The Quest: the metal heartland

As I mentioned not long ago in my article about my next project, I'm striving for something new. The ingredients for my next album need to be fresh and unique, yet still completely aligned with my love of heavy, melodic music. Although I have recently become friends with a number of metalheads here in Bozeman, the common theme amongst them leans too heavily toward death metal and guttural vocals to be the right fit for me. I need the contributors for this next album to come naturally to melody; they must be forceful and graceful all at once. And, as I previously mentioned, the most sensible place to look for those musicians is where most of my favorite bands come from: Finland and Sweden.

The plane tickets are purchased, my family's summer has been scheduled. In mid-August we will embark on our quest, combining the goal of seeing Amaranthe perform in their home territory, with my own goal of making the first round of connections I need for the next album. Earlier this year we had hoped to accomplish the family goal, and see Amaranthe at the House of Metal festival. Nancy, Kiley and Zane are all crazy about Amaranthe, and we were immensely excited until we learned that the House of Metal show was not all ages; neither of the kids would make the 13 year old cutoff. Those were sad days in the Hearst-Reynolds house but they planted a seed that continued to grow. A few months later, while preparing my Amaranthe blog article, I was looking at their website and noticed a show planned for August at the Liseberg Stora Scenen. Being part of a family-oriented amusement park, I quickly contacted the park representatives and learned that, yes, there will not be an age limit. With that information, the quest became reality.

Centered around the Amaranthe concert, we will spend a week in Sweden and a week in Finland. I hope to make advance contact with various studios and engineers in Helsinki, Stockholm and Göteborg. I'm attempting to find someone that can act as a champion and coordinator for the project, someone that I will pay for their responsibilities but who will also immerse themselves in the vision. Ideally, this person will be able to assemble a collection of musicians, a drummer, a bass player, a keyboardist and a singer, that are perfectly suited to this project. Then, the coordinator/engineer/producer will help me establish the monetary and temporal logistics for the project. I hope to visit with various engineers and producers, and tour their facilities, so that we have enough opportunity to recognize the right fit when it shows itself.

As a family, there will be more to this trip than architecting my next album. We will see the sights, experience the culture and, hopefully, spend some days outside the city, most likely exploring the Finnish wilderness. But, for me, the trip really hinges on my quest. I will strive to gather enough data to make the path to the next album clear. I will also endeavor to gain enough familiarity with the cities and their music scenes so that I'm prepared for a potential return trip. I suspect, budget-wise and time-wise, it will make sense for me to track guitars here in Bozeman, however, I do think that it makes sense for me to take part in as much of the other tracking as possible. Depending on scheduling, perhaps I can be present when basic tracks and vocals are being laid down.

We will see how it all comes together. If you are a heavy musician in Finland or Sweden and have an interest in the project, please contact me. If you are a recording engineer, producer or studio owner in Göteborg, Stockholm or Helsinki and think you could help me accomplish my vision, please let me know. I would be happy to communicate before and to meet with any and all of you in August. If the vision seems still a bit nebulous, you are right, I'm trying to leave a lot of room for it to define itself, based on the creative people involved. I firmly believe in the magic of collaboration and that "my" vision is really more of a catalyst than an exacting road map. For more information, clarification and questions, please do not be shy, I'd love to hear your thoughts.

The Merits of Kissin' Dynamite

Those of you that have been paying attention will know that I have relatively broad tastes in heavy music. I'm not one of those who believes that a single sub-genre from a particular 3 year period is the sole defining element to good metal. I remember a time when there was no metal, period, and I've enjoyed watching the evolutionary development and ever-broadening of the metal umbrella. Even with that in mind, though, there are some areas of more commercially "polished" metal that lead to a little guilty pleasure for me. I was going to G.I.T. in Hollywood right in the middle of the hair metal boom and MTV's rotation of bands like Ratt, Van Halen and Poison. I recognize that era eventually reached levels of excess that burned it down and opened the door for grunge. No arguments there.

With that background, you can understand the twinge I got when I saw a promo picture for Kissin' Dynamite. Like some strange convergence of the classic Judas Priest leather and mainstream hair metal excess with an unexpected infusion from Flock of Seagulls, clearly these guys were not in any of the goth, symphonic, thrash, death or black metal camps. Fortunately, my first exposure didn't involve any promo shots, just MP3 audio plus the album front cover and all it took was a minute or so of "Money, Sex & Power" to get my attention.

Yes, there's a dose of good ol' 80s hair/glam metal. But somehow Kissin' Dynamite has straddled the line between the Scorpions/Judas Priest branch of straight ahead, upbeat, melodic metal and riff-based, tongue-in-cheek glam metal seasoning. Powered by a wall of Germanic guitars, and straight-ahead bass and drums, Kissin' Dynamite immediately made me feel at home. Hannes' vocals often make me think back to Axl's work in the class Guns N' Roses material, but that's more about the timbre and edginess; his melodic lines fit more closely in The Scorpions and Accept camp.

