsing the material off the EP, including 9 mil, and will showcase some more recent material that is more acoustically oriented, but which contains the characteristic bite and melody of the Muties of old.  Thus far the Muties are also booked to be performing a New Year’s Eve bash in Estcourt, organised by Andi Grannersberger, a long-time friend of the Muties, and who recently pulled off a great musical weekend at Zingela Lodge.

 

For more info contact Andrew Kay on 082 456 2726, or email him at andrewkay97@yahoo.com  Google Skyt Muties Unto Thine Own Self Be Cool to listen to those earlier Muties tracks.

 

You can hear tracks from Skyt Muties and a rare Party Dolls track on the NBTMusicRadio all over the 24 hour stream but specially during the 7 PM and 11 PM Berlin time slots

 

http://nbtmusicradio.playtheradio.com/
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The NBTMusicRadio Fantastic Themed Hours THREE :”Comfort In the Turbulent World”

”Comfort In the Turbulent World”

11 PM Berlin Time ( 10 PM UK/5 PM New York)

AND

10 PM California Time ( 1 AM New York) For our USA/Canadian Listeners.

Bring the disturbance home! due to many requests to have the hard rock section a little earlier for our European audiences, and a little later for our USA listeners, we have joined together the ”Comfort in a hard place” and ”More Fun In the Turbulent World” in a marriage of much anticipated excitement and organised chaos!

So now its not JUST Rock of the HARD variety, there will be PUNK on all its deviant forms and ages, METAL from the darkest dark to the sweetest pop edge,there will be INDUSTRIAL, a slice of GOTHIC, and a big scoop of PROG. there will also be a smattering of BritPoP just to liven things up.

please note: in this incredibly eclectic category more than any other; i get so many new bands every week, so the line up will CONSTANTLY be changing, shape -shifting, evolving, so If you dont hear your heroes one night you will be sure to hear them the next. but PLEASE do support all our indie bands, as they share the stage with the more famous makers of this noisy art.

Oh and finally broad minds are available at the entrance, dont come in without them 🙂

Featured (in no particular order)

Stiff Little Fingers, Voice Of Addiction, Hawthorne Project, These New Puritans, The Jam, Black Flag, IceAge, The Eversons, Thee Now Sound, Tokyo Police Club, Big Dipper, Shonen Knife, These Animal Men, Pylon, Interpol, Ty Segall Band, Revel 9, AeB,Eudora Fletcher, Mos Generator, Crawley, Odoghan,Baht, Shattered Destiny, Kill For Eden, The Mighty High, Dropbunny, The 31st Of February, Elizabeth, Title Fight, Love Of Diagrams, The Ruts, Be Your Own Pet, Echobelly, At The Drive In, Link Wray, St J and Rici Martins, Spartan, Grenouer, American Head Charge, Godard, Jai Alai Savant, My Talking Pua, Test Icicles, Wire, Deep Purple, Grifter, Pulled Apart By Horses, Gun Outfit, M185, Sweet Ray Laurel, American Head Charge, The Monks, Late Cambrian, Spizzenergi, Felt, Monochrome Set, Honeymoon Killers, Orange Juice, The Wild Eyes,Ulterior, Eternal Summers, male Bonding, Soft Pack, Dutch Uncles, Buzzcocks, Violent Femmes, Kill Kasper, Mammut, War On Drugs, Pretty Girls Make Graves, Afghan Whigs, Vaccines, Thirteenth Floor Elevators, S.C.U.M. Swell Maps, Stone Iris, Yuck, The Replacements, Dogs Bollocks,Black Rebel Motorcycle Club, Phoenix, Sonic Youth, D.U.N.E., Bruiser, Moist, Fen, MaHA Rocks, Carta Marina, Reverend Horton Heat, The Simpletone, The Cooper Temple Clause, Akarusa Yami, The Black Keys, Heavy Pink, Motorhead, screaming Trees, Skyskratcher, Blue Cheer, Ministry, Deftones, Alice Cooper.

http://nbtmusicradio.playtheradio.com/
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The NBTMusicRadio ”Essence Of The Song”

NBTMusicRadio once again presents the finest new independent creators of that strange difficult sweet thing we call the SONG. From the First thought birth, to the final note laid down in the studio, we asked a selection of artists about their craft.

