>> Happy Valentine's Day, everyone! Love is in the air - for some the freezing cold air - and that feeling is something to be celebrated. In the spirit of young love and warming hearts, the charming singer-songwriter Annalie Prime has unveiled her latest tune. The bright artist has put her signature tropical spin on The Outfield's classic "Your Love," and it's the perfect soundtrack for today's holiday. Hit play, hold your loved ones close, and celebrate with this lovely tune.
>> Forget about the holiday? Annalie's sweet and soulful reworking of Justin Bieber's "Sorry" might be a little more useful. Check that out here - and good luck!
>> It goes without saying that pursuing a career as a musician is no easy task. Staying true to yourself and your fans on top of maintaining some sort of hype can be overwhelming, and not every band is meant to last. Brooklyn-based rockers The Energy definitely break that mold through channeling the true spirit of rock 'n' roll. The group has been together for nearly a decade and they're gearing up to release their 5th studio album, titled When We Were Young, later this year. A lot has changed since the band first formed and things haven't always been simple, but these four musicians are determined to keep making the music they truly care about.
>> Guitarist Ian VanderMeulen recently shared the band's history as well as his thoughts on how things have shifted in the industry while the group has been active. Read about their New York roots, the significance behind When We Were Young, and goals for the future below.
How did The Energy come together? What led to pursuing music as more than a hobby?
The band indeed started as a cover band roughly ten years ago, but quickly turned to writing originals, recording records, and touring to promote them, the real bread and butter of any original band. So the band was already a pretty serious project—much more than a hobby—before I joined, about eight years ago. I had come from a conservatory background but had also been writing a lot of music that fit stylistically with what the guys had been doing—guitar-driven, commercially viable rock but with depth, with soul. When I joined, the fit was glove tight, personally and musically. We shared a diverse set of musical tastes, from classic acts like Led Zeppelin and U2 to the grunge era to more contemporary stuff. And we also shared a seriousness about what we were doing—a desire to “make it” in a pretty fickle industry while also remaining dedicated to the artistry of what we do. I think that led to a lot of experimentation on Realize Your Sin, my first album with the band, and more self-consciously commercial approach on Streets of In-Between, the album that came after. It feels in many ways like we’ve come full circle on When We Were Young—the songs are heavier and more experimental again, but still catchy.
How would you describe your local music scene? Do you think being based in Brooklyn has influenced your sound and style?
The music scene in Brooklyn is incredibly diverse, but indie rock and hip-hop are probably two that come to most peoples’ minds when they think of the borough. I think the indie rock scene in Brooklyn is internally quite diverse, and we take maybe an “older school” approach, really relying on a core guitar-bass-drums setup, with very little in the way of synthesizer or special effects. We also have our own fist pump to the hip-hop scene by having the up-and-coming MC Kid G4shi on the new album. That collaboration grew fairly naturally out of having him sit in on a couple of our big headline shows. Beyond that, though, historically Brooklyn has more of a “working class” reputation, and I think that’s been an subtle influence too. Our approach has always been centered on performing—hitting the road, playing shows, and connecting with fans directly. At our peak we’ve done 100 shows a year. And when we’re not out on the road we’re always writing, always working on our craft. So I’d like to think we embody that Brooklyn work ethic. But I moved to Queens about a year ago, so we’ll see, I hope that doesn’t change!
What major changes have you experienced in the industry throughout your near decade as a band?
The music scene has certainly changed a lot, in both global and local senses. One of the big local changes a while back that hit really close to home was the Knitting Factory’s move from the West Village out to Brooklyn. You might think we’d be psyched, as a Brooklyn based band. But the Manhattan location was really the New York venue where The Energy grew the most, both before and immediately after I joined. Selling out that room became an important stepping-stone to headlining bigger New York venues like Gramercy, Highline Ballroom, and Irving Plaza. So it was kind of a shock when it closed. Social media has of course been huge as well. We’ve also certainly followed the shift away from MySpace—which used to be a huge part of our media game—toward more emphasis on Facebook and now SoundCloud as ways to connect with fans.
How have those changes influenced the way you operate as a group?
