Archive for Interview
Los Angeles’ Milo Greene are one of the most exciting new bands from the US we’ve stumbled across in the last twelve months or so (check out our “Introducing” piece here). Their easy-on-the-ear, harmony filled, almost MOR sound has drawn comparisons to the likes of Local Natives and Fleet Foxes, and in “1957”, they may well have their very own “Sun Hands” or “White Winter Hymnal” in the locker as they prepare for a busy 2013 – a year which will see them spend a lot of time on the road, both in the US and abroad, promoting their debut self titled LP, which was released in the UK via Fierce Panda last week (it came out in the US last July).
Since their inception in early 2010, things have moved apace for Milo Greene – a major label deal with Chop Shop / Atlantic the following year ensued, leading to performances on Late Night With David Letterman, Conan O’Brien and at Chicago’s Lollapalooza – as well as their own, well-received headline tours. Their first ever UK jaunt is about to conclude tonight at Camden’s Barfly, where they’re set to play a Music Week Breakout event, and I’m sat in the dimly lit downstairs bar with Graham Fink and Andrew Heringer – two of the band’s four singers and multi instrumentalists.
“We were all in other bands, and got together to write some music – and to be creative, and have fun again”, says Andrew, about how it all began. “There was stuff happening (with the other bands), but a couple of us felt like it had got into a certain rut”.
Hellbent on making the new project a surefire hit, Graham informs they spent over a year honing their craft before playing live: “We wanted from the first show to come out of the gate the best we possibly could be”, carrying onto say it wasn’t until March 2011 that this happened, in LA. Says Andrew: “We wanted to get rid of the barnacles from our past, and start from the beginning making sure everything was a certain quality”, giving the whole project a very cathartic, cleansing feel – visible in the uplifting nature of their songs. The band signed their record deal not long after, perhaps justifying their measured and calculated approach.
There’s been a bit of confusion in some quarters about the band name – with people who haven’t heard the music, perhaps naturally, assuming MG is a solo artist. “In college, we created the Milo Greene name as a booking agent. For years we would Email venues as Milo Greene, and he would get us gigs”, Andrew reveals, clearing this up for us. Graham chimes in: “It’s funny – it ranges from confusion to frustration to upright anger, that we’re misleading people”.
On the subject of the debut album, I asked if there were any particular themes running through it. “There’s a nostalgia that carries over a lot of it. I think because there’s so many of us that are writers, the lyrics come from a lot of different places”, Graham informs. As far as musical inspiration is concerned, I suggest Local Natives and Fleet Foxes, as well as Wilco and Sufjan Stevens (who they are currently both covering in their live set – “Chicago” and “Shot In The Arm”), which they both agree on. Andrew adds: “I think a lot of our influences go back to what our parents were listening to – Crosby, Stills & Nash, Fleetwood Mac, The Beatles, The Rolling Stones. I think there’s a whole generation of music that’s coming back right now.”
Whatever this musical formula entails precisely, it’s certainly been a popular one to date. Was there a particular tipping point perhaps, when the band got the feeling they might be in the game for the long haul? “Really early on we got picked up to tour with The Civil Wars”, Andrew suggests. “We’d been a band for two or three months, and somehow they caught wind of our music. I think that opportunity to go and play for 2000 people in all these North American markets, as a launching point, you can’t really beat”. “That tour built a real foundation”, Graham adds.
On the response to their maiden tour of the British Isles, Graham informs me this too has been a trip to remember: “The shows have been incredible. The fact that some of them have been sold out is pretty crazy to us”, with Andrew adding Glasgow was particularly memorable, for the crowd’s silence, during the quieter moments, if nothing else. And it’s not only the shows that have been great – “The truck stops are certainly better – you get some really nice vegetables from Marks & Spencer”, Graham declares, suggesting such variety is not so commonplace back in the States. “There’s not quite so many healthy options!”.