Once again Featured Artists brought to you by the wonderful folks at Hemifran An independent A&R, promotion and marketing company, based in the heart of Sweden,The Artists they represent range from the USA’s finest Americana/Country/Rock outfits, to Europe’s most talented singer/songwriters, and EVERYTHING in between.

All these artists and the songs they talk about can be heard every day on the NBTMusicRadio: 9 AM AND 10 PM New York Time

3 PM and 4 AM Berlin Time 2 PM and 3 AM UK Time (Australia/New Zealand plus 6 or 9 Hours on Berlin Time)

http://nbtmusicradio.playtheradio.com/
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And now without any further Chatter here are the Artists.

My Darling Clementine

www.facebook.com/mydarlingclementine.music

NBTMusicRadio: On your website, you mention how Elvis Costello’s ‘Almost Blue’ Provided a gateway into understanding, and perhaps more importantly, starting to love country music. It had the same effect on me, I realised that there was more to this music than the syrup soaked clichés, AOR stereotypes that the normal indie kid would run miles to avoid. Do you hope that the music you make as My Darling Clementine will do the same thing for a new generation, or is 2012 a very different time, what with music mags and websites constantly championing Country and Alt/Country as the saviours of modern indie pop? ( I notice that, also on the website; you stress that this is not a ‘parody’ record, which would indicate that you feel Country is STILL not being taken seriously)

MDC: It would be nice if it did, and i would be delighted, but i think these days more younger fans are aware of more genres of music and younger kids often look back in time for inspiration. Maybe in our day it was about the ‚‘moment‘ what was happening ‚‘‘now‘‘ as it was all so exciting.

When I first started down this country road, the likes of Uncut and Mojo were not even aware of the alt country thing, Uncle Tupelo, The Jayhawks had just come out, and it was still a genre waiting for a title. These days those magazines champion Americana, and so you get someone like Ryan Adams with an audience of guys ranging from 20 year olds to guys in their 50s and 60s.

The Parody comment was really aimed at the UK, where Country Music maybe still has a bad rep amongst those who only just see the surface. Lou and I are deadly serious about these songs and how we went about trying to re-create the sound and feel of those great country duet albums from the late 60s/early 70s. That said we are having a bit of fun with the look and the imagery, enjoying wearing the polyester!

NBTMusicRadio: You describe ‘ How Do You Plead’ as a collection of songs about ‘love, separation, bitterness and acrimony.’ In country music, the duet, specially the male/female duet has always been the perfect setting to create these themes. Why do you think this is?

MDC:  I guess it appeals to the voyeur in us all, the part of us that turns the TV down when we  gear a row going on nextdoorm so that we can eavesdrop on what they are shouting about.

Also a man and a woman singing to eachother is a very powerful emotional thing, more so, I think, than just singing out to an audience. Ot is a musical conversation, and as we all know, conversations can be polite, loving or often even angry and bitter, or just down right rude! Lou and I are perfecting the latter all the time.

Victor Camozzi

http://www.myspace.com/victorcamozzi

NBTMusicRadio: The title track of your new album ”Roadside Paradise” seems almost to be a lament for a not very polished past, can you tell us how this song came to be written

Victor: It’s a lament. It’s also a love letter. You stumble around for enough years and you start to realize it’s your warts that make you what you are, not your so called “strengths.” Somewhere along the line I figured out that imperfection is far more interesting to me than perfection. That’s true in a lot of ways. Take the people I talk to in bars wherever I go (Christ, I’m a veritable addict of barstool conversation)—my philosophy is that the dude with perfect teeth and a perfect job and the right brand of shirt can go fuck himself. I’d much rather meet the three time divorcee staring down another busted romance and wondering where it all went wrong. There is something honestly human in that. Beautiful in it’s falability. As for the origins of the song “Roadside Paradise”, I can’t tell you where it all came from, but I can tell you where it began. There is an old 24 hour diner not so far from my house in Austin. Once upon a time, it used to be a truckstop. But the town has grown up around it. Still, in the wee hours, when I’m there far more often than I should be, it attracts that uniquely American cast of drifters and underground highway ramblers, the cast offs and coulda beens, and it was there sitting in one of those old vinyl booths…thinking about the countless joints just like it that have always felt like home to me….that the first words began to tumble out on my napkin (penned in left over crayon if I recall). There’s something about a joint that can serve you chicken fried steak, scrambled eggs and gravy at 4:15am that just moves me in ways both idiotic and divine.