Although we certainly continue to play sort of traditional club shows, we have tried to mix things up with more DIY kinds of productions as well. One thing we’ve done a lot of is smaller acoustic shows, sometimes in an art gallery or similar space, with catering and cash bar that we organize. It brings us closer our most loyal fans and it’s also a contrast to the bigger electric shows—which we also love—so it stretches us as musicians and performers. We’ve also done some private parties. Obviously, seeking out these kinds of opportunities often requires making connections beyond the normal or established “music industry” networks, which is perhaps another way the industry has changed. Even our headline club shows we often put together the entire bill, and choose the other acts not just based on style or genre but who we like working with. That more personalized approach may seem counterintuitive in such a social media-driven age, but maybe that’s just how we stay rebellious!
How did you do things differently with your upcoming album, When We Were Young? What made writing and recording this release stand out for you?
As I said, the finished product feels like we’ve come full circle, and I think a lot of that has to do with the process. The songs were written and recorded over a longer period of time than on the previous two albums, so I think there was more opportunity to polish them, or even test them out live during our shows. We’ve always been independent, never on a record label, but I think in the past we’ve operated like we were—deadlines, get the product finished, out the door, etc. It really is rewarding to take our time with a project like this. Looking back, its amazing how cohesive this group of songs turned out, and I think that’s a result of sort of finding “our sound,” even though it’s still someone eclectic. In that sense it’s interesting that we decided to call the album When We Were Young—and feature pictures of our younger selves in the album artwork—even though the album feels like our most “mature” effort yet.
What is the main goal with this new album? What do you hope listeners will get from these tunes?
This is not just hyperbole—there really is something for everyone on this album. Unless you just don’t like rock n’ roll, which is your own problem. A bunch of the songs are just heavy—big guitars, big choruses. I think “California Sun” is the only time we’ve ever had a “shout” chorus with a bunch of people in the studio all singing. I also get to wail a bit more—longer solos and more of them. So that’s fun. The title track starts out all smoky and mysterious but the chorus is just bursting with heat. I remember I wasn’t crazy about Adam’s lyrics when we first wrote the song, and then when he sang it in the studio they were totally different and just hit me right in the gut. It’s really kind of a desperate plea for a more direct and honest type of relation—so incredibly personal and political at the same time. And as an antidote to all the riffage we close with “Little Man,” which is kind of Adam’s lullaby to his first-born son. Every rocker has to have one of those, don’t you agree?
What's next for The Energy?
We’ve kind of slowed down our pace during the process of recording this album, at least in terms of touring. So I think we’re eager to start playing out a more again, connecting with audiences directly, the best way we know how. We’re also hoping to snag some higher profile placements in other entertainment media—film, TV, etc. This is one aspect of our game plan that’s been a bit lacking. I think the depth and diversity of our sound is a double-edged sword in that kind of market. We have a lot of different sounding songs that would work in a variety of settings, but that also makes it more difficult to pigeonhole us—to say, “The Energy sounds like X, so let’s use them for Y.”
Is there anything else you'd like to say?
Just that we all hope the new album turns you on in some way. And if you do find yourself at an Energy show for the first time (or the many-eth time) in the coming months, don’t be a stranger. We’re all approachable dudes and love to connect with fans directly.
>> Let's open with a brief timeline, shall we? After being a member of Taking Back Sunday for the band's New Again album cycle, Matt Fazzi left (for one reason or another) and went on to pursue numerous other projects. While he played with Atlas Genius, A Great Big Pile of Leaves, NK, and others, his own project always had his heart. That project was Happy Body Slow Brain, and their 2010 albumDreams of Water went over swimmingly (pun intended). HBSB teased a follow-up album for over a year without an official release date in sight. Then, last month, fans were surprised with an announcement. Going forward, HBSB would be known as Rare Futures, and today we discovered that the mysterious and highly anticipated album will finally see the light of day.