Aside from “lots of touring”, as you’d very much expect from a buzz band with a great album on general release, more specifically the guys tell me they plan to be back in the UK before too long, perhaps in May. Later on that evening, Milo Greene play a unsurprisingly accomplished set to a room full of Thursday night revellers upstairs at the Camden institution that has seen many a US household name pass through their over the decades, with the grand finale of “1957” being a real head-turning, “I was there” moment. And at this point in time, given what’s gone so far, it would take a very brave man to bet against this originally fictitious booking agent adding themselves to any such illustrious list.
Regular readers of this blog and attendees of our live events are probably aware of our affinity towards London band Escapists. The big sounding indie rock quartet have been championed by LFC for a little while now, and currently in the midst of a busy and exciting 2012, what with the lead track of their latest EP, “Burial”, doing the rounds on XFM and Radio 1 and the band recently appearing at high profile festivals such as Live At Leeds and The Great Escape.
To our ears, their live show has gone from strength to strength over last year or so. Recent gigs at The Borderline in London and at the aforementioned Great Escape were really indicative of a band very much on the rise, and with a point to prove. “Burial”, for one, is sounding nothing short of monumental towards the end of their set, and is proving to be quite the head-turner.
We last caught up with their lead singer and guitarist Simon Glancy on the eve of our fourth birthday show at The Macbeth in January 2011, when Escapists appeared with Channel Cairo, The Collectable Few and Let’s Buy Happiness at what was our busiest ever live event. We thought we’d grab a minute with him to see what the band have been up to in the eighteen months since then.
What have you been up to since we last spoke in Jan 2011?
S: We’ve been pretty busy, we released a single in October (“Post Gospel Blues”) and we’ve just released an EP (“Burial”). In general we’ve just been trying to play as many shows as possible and make the live show something special.
How’s the EP doing?
S: Really well, the title track got onto the XFM evening playlist and got some Radio 1 airplay. The reviews have been good too.
What’s “Burial” about?
S: Like most of our songs, it’s a pretty rousing track paired with a fairly bleak, introspective lyric. It’s really about the uncertainty of what comes after death.
What was the inspiration behind the video?
S: I found a video of a scientific experiment about decomposition online and thought it was harrowingly beautiful and would suit the music well.
What does the remainder of 2012 hold for Escapists?
S: We’re playing a show for Huw Stephens on 10 July at The Social and a few festivals (Lounge On The Farm, BT Live as part of the Olympics), and we’re going to make videos for all the tracks on the EP. We’ll probably put some more music out before the end of the year too.
The “Burial” EP by Escapists is out now via Euphonios.
Live sessions, typically around 4-5 tracks, are recorded onto vintage 1/4 Inch tape at Daytrotter’s Horseshack Studios (also in Rock Island, but several more have sprung up across the US) as bands pass through the town on their national tours, and are posted up online alongside some analysis from Moeller and a unique illustration of the band / artist – something that’s become a real USP for the site.
Since its inception in 2006, Daytrotter has hosted sessions from bands like MGMT, Bon Iver, The National, Wilco, Clap Your Hands Say Yeah, Local Natives, Fleet Foxes, The Naked And Famous, Two Door Cinema Club, Anna Calvi, The Vaccines and Youth Lagoon, amongst countless others, leading to the site being featured in publications such The New York Times, Rolling Stone and Pitchfork. Recently, a Daytrotter studio has opened up here in London, which has enabled many UK artists to feature on the site – recent tapings this side of the pond have included the likes of Dry The River, Kyla La Grange, Bombay Bicycle Club, Metronomy, Bastille and Slow Club.
Quite often, bands feature on the site before they fully break into the public consciousness, and as such Daytrotter rightly declares itself as a place to discover your new favourite band.
We’ve been aware of the site for a little while, but have taken a larger interest of late due to two of our bands, The Static Jacks and Channel Cairo, being featured. With both their sessions appearing online in recent weeks, we thought it was high time to pose some questions to Sean about it all – his aims and motivations for doing it, as well as what’s to come from Daytrotter in the future.