 NBTMusicRadio: The album has a big bar room band sound with more than a touch of bravado and sadness mixed with a hint of devil may care humour, yet its just the two musicians driving the tracks,what prompted you to use just yourself and Matt Downs, and what differences arise when recording like this as opposed to a full band.

Victor: Matt and I go way back. Waaaaaaay back. Back before I ever even got the balls to perform my songs in front of anyone other than my cat Picasso (RIP). Matt and I were buddies. Buddies who shared a similar vibe and a similar taste in music. Aside from being a damn musical genius, he was just a close friend. So early on he was the guy I played my songs for when I was starting out. For my first album, that evolved into us laying down some basic tracks, which I then took to Bill Small and Walt Wilkins and produced into “3 Peso Cigar” with a full band. But for the second album–“Roadside Paradise”–Matt and I got to messing around with some early tracks, and at some point he just looked at me after a couple whiskeys and said “Y’know…I think I might like to see this one through.” And that was enough for me. Matt gets what I’m going for…sonically and cosmically. It doesn’t take a lot of words. A couple hand gestures, a belch and a fart, and he’s nodding his head, good to go. I could add more musicians…and for the next album we may bring in a couple folks here in there…but adding too many cooks just creates more people I have to explain to. I’m just lazy enough (and smart enough) to lean on the musical telepathy Matt and I share and not question the good thing that I’ve found.

I See Hawks In La

http://www.iseehawks.com/

NBTMusicRadio: Dear Flash was inspired by a novel, ‘Divine Right’s Trip’ by Gurney Norman, How did that come about ? and how hard is it to install the essence of a novel into a four minute song?

ISHILA( Paul Lacques): The Whole Earth Catalog was a big part of my life when I was 17 years old, back in the1970s. The hippie movement in the U.S. had fled for the countryside, lots of small farmsand communes starting up in every state, and I wanted to be a part of that. The Catalogwas a compendium of farming/survivalist knowledge, everything from home birthing to geodesic dome making to hunting and composting. We recently found a copy of the 1974 Last Whole EarthCatalog, and Rob and I got immersed in Gurney Norman’s serialized novel “Divine Right’s Trip,” which appeared every few pages throughout the catalog. Gurney’s a fine writer, captures some very dark contradictions deep in the hippie/gypsy lifestyle, and we are pleased to have contacted him and made his acquaintance. He likes our music, which is quite a thrill for us.

“Dear Flash” is an imagined letter 40 years later, from protagonist Divine Right (DR), a kindof everyman hippie, to the cooler and more together Anaheim Flash, whom we imagine as having some idyllic mountain farm. DR has lived all the conflicts of the 60s onward, and wants to rest and grow a garden.

NBTMusicRadio: the cover of the album is either sunset or sunrise, though the underlying mood on a lot of the songs is a end of day weariness, acceptance, lament, very similar in mood to Springsteen’s Nebraska, (emotionally of course if not musically), there are exceptions, but what was it in the writing and conception that made this album in particular such a ”sunset/sunrise” record?

ISHILA( Paul Lacques): You’re right on all counts! We got lucky with the lighting, did the photo at sunset underbrooding skies, and it poured rain on us as soon as we were done. A beautiful afternoon.

The mood of the album is definitely one of battered souls accepting life as it is, a bit stripped of our activist/political stance of past recordings. It’s just where we’re at today, writing what’s on our minds, like all of our albums. Our previous songs were very influenced, willingly or not, by the darkness of the Bush administration and our urge to fight,however hopeless that fight might be.

“New Kind Of Lonely” is certainly the sunset to that era, with the irony that the Obama administration is a carbon copy of Bush, with perhaps an added layer of deceit and false promises.

So in a way we’ve thrown up our hands, given up on the American people and the fate of America, and are trying to live our lives as peacefully (and low carbon) as we can.

The preaching era is over for us, at least for the moment. The songs are far more personal,are actually about our own lives in some intimate detail, and that’s a big change for us.It is a sunrise of sorts. I’m not sure what the new day is, but it feels different. We feel great personal hope, but our apocalyptic views of the future are unfortunately intact.

Tom Rodwell

http://www.tomrodwell.com/

NBTMusicRadio: The album is recorded with no effects, edits or overdubs, would you call yourself a musical ‘purist’ or would you be absolutely horrified by that description?