>> Rare Futures will release their new album, titled This Is Your Brain On Love, on March 4th, 2016. The album features fellow TBS alum Matt Rubano who plays bass on a handful of tracks as well as guest vocals from Gavin Castleton. The band just unveiled a fresh teaser video for the album as well as the lead single, "The Pressure." Pre-orders are available now via rarefuturesmusic.com and each option includes the enchanting single as an instant download. Watch the teaser, stream the song, and stay tuned for more.
>> Happy Holidays, everyone! This time of year comes with reflection, resolution, and of course relaxation. It seems like the perfect time to launch a new feature where artists get to discuss what's on their mind, so allow me to introduce you to Side Note. Houston-based singer / songwriter Jaeger Wells is kicking off this feature for us, and after touring to support his Fever Dream Anthology EP, he has a lot of great thoughts to share.
I am currently sitting in my apartment with the lights off, staring at the lights on the house across the street from me. It is a couple days before Christmas and I have been back from tour for about a week now. While most people really look forward to this time of year to see their families and loved ones, I have always found myself more excited about the impending new year. It is pretty incredible how fast 2015 has flown; as it seems just like yesterday I was sitting in my old apartment wondering if the year would beat back the things I’d like to forget from 2014. Over the last decade, I have tried to fully embrace the eery magic that the start of a new calendar year entails - where you almost feel like a snake shedding its skin (technically still the same, yet vastly different). It can be tough, and most people try to plan out what they want to accomplish with resolutions. Resolutions always have the best intentions but most of the time never turn into action. Personally they seem pretty constrictive - with all your focus being on those one or two things you resolve to do. Every new year provides not only another year of experience being a human on this world, but another year of unknown experiences and memories to be made.
To all the readers of The Music Obsession - I challenge you to think of 2016 as a clean slate; where there is so much newness around that you want to take it all in. I want you to close your eyes and dive head first into the unknown of what 2016 will bring you. Don’t limit yourself to resolutions; because the things you experience and the choices you make from those will shape you into the person you will be over the year. I started 2015 with that mentality and it has helped me to have some of the best experiences in my life. So, in conclusion - I hope you take a deep breath embrace the newness of 2016 with arms wide open. - Jaeger Wells
>> Hey hey hey! Hope everyone is excited to see this feature come back to life! It's been almost a year since we've had one of these on the site (crazy, right?) so here's a brief explanation of what we're doing here: The College Experience is my way of discussing the pros and cons of taking steps to have a career while still being a student, or how the desire to be involved with the music industry could interfere with the pursuit of a degree. I'll be asking a selection of folks the same basic questions regarding their school, their role in the industry, their struggles, and their goals. I'll also ask about each person's individual projects, whether they are photographers, musicians, publicists, writers, promoters, and the like. I think it'll be interesting to see how each person deals with the difficulties of balancing and prioritizing the various obstacles faced by students with big ambitions.
>> Today we're highlighting Casey Buckley, a hardworking musician who made a point of graduating from Northwestern before committing 110% of his focus to music. Read about Casey's album Take The Good and what Casey learned from interning with Red Light Management, graduating early, and making tough choices on the road to pursuing multiple dreams.
Please state your name, age, what school you attended, your major, and what year you graduated.
My name is Casey Buckley. I’m 25 years old and graduated Northwestern University in 2011. I majored in Political Science with a focus on International Relations.
When and how did you first get involved with the music scene?
I’ve been a musician my entire life – singing and playing both piano and violin from a very young age. I began seriously playing guitar in high school and started writing songs my freshman year of college.
Were age restricted shows ever a problem for you?
Yeah, it certainly limited what I was able to go out and do on the weekends. I couldn’t get into a lot of bars/clubs to see the musicians I wanted to. As far as my own shows, I just played at coffeehouses. If I played at a bar, they’d mark my hand with an X so I couldn’t drink – but then none of my friends could (legally) get in...so it wasn’t always the greatest.
Now that you're out of college, has that aspect gotten easier? Are things more accessible to you now?
When I finally turned 21, it was nice to not be limited by age in terms of places I could play as well as shows I could get into myself.
You were only 20 when you graduated. Would you say that finishing school that early gave you an advantage or did it make certain things more difficult?
