Category Archives: indie bands

New Single “Double Star” Coming Soon

Print

“Double Star” is yet another single from Barley Station soon to be released.
The artwork is finished and a release date is set for October 15, 2015.

First released only to fans via mailing list and social networks, the special page made just for this song is now made public and the art and a promo clip are now revealed, and the art alone is stunning! (The page also has the song lyrics)

Go to the page here: Preview “Double Star”

With a reputation of blending and jumping around genres a bit, as usual, this one’s different.
“Double Star” creates a more spacey atmosphere and is a bit more on the adult alternative side of things and it is like a cosmic painting of the heart in sound and lyrical texture. (Somewhat similar to “Never Leave” from the Damaged Goods album or “Dream You Lost” from the album After All)

Cover art for

Cover art for “Double Star”

As one pre-release review stated “Double Star” embodies the desire and longing to have that one special person by your side for all eternity.”

So here is the preview of the beautiful album art which was taken of a real “blue moon”, so we can say  this is “once in a blue moon” single song art with certainty.

Special thanks: Graphics and Cover Art by
CA Marshall – Editor of Starlight Music Chronicles and Magazine

“Double Star” will be released digitally to the following outlets:
Apple iTunes, Spotify, Groove, Deezer, Omnifone,Google Music Store, Rumblefish, Rdio, Slacker Radio, Shazam, Beyond Oblivion, YouTube Music Key, Tidal, 8tracks, Synchtank, Amazon MP3, 24-7, JB Hi-Fi, Yandex, Akazoo,  Rhapsody, GreatIndieMusic, iHeartRadio

Advertisements

Alice In Wonderland Teams Up With The Mad Hatter

Review and Extensive Interview With Plike

By Randy Wayne Belt – July 13, 2015

In Plike’s newest sonic adventure, Empathetic Apathy, you have Alice in Wonderland teaming up with the Mad Hatter to give us a creation of sounds that explore unrestrained imagination.  Set to be released on July 15th, 2015 it might not be what you would expect out of Austin, TX, but this music is a great fit for any number of gaming formats or movie soundstracks. And in fact,  in the upcoming independent feature film, Windsor Drive, Plike has three tracks that will be featured in the movie!

Empathetic Apathy Cover Photo800pix

In Lewis Caroll’s Alice’s Adventures in Wonderland, you have a girl who goes down a rabbit hole to find herself shrinking or expanding depending on her circumstances.  One can’t help but wonder if there isn’t an unintentional or subconsious reference to the very real but mysterious Alice in Wonderland Syndrome, in which people, usually children, suddenly see things change size.  ASH and Em_1700pix

Now, it’s probably not a well known fact that one of the alternate titles proposed for the famous Caroll story was Alice Among Goblins.  That title didn’t quite work out for Caroll, but had it been the title, with a slightly different story and a bit spookier, and had that work been created today, recording artist Plike may well have been selected to create the soundtrack.

Plike’s sound is self-described as hauntingly beautiful and disturbingly dark, an eccentric layering of natural and organic sounds against heavy digital elements.  I couldn’t find better words than that to describe the music.

From the opening track “Attachment Theory” to the ending “Lessons in Futility” there is a consistent pattern of haunting sounds that lend the music to a few popular formats.  For instance, the song “The Clockwork Girl” perfectly captures the feeling you might have while listening to a series of clocks ticking, only musically, and you’re in a dark room waiting to get out.

It is perfect background music for a video game.  For example, the music would fit well instrumentally with the Number One Best Horror Game of 2013, the indie horror game “Outlast”, and to a lesser degree, the sounds would also work with something along the lines of Skyrim or Fallout (both games made by the same creator).

Mad Madam Em
                                   Mad Madam Em

I could also imagine some of the music working well with some of my own favorite Hidden Object games.  Add the vocals, and you have entered a realm beyond that.  The female vocal samples throughout brought me to think of perhaps Evanescence – only an Evanesceance who who may have been traumatized and was struggling with depression and has overcome it via music as therapy.

In a similar vein of thought, oddly, it has been my experience, that often a very sad sounding song can have the opposite effect of cheering one up.  It’s funny how that works for some people.  So naturally, the concept and inspiration from their last album, the EP  47th Helen was born from Plike founder Mad Madam Em’s own struggle with Post Traumatic Stress Disorder, a condition that affects 7.7 million adults in the United States.

I discovered Plike while listening to Em’s interview with Jacqueline Jax on A.V.A. Live Radio back in April of this year and was intrigued by Em’s statement “Depression and anxiety make people feel alienated. Sometimes just hearing a song you can relate to can give you the strength to pick yourself back up and keep going.” Such a true statement!  And it was nice to hear someone willing to take on such a subject that tends to be overlooked and ignored and pushed under the rug.

You can listen to that interview and hear the track “Catherine” from Plike’s last EP here:  http://avaliveradio.com/behind-the-music-em-of-plike-on-having-strength/

So to test out my Alice and Wonderland-like assumptions about this newest EP by Plike and see if I’m really on target here, I caught up with the group’s two compositionists, Em and Ash recently and got to hear the new EP before it is released and got to chat by phone about the music and throw out some of my own interview questions for them.