Tom: Well on one hand, no I’m not a purist, since I like to blend and change my source material and influences, and I consciously experiment and improvise with the structure of the songs I work with. It all melts together into my own language of sorts – so it’s more like a raw and personal “style” than a collection of tunes.

But that in itself is quite a purist idea really. I’m a fan of the blues players who were a law unto themselves – like Skip James, Albert Collins and Fred McDowell. Each had their own unique characters, even if their songs could at first glance be drawn from the same well as another musician’s. Which goes to show that really blues is communal music that no-one owns, where inflection and interpretation – art – matters more than ‘skill’ or braggadocio. Look at Lightnin‘ Hopkins or John Lee Hooker – on the surface quite similar players, but with utterly different temperaments and ways of seeing, and utterly different lives. I only hope to be purist in the sense of trying to continue developing my own musical language, and follow my nose and be honest with myself. That’s all you can hope for.

 NBTMusicRadio: On the website you speak about the Blues as a dance form, does this come naturally from the traditional lyrics’ rhythm or does it only become obvious once the guitar and percussion is attached, and how does this affect how you approach the creation of a song?

Tom: The music comes first mostly; I typically start a song from a brief, blunt musical accent, and then think of what to sing on top of it. But sometimes the lyrics do suggest a phrasing, and it’s fun to experiment with it all. What happens if you take a lyric that conventionally works in a shuffle atmosphere, but lay it over a reggae-dancehall rhythm instead?

Tempo is important too – and because my right foot taps out the rhythm to all my songs, it has to start from there. So the feet lead the head! I’m always trying to get people to move to this music – surely that is what it is for, this feeling of warmth leading you out of the darkness. Plus if women dance, then men dance, then people buy beer and then musicians get paid.

 HungryTown

http://hungrytown.net/

 NBTMusicRadio: A few of the songs on the album are triggered by events within the world at large, A volcano’s Eruption, Moving into an old house and so on, but then the themes are pointed inward, become an exposure of the ‘internal’ as it were (The Title track could be about the inactivity of depression for example) and this mix is rather wonderful, so my question (‘at last!’ I hear you sigh) how do you create these personal miniatures, is it a long process of introspection, or does this balance come without thought.

HungryTown: Every song requires a slightly different approach, and I often experiment to find the one that works best. Over the years, I’ve discovered that I like to tell stories from the first person perspective. My characters tend to be fictional, but I use my own experience and perceptions in a way that might make those characters and stories more believable

Our songs usually begin with an idea—a tale we’d like to tell, or an event that we want to relate. Ken often comes up with these ideas.

 After that, I try to find the right perspective. This can sometimes happen quickly, but it may take months. I’ve always been intrigued by the year 1816—a volcanic eruption the year before created a thin layer of ash that encircled the globe. Enough light was blocked so that the temperature in some northern regions experienced winter conditions the following summer. At first, I envisioned a narrative poem set to music.

 I tried writing in the third person, but the result felt detached and academic. I couldn’t imagine myself singing such a song. At some point, I decided to turn away from delivering a history lecture, and instead made 1816 a setting for a fable. I told a story from the viewpoint of a pregnant young girl, who is promised marriage by her lover in a spring that never arrives. Once I got this idea, “Year Without A Summer” seemed to write itself, and the resulting lyrics were more fluid and much more natural to sing.

The process was similar with the song, “Any Forgotten Thing.” Ken came up with the title, and the idea of using an old house as a metaphor for loneliness. I really liked this idea, but couldn’t get a grasp on how to make it into a song, especially one to which others could relate. To this end, I tried to be loose with the metaphor, to leave plenty of room for listener interpretation. I waited a while, hoping for the right images to appear.

Eventually I began to picture a person’s hands becoming unreliable–maybe because they shake, or they’re arthritic, or whatever. I liked the idea of the body breaking down, like any old machine. So that was the first verse. For the second, it seemed important to incorporate time and solitude. For the person in the song, there’s no point trying to keep up with the clock, so why bother winding it?

 My favorite part of this song to write was the subject thinking about replacing the doorbell, if only to hear it ring once again. This image seemed to fit, and to show–hopefully in a subtle way–how much time has passed since this person has had a visitor. For the last verse, I wanted to deal with the issue of regret, because it seems as though that might be connected with loneliness. And I got the image of someone examining their memories or themselves the way one might rummage through old items tossed into an attic, trying separate the treasures from the trash. Finally, I wanted to suggest the possibility that this period of loneliness is only temporary–an in-between time that allows for self-reflection.