Graduating college early definitely gave me an advantage in terms of having less student loans. Northwestern wasn’t cheap, so being able to have three years worth of loans rather than four has been nice. I’ll be happy once the loans are all paid off and I can be (more) financially free!
You're wholeheartedly pursuing music now, but what experiences have you had in the industry up to this point?
My first industry job was an internship at an artist management company. I worked at the NYC office of Red Light Management. I learned so much in the very short period of time that I worked there – and made some really great friends in the process. If anyone is looking to get involved with the music business, I definitely recommend starting with artist management. It’s a discipline that gives you visibility into just about every aspect of the music world.
What did you learn from that experience with Red Light?
Aside from the practical lessons about seeing how things work, the overarching theme of what I learned is that you are as good as your hustle. I was working multiple jobs at the time and still aimed to give 100% in each. The head of the internship program at Red Light took a chance on me (given that I had zero experience at that point) and gave me an amazing opportunity – I owed it to her and to myself to take full advantage of that opportunity.
Being actively involved in the music industry, how often were you tempted to skip class or put off an assignment in order to attend or play a show? How did you make those choices?
Luckily, I didn’t have any evening classes – and I didn’t schedule any daytime shows! Academics come first at school – there’s plenty of room elsewhere to find time. I have carried that thinking over with me into the ‘real world’. My social life is the primary casualty of my dual responsibilities as a musician and citizen of the real world.
Were you often faced with tough choices when it came to priorities and scheduling as a student also involved in the music industry?
I wouldn’t say I faced too many tough choices – I tried to always plan a few steps ahead of everything to avoid serious conflicts. Proper scheduling is key to most things in life.
As a musician, did you find it hard to find a place to practice or focus on writing? Was it hard to coordinate shows and performances for the same reasons?
This is definitely true. I was lucky that Northwestern had a music school with plenty of practice rooms available to all students – it wasn’t necessarily a quiet place to write, but it was a place where I could play at full volume all hours of the day and night. That being said, I’m sure the people in my freshman year dorm were happy when spring quarter ended and they didn’t have to listen to the guitar any more. As much as I tried to play outside, the Chicago weather often forced me indoors. Luckily for me, a guy down the hall (who happened to be a good friend of mine) had a habit of playing through Jimmy Hendrix’s greatest hits. People tended to forgive my quiet acoustic strumming a bit more easily than they could his rendition of ‘Little Wing’ or ‘The Wind Cries Mary’.
Did you ever struggle to find space to store your equipment? Was it ever hard to afford the equipment you needed?
I was lucky that my instruments made it through college unharmed. A notable incident happened during my third and final year of school – my roommate was sick of listening to me play the ukulele and decided to padlock the strings. He was nice enough to put a (clean) sock in between the padlock and the wood so it wouldn’t scratch the instrument. I can’t remember how I convinced him to take it off...
Being able to afford equipment was a definite struggle. I just made do with what I had. At the end of the day, all I needed was my acoustic guitar to write songs. Don’t get me wrong, though – it is nice to have other instruments and effects!
Did you struggle with roommates aside from the padlock incident? Did they ever complain about you taking up too much space or being too loud with your musical endeavors?
As long as my instruments didn’t obstruct any common areas, my roommates were fine from a space perspective. The volume was definitely an issue – especially if they took naps throughout the day or needed peace and quiet to study.
Did the recording of your new album, Take The Good, overlap with your time in school? How did you balance writing and recording with your class schedule and assignments?
Recording didn’t overlap with school, but a good portion of the writing certainly did. A few of the songs were written while I was still at school and others in the year immediately following college. It’s sometimes hard to strike a balance between writing and other obligations, as inspiration doesn’t always follow a schedule. I always have a voice recorder handy and either whistle out a tune or hum it if I need to be really inconspicuous. I have stacks of notebooks at home filled up with lyrical ideas – either written down when I had one handy or transcribed from my voice recorder.
Was your time in college and your dedication to get a degree influential to your writing for that album?
It definitely was influential given that, had I not attended college, I would not have been placed into any of the situations that served as inspiration for these songs.
