The Making of “Safe From Silence”

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Dirk Hanekom Vocalist for Colour Cold shares some thoughts on the creation of the bands debut release.

 

I think it was Frank Zappa that said “Sometimes, writing about music is like dancing to architecture”. I couldn’t agree more. It’d be easy to describe the making of our album in purely techno-istic jingo; Two weeks recording with another week for polishing, and two months of mixing sessions slotted in between work, practice and the rest of the daily bullshit that gets in the way of what we love doing most, namely making music. So with that in mind, I’ll share my fondest recollections of making “Safe From Silence” with as little technical crap like sample-rates and layers and drop-ins as is humanly possible.

We started on a beautiful August morning, moving our gear into MARS Studios, and spent the rest of the day getting a basic rough sound for the whole band, where we could play together as a band without being separated into single little boxes where each of us would have to play individually on our own. This setup made for a much more relaxed vibe whilst recording and I have to say that I was particularly grateful for that. We spent the first week laying down basic tracks, with the rhythm section going first (meaning that we still played together, but with more emphasis on Dirk and Tiaan), and then the same with me and Liz. After the basic tracks had been laid, Liz went wild with her guitar parts, nailing them either first time, or only after take 1 million. Whichever the case, I think she did a brilliant job, and her ‘voice’ on guitar really is one of the outstanding things about our album. Then it was down to me, my vocal chords, an isolated room and headphones.

Here I have to give a huge shout out to Malcolm Aberdein, producer and head poohbah of MARS Studios. He was not only our producer on this album, but also a mentor and more importantly a friend. Malcolm helped me reach places deep inside of myself and thus helped me make my voice soar to places I didn’t think it could reach. Colour Cold was very lucky to have been able to work with someone so dedicated and passionate…and that’s the short of it. The long would take more space than I have here, and besides, the amount of energy, tenacity and downright criminal fun we had with making Safe From Silence would be hard to bring across properly, however long there is to talk about it. I hope whoever is reading this will have a good time with our album, and if our music can make you crack even the faintest of smiles, or frowns depending on your demeanor, then our job has been done well. I’m never good at endings, so I’ll close this off with a thank you to our fans, who are the very soul of what we do, and the top 5 things I learned while making this album:

5. Making breakfast for your band gives you at least 2 extra hours in the day before your nerves start to get frazzled…

4. if your guitar has earthing problems (here’s the only place I’ll get technical) then take a standard guitar cable, cut off one end, attach that to the bridge of your guitar and the other end attached somewhere on your person and viola! No more earthy-hiss…

3. Laugh every now and again.

2. if your producers three year old starts bouncing on the carpet when you play a track, that’s a good sign.

1. As terribly clichéd as this sounds, never give up. The next take might just be the one you’ve been waiting for.

 

Thanks and Peace. D

 http://www.colourcold.co.za 

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The NBT Music Columns : The CyberPR Blog (Ariel Publicity)11

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Woman Behind the Monitor (and the Mic):  Anji Bee  “The Sexiest Voice in Podcasting” Anji Bee of the Chillcast talks about the show and her double life as both podcaster and musician.   T:  How did the Chillcast get its start?   

A:  I guess you could say The Chillcast got its start with college radio DJ’ing. After 3 years of doing various shows and working in management at a college radio station, I was pretty well hooked.  Then I discovered Internet radio, and started creating both live and prerecorded Internet radio content – including interviews with indie bands like Hungry Lucy and Sunburn in Cyprus.  Eventually podcasts were invented, and I put 2 and 2 together.  Podcasting was better than radio because listeners could tune in whenever was most convenient for them – which seemed really revolutionary!  My first podcast was actually  Chillin’ with Lovespirals, which Ryan and I launched to help promote our 2nd album, Free & Easy.  Shortly after, I started getting permissions from indie band friends to create a weekly music show podcast – because you have to understand that at this time the podsafe music movement was barely getting started!  Adam Curry had just begun his Podsafe Music Network — which is actually how he and I met and became friends, when Lovespirals joined the site.  Adam played us on the Daily Source Code, and then we started talking back and forth on his podcast about Creative Commons vs BMI and all those kinds of things.  To make a long story a bit shorter, I put together a few fledgling episodes of The Chillcast, hosting them on the Internet Archive site and C.C. Chapman, who was really active with PodShow at the time, pitched the show to Adam and PodShow management, and I was signed as one of the first group of podcasters to the new PodShow Podcast Network.