 NBTMusicRadio: I believe Ken worked on the Rebecca ‘solo’ recordings as well, so to both of you; what is the fundamental difference between those and Hungrytown?
HungryTown: The fundamental difference between the Rebecca Hall and Hungrytown recordings is basically the passage of time–performing and recording as a duo is something that happenedgradually for us. When we met in NYC many years ago, Ken was a rock drummer in about seven different bands and I was singing torch songs in Soho bars. I was not writing songs at all at that time, just learning to perform and do my own interpretation of standards.

Then, inspired by the 1997 re-issue of the Harry Smith Folk Anthology, I picked up a guitar for the first time and began to write songs based on traditional ballads.
My first album, Rebecca Hall Sings!, was recorded very simply on a Tascam 4-track. The songs were coming so quickly for me at that time, and I was just trying to get them down.Ken helped me with some basic arrangements, and wrote all the harmony parts. We were very casual about this recording; it was something we just did for ourselves, so we were surprised when a local radio station, WFMU, got hold of a copy and started playing it
regularly. That was really encouraging, and we started work on my second solo album,Sunday Afternoon, very shortly afterwards.

This time, Ken was even more involved, he wasresponsible for all the arrangements and production, and we co-wrote a few of those songs.By that time, I was performing regularly with various New York City musician friends–my lineup was basically whoever could get to the gig that week. And Ken would come up on
stage and play harmonica sometimes, and would sing harmonies with me. Once we had a gig booked, but all my usual band members were out of town, so Ken and I just decided to dothe gig by ourselves.

We realized that we really liked this new, stripped-down approach.We began performing as a duo, traveling to gigs all around New England. We both still had day jobs at that point, but we were so unhappy at work, and so contented when we were playing music, that we just decided to see if we could make a living by touring. So in late 2003 we quit NYC, and moved to the hills of Vermont–a great place to write and record, and much more affordable than Manhattan!

We were still performing under the rather ungainly name “Rebecca Hall and Ken Anderson,” and realized that we needed a band name for ourselves. At around that point, we had just finished writing a song called Hungrytown Road–a country waltz inspired by a real road in the Blue Ridge mountains of Virginia–that seemed to be popular at our shows. One day Kensaid, “why don’t we just call ourselves Hungrytown?” and the name just stuck. Very soon
afterwards we began work on our eponymously titled debut album. Hungrytown took about three years to record, and featured several guest musicians–excellent bluegrass pickers The Virginia Ramblers, as well as our friends Mike Merenda and Ruth Ungar from The Mammals. We had so much fun making that album, and the mobile recording method really reflected our travels during that time. It was recorded at various locations along the
east coast–a double-wide trailer in Virginia, a home studio in the Catskills and a traditional New England meeting house.

A few years of almost non-stop touring went by, and we wrote many songs while we were on the road. Finally, in 2010 we realized we were ready to make a new album. We took a two-month break from performing, and this time around decided to do the whole thing byourselves, in our home studio. We co-wrote many of the songs for Any Forgotten Thing, and Ken wrote all the arrangements and played multiple instruments on these recordings. We
brought in our talented neighbor, Laura Molinelli, to sing backing vocals on a few tracks, but otherwise, it’s just us. We wanted this album, more than any other, to reflect our sound as a duo, and were very pleased with the result.

Oh My Darling

http://www.ohmydarling.ca/

NBTMusicRadio: Although your album is titled ‘’Sweet Nostalgia’’ and the music you make is steeped in tradition, the listener never feels that your album is a museum piece, there is something reassuringly modern in the feel.  Could you explain how this ‘’essence’ of 2012 onwards slips into your music, and what modern acts thrill the ladies of OMD

Oh My Darling : We all have a true love for traditional sounds and songs, whether they are Old-Time Appalachian, Franco-Canadian Métis, Bluegrass, Irish traditional or classic country, we find our common ground in the love of the traditional sounds. But we all are very inspired by what is going on in the music scene on the current stage as well. We find ourselves inspired by amazing groups like The Punch Brothers, Joy Kills Sorrow, Andrew Bird, The Goat Rodeo Sessions and modern songwriting styles, anything that is pushing the boundaries within this genre. We are inspired by the traditional sounds and put elements of that into our sound but we love to create new rhythms, chord progressions, lyrical and melodic styles that may be unorthodox to the hardcore traditionalists, we like the blend of something old and something new

NBTMusicRadio: While the music is indeed sweet, the lyrics hint at darker themes at times, illicit affairs, love and betrayal, escaping the city and so on, was this something that only cropped up in this album or is the balance tween dark and light a very necessary thing for a perfect album.