Randy:   This is probably an unusual way for me to start out a recording artist interview, but considering how I’ve just described your music, it makes sense in the fantastical Alice in Wonderland method of interviewing.   What are your top 5 or 10 favorite video games of all time?

Ash from Plike

Ash

Ash:  Silent Hill 2, Skyrim, Bioshock, Final Fantasy VII, Journey

Em: Alice: Madness Returns, Eternal Darkness: Sanity’s Requiem, L.A. Noire,  Katamari Damacy, Heavy Rain

Randy:  I’m not surprised there.  Your music is so fitting for some of those games!  So, music… What made you want to create/do music?  And is it the number one thing you want to do for a living?

Em:  Ever since I was a little girl, I’ve been drawn to creating art. For years and years I painted and sketched, and I wrote short stories and novellas and screenplays. As a kid I took piano lessons and then guitar lessons, but I didn’t appreciate those lessons until much later on when I started playing bass.

It was about that time that I realized how much I loved writing music. Painting and writing went on the backburner and music became my everything. I found I could express myself artistically through music in ways I never could through painting and writing. If I could choose any career in the world, I would love to score independent films and video games full time.

Ash:  We both grew up in musical families, and later on in life it became an escape for both of us. It was like therapy – a way to cope. It’s absolutely the number 1 thing I want to do for a living, I can’t imagine doing anything else.

Randy:  Tell me about that.  How were your families musical families?

Em:  My grandma played fiddle and grandpa played the upright bass and the whole family would sing and have fun playing bluegrass type music.  Ash’s grandparent’s were travelling musicians, I guess they were the blacksheep of the family travelling around playing music in an RV!

Randy:  That’s wild!  Musicians often get a bad rap just because we are different.  And I’ve found that music often runs in the blood.  So now that we are going back in time, what bands or recording artists were you exposed to growing up?

Em:  Up until I was about 13, it was mainly a lot of great music from the 60’s – Simon & Garfunkel, Frankie Valli and the Four Seasons, and especially the Beatles. My godmother was a Beatlemaniac when she was a teenager and gave me all of her old Beatles records. I must have played each of them 1000 times!

Ash:  I have three older brothers, so I grew up on a pretty steady diet of metal music. Tons of Slayer, Iron Maiden, Black Sabbath, Judas Priest, that kind of stuff. Then Nirvana came along and they were game changers. They pretty much blew my mind, because their sound was so new and different.

(After being sidetracked in a long discussion the Beatles, we continued…)

Randy:  What kind of impact would you say that music has had on your music today?

Em:  I didn’t realize until a few years ago what a huge impact the Beatles had on me as a musician. They were so innovative. I fell in love with vocal harmonies because of them. The grunge bands I fell in love with as a teenager in the 90’s definitely had a massive impact on me, especially Alice in Chains. The first time I heard them was the first time I really started wanting to write my own music. They were so real and authentic, and they weren’t afraid to write about taboo topics like depression and drug addiction. I suffered from severe depression from an early age. Listening to them, I felt like I wasn’t alone anymore. That’s one of the main reasons I write music today. I want to use music as a way to reach out to others who are hurting.

Randy:  That’s noble and beautiful.  How about you Ash?

Ash:  The artists I started listening to in my teenage years had the most impact on the way I write music. When I first heard bands like Nine Inch Nails and Fear Factory, I guess it just kind of encouraged me to push the boundaries of what you can do with digital music. Since the old school rock format was getting stale at that point, I was looking for new and creative ways to make music. When Fear Factory’s Remanufacture album came out I was pretty blown away – I’d heard metal before and I’d heard digital before, just not together.

Randy:  On now into the present, what recording artists are your biggest influences personally?

Photo from the Empathetic Apathy Photo Shoot

Photo from the Empathetic Apathy Photo Shoot

Em:  I’d have to say Radiohead and The Dresden Dolls. Radiohead is one of the most innovative bands I’ve ever heard. Every album is so different, but no matter how much their sound changes from album to album, you still know it’s Radiohead. That just blows my mind. I hope to continue to grow and evolve as a musician, to keep pushing forward with no creative limitations or boundaries. The Dresden Dolls are such incredible artists, they’ve definitely had a huge impact on me as a musician. Amanda Palmer is so talented and passionate, so raw and real. Authenticity in music is something that I think is very important. I think it’s absolutely crucial to stay true to your artistic vision and write music that comes naturally, instead of trying to write what you think people will want to hear.

Ash:  Björk has probably been one of my biggest influences. Her Debut album is still one of my all time favorites. Her sound was so different from anything I’d ever heard. Squarepusher has been another big influence of mine. I have always had such an appreciation for digital musicians who aren’t afraid to take risks and push boundaries.

Randy:  What’s playing on your ipod (or whatever you use to listen to music with) lately?

Em:  I’ve found so many amazing indie bands and artists this past year! IX is one of my new favorites, their new album “7302” is phenomenal. A few other incredible indie artists at the top of my playlist are De-Franco, Anodic8 and Eyemouth. And soundtracks – I’m hopelessly addicted to soundtracks! Currently I’m hooked on the Oblivion film soundtrack by M83.

Ash: Lately I’ve been on a kick listening to a lot of Purity Ring and The Ditty Bops. Bob Marley is an all-time favorite and he’s pretty much on constant rotation on my iPod. I’m a big fan of soundtracks too. Austin Wintory wrote an amazing score for the video game Journey. It’s one of the best I’ve ever heard.