 T:  What have you learned from operating on both sides of the broadcasting world, as a podcaster and as a musician?  

A:  Good question. Podcasting is a great way to communicate with your fans, to give them a sense of who you are as a person, as well as to inform them of your latest projects. You can really build a sense of brethrenship, not only with your fans, but fellow indie musicians and fellow podcasters. Podcasts are more intimate than a newsletter, less time consuming than a forum, and both more immediate and long lasting than a personal appearance. I’m surprised more bands aren’t doing podcasts, actually.

 T:  With over a half million downloads of the Chillcast, what is the top tip you would give aspiring podcasters in terms of building such an impressive listenership?  

A:  Consistency. Being consistent with the quality, content, and output of your show is really important. Listeners want to know they can rely on you to provide whatever experience it is you’re providing on a regular schedule. If done well, your show becomes a part of your subscriber’s life that they look forward to, and you don’t want to let them down!

 T:  Chillin’ with the Lovespirals was one of the earliest band podcasts, what was the impetus behind such inspiration and foresight?  

A:  Well I mentioned this briefly in your earlier question, but the idea was to share information about the new album we were releasing, and what better way to promote an album than with the music itself?  We had shared audio interviews we’d done with radio stations in mp3 format on music sites for years, so I knew people liked to listen to us talk about our music and band experiences. We have all the recording gear here at our disposal, so it just seemed logical to produce our own audio content and make it available via our site. We had fun doing it, too. At that time, iTunes was just launching their podcast directory, so getting listed on that was a real thrill.

 T:  Why should a band be PodSafe?  

A:  Podcasts are a very low cost promotional tool. Unlike radio, it’s very easy to break into the podcasting world.  There are still relatively few bands vying for attention on podcasts. If your music is good, you’re bound to get noticed. And podcast subscribers are truly interested in music. These are the cutting edge people who have sought out an alternative form of entertainment; they’re serious. If they like something they hear on a show, they actually go out and buy it. I get email and comments all the time about buying music from my shows — in fact, I got one this week from a guy who was sad that Sun Dula Amen wasn’t on iTunes yet, because he wanted to buy it! And of course, I know for a fact that I sell my own CDs from podcasts, I see the proof from orders on the Lovespirals Webstore.

 T:  You’ve said, “an indie band can make more money selling less CDs without a big label” so where should the revenue be coming from?  

A:  Everyone’s experience is going to be different, but in the case of Lovespirals, we have personally been able to make more money selling less CDs having released our music on our own label. When you consider that standard royalties paid per CD are between $1 and $2, I mean, come on — you’re going to need to sell an awful lot of copies to make any appreciable amount of money! And even then, you’re only paid quarterly, so it will take a long time to see anything come in. When you sell your CDs yourself, especially directly from your own website or at live shows, then whatever money is made is all yours, right away. And then there’s the money made from digital sales and licensing. Its a lot of work to do on your own, I won’t deny that, and most people probably aren’t willing to take on the additional responsiblity, but we did and it seems to be working for us.

 T:  What’s next for The Chillcast and Lovespirals?  

A:  Lovespirals are continuing to promote our new album, Long Way From Home. We have a remix EP off of the first single, “Motherless Child,” being released digitally, and we have a remix contest lined up for the second single, “This Truth,” with Peace Love Productions. In all likelihood we’ll do a digital release with the winners of that contest in early 2008.  The Chillcast just launched a Video Edition, which is a new weekly feature for the feed. The first episode included a video by Karmacoda, and the second includes Beth Hirsch. As for the regularly scheduled audio show, I’ve got a great little chillout Christmas episode, and a really amazing extended DJ mix for New Years coming up.