Oh My Darling: When we were looking at the collection of songs that we had for Sweet Nostalgia, there was an underlying theme of nostalgia that ran through all of the songs. Nostalgia can hold many sentiments, love, loss, hope, despair, sadness, joy… We weren’t looking to write songs that had particularly dark or light sentiments, we just wrote. As the songs came together the feeling of nostalgia pulled all the songs together. The presence and balance of dark and light belong to us within the songs and on the album but also the feelings of sweetness and beauty of reflecting on the past

Marty Rivers

http://www.martyrivers.com/

NBTMusicRadio: The album was recorded in Nashville; do you think it’s important to go to the ‘source’ as it were when recording a country music album or could just as fine album be created in Malta for instance?

Marty: Although I believe that a fine album can be produced almost anywhere but to bring together in one place such a wonderful group of top ‘country music’ session musicians together with such a producer like Gary Carter is very hard unless I’ll bring them all over to Malta; even still, Nashville itself is a source of inspiration to any musician or songwriter so even though it will be interesting to records my next project here on the island but Nashville surely is The Place.

NBTMusicRadio: In the Song Run Angel Run are you writing about any city in particular when you call it ‘this damn Babylon’?

Marty: Well, the City in mind was ‘L.A.’; many young people’s dreams are being shattered there; They go to Babylon with just a dream and so many of them end up living in the street; but in reality Babylon can be New York, London or any other big city or even Nashville; it’s great to see so many people living their dream but sometimes it’s also painful to see where so many of them can end up when they trust the wrong people

Nico Wayne Toussaint

http://www.wix.com/nicowaynetoussaint/lonelynumber

NBTMusicRadio: There is an unhurried languid feel about the songs on the album, were the recording sessions as calm and comfortable as this suggests?

Nico: The recording sessions were done in Montreal, Canada. The sound engineer / producer / drummer Nicky Estor is a long time friend, such as the guitar player. That session was like old friends getting back together. So it was efficient but without the pressure. Another element for your answer is that Nicky Estor comes from a New Orleans musical background, as well as blues. He loves music like Keb Mo’ or G Love and the Special Sauce. That kind of influences show also in his way to handle the mix and the overall approach of the production

NBTMusicRadio: Guy Davis contributes a stunning bluesy vocal on ‘How Long To Heal’ can you tell us how this recording came about?

Nico: My encounter with Guy happened in my home town, Bayonne, France, were Guy came to do a show, 5 days before i was flying to Montreal to cut my album. We played together that evening and his manager mentioned that it would be a great idea to have Guy on the album, since we were going to be so close one and the other, Guy lives in NY. I had only one song I wanted to play acoustic on the CD and that was ‘’How Long To Heal’’. It couldn’t be a better song for Guy and me to meet.

Brock Zeman

http://www.brockzeman.com/

NBTMusicRadio: The track, ‘Light in the Attic’ from a lyrical point of view has a cool and interesting structure, in that although it’s about the ‘traditional’ song theme of Break UP, it focuses rather on observing life AROUND it rather. How did the creation of this song come about?

Brock: That song was written all in one shot on my porch. I just picked everything out of the air as it fell into place. I like to put a lot of my surroundings and experiences into my songs. If you’re honest about what you do, what you do will always sound new.

NBTMusicRadio: How do you balance running a label and the fine focus that a new album insists on, and will you get some Mud Records artists to us to play on NBTMusicRadio ?

Brock: I like being in the studio as much as possible. Having a label gives me the chance to do that. People have given all of our releases some great praise, so we just keep doing what we do. I tend to lean on the side of music I’m getting the most response from. Sometimes it’s playing live, sometimes it’s writing and recording. I bounce back and forth and it somehow works.
Love to send you all the releases! Robert Larisey, Brothers Through The Hill & Tom House!

Elisabeth Carlisle

http://www.glacierrecords.com/

NBTMusicRadio: Songs like 6000 Miles have a lovely widescreen, cinematic feel to the way they flow, yet feel unforced and not over dramatic. How do you as a songwriter maintain that balance tween, a personal theme, and being detached enough to craft a tune that all of us can relate to?