LFC: What inspired you to start Daytrotter?
Sean: I started the site with a couple buddies really just to try and make something different and special – something that would allow me to give a platform to bands that I thought were better than most of the bands that I read about in magazines. I just thought that if there was a way for us to put bands in a most natural environment and recording them without much fanfare, with vintage equipment, straight to tape, the results would be good and people could easily appreciate them. There would be little to no bullshit. The music could just shine through.
LFC: To someone who hasn’t come across Daytrotter – what exactly is it, and what’s the site’s aim/ethos?
Sean: We’re a website that records bands passing through our main analog studio here in Rock Island, Ill. (and a few others out there in the world) and features those songs for people to listen to on our site. We hope we’re a place where people have open ears and are willing to discover things they’ve never heard of. We just like the idea of getting great music into as many ears as possible and letting people decide for themselves, rather than get caught up in any hype that is too easy to find out there these days.
LFC: Aside from bands passing through to record sessions for you, is there much of an independent music scene where you’re based on the Illinois / Iowa border?
Sean: No, not really. We’re trying to change that. We’ve got some things up our sleeves. We usually have to get to Iowa City to link up with great shows. Though, surprisingly, a couple nights a year, Maquoketa, Iowa is about as cool of a place as you can ever go to hear music.
LFC: Of all the bands who have recorded Daytrotter sessions over the years, who have been the most memorable?
Sean: Really, honestly and truly, they all stand out for different reasons. It’s a big ‘ol bag of memories, all of them. It’s damn near impossible to think about what we’re trying to do over here without thinking about it as a whole. These aren’t individual moments for me, but more a whole. That’s what means the most to me.
LFC: Apart from the original studio in Rock Island, where are the other Daytrotter sites?
Sean: We have studios that we currently use in London, San Francisco, Nashville, Austin, Montreal and Asheville, NC.
LFC: How did setting up the studio in London come about?
Sean: We got to become really good buddies with the killer people at Communion and our values and tastes align so well that we couldn’t keep our hands off of one another. We just had to work together and so this is just the start of a relationship that I think is going to continue to grow and become something really amazing. We’re looking forward to seeing where it goes. Our studio over there is gorgeous and the two engineers we’re working with – Ian Grimble and Rich Matthews – are wizards. It’s a wonderful extension of our team here in Rock Island and we couldn’t be happier about the results so far.
LFC: What’s your criteria when booking a band for a Daytrotter session?
Sean: It’s very simple: If I like it we’ll try to make something happen. If I don’t like it, the band doesn’t stand a chance. Ha.
LFC: Are there any big names you’d like to get on the site, or are you happy with focusing on emerging talent?
Sean: I want Willie Nelson, Jay-Z, Alabama and Radiohead to come visit us.
LFC: How do you search for new talent? Is it mainly on the internet, or word of mouth?
Sean: It’s about half and half. I get a lot of recommendations and tips from bands that we’ve recorded in the past and friends that I trust. Mostly it’s just me bouncing around Bandcamp and Soundcloud pages. It’s amazing what you can find.
LFC: What’s next for Daytrotter?
Sean: It’s actually just a lot of the same, but we should have some very big news coming in the fall. It’s not the right time to let the cat or cats out of the bag just yet. All in due time, my good friend.
Like Daytrotter on Facebook here and follow Sean on Twitter at @RealDaytrotter. Listen to The Static Jacks’ session, recorded in San Francisco, here. Channel Cairo’s session, recorded in London, is available here.
Continuing our series of music industry interviews is Teppei Miki, founder of one of Japan’s most diverse and eclectic vinyl import shops The Stone Records. Not an actual bricks and mortar premises, TSR is run lovingly from Teppei’s house in Kawasaki, and appears to be constantly on the pulse and one step ahead of the game when it comes to brand new vinyl releases from all over the world.