Randy:  Do you do any live shows? How would you describe them?

Ash:  We’ve been so busy in the studio creating new material that we haven’t put a lot of focus into live performances yet, but we’re definitely contemplating it and putting together some ideas for a live performance that will be visually exciting for our audience. It will depend on what opportunities come our way, I think.

Em:  I haven’t been on stage since I was a kid, but I am really looking forward to playing live! We have so many ideas and we want to put together the best visual show possible, so it might take a little time to get everything organized, but I definitely think we’ll be doing gigs in the near future.

Randy:  What was your best or most memorable performance? (best or worst experience, whatever you like, or even both!)

Ash:  I worked as a professional DJ for several years, and I’ve seen a lot of hilarious happenings, but the worst experience I’ve had was doing a last minute gig with a buddy of mine in Carbondale, IL. I was in college at the time, and when we were offered the gig we were both pretty stoked about it. We drove to the place, which turned out to be the diviest dive bar of all time, in one of the worst neighborhoods in town. All we had was my drum machine and a guitar, and we had no idea what they were expecting us to play. We just got up on stage and winged it. All things considered, I think we did a pretty good job, but it was definitely nerve-wracking.

Randy:   Do you plan to stay as a duo for Plike?  Does that seem to work best for you with how you work?  In other words, do you find you do your best work alone, with another person to bounce ideas off of, or in a larger group? How does that work for you?

Ash: That’s a funny story actually, because we had both worked on music independently and together in the past, and I used to always work best on my own because it allowed me complete creative control. But I’ve come full circle, and now I greatly prefer working with Em because we’re both on the same wavelength and we can easily bring the best of both of our styles together. It just really clicks. ASH and Em_2800teapix

Em:  I totally agree. It took a long time for me to figure out exactly which direction I wanted to go musically. We’ve run the gamut – rock, alternative, industrial, metal, electro-metal, ballads, ambient tracks and a lot of crazy experimental stuff. We’d both gotten frustrated trying create the exact “sound” we wanted the music to have. But now I feel like we’re both on the same creative path. Writing solo is definitely great because you do have total creative freedom, but I’ve had a lot more fun working on the new album with Ash. Our styles mesh perfectly and compliment each other.

Randy:  Have you done any collaborations?  And do you have any plans in the future for collaborations?

Em: I recently did a collaboration with Rob Bryant of Bare Island called “No Time”. He is an incredibly talented musician and producer, and we had a great time working on the track! We actually wanted to try to tackle another collab, but we wound up realizing that neither of us had the bandwidth to make it happen.  (Em sent me the link for that and here it is)

Ash: I’ve done many collaborations in the past, but with Plike’s current momentum, I doubt I’ll be tackling any new collaborations any time soon.

Randy:  If you weren’t doing music, what is the next thing closest to your heart you would be doing?

Ash: I realized early on that it’s crucial to be able to do something that you at least somewhat enjoy, if not love, for a living. We’ve all had soul-sucking jobs that get you nowhere, and life’s just too short. That was what ultimately led me to pursue an education in audio engineering / composition, and today I’m working professionally as a sound designer / composer in the video game industry. Being a hardcore gamer, it’s a good fit.

Em:  The next closest thing to music that I would really love to focus on as a career is narrative design / scriptwriting for video games. I majored in creative writing, and I actually did work in game design for a while. My only claim to fame was penning dialogue for Mark Hamill to read, and actually getting to sit in on the voiceover session! I grew up absolutely obsessed with Star Wars, so that was a pretty major fangirl moment!

Randy:  If you had to pick just one, which of your tunes means the most to you personally?

Cover Plike's debut EP '47th Helen'

Cover of Plike’s debut EP ’47th Helen’

Em:  I would definitely have to say “Lucy”. 47th Helen was inspired by the trauma I’ve experienced, and each track represents a different aspect of coping with trauma, whether it be a step toward recovery, a behavioral or emotional struggle, or a specific symptom that arises for trauma survivors as the brain attempts to process the trauma. My grandmother’s name was Lucy, and she was everything to me. “Lucy” was my attempt to express acceptance, but at the same time it’s an expression of my own struggle to let go of the grief of losing a loved one. This song has actually helped me to move forward and focus more on all the wonderful memories I have of her.

Ash: For me, it would be “Lessons in Futility”. I actually started writing the track about five years ago, but I had hit a brick wall with it and wasn’t sure which direction to take it. When Em suggested we resurrect it to see what we could do with it, I never would have guessed that it would come out as well as it did. We both like for people to take their own meanings from our songs, but with this track we wanted to make a strong statement about the futility of nuclear, biological, and chemical warfare and the inherent fear that those weapons of mass destruction foster in our society.

Randy:  As a recording artist myself, one of the questions that is always intriguing to me is this: What’s the writing and recording process like for you?

Em:  I actually have a little ritual that I do every time I go into the studio, before I start writing. I have a little statue of the Buddha that I set next to my keyboard, and I light a candle. I find it helps me to clear my mind and focus on the work. I generally write songs one piece at a time, so I’ll start with the intro, and usually either a simple drum beat or a bass line. I build on the intro until it’s completely where I want it, then I’ll move on to the first verse, or the next part of the song. Once it’s complete, I’ll move on to the chorus. I used to write everything with headphones and then do the final mix after the song was written, but I’ve found that mixing as I go is so much easier!