Elisabeth:If you listen to my first 2 CDs you’ll discover that I primarily write from experiences, whether they’re my own or someone else’s. I can get pretty detailed in those descriptions, as I did in 6000 Miles. I think every songwriter that has spent a fair amount of time touring has a song about “coming home” or being away from those we love. I actually have a song called “Coming Home” on my Roll With the Flow CD! When it came to production the verses seemed to be more reflective and in thought, with the chorus popping out in more desperation. I love the band Train and feel that my production history is very similar to theirs. It must be that we’re both from the Bay Area and have grown up on the same style of music such as Journey, Jefferson Airplane, Janis Joplin, etc. So I think that the emotional energy that Bay Area bands have always produced comes out in me on a song like 6000 Miles.

NBTMusicRadio: for the EP, two songs were recorded in Sweden and two in California, to YOU when you have the finished songs what is the major difference in how the songs sound? (For example with the Swedish productions I found that delightful POP sensibility sneaking its way into the tracks)

Elisabeth: It’s not uncommon to have different producers on a CD. The trick is trying to keep a thread of consistency throughout the songs so they flow well together. For me that has always been my voice and keeping the keyboard prominent, which is my main instrument other than my voice. My first CD had 3 producers, with me as co-producer and had a “live” band feel throughout. For my second CD I wanted to have one producer with me and focus on a coherent style for each song. I also felt I was dangerously teetering on becoming too “Folk Rock” with my Northern California roots. I had been working in Sweden as a pianist and loved the “Pop” sound that many Swedish artists have. I thought that if I could combine those two elements of Folk Rock and Pop I’d have a true representation of me as an artist. My friend led me to Amir Aly at Yla (pronounced oo-la) Studios in Malmo where I ended up recording Roll With The Flow. I had moved back to California when writing for the EP, so time and distance only allotted for the two songs to be recorded in Malmo with Amir and my original band from Sweden. For me, it just doesn’t get better than that.

 Kenny Schick produced the last two songs and did a great job. He’s also from the Bay Area so they definitely swing more towards that original “Folk Rock” I was talking about. The major difference is that Amir does a lot more layering and looping, which brings a fullness and energy to the songs. I actually wanted Call Me A Mystery to be full on electronica, but my drummer Mattias wouldn’t have it. That’s where working with excellent musicians can help keep the balance. Of course, he was right in the end and the songs came out exactly as they should be.

 Kyle Carey

http://www.kyleannecarey.com/

NBTMusicRadio: from a lyrical point of view how difficult is the creation of a song, do the words just slip in themselves like old friends, or do they have to be coaxed into the structure of the tune?

Kyle: Lyrically every song is different, and the writing process is something I never try to push too hard. Some songs come very quickly, for example I wrote ‘Orange Blossom’ during my sophomore year of college. I remember I’d just returned home from a party where I’d felt very out of place and alone. I figured I might as well do something with the emotions charging through me so I sat down and ‘Orange Blossom’ came to me in a span of about ten minutes. On the other hand, ‘Adenine’ took about a week to write, and most of my other songs at least a couple days. I’m working on a song at the moment I think could take up to a month. When I’m writing I try to take breaks, and if I’m struggling for the right word or rhyme, I just let the idea sit for a while, and like clockwork, it eventually comes.

NBTMusicRadio: You describe your music as ‘’Gaelic Americana’’ when  the songs are still in demo form, do they veer to one aspect of this over another, or are the nuances of both those styles added subtly in the studio?

Kyle: Most of my originals are stylistically Americana in terms of their subject matter. The Gaelic/Celtic side of what I do comes from a background of having studied Scottish Gaelic and having lived in places like Cape Breton, Ireland and Scotland. The more Celtic influences found in my album are due to the fact that it was recorded in Ireland and produced by Donogh Hennessy, with mostly Celtic artists in the collaboration. So while the music started off as almost straight Americana, the other influences were added primarily in-studio.

I think Donogh and I balanced each other well during the creation process, for example ‘Gaol ise Gaol i’ the one Gaelic track on the album, is where his Celtic expertise really shines, and he was certainly at the forefront for the vision of the song’s arrangement. However, when the song was nearly complete, I worried that it lacked the Americana influence that it the main theme of the album, so I suggested we throw in a banjo part, and surprisingly, it fit great!