The shop carries vinyl (as well as CDs and cassettes) from a huge selection of labels, from behemoths like Columbia and XL/Young Turks to US indies like Captured Tracks, Group Tightener, Fat Possum, White Iris and Third Man, to the output of London singles labels like Young & Lost Club, Chess Club, Killing Moon Limited and ourselves. Safe to say that if it’s hot, they’ve probably got some copies in at The Stone Records.
People like Teppei – and shops like TSR – represent Japan’s fanatical niche for independent music from the USA, the UK and beyond (and the much publicised upturn in vinyl’s commercial fortunes), something that’s also manifested at its Western themed rock festivals Fuji Rocks and Summer Sonic, which take place annually in July and August respectively. In a country where domestic music rules the charts, the desire to seek out different genres of music has created a thriving underground scene. We thought we’d pose a few questions to a man at the forefront of it all.
LFC: How long has The Stone Records been going?
Teppei: I started the store in 2008.
LFC: Is The Stone Records well known amongst indie music fans / vinyl collectors in Japan?
Teppei: I would like to answer yes. But there are many import indie shops in Japan, and I don’t think it’s quite as well known as some of the other indie stores.
LFC: Do you participate in Record Store Day?
Teppei: Yes, I’m participating in it. But I’ve never done something special on that day. Every year I think I should do something but I’ve always had no idea!
LFC: What type of releases do you specialise in?
Teppei: I stock vinyls and cassettes mainly, and some CDs. I’m not particular about genre of music especially, because I like any indie music.
LFC: How do you find new bands / releases?
Teppei: Basically I don’t find new bands and new releases so much by myself because good labels and some good people tell me about good releases. I just choose from them. I feel I’m always supported by many people.
LFC: Which are some of your favourite record labels?
Teppei: This is difficult question because I like all labels which distribute to me. But if I had to choose, now I like Portuguese Lebensstrasse and Czech label AMDISCS. Both are not born in major indie music countries. I’m very interested in each of their releases because I can feel they’re always looking for any music and bands from any country.
LFC: What is the market like in Japan for new indie bands from places like the UK, US and Australia, and what genres of indie are popular in Japan right now?
Teppei: I think Japanese indie music fans may be the most fanatical in the world. Here there are many import indie record shops and I feel that limited edition vinyl might amount to fifty percent of their sales (though this is just my expectation). I think some people like guitar pop influenced from the 80s/90s like Captured Tracks or Slumberland, and LA’s Not Not Fun/100% Silk’s electro/dance music is loved especially by some people. But I always feel many Japanese people like UK rock like LFC releases.
LFC: Do you have any plans to release records yourself at any point?
Teppei: I don’t have any plans to release. Now I’m satisfied enough to only sell and listen to the records.
LFC: Who are your hot tips for 2012?
Teppei: I like so much now Sheffield’s garage rock band Best Friends! They’ll release new EP soon on the amazing label Art Is Hard Records.
A few months back, we were very excited to learn that the songs released on our singles label were receiving airplay on a radio show called El Vagon Alternativo in Quito, Ecuador’s capital city. Edwin Poveda, the man and DJ behind EVA, was was cropping up on many an indie band’s Facebook page, informing them of their new audience in South America’s second smallest nation.
EVA has to date been running for 14 years, and is currently Ecuador’s only radio show that specialises in alternative music – very much a niche in a Spanish speaking and traditionally Latin music loving country. The show has its roots in the shoegaze / Madchester scene of the late eighties and early nineties, and also plays a healthy dose of new / unsigned music from all over the world (we’ve seen everyone from Little Racer to Strangers to Red Kite on the playlist).
Intrigued about how this might happen, we began chatting to Edwin, exchanging various new musical discoveries. What struck us was Edwin’s passion for alternative music in a country with no discernible background or foundation for the genre, and also his insatiable appetite for new bands. It’s a classic example of how music, however unknown, is able to transcend cultural barriers, and to this end we thought the whole occurrence was fascinating enough to warrant an interview for this blog – the results of which are below.