Ash:  I usually start with the drums. I think of them as the “skeleton” of the song. Once I get the drums finished, I’ll start on a bass line and build on that. Sometimes the drums will change here or there, or I’ll add additional beats or swells, but usually once the drums are done, the rest of the song falls into place.

Randy:  What do you find most challenging about being a recording artist?

Em:  The toughest thing for me is the challenge of trying to get a message across in a song. I’m not a singer, so it really takes a lot of time and patience to piece together vocal samples to get them to express what you’re trying to say. The other challenge would be mastering. I’m just now starting to learn the mastering process, and it is intimidating!

Ash:  The biggest challenge for me is time. Like so many musicians, I work full time, and quite often I have to put in overtime hours, which leaves me only a few hours a day during the week to focus on music. It’s also been tougher since I’ve been composing music and doing sound design for a living. By the time I get home, I have major ear fatigue, and sometimes even the thought of working on music after work is exhausting.

Em Baker
“Mad Madam Em”

How would you describe yourself as a person? (i.e. funloving, carefree, wild n crazy, introspective, mysterious and brooding, etc) Em, you first:

Em:  I’m very tuned into the people around me, so I tend to feel whatever they are feeling! I’ve been called an “empath” so I guess I’m Counselor Troi from Star Trek. Kidding!! J In all honesty though, the thoughts and feelings of others are truly always at the forefront of my mind, so I guess you could say I think emotionally, and tend to be very sensitive to the emotions of others around me.

Randy:  I can sense that.

Ash:  Em always calls me “Spock” because I tend to think logically rather than emotionally. I’m definitely introspective. I guess the truth is out now that we’re both a couple of Trekkies!

Randy:  If you could tour with any artist you wanted who would it be and why?

Ash:  Definitely Aphex Twin. Richard David James is a true artist when it comes to electronic music, and his style has been so incredibly influential to the way that we think of and view digital compositions.

Em:  Gary Numan, hands down! I’ve been listening to his music for twenty years now, and his sound and style are just incredible. He also has had the courage to tackle some really heavy subjects in his music, something that a lot of musicians shy away from. I just have so much respect for him!

Randy:  I agree!  With the release of your new EP, do you have any thoughts or plans for what you might do next? Or has any new projects been thought about or discussed?

Em:  We actually have two songs already in the works for our third EP, which we’ll be releasing in December 2015. Going forward, we’re planning to release a new EP every six months, until we’re able to focus on our music full time. After that, the sky’s the limit! I’m also working on composing a score for an independent film, and I’m about to start working on a remix track with another electronic artist for a compilation album that will be released by FLOE Records.

Randy: Achievements come in all sizes, big and small.  What would you say is the most crowning achievement(s) for Plike up to this point?

Ash:  Having our music accepted by Pandora Radio was such an honor, I’d definitely have to say that would be our crowning achievement so far. It’s just incredible to have our music played alongside so many other fantastic artists that we have so much respect for.

Em:  I’m incredibly proud that three of our tracks will be featured in the upcoming independent feature film, Windsor Drive. I got to see a private screening of the film a few months ago, and Natalie Bible’, the director of the film, is truly an artistic genius. I really think this film is going to knock people’s socks off!  Here’s a sneak peek:  https://www.youtube.com/watch?v=2vacs4-KrBM

Randy:  That’s great!  Best wishes with everything for Plike!  Thanks for taking so much time to chat and let everyone get to know you and your music more.

Em and Ash:  It was so awesome to have the chance to talk with you today, we really enjoyed chatting with you! Thanks so much again for doing this, you’ll never know how much we appreciate your kindness and generosity!!

You can connect with and find music by Plike at the following links:

Homepage:  http://www.plikemusic.com/

Email to:  info@plikemusic.com

Twitter:  https://twitter.com/PlikeProject

SoundCloud:  https://soundcloud.com/plike-1

Buy on iTunes: https://itunes.apple.com/us/album/katherine/id942729543?i=942729549

Youtube: https://www.youtube.com/channel/UCvgHSfR_-8-J4NgzxKbpu6Q

Song/Video review: “Taste of Heaven” by Radio Drive

 “Taste of Heaven” by Radio Drive

Article/Review by Randy Wayne Belt    June 14, 2015

It was no surprise to me when I learned that “A Taste of Heaven” by Radio Drive from St. Paul, Minnesota had been nominated  Best Alternative Song for 2014 by the Hollywood Music Awards. And in September of 2014 Bongo Boy Records included “A Taste of Heaven” on their first Compilation CD release to the  Asian market, among many other accomplishments for this artist including music that has been used on shows airing on Animal Planet and Discovery Channel and having signed to Artista Group, an international management agency.

Produced by Chris Garcia, who is known to bring the best out in engineering and vocal production, this song is certainly no exception in bringing out the best.  The vocals on this track are smooth, relaxed, and deliver the type of vocal this song needed. Neither would it surprise me that this song is doing well in the European market as vocally, Radio Drive’s man behind the engine, Kevin Gullickson, has that distinct European tone to his voice.  In many respects his voice and delivery remind me of Neil Finn.

