youbloom | HEADROOM #2: Featured Artists from the Los Angeles 2015 Music Festival

28-Oct-2015 By Shannon Duvall

There’s nothing quite as devilish as a little dish, is there?

You know it’s true, otherwise, you wouldn’t be here at HEADROOM, the official source of all dirt dug on the artists who’ll be tearing up the stages of this December’s youbloom LA 2015 Music Festival . We’ve got over 50 bands lined up already for this winter’s hottest fest, and with that much rock ‘n’ roll in one place, there’s bound to be something juicy to unearth.

In my other job, as youbloom‘s very own private eye, I’ve learned a thing or two about a thing or two, and before I burst at the seams, I invite you to sit down, take a load off, and bask in a little of the gossy stuff – all horse’s mouth, scout’s honor.

You know how first bands can make or break you, musically speaking? Somehow, these all led to make.

Kevin Proctor (songwriter/keys/guitar, Direct Divide): My first band was a group of fellow football players and bored teenagers who played Ted Nugent, Metallica and Slayer covers. We were called War Dance and definitely should have had one of those logos that just looks like a leafless tree. SO METAL! My second band sounded a lot like Hootie and the Blowfish.

Razz: (songwriter/vox/violin): My first band was an all-girl pop punk quartet called the BlowUpDollz. Think 90’s pop punk meets 80’s hair metal and you’ve got the gist. I LOVED that band; we were underage, unapologetic troublemakers sneaking into dive bars to play gigs. We are all still very good friends even though the band isn’t together anymore. We just had a reunion show this year that was hilarious. I definitely learned a lot about stage presence and antics from that group.

It’s a curious thing, the electric violin. At once impossible to ignore and signature (what would The Who’s “Baba O’Reilly” be without it?), it’s a rarity in rock and pop music; its full range of sounds as yet uncharted in the more well-known genres. Putting it front and center are what Direct Divide do, which is both brave and intriguing, their unique sound complemented by tight rhythms, searing vocals, and intelligently placed guitar melodies. For fans of: Lourds, Grace Potter & the Nocturnals, Andrew Bird’s darker stuff

BJ Smith: When I was 17, I met up with another male vocalist and two female vocalists through a friend of my parents who managed bands. We used to toy around singing songs a capella, and quickly formed a vocal group called Black Suede. Our manager said we needed a band and knew of one looking for a vocalist. We went to Santa Ana, California to meet up with this band (they called themselves Oasis, but not the Oasis you’re thinking of). We walked into the rehearsal – they sounded great! They were funky!! They had a conga player, a dude with timbales, synths, a sax player, and a drummer with electronic triggers. They were groovin’ all the funk and R&B jams you heard on black radio stations. I was in awe, like, damn this is the S#+t! Then out of nowhere, their manager and bass player started arguing. They knuckled up and started straight out brawling! We stood there in amazement; we’d rehearsed on our way there, but still had not sung a note! When the fight was over, the bass player grabbed his gear and left, and so did half the band. It was all over before it even started. A few weeks later we came back, they had a few new members and we did our first gig together in LA. We didn’t have a sound man, our mics were feeding back…we thought we sounded great until we were done, and the DJ started spinning the songs we’d just played as a way to mock us! That was last gig Oasis featuring Black Suede ever did; nevertheless, I got the bug, and the rest was history!

Cool, clever, and impassioned, the masterly BJ Smith has the kind of industry chops you hear whispered about across the bartop when he walks into the room. He produces. He sings and plays. He writes songs. He tours with top brass; picks his own band members; slides an R&B song your way like passing a love note. He’s impeccable. Don’t miss him. For fans of: Luther Vandross, Freddie Jackson, your own heartbeat

Brian Kirk (drums, Round 12): The first band I was in was with my two cousins who lived 35 and 120 miles away. We would practice once a month (if we were lucky). We were a “christian punk” band and we were booed off stage at our first performance.

A truly eclectic band if ever there was one. Vocals are raw and obstinate. Instrumental phrases seem cobbled together by a deranged Gepetto who was listening to Motorhead at the time. You can bang your head one minute, sway drunkenly the next. It’s capable, engaging, and likeable, as if it can’t be restrained by just one choice. For fans of: Frank Zappa, Stiff Little Fingers, Van Der Graaf Generator (we know)

Matthew Irwin (rhythm guitar/lead vox, Foreign Affairs NI): The first band I was in didn’t have a name. When I was 15 I was desperate to create my own music and play punk rock songs in any way I could! So I got into contact with a few friends on social media and we jammed and unsuccessfully played one show! We didn’t have a drummer so we borrowed another bands’ and he arrived late and too drunk to hold a beat! I was also a massive cringe – it was all very embarrassing. However, it did make me feel cool at the time so it wasn’t the worst thing in the world.