LFC: How did you first become an alternative radio DJ and what inspired you to do so?
Edwin: It was always a dream of mine to do a radio show focused on indie and alternative music. When I was a child I would listen to DJs that inspired me. DJs like Rodney Bingenheimer and recorded tapes of John Peel’s shows that friends would mail to me. Here in Ecuador back in 1998 there were no alternative radio shows and it happened by chance that the radio station La Metro Station heard my idea and was keen on doing it. To this day I am practically the only alternative radio show that is on locally. It is good to be able to expand now through the internet and now the whole world can listen to the show. I have to thank a fellow local radio DJ, who sadly passed away two years ago, for helping put my foot in the door for the show, Edison Soto.
LFC: El Vagon Alternativo has been going for 14 years. What do you think is the secret behind its success?
Edwin: I think it’s the variety of music I play on my show and that every show is different from the last one and that keeps the listeners tuned in. It is cool that my show is set up by me. I follow no set list done by the radio. I have full control of what I play on my show which is pretty much rare nowadays on regular radio. Another reason would be is that my show has lasted so long that it’s pretty much the only show that plays all the new alternative indie music as well as the classic alternative bands and artists.
LFC: Do you know how many listeners you have?
Edwin: On average I have about 15,000 to 25,000 listeners just in Ecuador. Outside of Ecuador it is hard to tell. Though I have many listeners from all parts of the world.
LFC: Why do you think you are the only person to have an alternative radio show in Ecuador?
Edwin: Well I think the reason is that I come prepared for my shows. I spend my time researching and listening to all types of bands and artists. There have been other alternative music shows that have come and gone and what I heard was that they were not very prepared with the information that listeners want to know. I tell my listeners all the albums and singles that come out from artists and bands as well as up to date news.
LFC: What is the indie rock scene like in Ecuador, and are there any local artists to keep an eye out for?
Edwin: It is interesting to see what the local indie rock scene is here. It is slowly building but it is hard for a band or artist to break here for the reason that the Ecuadorian community is so interested in Latin music (salsa, merengue, reggaeton etc) but there is a scene and there are local clubs that hold indie rock concerts here but it is small. Bands that are great to see live and on record are Estereo Humanzee, Le Clean Cuts, Los Pescados, Los Alkaloides and La Ventana.
LFC: How do you find new bands and artists?
Edwin: Basically just researching, listening to indie radio shows and just fall upon bands and artists just by chance. I am a lover of music and basically I am listening to music all the time.
LFC: Who are some of your favourite acts, both old and new?
Edwin: I have always been a fanatic of the original shoegaze scene. Bands like Ride Lush, My Bloody Valentine, Pale Saints, Slowdive. I listen to punk and mod bands like The Jam, The Clash, Television etc and I also love bands like The Chameleons, Teardrop Explodes and I’m also into the C86 scene. New music, well there is so much to name. I have been listening to bands like Friends, Selebrities, Channel Cairo, Echotape, The Pale Fountains, The Brights, The Static Jacks, Field of Wolves, and a host of others.
LFC: BBC 6 Music recently announced that they would be having a vinyl-only day on 1 Jan. Do you play any of your records on vinyl?
Edwin: Actually I play vinyl at home but sadly at the station we do not have a record player so it is hard to do so.
LFC: Do you have any words of advice for someone looking to become a radio DJ?
Edwin: My advice for anyone looking to be a radio DJ is come up with a theme that you want your radio show to be about. Be aware of what your listeners want to hear. Research; investigate on bands and artists because the radio listener wants to know information about bands and artists.
You can tune into El Vagon Alternativo every Saturday night, at 20:00 Ecuadorian time (01:00 GMT), here. Further shows, during the week, are announced on EVA’s Facebook page. Follow Edwin on Twitter at @VagonAlt.