In your opinion, what is the most important thing for people to know about Take The Good? Is there a specific message you want people to take away from listening?
Take the Good covers so many different aspects of the personal side of growing up – which of course involves a heavy dose of romantic relationships – that it’s a bit of a ‘make your own message’ record. I left conceptual space in each song so the listener can bend the music to their own life – allowing them to let the songs resonate with them as best fits.
Overall, what was one of the biggest obstacles you faced while trying to progress your career while still in school?
One of the biggest obstacles to any artist nowadays is the financial one. While being in school arguably sets you back further in that respect, it also allows you to self-fund and build your own musical platform.
How did being in college help you advance your involvement in the music industry?
I took some poetry courses which had an interesting effect on my writing – but other than that I wouldn’t say college directly helped my music industry career. It does however, allow you to work elsewhere in the real world – which is a very real issue many younger musicians don’t consider.
Do you think it's been beneficial to start your career path in the music industry while you're still in school?
If you want to pursue a full time job on the business side of music, it’s definitely best to start as early as possible. Get an internship as soon as you can and keep building your network.
From an artistic standpoint, just create. I’ve been creating my whole life and will continue to do so forever. It’s not something you just wake up one day and decide to do (but, hey, maybe it is for some people). Don’t schedule art, but make time for it.
What have you been up to since graduation?
As I mentioned before, I have some student loans that I’ve been taking care of. In addition to that, studio time isn’t free and I’ve foregone the crowd-funding route so far. I’m not independently wealthy, so I work to make sure I can continue to exist and make music.
What would you say to someone debating how to pursue a career in the industry while still in school? What advice would you give to a younger you?
First off, I would tell them to graduate. Having a degree and completing it in 4 years or less is only going to make your life easier. Sure, anyone can point to some successful dropouts (Gates, Zuckerberg, Mayer) – but there are exceptions to most rules. Brilliance doesn’t disappear when you’re handed a diploma.
As far as advice for a younger me, I’d probably tell myself “you should never have to break up with a girl twice.”
What's next for you now that Take The Good has been released?
I’ve already started writing new songs and have recorded a few of them. I think a few more tours are in order and then we can start looking at some new releases and hopefully a sophomore album!
>> Hailing from New York, Andrew Thomas Reid and Brian ‘Sene’ Marc have come together to embark on a new musical journey as Saint Ballantine. The two producers / musicians initially formed this new outfit after both collaborating at the Clubhouse in South Brooklyn. The Clubhouse, a modern day creative commune founded by Reid, has hosted over 50 artists who create a myriad of artistic works. Having come from such a vivacious environment, the gents in Saint Ballantine are bringing their creative artistry to life in something that has yet to be seen elsewhere. The duo describes themselves as “Gangsta Indie Rock”, which comes off as a combination of sharp production elements, heavy subject matter, and festival-ready downtempo tunes. Reid and Sene have incredible chemistry as writers, leading to a slew of versatile and meaningful songs. The duo prides themselves on the interesting mix of influences and genres in their music, and their knack for experimentation is personified in their latest single, "The Stoned."
>> Released through Tommy Boy Entertainment, “The Stoned” gives listeners something completely new. The intricate use of hypnotic electronic sounds with far away yet ever-present vocals gives a twist to what some call 'typical indie rock.' The anything-but-typical indie beat gives an enchanting background to the vocals as rock undertones subtly express the darker side of the lyrics. Listen to "The Stoned" below and get groovin'!
>> We hope to see more from this dynamic and innovative duo as they continue to make some of their most enticing music to date. For now, be sure to keep tabs on Sene's acting career - he just announced his part in the upcoming Marvel's Luke Cage Netflix series!
>> Goth-rockers New Years Day just announced details for their 2015 The Other Side Tour! The band will play across the US alongside Get Scared, Eyes Set To Kill, The Relapse Symphony, and Darksiderz. New Volume were originally on the tour as well, but had to drop off for undisclosed reasons. The tour coincides with the release of New Years Day's new album, Malevolence, on October 2nd.