An ardent, sincere take on a well-loved genre. Sounds are clean and tight. There’s energy and storytelling in spades. Foreign Affairs NI show up with their hearts on their sleeves, ready to sleep on your kitchen floor if you’ll let them play a gig. This is how the best pop punk should be. For fans of: The Ataris, You Know The Drill, The Get Up Kids

Morals and Music: Where Do You Draw the Line?

26-Aug-2015 By Shannon Duvall

Last week’s apology by rapper and world famous record producer Dr. Dre to the women in his life he has “hurt” has stirred a hot debate in the music world.

Dr. Dre. Photo courtesy of Wikimedia Commons

Dre issued the expression of remorse publicly when the release of the much-anticipated film Straight Outta Compton, which chronicles the early history of his former rap group NWA, was followed by the publication of a story by Dee Barnes, a journalist who says she was assaulted by the rapper in 1991.

She’s not the only one to blow a whistle on Dre; several women have have alleged that they, too, have experienced violence at the hands of the musician.

It’s a story that doesn’t surprise many of us. We’ve been here before. We watched it unfold in the sixties and seventies with Ike and Tina, Phil Spector, and country music “sweetheart” Glen Campbell. The eighties and nineties provided no shortage of domestic abuse, with repeat offender James Brown, and practically all the members of Guns’n’Roses leading the charge.

And everyone knows about the extremely poor choices made by the likes of 50 Cent and Chris Brown.

Chris Brown. Photo courtesy of Wikimedia Commons

But the weird thing is: not every celebrity with a penchant for abuse is treated the same way by a quick-to-appall public. Following his seemingly heartfelt apology, the media has, for the most part, been fairly forgiving toward Dre. This, in stark contrast to the rabid vilification of Chris Brown, whose career has arguably faltered irreparably since photos taken of Rihanna’s badly-battered face leaked online in 2009. Jay-Z called Brown “a walking dead man”.

So the question for music lovers is: how much should our moral compass guide our choices about whether or not to like a certain artist? The answer might not be as easy as you think.

Many of you would avoid spending money in a restaurant or cafe where it was observed or otherwise discovered that staff were badly treated. This makes sense, because not many people wish to reward a business for being abusive or taking unfair advantage of someone. We all know that when we spend, we’re voting for something over an alternative; letting the gods of commerce know what we want, what we value.

But how a musician behaves behind closed doors is very different to our experience of them on an album, or in concert. Alcohol and drug abuse is pardoned when it comes to musicians, as long as it doesn’t affect their output, so why not also systematic aggression toward a partner?

Guns'n'Roses guitar man Slash. Photo courtesy of Andrejk via Wikimedia Commons — Guns’n’Roses guitar man Slash. Photo courtesy of Andrejk via Wikimedia Commons

It seems to reason that any behaviors which aren’t directly related to talent and performance ought to be dissociated from whether or not we enjoy someone’s music. After all, bad behavior as an adult doesn’t negate the merits of a lifetime of musical training and the honing of raw talent.

But many people – from the people who protested sales of Chris Brown’s album with warning stickers, to Jay-Z – don’t think so. And Dr. Dre’s former girlfriend Michel’le, who also accuses him of assault, isn’t buying his apology.

“I don’t really think it’s a sincere apology,” she told BBC Radio 5 Live. “He’s selling a movie. I just think it’s good PR at the moment.”

What do you think? Should artists have to pay for assaulting women by losing fans and sales? Or should we keep our feelings out of it? Let us know in the comments below.

The Top 5 Ways to Build a Better DIY Music Scene According to “Salad Days”

26-Jul-2015 By Shannon Duvall

It’s not so much the unpaid gigs. That you can handle – for now, at least.

It’s more the lack of sustained recognition; the very real blood, sweat and tears channeled into creating and sharing your music, only to receive enthusiastic responses in fits and starts. Those silent pockets of time between gigs make you want to put your mic stand through the computer screen.

The struggle is real. Photo of The Faith by Jim Saah.

You know your music is good, your audience knows it’s good, but how on earth do you get – and keep – the kind of momentum you need to make this what you do for a living?

It’s no secret that a lot of people in your local music scene are distracted. Last year’s music report by information measurement bastion Nielsen showed that, despite access to unlimited sources of new music online, the radio is still the source of the majority of new music discovered by Americans.

It’s as if fans still want the industry to do the legwork for them, telling them who’s worth listening to and going to see live. And research shows little likelihood of this trend slowing.