 

For music from Lovespirals go to www.Lovespirals.com

 To check out what’s playing on the Chillcast go to AnjiBee.com  

BEAT360 podcast in association with NBT

Ollie Hammett

Photo (c) and of Ollie Hammett

All the info and links you will ever need. All the details about the Incredible Artists featured on this very special episode of the NBT podcast. Compiled by Oliver Hammett Creative Director of Beat 360 Studios

http://nextbigthing.libsyn.com/  About BEAT360 Beat360 is a music studio and production company based in central Manhattan, New York, home of multi platinum music producer & mixer Mark Saunders. Mark has played an instrumental role in producing some of the classic albums of the last 20 years including Neneh Cherry Raw like sushi, The Cure Wish, Tricky Maxinquaye & most recently Shiny Toy guns “We’re are Pilots “ which has just been nominated for a Grammy at the 2008 50th award ceremony. 

Our focus at Beat360 is on developing, producing, mixing & mastering the best music out there and our debut podcast showcases some of the talent we have had the privilege of being associated with.  

REEQ mixing & Mastering

 Recently we setup REEQ – a unique, mixing & mastering company aimed at providing first class solutions to independent artists/producers & labels at cost effective rates. Check out www.reeq.mu for more information & to listen to example work.
 

The So So Glos – http://www.myspace.com/sosoglos 

The So So Glos are a band of three brothers who have played since the womb & were joined by good friend Matt Elkin in 2007. Growing up in and around NYC they were raised on their parents CBGB golden era record collection. They developed a sound that has been described as both retro & fresh. This organic rock & roll never disregards the past but holds true the future. With politically charged poetry sung over fun, brash, swagger rock & roll, their music has a sense of vitality that demands your attention. They have just released their debut, self titled album mixed by multi platinum producer Mark Saunders & they’re currently travelling the country on their first DIY north American tour. They won’t stop until everyone is a believer. 


 

Kerowack – http://www.myspace.com/kerowack Kerowack, musical alchemists Dan Gerber & Saul Good, first appeared on the scene when London’s now defunct Rip Records released their debut single ‘Dirty Bumf’ in 2005, which went on to receive heavy rotation on BBC Radio One and was featured in many mixes including Darren Emerson’s Underwater Episode 4 & Mylo’s Essential Mix. Since then, Kerowack have communed with the London acid revival, DJ’ing and performing their live show in intimate neo-rave clubs around the world, consisting of sham pyrotechnics, Russian fuzzpedals and Victorian-era synthesizers. With a handful of releases & remixes along the way, Kerowack’s first multi-track release, titled ‘The First EP’, features collaborations with Milly Blue, chanteuse for the Basement Jaxx, and Doc Brown, postmodern lyrical poet and live MC for Mark Ronson. ‘The First EP’ is a true cross-Atlantic sonic smorgasbord, recorded at Arbutus Street Studios in London and Orchard Streetdrchard Street Studios in New York City. 

Santogold – http://www.myspace.com/santogold

 If you haven’t heard of Santogold yet it’s about time that you did. She’s written with Lily Allen and Mark Ronson and has been compared to MIA and Karen O. She is a college-educated singer-songwriter and producer, whose singles Creator/LES Artistes and LES artistes are released together.Her Myspace site describes her as a basement rock and Bananarama-soundclash artist, which is a wild combination but pretty accurate. She’s an American lady doing an almost tribal-dancehall-electro-grime-punk-ragga fling. Creator/LES Artistes uses haunting, shrieking voice and electric whines with wonderful shifts of tone throughout aided by Freq Nasty’s sublime rhythm section. Simultaneously she has a slight old school humour to her, it’s reminiscent of the routes and roots of the most innovative Missy Elliott material. It’s very exciting to be so close to something so rare and so new. The suspenseful escalating drama of the single is her lyrical and sonic manifesto, and hopefully the world will listen up Mark Saunders www.marksaunders.com www.myspace.com/marksaunderssounds

    is a multi-platinum, English record producer who has worked with some of the most influential artists and writers of the 21th century.. His unique understanding of rock music, electronic dance floor etiquette and everything in between has meant his career has been remarkably diverse. Mark relocated to New York a decade ago and currently works from his state of the art facility overlooking the Manhattan skyline.
 In 1985, Mark got his first engineering credit on David Bowie & Mick Jagger’s “Dancing In The Street” . A year later, he became a freelance engineer and was discovered by Rhythm King, a label at the forefront of the British dance music. Working on a couple of Bomb The Bass mixes led to the band’s founder, Tim Simenon, asking Mark to co-produce Neneh Cherry’s “Buffalo Stance” .

 The success of “Buffalo Stance” and Neneh’s “Raw Like Sushi” album resulted in a flood of pop/dance work for acts including Erasure, Depeche Mode, Lisa Stansfield & Yazz. Robert Smith from The Cure also used Mark’s radio friendly mixing skils to mix all singles from the album Disintegration. One of these, “Lovesong” is The Cure’s higest charting single, reaching #2 in the Billboard Top 100.

The Cure mixes broadened the musical horizons for him. Work with Ian McCulloch, The Mission (UK), The Farm, The Heart Throbs, Texas & The Sugarcubes followed. More work with The Cure on the albums “Wish” and “Mixed Up” would later lead to a Cure fan, Tricky, asking Mark to co-produce, program and mix most of his critically acclaimed debut album “Maxinquaye”. This in turn led to Tricky fans, Cyndi Lauper, John Lydon, David Byrne and Cathy Dennis hiring Mark to work on their albums. In the late nineties, Mark took a step back from the record business to spend more time with his family. Still in music though, he side stepped into writing and producing music for TV advertising. Some of his work in this area can be seen at www.tothebeat.com. Mark still made time for a few mixes for David Byrne, Marilyn Manson, Erasure, Jim White and The Mavis’s.
 In 2003, Mark upgraded the Beat360 monitoring to a 5.1 speaker system and took on the challenge of mixing music in surround and loves working in this format. He has already remixed 5.1 tracks for David Byrne, The Cure, Marilyn Manson and Japanese modern classical composer Izumi Kuremoto.

Now Mark is back making records again and has recently mixed an album for the Atlantic Records band Love Arcade and is currently co-producing and mixing an album for LA band Shiny Toy Guns.
 

Shiny Toy guns – http://www.myspace.com/shinytoyguns

 Synth pop band Shiny Toy Guns first surfaced on a 7″ single on the Positivenergy label. Produced by synth player and bass guitarist Jeremy Dawsonthe group also includes Carah Faye on vocals, Gregori Chad Petreeon bass, and Mikey Martin on drums.The group’s follow-up, ”We Are Pilots” surfaced in 2005 and was met with critical acclaim. Extensive touring and networking on various Internet social websites helped the band develop a loyal fan base, and the group signed a contract to Universal Records.

The group then appeared performing ‘Nothing Compares 2 U’ on Redline Records’ 2006 Electro Goth Tribute to Prince, a compilation also featuring actress/supermodel Rebecca Romijn rather inexplicably performing “Darling Nikki.”

 Discordinated – http://www.myspace.com/discordinated Out of all the bands on the scene I have to say YOU HAVE GOT TO SEE THESE GUYS! Discordinated in my opinion are the greatest new band around. You other bands may be wonderful and I love you all but Discordinated are the ones who set the standards everyone will have to keep up with. What makes them so good? Great songs that you can actually remember, tight playing and the mere presence of the singer Brad. You know in the film “Velvet Goldmine” where Oscar Wilde’s broach is passed on to the next rock messiah (Iggy, Bowie)? Well Brad has got the broach! The man is the best performer I have seen since Peaches.  ——————————————————————————————————-      Tasha Tilberg Just talking to Tasha Tilberg over the phone, you would never know that she’s probably the most beautiful person on the face of the earth. Talking to Tasha, you get the impression that nothing could be less interesting to her than, for example, the fact that she has been on the cover of W magazine (yes, W). She’s been in campaigns for Balenciaga and Lagerfeld and I’m on the phone with her after she’s just walked the Milan runways, but she doesn’t mention her modeling even once.Talking to Tasha, it’s clear that what’s interesting to her is her music. She gets worked up, as though she can’t say enough. She says that if everyone left her alone, she would just hole up and write songs. She’s been playing music her whole life — played the tuba in grade school and is a self-described “good bass girl.”

Her influences? Everyone from the Dead Kennedys and the Misfits to the Grateful Dead. Then she says, “Don’t write this, but,” and tells me something I’m not going to write. Then I ask her to describe her music. She says, “It’s like a cross between PJ Harvey and Tom Waits. I sound like her, but I wish I were him. I’m totally obsessive about my music, a complete perfectionist.”Her music name is Fox Glove . . . which is her favorite flower. According to Botanical.com, foxglove is “perhaps the handsomest of our indigenous plants.” With its tall and stately spikes of flowers, foxglove is almost as beautiful as Tasha. But its loveliness, like hers, is deceptive. In our beauty-obsessed culture, you can forget that there is more to beauty than meets the eye. For example, foxglove can be poisonous. Symptoms include dizziness, vomiting, irregular heartbeat, and delirium or hallucinations. So, I’m just saying, next time you see a pretty girl, take heed. And remember, there is more to beauty than meets the fucking eye. 
Periel Aschenbrand        

Donnan Linkz – http://www.myspace.com/donnanlinkz  Thoughtful honest rap from

New York. One to watch.

  ——————————————————————————————————- The Bidding warhttp://www.myspace.com/thebiddingwar  

The Bidding War means many things to many different people. It began with a common passion for creating great music and has transformed into a cause for the people. With peace, love, and respect for all things living, The Bidding War has become a movement to change the world we live in for the better. Through socially conscious concepts and lyrics, The Bidding War cuts through the clutter and reaches to the core of what needs to be said. Their electronic sound echoes many great bands form the past, and pulsing rhythm and prodigious guitars riffs lead the way into an untapped future. The Bidding War consists of two old friends and an ever changing cast of musicians. The core members, Andrew Martin and Aston Teague, met in college over 7 years ago and began writing together immediately. Over time and a few solo projects later, the two joined once again to bypass the mundane and write (create/make) history. The Bidding War has just begun and only shows signs of acceleration. Stay tuned…

   Lizard King Records/Martin Heath  www.lizardkingrecords.co.ukLizard King Records is an independent, full-service record company based in London and New York”. Lizard King’s philosophy reflects the growing connection between the U.S and UK music communities. It is transatlantic in outlook. Founded in 2002, the label has produced records by The Go, Donderevo, Clear Static and The Killers (Lizard King’s second release).

Martin Heath started Rhythm King, the first fully electronic record label, in 1986 with Daniel Miller of Mute Records. In just four years the label achieved more than 40 top ten singles. In 1989, Heath established the software company Renegade Software and was awarded the Sega Game of the Year. Heath joined the board of BMG

in 1995 after the company bought Rhythm King. The same year, he became the Managing Director of Arista Records in the UK

The NBT Music Columns: The Marketing Machine vs The Music

686586548_s.jpg Some thoughtful angry fiery words from true independent singer/artist JESSICA JOHNSON  

 So, I was just checking my email and I see this thing about some contest for best song of the year, and for the first time I felt like the shit sounded sooooooooo lame. Best song of the year? Right. I don’t know if I’ve just experienced enough bs that I’ve become really impatient or what, but all these gay little *we want to make you a star* contests strike me as so stupid. They’re trying to find the best song as much as American Idol is trying to find the best singer. Say it with me now…..HA! It’s my opinion that the music industry has nothing to do with music right now. It’s just one big marketing machine. Take for example the 20,000 “friends” on my page. Are all 20,000 of these people really fans? Hells no! They prob just added me b/c they wanted to get their numbers up, just like me. And there’s nothing wrong with that, but it does go to show that it’s all about marketing and creating an illusion to be perceived as reality. (Ever heard the saying “perception is reality”?) I know how it goes. It’s not about finding talent, it’s not about nurturing potential. It’s about slapping a label and a barcode on a cd and shoving it in the public’s face and saying :Listen to this! Buy this! This is what’s hot! Screw that. if you all find an artist you like…or even a song you like, BUY IT. It doen’t matter if it’s an indie or a major. Don’t just buy something because everyone else is….that’s lame. Don’t go downloading it for free. Don’t go burn it off a friend. Don’t do any of that cheap retarded shit. If you appreciate the artist and their music, PROVE IT. Maybe one day this industry will get back on it’s feet and remember the music……but I’m not holding my breath.

The NBT Music Columns:EMBRACED MUSIC

glenn braceMy mother told me the second she handed me this little tiny tin guitar that was blue and clunky, my eyes lit up and I never let it out of my site.      I was 3.Music had grabbed me very early and permeated every thing I did from then on in. My school years were filled with a rampant succession of bands and practicing till my fingers ached, and if I left my hand in my pocket to long it smelled like a foot because of the calluses. ( grins)But I was getting better. I guess competition between my friends who played fueled my determination to be better at my craft and I dreamed of touring and making GAJILLIONS of dollars as a result. I was a lanky moth hurtling toward an unsteady future that my parents took every opportunity to talk me out of.  I can remember being 13 and getting my first electric guitar and powerful 5 watt practice amp, and thinking about a name for what I would do. My last name being Brace I kept thinking “BRACE YOURSELF” and still may end up using that for the tour I do in the USA and Canada in 2008.I was looking at my hand holding the neck of the guitar and it hit me EMBRACED MUSIC. That’s it. I didn’t think any more about it till I registered the name as my business and had released two CD’s under it.Technology being what it is today it has allowed a guy like me and several thousand other musicians around the globe to create from home and record at home. We no longer have to get down on our hands and knee’s and beg to have a record deal and use a really fancy recording studio. We can do it ourselves. No dead line. No pressure. The only pressure we have is the pressure we apply to ourselves and our level of professional integrity that goes into the music.  So when you have a product what happens? Well for starters you sell it at gig’s to keep the wife happy and bring in some dollars for the duplicating costs that can be expensive. What is the reward from all of that? Having some one who has bought your CD come to a gig and sit up close and listen to you play and you watch them sing the song with you. That’s incredible. Then you know they actually took the time to listen and take in what you had to say. How cool is that!?! In my travels from being a Brick layer, Type Setter, Steel Mill Worker and Photographer I have always …..ALWAYS come back to music. It’s always been there for me. My guitar has been a great friend, confidant, mistress and some one I could dream out loud with since I was nine years old. I want to thank Martin and NEXTBIGTHING for playing my songs and letting you hear how much I love doing……just that…….playing my guitar. The internet has brought the whole world into mine and your houses and computers for you to relish the delicious plethora of different styles and taste’s that music has to offer. It’s a fantastic tool and I intend to use it for all its worth. (grins) In the coming years I can see myself creating music from home, touring and teaching people how to get the most out of their guitars and photography. I have reached a wonderful time in my life when I can LET EVERYTHING I LOVE, BE EVERYTHING I DO. That’s the key good people, find something you love and be really good at it , then its not a “job” it’s a passion.If you would like to see some of my web sites then follow the address’s listed here. I have written a novel and started writing my second one and have four CD’s to my credit of original material and continue to draw of what life has to offer from the way this crazy world is going. Love to hear from you soon so join any of my sites and stay in touch, be   well and happy. Yours Respectfully and Sincerely  Glenn Brace In AustraliaVIVA INDEPENDENT MUSIC!!!! 

www.glennbrace.com 

http://www.myspace.com/embracedmusic 

http://www.perfspot.com/embraced 

http://www.sonicjive.com/glennbrace 

Amazing Moments: In Their Own Words

podcast To coincide with a special podcast celebrating the best of 2007 so far, I asked some the artists featured to write me a short paragraph or two about what they thought were their most amazing moments of the past 6 months. 