Tom Kell

http://www.tomkell.com/

NBTMusicRadio: ‘This Desert City’ marks a return to the studio after a lengthy absence , How easy was it to slip back into the ‘habit’ as it were, and what was the same and what was different  compared to past sessions, technically and personally?

Tom: Recording has really never been a “rare” occurrence for me.
While “This Desert City” does indeed mark my return to the radio, I’ve always been recording something it seems. I did a few “Gospel” records over the past few years and am constantly doing “publishing” demos of my songs. I write almost every day, so there’s always something to record.
The beauty of the “This Desert City” sessions was that I once again got to record with some amazing musician friends I’ve made over the years in LA. There just is no better band for my kind of songwriting. Every player and singer on that record was a perfect choice. They happened to be friends of mine too, which made the experience all the better. This project also marked the return of my collaboration with producer Jeffery Cox.

NBTMusicRadio: The track, ‘’The Way Of The World’’ is a gentle bitter sweet take on fame that twists half way through to become a much darker thing, can you tell us more about the writing and creation on this song?

Tom: “The Way of The World” is really just a compilation of the many stories I’ve read about or seen happen while living in Los Angeles for all these years. The next “big” thing is celebrated then discarded day after day, time after time. “She was a French girl, she came to LA for the heat” is the opening line. The rest was easy. It’s a story of fame, lust and envy, with the darkest of endings. I’m pretty sure I must’ve read about the shooting in The LA Times but don’t recall for sure.

West Of Eden

http://www.westofeden.com/

NBTMusicRadio:  the creative and recording process of this fine album is fascinating! Did these periods of isolation (the ‘Plura’ and recording at a remote coastal location, PLUS the tragic subject matter), affect the musicians mood in any negative way, after all on the surface of it; this is all rather dark stuff!

West Of Eden: Of course it had an impact on us. This is after all rather serious and tragic tales, but I wouldn’t say that it affected us personally in a negative way. I think that it made us work harder than ever before to create an ambience in the songwriting and recording that would suit the subject of each song.

NBTMusicRadio: on Songs like ‘Coffin Ship’ i was intrigued by the fact that there was a country/Americana feel to the music, how did this come about?

West Of Eden: I would say that the Celtic music and the Americana / country-music have a strong connection. In our part of the world (Scandinavia) we hear more of American music such as Emmylou Harris, Alison Krauss, Gillian Welch, Ryan Adams than Celtic music on the radio, so it‘s no wonder that there could be some influences in our music. That said, I think a song like Coffin Ship also has a strong connection to the music of The Waterboys which was a heavy influence on us when we started West of Eden 15 year ago

Katrin

http://www.katrinmusic.com/

NBTMusicRadio:“Blame” is very Gospel in feel, a soulful requiem of sorts, did that sound spring from the subject matter, or was that something that happened in the studio?

Katrin: I wrote and previously recorded “Blame” in a more acoustic, stripped down way. The melody and lyrics have always been the foundation of the song. With the opportunity to revisit the song, and the atmosphere we had to record in ( a renovated church called Dreamland) That MUST have been an influence to the gospel comparison you speak of, but also, the musicians especially Daniel Weiss on organ made for a whole new vibe on this recording. Then there is the way that I have evolved as a singer, and there has been a deepening and a passage that I have experienced. I guess can attribute that to time, perseverance, and life kicking me in the ass. I keep coming back stronger

NBTMusicRadio: Songs like ‘ Far Away’ are pretty layered lyrically, both emotional and story driven, how long do you ‘live’ with a piece, before you take it to the next level of Musicians and the studio, and once there do you sometimes find that the process takes them into completely new directions or do they stay as close to your original concept as possible?

Katrin: All the musicians helped me take this song and make it into more. They rocked it where it called for it, and brought the intimacy in the lyrically vulnerable moments. Jerry Marotta produced this song and it was one of the first tracks we started with in the studio. I wrote part of “Far Away” a long time ago and decided to put it in the junk yard and scrap it for parts. It was either that or put it in the song cemetery. (A Scary place!)

That is when the chorus came to me “Got a minivan, parked right outside. Got a full tank, I could take a ride” and I thought about the person I was when I began writing the original tune. Stuck, and torn in a relationship I needed to leave.

It wasn’t long after the new chorus came, that the song was fully arranged and ready for musician’s input and some pre-production rehearsals.

There are so many ways songs journey to their fruition. This one was particularly long, but that’s what it needed I guess. It was worth the wait and to have the courage to allow the evolution to happen.

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