OLYMPUS DIGITAL CAMERA

Kevin Gullickson

“A Taste of Heaven” is an uplifting song that will just leave you in a good mood.  Not a jumping-around-good-mood, but a good mood where you feel a certain contentedness and satisfaction for the moment.  This track is full of layered sounds that give an effective backdrop of sound to the track from the very start that drives home the feelings and moods the artist wanted conveyed.  The song opens with nicely textured melodic guitar bits and builds into background vocals leading into the verse of the song, and the video for the song enhances this experience with it’s imagaries, subtle flashes of light, and scenes of two people enjoying each other’s company.  I would venture to say that if you’d like to hear U2, Imagine Dragons, Coldplay, with a touch of Neil Finn, all rolled into one song, then this is it.

The video flows along nicely with various interesting scenes where time seems to go by faster than normal.  I got the idea that this was meant to convey, intentionally or not, of how the relationship the song seems to be speaking of (and video seems to convey) makes you lose track of time and days and hours. Time goes by… unnoticed.  You’re in love. There’s that sense of timelessness when you are lost in the moment – you are enjoying the here and now, outside of time, just like heaven.  So I’m on the right track here aren’t I?  Well, just to be sure, I checked in anyway to Kevin’s interview on A.V.A. Live Radio with Jacqueline Jax from May 27, 2015 to find clues

(check out interview here) http://avaliveradio.com/behind-the-music-radio-drive-kevin-gullickson-on-a-taste-of-heaven/

and here’s what Radio Drive’s Kevin Gullickson says about the song: “A Taste of Heaven… was written to capture the time when I lived in New York City. I moved there in the month November back in the 80s and met my wife shortly afterward. It was such a care free time for us, living in the big city, doing whatever we wanted, all the excitement and variety the city had to offer – and of course being in love.”

Ok, I think I got it right! And my favorite lyrics from the song are (drum roll please) “you fill up and saturate my life with heaven”.  Now go watch the video:

What was I saying?  Oh yeah.. And now back to the nuts and bolts of it!  The song is saturated with good melodies and harmonies which always wins points with me because, well, I’m a melody guy.  As the song and its video progress, by the time you get to around the 3:50 to 4:00 mark, you have a pretty clear picture of what the song is getting at.  There you will find the overlapping of clouds giving a fitting backdrop to the song to relate to the imagery of the lyrics (heaven) overlapped with the artist on his guitar (on earth).

Rays of light, sunshine and positivity dominate and it becomes apparent by then, that the artist is painting a picture of a relationship that is more than just a “taste of heaven”, but at moments, may seem to be heaven on earth, or heaven meeting earth. This leads to the outro with a string arrangement sound that is fitting for such a sonic atmosphere relating to the imagery in the song. And that reminds me, did I mention this is a well constructed song? Kevin-Gullickson-Radio-Drive-752x440 It seems to just fly by and at no point was I feeling like I just wanted it to be over already. Rather, it ends by giving the listener a sense of completeness of the song and what he wanted to convey with it.  As an artist, it is always a good feeling when you can look back at the production and know that the producer caught your vision for the song as a team, and the team delivered it effectively.

Connect with Radio Drive on the homepage at  Radio Drive Home

And on social media: Radio Drive Facebook  On Twitter  @radiodrivemusic

And subscribe on YouTube:  Radio Drive’s YouTube Channel

The Musical Art of Naomi Psalm

Naomi Psalm can best be described, by this reviewer, as a very creative music artist in the realm of indie pop that really brings the word “artist” back into play again.  After all, it is supposed to be art isn’t it?  With a music industry so far away from musical art and relying on overdone formulaic sound patterns instead of actual musical painting, Naomi brings a much needed refreshing of sound to the music scene.

I’m sure her own music scene in Boise, Idaho is the richer for having her there.  She writes, she sings, she plays guitar and ukulele. Oh, and she can play bass as well. 1618538_10153846410705608_2003472706_nPsalm has a knack for knowing what to do with her voice in a given song.  Her vocals make good use of her dynamics and she sings with a passion that you can feel in the emotions of what she is singing about.

Her voice has some hints of Sarah McLachlan in her tone and melodic expressions at times, but she has a voice all her own.

Currently working on a new  album, we must go back a little first to look at some of the musical art that precedes what is to come. Perhaps it may foretell?

First, we journey back to her last single.  In her April 21, 2015 interview with Jacqueline Jax on A.V.A. Live Radio, http://avaliveradio.com/behind-the-music-naomi-psalm-music-is-freedom/  Naomi gives a glimpse of what her single “Losin It from 2013 might be about when she says, ” It’s based on a true story….lol! I lost more than a few things one day that prompted me to make the best out of it and use the experience for a song. It’s one that everyone can relate to.”

“Losin It” is a fun and lighthearted song that will simply leave you in a good mood. The song opens with a well recorded Ukulele.  Now, a ukulele will always get my attention right away, so the intrigue begins the song.  A rich bass guitar comes in next with drums driving the song home, and then unexpectedly, the chorus brings a change that brings in a swingy feel that makes one think of the type of experimentation you might get on The Beatles’ White Album in a vaudevillian song like “Honey Pie”.   It’s quirky, it’s fun, and it makes you drift off into somewhere else. The song will definitely leave you wondering what she will do next or what she may have done before. 11150212_10155456204290608_6075027914761612038_n

Now we go to 2012.  A single titled “Fitted Sheets” was released that year.  The sound on this song reminds one more of a mid-western Sheryl Crow type feel and with a west coast laid back vibe behind it and accompanied by a more progressive bass line.  It’s unique – which always gets points with me.  Though not a bad song by any means, neither did it strike me as a smash hit, but it’s no matter because this song gives a display of the artist’s continuing creativity and uniqueness, which is a more desirable trait.