Tour Dates:
Oct 03 – Soma Side Stage – San Diego, CA
Oct 04 – The Whisky A Go Go – Hollywood, CA
Oct 06 – Pub Rock – Scottsdale, AZ
Oct 07 – Launchpad – Albuquerque, NM
Oct 08 – Mesa Music Hall – El Paso, TX
Oct 09 – Tomcats – Fort Worth, TX
Oct 10 – Korova – San Antonio, TX
Oct 11 – Walters – Houston, TX
Oct 14 – The Blind Tiger – Greensboro, NC
Oct 15 – Canal Club – Richmond, VA
Oct 16 – Santos Party House – New York, NY
Oct 17 – Palladium Upstairs Rock & Shock – Worcester, MA
Oct 18 – Water Street Music Hall – Rochester, NY
Oct 20 – Agora Theatre – Cleveland, OH
Oct 21 – Bottom Lounge – Chicago, IL
Oct 22 – Frankies – Toledo, OH
Oct 23 – Hatchy’s – Utica, MI
Oct 24 – Fubar – St. Louis, MO
Oct 25 – 89th Street Collective – Oklahoma City, OK
Oct 26 – Aftershock – Kansas City, KS
Oct 28 – Marquis Theater – Denver, CO
Oct 29 – In The Venue – Salt Lake City, UT
Oct 30 – Volcanic Theatre Rock – Bend, OR
Oct 31 – Hawthorne Theatre – Portland, OR
Nov 01 – Studio 7 – Seattle, WA
Nov 03 – Boardwalk – Sacramento, CA
Nov 04 – Strium @ The Catalyst Club – Santa Cruz, CA
Nov 05 – Chain Reaction – Anaheim, CA
>> Making the best out of any situation is an impressive talent, and it seems to be something musician Josh Friedman has mastered over the years. Having fought and survived cancer, Josh is pursuing a career doing what he loves under the name ThatOneEyedKid. He's gained a following through sharing excellent piano covers online and playing in bands along the way, and now ThatOneEyedKid is gearing up to release a new EP, titled Always, that's bound to be full of his signature soulful synth-pop goodness. Read more about his interesting video ideas, musical inspirations, and a possible talent for making root beer below. >> Note: ThatOneEyedKid is currently represented by The Catalyst Publicity Group.
Please introduce yourself with one interesting thing you would like people to know about you.
My name is Josh Friedman, I’m a Boston based musician and singer-songwriter. The eye patches that I wear are hand-made by a man in Japan named Yuuichi Shibuya, he’s also made me ones with rhinestones for when I’m feeling frisky.
How long have you been making music? Have you always gone by ThatOneEyedKid?
I’ve been playing the piano since I was six and I’ve writing music since I was twelve. ThatOneEyedKid came from AIM, I’m pretty sure… I was 14 and really wanted a clever screen name. I think I tried “TheMatrix23” and something with a piano in it but “ThatOneEyedKid” was, thankfully, what I went with. I’ve always kept that as my name online so when I started playing shows it felt natural to use ThatOneEyedKid.
What inspired you to start doing cover videos? Did the online reaction influence your desire to create original music or were you always interested in writing your own songs?
I think probably like a lot of artists when I first started playing I was trying to find all the ways that I’d be allowed to play music in front of an audience. Part of me also likes making things immediately accessible to an audience, so picking a top 40 pop song to cover on YouTube felt like a great way to do that. In addition to the performer side of me, there’s the writer part of me that just wants to sit in a room by myself and make shit. From classical piano compositions to playing in indie-rock bands the goal on the original-music side is just to make something unique and high-quality, so not necessarily “pop-song-mashup” accessible. The online reaction to the covers has made me feel like “Awesome, I love that I do something that people can get into, I love connecting to people through music.” With my original music I’m definitely casting a smaller net than “Check out this Taylor Swift piano-cover!”, but I love having this outlet, a more personal way of connecting to people through my music.
Do you have a favorite song to cover? If so, which song and what does it mean to you personally?