I recommend listening to their latest release, "Money, Sex & Power" from top to bottom. If you need an entry point, "Club 27" is a great song to whet your appetite. If you are a big fan of a little fun in your metal, how can you not like a band that writes songs like "Dinosaurs Are Still Alive"? And just when you think you've got the band figured out, they hit you with the closing song on the album, "Six Feet Under", revealing both a lyrical cleverness and musical breadth that's surprising. I'm sitting here right now listening to the album, and I just can't keep that stupid smile off of my face. Good stuff!

Music Tech Center business model - call for assistance

Today's article is related to the "Help Wanted" page I just added to this site. The Music Tech Center is looking for a qualified contractor to a help solidify our business plan, so that we can proceed with renovation. The motivation behind our search is outlined in the following text.

The vision for the Music Tech Center (MTC) has been evolving over the last three years. Most of my time has been focused on the mechanics of acquiring an appropriate building here in Bozeman and how to renovate the space accordingly. My background is not in business and, hence, the part of this project that is still a challenge is the cash flow model and overall business structure. That also is complicated by the unusual nature of the vision, sitting philosophically smack dab in the middle of "not for profit" but not necessarily warranting the complexity of a board of directors and the complicated bureaucracy that goes along with 501(c)(3).

We are very, very close to being able to submit for a building permit and ask the subcontractors to start the renovation in earnest. But I sit here still wondering if we have a model that can keep the facility going while still achieving the vision. We want to make sure we satisfy some key goals:

• make sure that local bands will always be able to play at the venue
• make sure that local musicians, especially kids will be drawn to the facility, collaborating with each other and gaining experience
• make sure that all local fans have access, not just drinking age patrons
• make sure that the acoustics, audio, video and networking are cutting edge
• make sure the MTC is an asset for the local music scene and source of enjoyment for southwest Montana

I've observed many years of local music business and recognize that it is rare for bands to get paid sufficiently for their live efforts. I know that the typical bar venue generates most of its income from alcohol sales, and sometimes bands get a (small) cut of that. The thing is, I want to see the MTC operate as part of a healthy eco-system. Obviously we need some income to pay for loans, property tax, insurance and utilities but there's a point where there's enough to cover the basic expenses. I'd like to see us establish a model that honors that spirit and makes sure that performers take the same responsibility and reap the same benefits that we do. Perhaps we can establish a monthly threshold and work to satisfy that throughout the sum total of all events for the month, then share all profits beyond that with the performers. Perhaps we take a similar approach but handle it on an event by event basis. Once we hit the (low) threshold for a given night, we simply share the rest between the bands.

For zoning reasons, the MTC cannot be a bar or a restaurant. We can partner with caterers to provide food and drink for shows, but cannot run those services ourselves. I understand that typically such catering agreements allow the caterer to keep the money they make on food and beverage sales. That makes sense and simplifies the model because the catering monies aren't part of our equation. Unfortunately that also means we don't have what's generally considered the best source of income for a venue.

We also struggle to make heads or tails of the for-profit vs. not-for-profit question. Our spirit is very much "not for profit" but the administrative and bureaucratic responsibilities of running this as a true not-for-profit appear to be a poor match for the project. How then do we run this in a more typical "for profit" model without maximizing profits and the never-ending quest for business growth?

So, the renovation plans are nearly complete and we could start demolition within weeks, immediately followed by construction. However, we could use some mentoring, support and guidance on the business model and projecting a target for the next three years. Do you have the unique set of skills, experience and interest necessary to help us get over the hump? We welcome your input and are flexible on terms. Mostly we just want to settle this issue and move forwards. Please contact me or reply below if you can help.

Collaboration: Better Than The Sum

In my article, So far, the promise of digital music falls short, I discussed the mixed blessings of the digital revolution in music. The revolution began with great promise, leading many of us to believe it would be a silver bullet empowering unknown artists and bands, freeing them from the tyranny of the record industry. Though I place part of the blame on a shift in power from the record companies to major technology companies like Apple and Google, I also much acknowledge my own contribution along with those of my fellow musicians.

The technological progress that has empowered home recording and a project studio in your garage has intoxicated many of us. We have become so engrossed in what the technology does for us that we've forgotten the power of the music itself. All of us are familiar with the sight of ourselves and those around us, shuffling downtown sidewalks, hunched over our mobile phones, tablets and game devices. We no longer talk to each other because we're too busy keeping up with our 100s or 1000s of Facebook friends and Twitter followers.

So what's that have to do with music? Well, as musicians we've caught the same disease. We hunch down in our bedrooms, closets and garages. We write, arrange and records songs by ourselves, leveraging technology to fill the void left by the musicians that would have been essential a few decades ago. In the process we've deprived ourselves and our listeners of the real magic that is music.