October 11th, 2011 • Interview
Tags: André Anjos, Andrew Maury, Channel Cairo, Givers, Headstrong, Interview, Into The Sun, New York City, Ra Ra Riot, RAC, Remix Artist Collective, The Collectable Few, The Static Jacks, Twenty
Andrew Maury is a New York City based producer, live sound engineer and remixer, who’s come to prominence in the indie-rock world over the last few years due to his work with some great and exciting new artists within the genre.
All bands have had the “RAC Maury Mix” treatment, with Andrew’s interpretation of The Collectable Few’s “Headstrong” being officially released by us this past January (he also mixed the original version, which was the lead track). Andrew is credited on production duties for The Static Jacks’ 2009 EP, “Laces”, and continues to work with The Collectable Few on their latest recordings. His most recent remix is of The Static Jacks’ “Into The Sun”, which premiered on Rolling Stone’s web-site on 29 September. The original version will see the light of day in the UK through us next month (click here for full details on that).
With all this in common (and seemingly seeing eye-to-eye about up and coming guitar bands) we thought we ought to find out a bit more about the man and his modus operandi…
LFC: How did you first get into live sound, music production and remixing?
Andrew: Each of those paths started at different points, but are all certainly related. I grew up playing guitar in bands through middle school and high school. I was the guy who had the PA system and kind of “ran” the band events. I even directed my high school talent show! Music, sound, and stage have always been in my blood. Things took shape during college when I became friends with Ra Ra Riot and their manager, Josh Roth. I went to Syracuse University, which is where Ra Ra Riot formed and were playing house parties during their senior year. They graduated in 2006 and started touring and making a name for themselves.
Around the same time, I was still in college and had just discovered RAC. After some net surfing, I deduced that a guy named André Anjos was behind it. He was remixing in a style I had never heard or imagined… his arrangements were so original and inventive, using the original tracks of the song in new contexts which were so exciting and concise. I decided to take a stab at remixing a Ra Ra Riot song (given that I was friends with them and had easy access to their studio tracking). I cold emailed André the first draft of my remix and we kind of hit it off. I dug up a few other remix gigs for myself, and within about 3 months André asked me if I wanted to join RAC and team up with him. Since then, the platform for which I procure remixes has been entirely fueled by my association with RAC and the reputation we’ve been building over the years.
By the time I graduated college in 2008, Ra Ra Riot had just put out their first album, and they gave me a shot at doing live sound for their headlining tour. It was trial by fire at first, but I’ve been with them for just over 3 years now and I’ve learned the ropes pretty quickly. New challenges still present themselves as we continue to play larger and larger venues. I’ve been fortunate to have met dozens of bands on the road – some leading to other opportunities to mix front of house. In addition to Ra Ra Riot, I tour pretty consistently with GIVERS and have done a few one-off shows for Surfer Blood in NYC where I live.
Producing, recording, and mixing records is yet another tangent. Given all the experience remixing and doing live sound, it was becoming obvious to me that I also wanted to make records with bands. I had some experience dabbling in self-recording during college, and had taken a few courses related to audio recording. I even had a brief internship at a Brooklyn recording studio called Headgear before I started touring. But it all really started in 2009 off the heels of a tour with Ra Ra Riot when we were opening for Death Cab For Cutie. I became friends with DCFC guitarist Chris Walla, who is also a highly esteemed engineer and producer. After talking shop the whole tour, Chris asked me to come to LA for 2 weeks and be the Logic operator for Tegan & Sara’s Sainthood. It was kind of the the coolest thing that ever happened to me… here I was at the world famous Sound City Studios with Chris, Tegan and Sara, their guitarist Ted Gowans, and Jason McGerr who was drumming on the record. Seeing and hearing a REAL record being made. I was running the computer while Chris and Howard Redekopp were producing and engineering the session. I learned so much so fast. It got my lexicon and studio etiquette up to speed.
That summer, I bought a 16 channel recording interface, some monitors, some microphones, and hit the ground running. Pulling from the network I had built remixing and touring, I ended up recorded and mixing the Laces EP for The Static Jacks, mixing The House Floor’s Warship, and mixing Kisses’ The Heart of the Nightlife. Later in the year, I went into the studio with Ra Ra Riot to engineer and co-produce their sophomore album, The Orchard.