It’s a result of what has been dubbed “the tyranny of choice”. Simply put, with so many options out there, it’s easier and less risky for listeners to follow and spend money on artists who they perceive to have already proven their popularity. And all a record label has to do to make you perceive an artist in this way is to spend millions of dollars on PR and marketing campaigns, along with relentless radio play – money and resources up-and-coming musicians simply don’t have.

The truth hurts. Minor Threat. Photo by Jim Saah.

Still, music scenes survive – even thrive – on their own, far from the bank accounts of corporate music institutions. Often, it’s these scenes, organically grown and self-sustaining, that catch the attention of label scouts, leading to the discovery of a wealth of musical talent. Think CBGB-era New York, or the grunge scene of 1990’s Seattle, which exploded into a pop culture force majeure.

Salad Days, A Decade of Punk in Washington, DC, is a documentary chronicling one of the most influential DIY music scenes in American history.

It’s a rousing, thorough journey through the hearts and minds of musicians in 1980’s Washington, DC, who, without support from major – or sometimes even minor – labels, set out to take control of their own exposure, making and distributing their own records, creating their own record labels, putting on their own gigs in any spaces they could, and self-promoting by way of independently made ‘zines, posters, and mail order setups.

Without directly preaching, the film has a lot to say about how you can (and really should!) build, strengthen, and work to sustain the music scene in your own town.

Embrace everyone. The next generation of music heroes are going to be inspired by what’s going on right now, so you want them in your audience.

Consider the power of all-ages shows.

These can be held in outdoor spaces or school gyms, auditoriums, or rec centers. If you’re playing at a bar or in an establishment which serves alcohol, talk with the owner or booking manager beforehand to find out what they’re willing to allow. Often, the solution to letting underage fans into bars and clubs is as simple as marking their hands with visible X’s, so that bar staff know not to serve them alcohol.

Play music because you want to. After this, your reasons for strumming that guitar or writing those lyrics are your own. There are no rules, and no forms to fill out. Every reason for playing is a valid one, even if all you want to do it is to try it out for the laugh. If you have a message, by all means, share it. If you don’t, don’t feel pressure to come up with one for the sake of it. Don’t let anyone stop you or make you feel like you should explain yourself. Just show up and play.

I don't know what it is but I like it. Photo by Jim Saah. — I don’t know what it is but I like it. Photo by Jim Saah.

Play music for each other (and support others who do) because it’s inherently human. Western culture has somehow managed to appropriate music as the specialty profession of a select few, which, in other parts of the world, is crazy, because in most other societies, making music is something everyone does. Don’t fall for the hype. You’ve got a right to play. Encouraging others to do the same leads to a super creative DIY music scene you’ll be proud to call your own.

Hook each other up. Maintaining a strong, convicted community is the only way this works. Whatever your skill or skill level, get involved.

Ian MacKaye and Jeff Nelson of Minor Threat, hard at work in the front porch/Dischord Records office.

Offer up any resources you might have. Got a car? Offer to drive bands to and from gigs. An empty space can be a spot for bands to play shows or hold practices. Have access to a printer or photocopier? Help make posters, album covers, and ‘zines.

Share your talents and skills. Everyone has something they can contribute. Write reviews. Take photos and let the zine guy use them. Draw some sweet cover art or cut and paste a rad collage for a poster. If you’re good at talking to people, offer to answer phones for small labels. Give bands crazy haircuts. The options are literally endless.

And, hey, while you’re at it, promote equality. Everyone should have a shot and a say.

Get off your butt. At the end of the day, none of the talent and support matters without a motivated, no-nonsense approach to getting things done.

A strong DIY music community is one where bands and fans come together, show up to each others’ gigs and events, and stay active. That means not waiting around for something to happen. No one will release your record? Do it yourself. Remember that just by doing stuff, you’re contributing to the history and substance of the DIY scene in your time and place, as well as the formation of new, exciting music to come.
And don’t wait for tomorrow. Mark Andersen (founder of Positive Force, an activist group that was instrumental in organizing music and social events within the DC scene) agrees. “(The time) is always now,” he insists. “So go. Make it real. NOW.”

Ian MacKaye of Minor Threat has a moment. Photo by Jim Saah. — Ian MacKaye of Minor Threat soaks in the moment. Photo by Jim Saah.

How to be a music superfan in 2015!

16-Jul-2015 By Shannon Duvall

Hey there, you hot mess, it’s 2005, MySpace messaging you crunk peeps from the past with a totally hott message, so listen up.

