photo manipulation by nacrowe
because the experiential nature of music is such an ephemeral and almost primitive phenomena, there is a tendency for listeners to pretty much take it for granted. as if music was always there. unlike filmmaking, the process of MUSIC PRODCTION is a bit of a mystery to the layperson, an almost alchemical process.
when i began consciously listening to PODCASTS almost ten years ago on a regular basis, the ones i was drawn to had a sense of playfulness with the platform itself. the sound design on something like NPR's RADIOLAB is so palpable and convincing that it is easy to be swept away into an alternate reality where you are swimming with red blood cells or strata of light waves.
likewise the ongoing PODCAST SONG EXPLODER is another podcast with incredible sound design. it is a meta in that it is a podcast about sound, specifically how songs are constructed. podcaster HRISHIKESH HIRWAY basically deconstructs songs with the help of the artist down to their base elements and explains how the piece fit together. you get a real, visceral sense of the artistry and technical wizardry involved with modern music production and how such has enabled songwriters. its incredibly informative and because of its well-sequenced and thoughtful presentation, SONG EXPLODER makes you appreciate the process on a deep intuitive level.
its is quite the experience and i recommend listening to the podcast for anyone interested in music production or with an interest in art. recently SONG EXPLODER expanded into a NETFLIX show but my preference is still the podcast.
photo manipulation by nacrowe
back when we were experimenting with the format of doing extended performance video series with local and national artists in our OFF THE M and KREISCHER MANSION SESSIONS series, PITCHFORK's quirky JUAN'S BASEMENT series was definitely an inspiration.
their presentation changed over time, but essentially had upcoming INDIE ROCK bands playing this dude's basement at his apartment somewhere in BROOKLYN (most likely WILLIAMSBURG / GREENPOINT / BED STUY). it was interesting because 1) the sound was professional (which is not always the case with these types of shows) and 2) there was professional light and cinematography that transformed the confined space to an expressionistic live/music video hybrid.
i was a fan. i really think if we had done another series it would've explored color and use of different lighting and fog techniques to showcase our subjects. KMS was more about showcasing the mansion with stark black and white shots and OFF THE M was about creatively editing live performances at a venue we had no creative control over. again, if we did this sort of thing again i'd take stronger control over the atmosphere and really play with color a la JUAN'S BASEMENT.
it was quirky and interesting. i hope they bring it back.
art by nacrowe
there's something about JAPANESE BREAKFAST that really hits a sweet spot with me.
as i went on about before in my PATTI SMITH piece, i think women really have it difficult dealing with bullshit double standards regarding beauty when establishing themselves as artists in the music industry. what makes it worse is that there is a pressure EVERYONE feels in today's hyper-competitive digital marketplace to water-down your vision to the lowest common denominator, which is why you see many female pop artists resorting to tactics of being outrageous for the sake of getting attention, which only further reinforces the whole vicious cycle.
thats why it is always refreshing to come across female songwriters that have a vision and personality that doesn't feel group tested to death. i'd put JAPANESE BREAKFAST among a great lineage of female fronted rock groups that write their own material including that of WARPAINT, LA LUZ, GIRL IN A COMA, THE COATHANGERS, DUM DUM GIRLS, BEST COAST and LE BUTCHERETTES.
what separates this recent MICHELLE ZAUNER-led solo project to me is the vulnerability of her lyrics which deal with themes like loss and feeling inadequate, both topics i TOTALLY identify with. her 2016 debut PSYCHOPOMP was written as a way to come to terms with the passing of her mother and its a heartbreaking recording which painfully expresses the emptiness and detachment felt after losing a loved one. the album almost doubles as an effort to reconnect with her essence, much in the same way MASTODON did with their CRACK THE SKYE and THE HUNTER albums. her 2017 effort SOFT SOUNDS FROM ANOTHER PLANET finds her really delving into lilting delicate soundscapes that borrow heavily from SHOEGAZE that perfectly support her lyrics that concerned themselves with new beginnings and relationships, which makes sense given her recent marriage. she expresses the joy of new love as effectively as the sadness of sudden loss. all in all i can't wait to hear what she has next in store.
a dynamite songwriter that doesn't hold back from exposing her insecurities. how can you not be supportive of that?