For the past two years I’ve had a pretty exciting, steady stream of work touring, remixing, mixing, and recording!
LFC: What projects are you working on right now?
Andrew: This summer has been a lot of touring with GIVERS and Ra Ra Riot, but I’ve recently been wrapping up the mixing for the forthcoming Princeton record, which I recorded with them last summer. Its totally, totally unbelievable and I couldn’t be more proud of it. I’ve also been mixing some early recordings for The Collectable Few. I can’t get enough of them… they hit the nail on the head for so many of my influences and favorite music. I’m really hoping to continue to work with them in the future. They are special. I finished up a bunch of remixes for various artists recently too.
LFC: To the uninitiated, what exactly is RAC and what do they do?
Andrew: RAC is a team of three people who create music: André Anjos, Karl Kling, and myself. Our platform for work has largely been remixing for the last 4 years. We pride our remixes on a sonic brand we’ve developed. I think its safe to say that you know an RAC remix when you hear one. Much to our surprise and excitement, the RAC reputation has grown fast. We tend to remix indie/rock artists… like Tokyo Police Club, Yeah Yeah Yeahs, The Shins, Surfer Blood, Phoenix, etc. Early on we did a lot of remixes for smaller unsigned bands, but have been moving into doing larger acts. RAC also has a touring DJ component, which André and Karl do together. They have been DJing some huge shows recently! We are also looking to start producing records at a certain point. The future is bright for RAC.
LFC: What do you try to achieve in a remix?
Andrew: If its a band that’s hired me to remix a song, I often listen to the original once or twice before I start the remix to refresh myself with the melodies and highlights. Then I’ll drop all the multi-track files into Logic and just go. I’m always attempting to reinvent the song while still paying homage to the original. The magic in remixing comes from striking a balance between using the original multi-track and recording my own newly composed tracks. It gets to a point where I’m interacting with the song, and it actually feels as though it starts to write itself. I sometimes will listen back to the original song days after I’ve been immersed in my remix, and I’ll be shocked how strangely different the original feels. If anything, I try to invent a whole new world for the song.
LFC: Do you have a favourite RAC Maury Mix?
Andrew: I don’t think I could pick one, but my top 5 are:
Lenka – Trouble Is A Friend
Lacrymosa – Good At Heart
Surfer Blood – Take It Easy
Phoenix – 1901
aaaaaaand… a remix that releases october 24 for a rather huge artist which I’m VERY excited about!
LFC: What are the ups and downs of a career in sound engineering?
Andrew: Ups: incredible fun. The work is so rewarding. For me, the career is doing what I can’t get enough of anyway. You meet hundreds of cool people every year. Some of the people you meet are rather famous, and may even be people you grew up inspired by.
Downs: its extremely competitive and difficult work. Self-imposed neurosis levels can be pretty intense. When you are mixing a live show in front of 1200 people, or recording a band with a large reputation, or mixing a record which will be the thing that the artist and public will hear forever, the stakes can feel really high.
LFC: What advice would you offer to someone looking to get into your field?
Andrew: Get in tune with your opinions on music. Get inspired by records and sounds you love. Learn to separate what’s amateur and what’s pro. Go to shows. Meet as many people as you can. Be the nicest person you can be. Email young bands who you believe in. Impress people with your work. Take pride in your work. Take risks!
LFC: Who are the bands or artists most exciting you at the moment?
Andrew: I recently got into Dutch Uncles’ new album Cadenza and Little Dragon’s Machine Dream. I’ve also been on an extended kick loving Dirty Projectors’ Bitte Orca and My Bloody Valentine’s Loveless. Working with bands is probably the most exciting though… feeling like you have a hand in creating something that others will learn about and discover. The Collectable Few tracks and this Princeton record I’m wrapping up fall in that category.