If you’re a music lover in 2015 – and you’re here, reading this, so it’s safe to assume that you are, fo sheezy – then there are a few things you should know about your, ahem, current status.

First of all, you – yes you, the one reading this – are directly responsible for the absolute interplanetary, warp-drive, ‘let’s-tear-this-space-time-continuum-a-new-one’ success that most of the music superstars in your day are right this minute enjoying. In a freakish turn from expected events, the openness of the internet has not, as we here in 2005 were certain would happen, resulted in the dismantling of the Record Label as we know it, freeing the market and balancing the scales. Au contraire.

The bands and solo artists making the big bucks in the industry have only ended up making more money, getting more media attention, and becoming more popular, and thus immeasurably more valuable to the record companies representing them.

And. The same power you wield to bestow such wild, unbridled, never-before-witnessed prosperity upon those lucky few hundred entertainers has also resulted in the widening of the pay gap between them and, well, every other musician out there.

Seriously.

It’s a sizeable chasm of unprecedented size: MIDiA Research is one company that has been using analytics to track the progress of digital music, and a report released by them last year showed a staggering 77% of all the money in the industry gracing the bank accounts of the top one percent of global superstars.

In short, fancy future folk, you probably don’t realize how influential you are in this, the new music business battle royale.

It’s your choices: your likes and dislikes, your skips, saves and shares, that determine who makes it, and who flakes it. If you’re in any doubt about how true this is, take a look at viral victim/sensation Justin Bieber – discovered singing humble covers on youtube; promoted like there was no tomorrow – and you’ll see what I mean. What you are capable of.

Look at your eyes. You’re already drunk with power.

So how should you flaunt – I, ahem, mean, responsibly apply all this newfound sway?

Click (or swipe, or tap…) wisely. Intelligent analytics are scoping out every aspect of everything you do online, and there’s big money in being able to predict what people are going to want next. If you have a favorite unsigned band, follow them on social media, like their posts, and share their videos. Check in, tweet, Instagram and Snapchat from their gigs.

If they’re on Spotify, even better. Add favorite tracks to your shared playlists, that way other people can discover them on their own time, rather than caving in to your constant OMG ballyhoo.

Interaction is EVERYTHING. Websites like WeDemand allow you to act much like an old village council, telling venues and promoters what bands are wanted where. IndieGogo and other crowdfunding sites let you pitch in when it comes time for an artist to create something, like an album or a run of t-shirts. You can even help send them on tour. And there’s usually a sweet, VIP bonus for digging into your pockets and getting involved.

Other sites, such as Patreon, let you give them money – just because you like them.

One word: collabs. If you’re the creative type, why not get in touch with an artist you really like and offer to work together for mutual benefit? After all, they’re looking for fresh ideas and constant exposure as much as you are.

Are you an artist? Offer to design gig posters, t-shirts, or use your likeness in some rad graffiti somewhere strategically placed. If they like your work, they might end up asking you to design some album art, which would be dope AF.

Musician yourself? How about a remix or mashup? Heck, even a cleverly executed cover of one of their songs can be a great way to show support and appreciation for the work and inspiration of others in your genre or location. This can sometimes lead to working together – on a track, perhaps, or, if you have really good chemistry, an album, split seven- inch (yep, people still do this; vinyl is the top selling purchased music format after digital, and sales are up 54%!), or bill sharing at gigs and on tours.

Can you write? Offer to review songs or albums, then submit your work to blogs and websites that might publish your work as a guest blogger. Exposure for everybody!

Travel blogger? Seek out new bands in places you travel to and blog your heart out to your followers. Take photos and videos and show the rest of the world what they’re missing.

Surfer, skater, or parkour perfectionist? Ask for permission to feature a song in one of your promos. I can’t tell you how many times I’ve heard a song while watching a surf video and Shazammed the crap out of it so that I could add it to my “How to Get Through This Workday Alive” Spotify playlist. This approach is equally great for animators, videographers, and anyone with a smartphone/GoPro and a vision.

Actually go to their gigs. I know it’s hard, but you can do it.

So what we’re saying is this: the millenial music lover has so much opportunity to be connected to the up and coming artists he or she loves. With all that say at your fingertips (literally), and no end in sight to the innovation which continues to break down walls between observer and observed, there’s never been a better time to have your say. Like a true music superfan.
Take it from me, your old pal, 2005, champion of MySpace, the one who started all this internet band business in the first place.

youbloom | HEADROOM #2: Featured Artists from the Los Angeles 2015 Music Festival

Morals and Music: Where Do You Draw the Line?

The Top 5 Ways to Build a Better DIY Music Scene According to “Salad Days”

How to be a music superfan in 2015!

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