So let’s go back a little further.  On Naomi Psalm’s six-song 2011 EP Stare you get a feel for her continuing creativity where pictures are painted with carefully crafted words.

400x400xf6afd07a10be61d997be508a6d93efad_JPG_pagespeed_ic_1411486622 In the song “Ink” for instance, the song opens with the lines: “Pain turns to ink, ink becomes words, words become melodies, flowing like tears”.  The verses of the song captivate you right away with their iambic beauty, driving beat and haunting melody.  

I can’t tell you what the song is about, and I don’t like having a song ruined by someone telling me exactly what it’s about because I like to stay guessing.  But to me, the song speaks to my own soul of the inherent therapeutic value in music and in creating music. This song is a personal favorite and the one song that would be that unexpected hit song by the artist.  A song that would slowly rise on the charts and just stay there for a long time somewhere near the top.

The brush Naomi paints with is streaked with colors of old and new, with experiments and fusions of sound with a twist of pop likability to it In fact, if you watch the video for the song “Ink”, you will notice there is painted art all throughout the video perfectly fitting my opening description of this artist being an “artist” in the truest sense of the word. I definitely recommend watching the video for “Ink” here:  https://youtu.be/eg1ohMThDrk

In fact, so much is she the artist that you will find an art section on her webpage. The title of this artwork is Leaves.

1505875

Now – back to musical art. Another real powerhouse of a song and what I would call the first of two hits on the Stare EP, for me, is the opening track Already Hit Send” which is a powerful song that will just leave you feeling in a good mood, well, depending on what mood you started at maybe, but it did the trick for me.

It features what I call an acoustic-guitar-driven-rolling-smoothness on the verses, then on the chorus the bass changes to a slap type bass sound with a synth/keyboard piece behind it giving an extra musical hook to highlight the vocals and brings the song to a new level of goodness! One thing notable to me, as a bassist myself, is the way the drums and bass guitar stay locked together in this and all of her songs, providing a tightness that I often find lacking in many independent artists.

IMG_4534Another notable song from the Stare EP is the song “Gazing”.  It is a song that will hook you into it on the chorus, and shows this artist is capable of creating more than just one or two good songs.  In the closing song “Listen”, you will find considerable vocal control demonstrated in the delivery and emotional conveyance of the song.  Now that we’ve gone back a ways, the question is, “what’s next”?

With a new record in the works, Naomi describes what she has so far recorded for it as “more in the vibe of Imogen Heap and Ellie Goulding with an electronic, industrial feel”.  Considering what she’s done in the past and how she describes what’s coming up, one can’t help but be intrigued to hear how the new album will sound!  A release is hoped for in late autumn of 2015.  And in October look for a song Naomi Psalm wrote to be in a movie titled Ghostumentary.

Having already received various music awards, I’m sure there will be more on the way for this artist! So stay tuned with that, and be sure to connect with Naomi Psalm on her homepage and her social media here:

http://www.naomipsalm.com

https://twitter.com/naomipsalm

https://www.facebook.com/naomipsalmmusic

https://www.youtube.com/user/TheBlueCinemaMusic

on iTunes: http://www.iTunes.com/bluecinema

Recording Vocals

Recording Vocals

This isn’t about mixing vocals, it is about recording them. They are two very different things. I will address mixing and EQ-ing some other time. But right now I will address some very basic but important and sometimes overlooked things about getting a good vocal track. A famous saying in my studio is “do it again.”

Having a background in musical theater and formal training in singing, I act as the vocal coach for my own band and for myself, though I am always learning something new. The learning never ends.

When recording your vocals take your time.  Do it right. Listen carefully. Did you got the right feel? Did you capture the right mood? Don’t be afraid to create the right atmosphere during recording. If your studio is set up with lights that make it feel like someone’s office cubicle, you may well get a sound that makes you feel like you are at work or somewhere you don’t want to be singing the song, much less listening to it. It will reflect in the recording.

Set up some lights that reflect the mood you need for the song. It could be candles you need, or colored lights. Or bright whites if that’s what you’re going for. No matter what your recording space is like, with lighting, you can always create an atmosphere that will help you get the song out the right way. I keep different colored bulbs on hand for just this purpose. Strings of Christmas lights of various colors will work great too and they are usually on sale cheap right after the winter holidays.

As for gear, if you don’t have an expensive tube mic, never fear. There are inexpensive ways to get around that and get a good clean warm tube sound. ART’s Tube MP Project Series Tube Microphone/Instrument Preamp is under $80 and will really get you the warmth you need in your vocal. And it works great for other instruments as well. A handy little tool even if you already have great expensive gear. In which case, great, you are lucky and all good to go and there’s no reason to hear a recording that is less than stellar. photo (300x291)

If you have the luxury of having your own studio, take the time to do it right. Take lots of ear breaks and don’t be afraid to just leave it be for awhile. Go back to it again completely fresh. Take off a week from that song. Or even longer. It could be that a new approach is what you need and a fresh view of the song. Ask the opinion of a 10 or 12 year old. They will be brutally honest. Ask the opinion of an 80 year old. They will be brutally honest too. But then take it all with a grain of salt.