Until very recently, music was a binding force in the community. It served to communicate a cultural history, shared experiences and catalyzed community gatherings. Musicians joined together to perform, sometimes spontaneously. Without those musicians there would have been no music, given that recording technology and music distribution are very young technologies relative to human history.

This realization hit me hard over the last few years. My struggles adjusting to my new home in Bozeman led me to realize that my own actions have been a big part of my own isolation. I built a recording studio in Redwood City, and proceeded to spend hours and hours alone in it, with the Christmas Rhapsody and Danger, Ltd. sessions standing out as the only real exceptions. That realization has been a major contributor to my vision for the Music Tech Center, but even that vision could veer off track and lead to isolation.

In truth, my most satisfying creative projects have always been working side-by-side with other energetic, highly creative people. Whether in software or music, it's the collaborative energy that has fueled the most interesting and satisfying results. Unfortunately, the displacement of many commercial recording studios by home recording technology has eaten away at the collaborative opportunities in music. I am saddened to see musicians forget the power of collaboration. Much like the commuter with a mobile phone, we tune out our surroundings and write, arrange and record our music alone, place aural and creative blinders around us to shut out the distraction. We forget that the distraction from, and interaction with other musicians is the secret ingredient to most musical creations.

By working with others, we end up with a creation that could not have existed based on the work of one. And, at least in my own experience, not only are the results more interesting but the process is more enjoyable. Being stretched beyond our own comfort zones, trying new things based on suggestions from our collaborators, that's where the real magic begins.

Personally, I need to revisit the role that technology plays in my music. It's a tool, meant to facilitate the process of creating and recording music. It's not an excuse to avoid other musicians, or hide from the audience. Music is notes, chords, rhythms, timbres; it's an aural phenomenon. No matter how it's sonic qualities are generated, in the end, it just matters how it sounds and how it makes each of us feel. The more we remember the joy of experiencing music together, the more we'll experience the power of music.

I encourage you to think about how technology has influenced the way you listen to and create music. Are the tools getting in the way? Have you forgotten how to collaborate with other musicians? What steps can we all take to wrest the musical process from the grip of technology and return it to the people that experience it?

This ain't sports, it's music

Sure, bands have logos and so do sports teams. Some bands have mascots and uniforms just like sports teams. Don't be fooled, though, there's a difference. A big difference...

Sorry all you fans of American Idol, but in music just because one performer wins doesn't mean all the other performers have to lose. We've gotten so used to the Super Bowl, the World Series, the various World Cups and the Tour de France. The winners of each of those events are, at that moment, the best in the world and everyone else has fallen short. You see it in the eyes of a football team that plays in a national championship game and loses. Even though they are that close to the ultimate goal, they're seen as losers and they see themselves that way.

In music, there is absolutely no requirement that we define a "best" band. It drives me nuts how much energy goes into statements like, "Clearly, the Beatles are the best rock band ever." or even the typical "Top 100 Songs of All Time" list. I can't tell you which band I like "best". I can name 100 bands that I like to listen to but I'd be hard-pressed to pin down the "best" band out of those 100, even the best 5 bands. If there's really a best band, why should any of us listen to anything else? Because we don't all agree on the best band and we don't even agree on the best genre, sub-genre or just about any other criteria you can use to subdivide the vast sea of great music on this planet. And, our tastes vary from day to day and over the course of our lifetimes (at least some of us archive the old and welcome the new).

Since this isn't sports, why put so much energy into putting down the bands and styles you don't like? With the internet, there's literally no excuse for complaining that you don't have access to the music you like. Given that, why spend any time listening to music you don't like for long enough to develop even the slightest negative opinion? Sure, it's worth being open minded and trying out different styles and artists, always experimenting with new things, but once you know you don't like it, just let it be. Leave it alone and focus on the positives, the music you love. Enough of the "Emo sucks!", "Metal sucks!", "Country sucks!" comments. None of them suck, you just like some of them and dislike others. We don't need to crown a winner.

I understand, as a fan, there's something that drives us to be "balanced" in the sense that every word of praise must be balanced by a word of criticism. To bolster the standing of our favorite bands we need to make the others look completely inferior... I'm suggesting it's better to give that a rest. Be a rabid supporter but be an indifferent detractor.

For those of you musicians out there, in bands, trying to succeed in your local music scene, here's a thought. If every band in your local area sounded the same, why would anyone prefer to see you? Variety in a local scene is a good thing. It gives people the opportunity to focus on the bands they like and skip the ones they don't like. If you're in a band, you want other bands in the local scene to be different, to provide variety, even those sharing the bill with you. The greater the variety of bands, the greater the opportunity that more than one will succeed. As a local band it's in your best interest to support the success of the bands around you; that will grow the scene overall and that in turn will give you a better chance of success.

Regardless of whether you are a fan or a performer, stop putting down others to bolster your own preferences. Can you change your ways? If you do, you'll be rewarded by greater opportunity and better music across the board.