It really changes… I think my favorite songs to cover are ones I put my own spin on and don’t end up sounding worse than the original haha. There’s one I do of “I’ll Follow You Into the Dark” where I change the chords and the feel (it’s like if Death Cab wrote an R&B ballad) that stands out to me. I love the lyrics, it’s so simple and the imagery is so clear but it’s also a totally unique, morbid way of telling someone you love them… I love that.
How was your experience transitioning from a viral YouTube cover artist to a musician with original work? Did a lot of your viewers immediately become fans of the new tunes as well?
That’s a great question. There’s not really any transition happening for me internally… covers and originals have been a part of my musical identity since I first started playing and writing. But publicly it’s definitely a shift. Until now there hasn’t been a whole of my original songs that I’ve felt excited about, but now I have these songs I’ve worked really hard on that I’m just super pumped about sharing with everyone.
I’m really grateful for my viewers. I’ve made non-cover content like vlogs and improvised songs that, at the very worst, they’ll just ignore it. But there’s no “Hey! What’s with this dumb original stuff? More coldplay covers plz!.” And at the best, they’ll take a chance on the originals they’re almost entirely really encouraging and supportive. Honestly most of what I’ve put out has been met with positivity, if my viewers start saying all my new content is garbage then I’ll re-evaluate haha. But that’s totally not the case so far… the audience I’ve found online have been super warm and open.
What was it like to transition from being one guy beautifully playing the piano in videos to having a live band?
Again not much of a transition for me, probably the same week I was putting piano covers up I was out playing with a band that weekend. I will say working on something collaboratively like playing in a band or an ensemble is so important for working independently. I like to work in solitary, too, but I attribute all the best things I do creatively to something I picked up from a collaboration. I’m really fortunate to perform and write with people who are just unbelievably more talented than me. It’s like running with Kenyans, it just makes me so much better.
In your “Hang Around” video, viewers get to watch you strip while running down a long road. What was that filming experience like? Does the running and getting naked represent a specific feeling or message?
Haha oh Hang Around, good times. Filming was 90% adrenaline-fueled awesomeness and 10% “shit I might get arrested. in Baltimore. Shit.” Honestly the whole idea for the video came from me just talking with Greg Bowen (the director). We’re good friends from St. Louis and I told him I thought it’d be so funny if I did a music video where I was just running naked for no reason, and he said, “Yes. Let’s do it.” So there’s not really any other message we wanted to get across, other than “Hey look how funny it is Josh is naked, like really naked, singing along to this song.”
Your new single “Always” is quite fantastic. Since this is the title track for your upcoming EP, is there something extra special about this song for you? What went into writing and recording this one?
Ah awesome! So glad you like it!! I wanted it to be the title-track because I honestly feel like it’s the best of the five. I LOVE the 5, but Always definitely has something special going on. If I knew what it was I would tell you, but I honestly don’t know. I know it’s my dad’s favorite song and it’s the one that, when we play it live, everyone seems to get into the most.
I think the first thing I wrote in Always was that opening riff. At the time I was going through a breakup and my parents were separating so a song about enduring love just kinda came out haha. The story is definitely a testament to what was going on in my life back then. We recorded it with my band last May and tweaked it and tweaked it and then one day it was done! Still can’t believe it.
Can fans expect to hear similar themes on the rest of the EP?
Yes. 4/5 songs are about a lot of the themes in the song “Always.” It’s a lot of “What does it mean to love someone? What does it mean to love yourself?” That kind of emo shit. Haha just kidding, they’re not that melodramatic. But themes of love, loyalty, uncertainty, those show up a lot on this EP.
Was there anything particularly interesting that happened during your writing process for the EP? What are you hoping listeners will get from this release and what did you get out of putting it together?
Honestly I just hope listeners like it. I hope they get something from what I’ve experienced and put into these songs, that’s all. Putting it together just showed me how hard you have to work at anything to make something good. If you want to make a good song you have to work your ass off. Hopefully my ass-working-off made some cool songs .-)
You recently announced a string of shows coming up in September. What are you most looking forward to with these shows? Any surprises in store for attendees?
I’m just looking forward to playing these songs live again with my friends. I may or may not have made my own root-beer they we’ll be selling at the merch table. I don’t know if there’s anything more surprising than that haha.
Is there anything else you would like to say?
That’s all… thanks for writing such great questions and listening to the songs!
>> Growing up in a musical family, Brooke Hummelquickly found her passion forsinging. Performing at local festivals and showcases allowed her to hone her skills as an artist and catch the attention of BNR Records. Since signing with BNR last year, Hummel has been further developing her sound through hard work in the studio and performing and is now ready to share that sound with the world.
>> This young pop songstress is proud to have released her debut single “Favorite Song,” which can be heard on iHeart Radio’s Channel 96.1 and Disney/Nickelodeon channels via TWC. Hummel did her best to capture the importance of appreciating the little things in life and the innocence of youth in this song: "Everyone can relate to that feeling of sitting in class bored and just waiting for the bell to ring so you can go out with your friends – so I thought I could capture that feeling of anticipation and excitement about having freedom and finally being able to go out and have a blast." (Source)
>> Brooke has partnered with TMO to offer this song as a free download for our readers and her loyal fans! Listen and download "Favorite Song" below.
>> If you like what you hear, get ready for the upcoming "Favorite Song" music video! You can see a sneak peek through this behind the scenes video here.
>> The line up for New Music Seminar's 2015 New Music Nights has been revealed! The showcases will feature performances from the NMS Artists On The Verge as well as some special additions. For those unfamiliar, New Music Seminar is a distinguished music convention taking place annually in New York City. The seminar, started back in the 1980's, features intriguing and relevant movements (panels) full of insightful players (speakers).
>> This year's seminar takes place on June 21st - 23rd and features players from Republic Records, Spotify, Atlantic Records, SiriusXM, Bloomberg News, RCA Records, Tidal, Def Jam Recordings, Shazam, Outerloop Management, Island Records, Tommy Boy Entertainment, Deezer, and more. This year, the movements will focus on various topics including music placement in advertising, branding, songwriting, A&R, streaming, vinyl, and more. The full list of movements and the respective players for each can be found here.
>> In addition to those movements comes the showcases, starting with the opening night red carpet party at Webster Hall on 6/21. That event will feature performances by the Artist on the Verge top 3: Belmont Lights, Fictionist, and Grace Weber. Attendees will also be treated to special performances by Alessia Cara (Def Jam), Bad Veins (Dynamite Music), Jay Stolar (Kingston Records) and The Voice season 3 semi-finalist, Melanie Martinez (Atlantic Records)! A list of artists performing at New Music Nights can be seen below and the full schedule can be found here.
>> Ballin' on a budget? Enter the lottery to win a free NMS wristband! Submit your info here for a chance to win a wristband that gives you access to the opening night party and the official NMS showcases. (*Note - all shows are 21+)
>> Hey there, loyal readers! Today is a cool day for me personally. I, Kate Russell, graduated from NYU's Gallatin School of Individualized Study on May 20th 2015, and I graduated with a job waiting for me. I'm proud to announce that as of today, June 1st, I'm now a publicity manager with The Catalyst Publicity Group. I've worked with the Catalyst ladies through setting up coverage for their artists on this site and I came to really appreciate the way they run things. They value music and musicians in the same way that I do, and I couldn't be happier with this opportunity.
>> I have written about Catalyst artists over the years and I don't intend to stop, but I do promise that I won't begin using The Music Obsession as a way to shamelessly plug my own clients. If and when I do write about a client, I plan to make a note of it in each post. I've only given time and support to artists that I believe deserve it over the years, and that won't change. The coverage will stay the same in the sense that it won't be all Catalyst artists all the time - plus I'm bringing on some new writers who will be shedding light on what catches their interest. My job title might have changed, but the value I place on this site and honest writing hasn't.
>> The Music Obsession turns 7 this month (next Monday 6/8, to be exact). This has been my baby for 7 years now, and I don't plan on abandoning it any time soon. The plan is to balance publicist duties with my love for sharing great music with you readers, and that should be doable especially with new contributors. To celebrate this milestone, TMO will host a give-away in the coming weeks. Keep your eyes peeled for the official announcement! Thanks for your continued support.