Are you singing with the emotion that the song needs and that inspired you to write it? If not, get it back. You’ll need to try different positions around the microphone. Do want it more airy? Do you want it more gutsy? Do want it more plain? You need to ask yourself all these things and position yourself or the microphone to capture what you want.

Do you hear something that makes you cringe? Then do it again. It will probably make others cringe as well. Do yourself a favor and become a better vocalist and do it again until it’s right. Unless you are using autotune as part of your style, ditch it. You won’t get better that way.

If you constantly use cheat machines, you are only robbing yourself of the ability to improve. They can be useful, I’m sure, but there’s nothing that beats the self satisfaction of knowing you pulled off a great vocal performance without using machines. A live audience will certainly appreciate the time and effort you put into bettering yourself as a singer. It won’t happen overnight, so don’t expect it to. But it takes constant practice, just like when you learned to play that guitar, the piano, or those drums. Your voice is an instrument and needs to be practiced.

Now, if you are singing harmony parts, there’s some things that work great if you can adjust your voice. Again, it requires listening carefully to every nuance of the way the lead or other vocal is bieng sung. I will go back and listen to a part over and over again to figure out how my band mate sung a certain part or phrase and I will make my voice match that style to get those perfect sibling harmonies everyone covets.  Is it a breathy whispery phrase? Then your harmony needs to match it for it to be effective and not sound out of place.  An example of this would be the song “True” from my own band’s album After All.

Listen here: https://soundcloud.com/barleystation/true-1
Or on iTunes here: https://itunes.apple.com/us/album/true/id507047384?i=507047521

Listen carefully to how the vocals and harmonies match each other and the mood of the song. That’s what makes it work. We have distinctly different voices, but in harmony it is often hard to tell who is who when they are effectively sung. That’s your sibling effect. (It’s what I call it anyway)

Learn to harmonize with yourself and your bandmates if you have them. You need to grow as a vocalist.  In the studio, feel the right notes. Close your eyes. See the notes in your head. Find them, hit them, and remember what you did to get them.

You can be your own vocal coach if you can’t afford one if you are self-disciplined and not tone deaf. There are great voice teachers who often give good free advice online (I didn’t say free lessons) and have written helpful things, like Nashville vocal coach Renee Grant-Williams whose clients have been folks like Faith Hill, Martina McBride, Christina Aguilera, Miley Cyrus, Ben Folds, Keith Urban, and Jason Aldean.

But whatever you do, make sure you are using proper technique so you don’t ruin your voice. There are also plenty of videos that can explain it so you can understand it. Experiment with your voice but don’t mess it up.

Your voice is your paintbrush and the sound is your canvas and this is your art. Take the time to do it right!

The Story of Door Henge

The Story of Door Henge

by Randy Wayne Belt / also published in American Pride Magazine May 5, 2015

backpossible4It’s a peculiar story of how trash becomes treasure. A story of how album art was made from the changing landscape of an American city.

How often have you driven by somewhere where you lived and were, or at least, were very familiar with, only to find it completely changed beyond recognition years later?  You say to yourself, “It looks so different!” Or perhaps, “I wish I would have known that would be torn down so I could have gotten pictures!”

It isn’t anything spectacular or mind blowing like the Eiffel Tower or the St. Louis Arch you’re thinking of, just a piece of your childhood memories perhaps. Or maybe simply a scene you drove by and it is all changed.  You marvel at how one place can look so different years later.  Oh, to have gotten that last picture!

For many locals in a section of St. Charles, MO right near Lindenwood University, and close to the old Lewis and Clark trail of which we all learned in history, there was a permanent change of scenery that may have them wishing for a piece of that history.  When land owned by the University was sold to allow the building of a supermarket, the result was the destruction of the old homes that rested in their aged place there on that historic land.  The homes people lived in are gone and in their place – a grocery store. But in between those two – came art! Door-hinge-Missori

(a never before seen picture from behind the doors where you can see the surrounding historic homes that were not demolished)

Though the images of history before the homes were destroyed are not available to me, a fascinating artistic scene lived a brief life, speaking its message of desolation, of loss, and of art itself or perhaps a symbol of a doorway to what is new, depending on your artistic perspective.  For what must have been a personal disaster for those who lived in the homes that were tore down, something strangely beautiful showing that from what was old to what is new, sometimes there’s that little in-between that doesn’t last very long but gives a glimpse of art, a gleam of glory, in its own fascinating way.

This interim scene between demolition and construction, was captured and is memorialized in the form of music album art.  I don’t know who took it upon themselves to create the artistic scene that they did with the broken pieces of homes, and memories of the lives of some, but there it was – in it’s own artistic showcase – Doorhenge!Door-hinge-Missori-photo

(this is the original picture that became the artwork for the cover of the album ‘Damaged Goods’ by Barley Station)

And the story goes something like this:

As the homes were being demolished, someone took the pieces and used them to make an artistic statement.  Or maybe they were just being silly or trying to be funny, who knows? But the final result ended up being art no matter how you look at it.  And that art became forever memorialized as the artwork for the entire album package of an album known as Damaged Goods  by Barley Station, a band on its own Independent Label – Barleyfields Records, with one member who lived a mere two blocks from the scene of what is known amongst us insiders now as “Doorhenge”.