Larry Levy (The Histrioniks) 

The weirdiest thing that happened this year thus far? Hmmm. Well, Cat and I were off to
Atlantic City, New Jersey for some fun back in the beginning of April. Not that we are big gamblers but when we go to AC, we go to play. We were losing fairly big on this particular evening. I stopped at an ATM and took out a few more bucks. I walked over to this machine and put $50 in. It took it as fast as a Clapton guitar lick. So, I moved to the next machine. I was playing Joker Poker by the way which means there are 53 cards in the deck. Jackpot is 5 of a kind with a Joker. I was doing pretty well right off the bat so I hung in there. Then before my eyes I was dealt 4
Queens – how weird and how difficult. I threw the garbage card away and lo and behold I drew a Joker. 5
Queens! The Jackpot. Joker Poker on April Fools Day – yes it was April 1st.  I won’t say how much but it made our weekend as we split everything. Everybody came running over including the casino attendent with a tax form. The chance of hitting something like this is so slim.So for me it was the weirdiest thing that has happened all year. And it was lucky ladies – 5 of them. I wonder what that means????
Larry (The Histrioniks) 


Lawrence Blatt

We Are All Connected Though Time and in Memories
 
Several weeks ago, I was working in

Los Angeles and staying at a very nice hotel in West LA.

  Early one morning, I went downstairs to have breakfast by the pool.  As I was sitting, I heard a piano playing a quiet but familiar melody.  At first I did not pay any attention, as like the pool, the palm trees and the sun, the music was just a part of the atmosphere of this iconic
Southern California hotel.  Then it hit me.  The pianist was playing a standard composition called “Humoresque” and I had learned this beautiful melody on my violin when I was a child.  It was the favorite piece of my teacher and mentor and I struggled hour after hour to get the proper phrasing and intonation for this technically challenging violin solo.  As I gazed up at the piano player I could not believe what I saw.  There sat a somewhat stout, elderly, grey-hared man with a thick salt and pepper mustache and rumpled clothing entranced as he played the melody as if reaching out to someone or something for approval. His face was strikingly familiar and even his mannerisms reminded me of a once loved and now lost friend and confidant. “Could it really be?”, I thought to myself. “What are the chances of this?”  I whispered.  But there was no mistaking it, the piano player had to be, must be, at least a distant relative.  Later, as I gathered my courage, I walk up to him and said. “I knew your father, he was very dear to me as a child and I also learned that melody from him”.  As we sat and talked about his father and the years that had past I was keenly reminded that we are all connected through time and in memories.

Jeff Leisawitz (Electron Love Theory) 

the weirdest, most amazing time i’ve had this year is in a class i’m taking.  i’m studying nlp, which is code for neuro linguistic re-patterning, which is code for a special type of talk therapy that uses specific language and neurological triggers to help re-pattern the brain and give people the options to make better choices in their lives.  it’s very cool and it works on deep, subconscious levels.  and that’s where the action is, my friends!

   

Barbara Gilles 

Well, there’s not A highlight, but I can tell you a mix of the best/weirdest/most amazing moments of this year (so far):
One of the best concerts i’ve ever been to: Roger Waters, playing the whole  `Dark Side of the Moon´, an album I so many times played/watched/listened to with my bandmates, all four of us deeply hipnotized by the sound, and also alone at home… Seeing the living legend who imagined all this darkness, violence, thickness and enlightning, and the sublime show… Simply excellent. And the best of all: to enjoy it with my friends./ Discovering the song “Djanfa”, from Amadou et Mariam, while driving with my boyfriend through the city by night. Suddenly the radio began to play it, and It was one of those perfect moments./ The same day, at the book fair, I by chance met the writer of the book I had just finished the day before. We commented the book, which I recalled perfectly, lucky me!/ Going to the International Film Festival in Mar del Plata (a city near Buenos Aires), and watching over 15 movies in 3 days./ Getting the chance to play Gershwin’s Rhapsody in Blue./ To finally have started improvisation classes, and the wonderful feeling after the class, when I step out of my teacher’s house, with a silly smile on my face, and plenty of music in my head.
And one great thing that has happened to me is that I ran across some great people from half way across the planet, who were interested in my music. People who take themselves the time and space to listen and care about quality, ideas, feelings, and anything that brings originality to this wonderful world. An argentinian songwiter once said: “Who says that everything’s lost? I’ve come here to offer my heart”. NBT is here to remind us that something good is still out there.
Cheers!
B.
 

LINQ 

I just released my very first music video on Feb. 27th called “George
Orwell, Where Are You?”, available on my 2-song enhanced CD called CHANGE
THE PICTURE, GEORGE!, and much to my amazement it landed on the big screen
in a short-films festival in Miami Beach, FL just a month later.  The
audio track of the same song also just received the 2007 Sven’s World
Radio Golden Viking Award for the “Best Rebellion Rock Song”.
Linq
www.linqmusic.com
 

Ian Churchward (The Morrisons/Legendary Ten Seconds)

 

For me some of the most amazing things that have happened so far this year include having some jingles I have recorded played on some indie radio stations and podshows including NBT. Also I saw a video clip for the first time ever of my favourite band Quicksilver Messenger Service performing Dino’s Song from June 1967. I have loved this band ever since I first heard their music back in the early 1980’s. Hurrah for the internet but if only we could get rid of all the spam. 

Colour Cold
“>2007 so far.

What a year it’s been, and we’re not even halfway through it yet. It seems that time is going by faster and faster. Exponentially, so that yesterday went by quicker than the day before, and today is going faster than yesterday…and who knows what tomorrow will be. But the upside of time speeding by, is that it feels as if more is happening with each passing day. More dreams, more work towards making them come true, more music and more people to play in it in front of. However, if we had to say the best, most wonderful and exiting thing to happen to us as a band this year, then it has to be that, for the first time, we played as ourselves. Stage names, gimmicks and other unnecessary things were put behind us, and we played live for the first time as on our own terms. We used to play as Angel, Sun, Moon and Star, but we decided that it was time for a fresh start. So we put those names, and the things that went with them, away. The Sun was eclipsed, The Moon ebbed, Angel folded his wings away, and Star fell from the heavens. All that was left was Dirk, Dirk, Liz and Tiaan, naked on a stage and playing as ourselves for the first time. Playing as Colour Cold for the first time. It was the best gig we’ve ever played, and we’re looking forward to more. After all, who knows what tomorrow will be…

Phil Andrews (the Morrisons) Surprisingly for us we’ve had a quiet opening to 2007 so we don’t have too many weird and wonderful tales to tell just yet although I do have this small Morrisons rock n roll snippet: – On Friday night last I went out for a quiet drink with friends that turned into a monster night clubbing Indian restaurant visiting marathon. Got home dropped clothes on floor and duly passed out on the bed. Waking the next day (late!!) I had the Mother of all hangovers which never really cleared until Sunday. The good bit about this was sitting down on Saturday night (with head still a tad hazy) and writing a new Morrisons song called “Flowers On A Tuesday” all about the good, bad and ugly bits about drinking. It’s a country rock flavoured track (always fertile territory for drinking tales) which I’m sure will see the light of day soon. Ian Morrison liked the song a lot but I’m not sure my body could take such constant punishment to get a sets worth!!