For a band whose sound is often defined as earthy, organic, and rustic beneath it but with a view towards tomorrow, this became the perfect album art.  The symbolism of doors that lead to the future and open to the past were perfect.  If you hear the music, you’ll understand why this artistic concept worked so well for the album.  The scene brings to life the albums concept of the lyrics, “We are all damaged goods, uh huh”.

As the album begins, you hear the sounds of broken glass, junk, and other imperfections. And then the album takes many twists and turns.

—————————————–

We wanted an album cover that reflected the theme of the album, naturally, being this is a semi-concept album.  So we spent a couple of weeks working out a really nice album cover collage of various pieces of damaged goods – old things, rusty stuff, pieces of junk and so on. Brian Kious, one of the two vocalists/and guitarist of the double fronted band, put together most of it, sent it to Randy Wayne Belt (the other of the two vocalists/ and its bassist) for final edit, who shared it with then drummer Nil De Silva for his approval. We all liked it a lot. Door-hinge-Missori-photo-3

A lot of work went into it! But then… on one partly cloudy day, Brian was driving past his old neighborhood in St. Charles, MO where he grew up only to discover it was being torn down and utterly leveled to the ground to make room for a huge strip mall, or some type of shopping center, or grocery chain store.

What was once his old neighborhood was reduced to piles of rubble and all the homes were torn down. There were piles of debris, tractors, bulldozers, and torn up trees. He came upon one area where someone had arranged the doors, presumably from the houses that once stood there, into a Stonehenge like display.

Always one to have an eye for art and things that seem to scream ART by their very existence, he snapped a picture of it with his ipod and sent it to Randy suggesting it might be a good idea for the back cover of the album that we had just finished recording.

Randy agreed it was good. Really good! In fact, so good it should be the cover. Now after spending so long working on what was going to be the cover, it takes a good bit of humility to accept the fact that you’ve just taken a snapshot of something that you didn’t even work that hard to get and it just surpassed all the hard work you put into what you thought was going to be the album cover for a really great album.

(I’m sure all of you artists out there know what I mean) Just that stroke of pure chance at the right moment and you have exactly what you were looking for. After a flurry of texting back and forth, we all knew, that this was going to be the album cover. It just demanded to be. We don’t know who set up the doors, but whoever it was just gave us a fantastic album cover!

Now the picture Brian took wasn’t going to work because the resolution and quality was not high enough to convert into artwork without ruining the shot. And, someone was tearing down the doors!! We had very little time to act.   With a high resolution digital camera, we needed to go back… fast!

Here’s the REST of the story – in Randy’s words:

“The sun had to be right in the sky and we needed a day without rain to cause problems. On a day shortly thereafter, I decided it was THE DAY to get the shot. Being a photographer as a hobby (and used to have my own black and white darkroom) I decided the day was right and announced to my family, “we’re going on a little trip today to see “DOORHENGE”. I didn’t use my Chevy Chase voice and we certainly don’t resemble the Griswolds, but it was almost as exciting as traveling to the UK to see the real Stone Henge! This was better than going to the art museum, or the structure park it seemed.

Door-hinge-Missori-photo-4

(the original picture that serves as an inside booklet page with the CDs artwork)

“When we got there it was the most surreal scene. We were really in awe. And when a little kid is in awe of it, it’s really special. It was a strange awesomeness because it was accompanied by a certain sadness for the neighborhood that disappeared and for the people who lost their homes (to whom we dedicated the album).

But in the midst of it all, someone had created this work of art made of doors.  Someone took what was a tragedy for someone else no doubt, and turned it into something that will be the cover of something else that we hope will bring smiles and happiness.  I didn’t even recognized the place anymore. If not for the street signs I wouldn’t have known where I was.  It was strange. This was Brian’s old street!”

Randy continues, “I got picture after picture, angle after angle of this fascinating array of art. Then we drove by one last time and said goodbye to “Doorhenge”.  We knew we wouldn’t see it again.  I asked myself ‘Did they really have to tear it down’? ‘Couldn’t they keep it as a monument even in a small little area in honor of the old neighborhood?’

It sometimes puzzles me the coldness and heartlessness of the way business is done. I’m just only glad that this work of art, this memorial of what was a lot of people’s homes or dorm rooms, or place of residence, will be memorialized in time by our Album cover, the name is perfect:  ‘Damaged Goods’. damagedgoodscover1000pix

Several days later, Brian called me, and said ‘it’s gone!!!’ So, indeed, we captured the photo in the nick of time!”

That’s the story behind the album cover. The songs contained within and the pictures in the artwork all have a story to tell!  In an imperfect world, “we are all damaged goods, uh huh”.

bow2bs2 (1024x806)

(a crop from the artwork inside the CD booklet – the two singers/songwriters and front persons for the band, Brian (left) and Randy (right))

Story and Photos by Randy Wayne Belt  @randywaynebelt

Barley Station:

 
Digital at iTunes: