Pride
came and went this weekend in it's traditional multicolored fashion.
Probably being one of the coolest festivals (thank you weather
department) as well as one of the most entertaining in its
history.
--- Highlights included seeing Mayor Becker in a pink boa,
booth after booth of activities (and awareness to boot) the amazing
lineup of local acts, a slew of local political and random
celebrities, and... Horiuchi? Alright, fair enough. All
to the sounds of Tina Turner's cover of "Proud Mary."
And
for you who missed out or were too afraid to come... sucks to be you!
All you've got to look at are the over 250 photos from my trips over
Saturday and Sunday, and interviews with three local acts who took
the stages at Pride. The hard synth-rock of Cavedoll, the
alterna-indie Mesa Drive, and the dark melodic sounds of Kid Madusa.
Much thanks to Yana Walton and the entire Pride staff who did much
more work to put this together than most know about.
Cavedoll
(Allison Martin, Janet Marie, Vanessa Chamberlain, Camden Chamberlain
and Ryan Petersen)
http://www.cavedoll.com/
Gavin:
Hey, first tell us a little about yourselves and how you came
together as a band?
Camden: Cavedoll is a bit different
from the typical band. It's essentially the culmination of my
songs/recordings from the past seven years. The project has
also gone under the names Deliccato, Jupassa, and Geisha Glory in the
past. The name Cavedoll has been around for about two years
though and the live lineup has been undergoing tweaks and changes for
those two years. The current lineup has been together for about
two months now and is definitely the most stable lineup to date.
That line-up is myself on guitar/vocals, Vanessa on vocals, Janet
Marie on bass (been with Cavedoll for about a year and a half),
Allison Martin on keys (with Cavedoll for roughly six months), and
Ryan Petersen on drums (with Cavedoll for about two months). Besides
myself, Vanessa has been the biggest contributor to the project
over the years. Aside from providing vocals for a lot
of the music she has also lent her production ears to most everything
I do. I got into recording about ten years ago as a way to make music
and not have to rely on flakey musicians. I had been playing
guitar and or bass in various bands since the age of twelve. I started
releasing my own albums about seven years ago under the name
Deliccato. Those original albums are long out of print, but the
songs have been re-vamped, re-mixed, re-mastered, and re-released
under the Cavedoll banner... once and for all now. Recording/writing
has become my therapy/obsession and I would say on average over the
7-8 years I usually spend anywhere from 10-50 hours a week working on
music. A by-product of this behavior has been the founding of
my recording studio Kitefishing Studio. I've got a great location
(built onto my house) in Holladay where I work with a wide variety of
artists.
Vanessa: I have been performing since I was a
little kid, but my real love and appreciation for making music came
when I re-met Camden. I briefly knew Camden when I was a junior
in high school. Camden and I really got to know one another at
a friend's birthday party in 2001. We have been together ever
since. He heard me singing to Radiohead and had to record with
me. He liked the unusual harmonies I was finding. A few
short weeks later we were working on our first album together and we
totally fell head over heels for one another. Our relationship
makes creating music interesting. We have such respect for each
other's opinions that we can pretty much say anything and it is taken
into consideration. We have always been able to compliment each
other's work. Camden writes a song and I add the flavor. When
Camden says he loves something I sing, it is like the biggest thrill
in the world. He is an amazing artist, and to impress him is
really something special. I love him and I love singing with
him. He is my best friend.
Gavin: You've
been doing this for a while and have quite a number of CD's out.
Do you find it's gotten easier over the years, or just new challenges
every time?
Camden: It's always been easy and has come
very naturally, but it has definitely gotten better. As I've
grown as a person/artist I've refined my skills/tastes quite a bit.
Writing and recording is just like breathing to me. I just do
it and don't really think about it that much. Working with
Vanessa in particular can be difficult at times and I suppose that
aspect of it has grown more challenging over the years due to our
outside commitments, like having kids. Fortunately, she gives
me the space to create as much as I like and will usually pipe up
when she hears something I'm doing that she wants to have a little
more of a hand in.
Vanessa: Making music with Camden is
pretty easy when we both are in the mood. It is fun and intense
all at the same time. I would say the hard part is creating
time to pursue it. Camden works so fast and he is a
perfectionist, so it is a challenge to be as great as he is at
creating music. He is unmatched, in my unbiased
opinion.
Gavin: How did you get involved with
Pride 2008 and chosen to perform?
Camden: Well, we
basically just submitted an application to play, but I suppose the
groundwork for us performing was laid when we played Pride
Benefit/PurrBats CD release show back in March or April. We're
all honored to be performing at a festival in support of a 'cause'
like this. It's refreshing that even in the midst of Mormondom
a Gay Pride festival gets this kind of support and attention.
Gives me hope for the gay rights movement nationally.
Gavin:
What's your take on the local scene, both good and bad?
Camden:
Well, I think it's a great scene relatively speaking. I've
definitely enjoyed it over the years, but if we're talking about how
it relates to the country on a whole, I would say it's a very SMALL
and isolated scene. We've been working with various national
promoters for radio/PR over the past few months and they're always
really shocked when they find out we're from Utah. Most of them
have never heard of any bands from Utah and have definitely never
worked with any. There are some very notable people here
locally though that are working to increase Utah's visibility and my
hat goes off to them.
Vanessa: One of the best parts of
the local scene has been meeting bands, and people that support the
scene like Circus Brown, Jamie Gadette, Portia Early, Bill Frost. It
makes me feel that all my hard work has been for a good reason;
creating relationships with great people and musicians. I also
love having people that come to our shows come up to me say hello and
chat afterward. That is fabulous. I love meeting new fans
and making new friends. I guess the hardest part would be
breaking into the scene. It takes awhile to create a buzz in
Utah. Utahns, are very loyal fans to their bands and their
music.
Gavin: Anything you think could be done to
make it better?
Camden: Well, just support music and
keep an ear out for what's going on. I'd love to see more
eclectic and artistic music getting made too.
Vanessa:
People should keep reading City Weekly, SLUG and
listen to Circus Brown's show to find well made music in Utah. There
is a lot of talent here and people just need to see a local show and
let loose. Plus the venues here are so fun if you come out to a
show, a good time is guaranteed for all.
Gavin:
Putting you on the spot a little, if you had to pick, what bands do
you feel are the best in the local scene now?
Camden:
Mushman (I'm biased on this one), The Purr Bats, Kid Theodore, Knife
Show, The Wolfs, The Brobecks, Touchtone, Nonnon, Nolens Volens, The
Brobecks, The Deadbeats, etc. There are a lot of great
bands, too many to name. Some appeal to my current musical
tastes more than others, but I do really feel that there is a lot of
quality out there in various styles.
Gavin:
Switching to mainstream, what's your opinion on what's out there
now?
Camden: Well, it's hard to have an opinion other
than to be overwhelmed. There's just so much music out there
and all within easy reach. It's exciting and daunting at the
same time. A lot of the time I find myself not listening to
other peoples' music that much because I'm too involved in working on
my own (and there's only so much time in the day). Some of my
current favorites though are : The Knife, Midnight Juggernauts, MGMT,
NIN, Bird and the Bee, Lily Allen, Terminal 11, The Rapture,
etc.
Vanessa: I have really been into Electronic music
lately. I have been into The Knife, LCD Soundsystem, Midnight
Jauggernauts and The Bird & The Bee. It has been a really
big influence on the new stuff Camden and I have been recording.
Some people might think that it is an easy kind of music to
create, but really it is harder than people think. If
electronic music isn't done well, it can become grating and too
repetitive. I also really like the new NIN album. The
power of his message hit me hard.
Gavin: How
about your thoughts on the record industry and the state it's
in?
Camden: I think it's kind of a dying beast.
People are realizing that all the record industry is, is a bunch of
shady loan-sharks. I don't know, whatever, it's a mess. It's a
very hard industry to make a profit in due to file-sharing and all
the rest.
Vanessa: I love that Indie labels are getting
a lot of attention and now signing really excellent and unusual bands
that may have been over looked by the larger companies.
Gavin:
What do you think of file sharing as it relates to you and your
music?
Camden: Well, it's a mixed bag. I love it
in the sense that it makes it easier for people to get turned onto
new music they might not have heard otherwise, but I do think its
hindering artist’s ability to make a living at their art. I'm
all for people file-sharing my music though. In fact, I'd like
to eventually move to a donation format where people can have free
access to my music as long as they make a small minimum donation,
like a $1 or something.
Vanessa: I think that it is
unstoppable, a blessing and a curse I suppose. I think that if
a few of our more popular songs get passed around, then maybe they
will resonate and fans will want to look us up and buy our music. We
have so much to offer people I am sure that everyone out there can
find something that they like. It makes me feel great when
people come up to us and say "Hey I heard you on your MySpace
page, and had to come see you play live." What an amazing
compliment that is! With this technology it has been easier
to find new fans of our music.
Gavin: You
released No Vertigo a short time ago. What's the
reaction been with it?
Camden: Really positive.
It's been receiving some great airplay all over the world... USA,
Canada, UK, Europe, Australia mainly. Lots of podcast and
internet radio exposure as well. We've had nothing but positive
magazine reviews so far as well… probably just jinxed that.
The next thing on the horizon for the album is shopping it around to
various TV shows and whatnot. Our radio promoter will be
working on that this summer, so we'll see what happens with
that.
Gavin: What can we expect from Cavedoll the
rest of the year?
Camden: Probably some more releases,
more shows, etc.
Vanessa: More short shorts and mini
skirts and crazy amped up live shows.
Gavin:
Anything you'd like to plug?
Camden: Our music on
iTunes... We will have four new albums out in the next week or so...
Three albums of remixes of our songs, and one album, Robot Love
Scene 1, comprised mostly of electronica covers of songs by
artists like Radiohead, Janes Addiction, Tori Amos, PJ Harvey, Blur,
RATM, XTC, Outkast, Flaming Lips, Bird and the Bee, etc.
Vanessa:
Request us on KRCL and X96!
Mesa Drive
(Marcus, Zach, Jon and Chad)
http://www.mesadrive.com
Gavin:
Hey guys, first tell us a little about yourselves and how you came
together as a band?
Marc: Chad and I had always played
guitar together growing up but we never really wrote together until a
few years ago. We’d basically just show up to my parents house each
week and show off the riffs we’d came up with. Both of us had
different musical backgrounds but when we decided to focus on the
soul side of rock everything just clicked. Within a few weeks, what
started off as jamming turned into focused writing and then to
looking for band members. We met Zach at an open mic night at Moe’s
Bar and Grill. He was this 16 year old kid just ripping it up on the
bass. We decided right then and there that we wanted him in. The
funny thing about Zach was that until he met us he really hadn’t
listened to music with words so the first bit of arranging songs with
him was pretty interesting. Jon was introduced us by our keyboardist
at the time. He basically just sat down and picked up on even our
most complicated arrangements without even hesitating. He’s a
musical machine. Honestly, I don’t think we’d sound half as good
without a drummer as tight as him.
Gavin: How did you
get involved with Pride 2008 and chosen to perform?
Marc:
Our management submitted us and we were fortunately accepted. Funny
story - our first photo shoot as a band took place during the Pride
Festival a few years ago. It was pretty hard to keep a straight face
when the parade floats strolled by.
Gavin: What's your
take on the local scene, both good and bad?
Marc: I
think the local scene has a lot of heart. I’ve seen good bands
break up and reform and venues go under but fans keep coming back.
Some of the most amazing musicians live here and people don’t even
know it.
Chad: The local scene here is pretty good. The
fans are great, the venues are fun and there is some serious talent
here. The hard part is getting people to stick around after or even
during a show. There are many people that just come to see one band
and then take off. I wish that would change.
Gavin:
Anything you think could be done to make it better?
Marc:
Just get involved. Bring your friends to shows and have a good time.
That’s what it’s all about anyway.
Chad: Other than
what I mentioned above about fans sticking around for the whole show,
I think its fine. It is what it is.
Gavin: If you had
to pick what bands do you feel are the best in the local scene
now?
Marc: The Brobecks, Trevor Price, Allred, Mury,
Cub Country.
Chad: The Brobecks, Allred, Ask for the
Future, Mury, Chris Merritt.
Gavin: On mainstream
music, what's your opinion on what's out there now?
Marc:
Mainstream music is more diverse then ever before and it’s awesome.
Some of the most well recorded albums have been released by artists
within the last two years. I’m excited for where music will
continue to go.
Chad: I think the music out nowadays is
awesome. But granted this is coming from someone that only listens to
the radio. I’m not really into the underground music scene like I
used to be back in high school.
Gavin: How about your
thoughts on the record industry and the state it's in?
Marc:
I think that while the record industry may be struggling, the music
industry is alive and well. I could care less about record labels as
long as people still attend concerts.
Chad: I think
they’ve got their hands tied. Never in the history of music have
musicians been able to record their own work with the same amount of
quality that the major labels can produce. The internet has blown
things wide open for independent artists. The record industry is
having a hard time but the music industry is not. It is actually
thriving.
Gavin: What do you think of file sharing as
it relates to you and your music?
Marc: If someone
enjoys our album enough to burn it and share it with their friends,
it can only help. As long as they can sing it back at a show, I don’t
care how they get it.
Chad: Obviously I would like to
make a living doing something I love, which is playing music. But I
also want the music to get out there. So I’m kind of between a rock
and a hard place on this one.
Gavin: You released Take
What You Want last year. What's the reception been for
it?
Marc: I think “Take What You Want” has been
received better than we had hoped for. Our fans continue to request
the songs and new fans continue to buy albums. That’s all we could
ever ask for.
Chad: It has been great. Everywhere we
play, we sell albums. We have our fans to thank greatly for that. At
our concerts, people sing back and that has got to be the greatest
feeling in the world. Who would need drugs?
Gavin: You
recording anything new or just riding out the album a little
longer?
Marc: We have plans to record a new EP sometime
this Fall. However, we plan to push one last single to radio stations
for the next few months.
Chad: We have a lot of new
songs that we play and are itching to record. We have plans as of
right now but nothing is set in stone.
Gavin: What can
we expect from Mesa Drive the rest of the year?
Marc:
We plan to keep the momentum going between writing and recording
we’ll be focusing on big Utah shows and touring out of the
state.
Chad: Playing a lot of big concerts with some
national touring acts. Playing local shows/house parties here with
local bands and getting out on tour.
Gavin: Anything
you'd like to plug?
Marc: Yeah, pick up our album on
iTunes and chat with us on MySpace
or Facebook.
Chad:
Buy our album then come see us play it live.
Kid
Madusa
http://www.myspace.com/kidmadusa
Gavin:
Hello. First tell us a little about yourself.
KM:
I’m Lindsay Desirée Heath. Always been an artist and
musician, playing piano by ear since the age of two, and singing
since birth. Played in the bands Redd Tape, The Tremula, Delicatto,
Vile Blue Shades, Mushman, Phono, Milk For Cats, Natural Grafitti,
Community, etc.Mostly toured throughout North America / Canada over
the last six years as a professional drummer, supporting many well
known bands and artists. The instrumentalists who perform in Kid
Madusa are Cache Tolman, Rebecca Vernon, Sam Compton, Joel Hales,
Bronwen Beecher, Vanessa Shuput, James Miska, Tox & Goldlox. I
perform solo avidly, but when I include accompanists in a performance
I call the band: “Kid Madusa The Skeleton Keys.” In all of my
years of performing musically, I have met an endless list of
professional musicians who inspire me. So, as I compose material, I
invite the artists and instrumentalists who I intuitively feel will
be specifically specialized and especially appropriate for the unique
sound of each piece to perform as part of the Kid Madusa line up. I
am very inspired by so many of my friends who are musicians- I love
exploring the various chemistry's sparked in the act of collaborating
with each individual accompanist. It propels my own musically
experiential explorations in infinite ways.
Gavin: You
were recently in the U.K. for a small tour. How was that
experience?
KM: My two week tour in the U.K. was an
absolutely amazing experience. Truly, one of the most ineffably
inspiring creative journey's of my life. Filthy McWhiskey (the
guitarist who was originally lined up to perform on the New York /
U.K. tour along with me as the Kid Madusa two-piece) actually dropped
out of the whole deal at the last minute, and turned back home after
one show in New York. I suddenly found myself facing the abrupt
decision to either cancel the much anticipated tour, or, gather my
bravery and continue on as a solo act. So I chose to continue on.
Risking the inevitable vulnerability of performing solo - when I've
been accustomed to performing with a big band of accompanists to back
me up and fill out the sound - it does assure a certain amount of
security... But, part of the reason that I have chosen to perform
solo over the past few years because of the challenge that is
presented in being the focal point. It can be a lot of pressure at
times, it definitely forces great humility - but in my experience,
there is nothing quite so rewarding as the confidence and
reaffirmation that comes only by putting myself in such a uniquely
challenging position. It has given me the opportunity to KNOW that I
am capable and fully adequate to stand on my own as an artist,
testifying to myself that I am strong enough as an individual artist
to give a powerful live performance, and to convey my vision, and the
true essence of my compositions on my own. Which I feel that I
accomplished successfully on the tour! An amazing
music magazine in the U.K. called Dolly Rime published an
article about Kid Madusa in the issue that came out the day of my
arrival. They facilitated all of the recourse's for every show, and
various instruments to use along my journey. I owe the success of my
tour to Dolly Rime, and to the wonderful friends I made while there
who supported me and transported me around the land. My gratitude
runs deeply, to say the least. This may be controversial, but one of
the main feelings I am left with after my experience touring in the
U.K. - is that the music listeners, and the show goers, seem to be so
much more sincere and supportive as a whole than that which I have
perceived in the musical "scene's" in America, in my
experience. A popular attitude that I perceive to plague the musical
"scene's" in America did not seem to be present there. For
example, a person doesn't seem to have an elitist attitude about a
"hip" musical genre there, the people seem passionate to
celebrate and share the music they love with all, and in general,
they just seemed to have a refreshingly unique and loyal love for
music in general. It seemed very apparent in the overall demeanor of
the people who attended the shows I performed there anyway. The show
attendees were so intently engaged with every performance of mine,
and the performances that I witnessed there. They were so sincerely
supportive and expressive of their reception and constructive
feedback.
KM: Basically, I'm trying to describe that in
my experience, the people who attended the shows in the U.K. clearly
love MUSIC, and they generally did not seem to be swayed by an elite
attitude in relation to genre, and the fleeting fashions or trends
that seem to shape and dominate the American musical "scenes".
I'm just personally disenchanted by such politics in the American
music culture which produce gangs of art critics who despise any art
that is regarded by a fascist group as inferior, especially because
of social or intellectual pretension. I feel that every individual
should allow themselves the personal freedom of liking what they
personally like, and disliking what they personally don't like. Not
because it's the fucking FAD to like or dislike something in the
fleeting musical trends. Mainstream or underground- the music
listeners in the U.K. seem to unapologetically like what they
personally like. Which was inspiring, to know that there are some
genuinely honest listeners out there. Not to suggest that I'm
concerned with whether or not people like my music- I am a musician
because I have always known that music is my language. My only goal
is to channel the music as purely as I possibly can, without molding
it or skewing it to make it more sell-able or accessible for personal
gain. It is bigger than me, the music, and I know that my purpose in
this life is to strive to translate and convey it as honestly as I
possibly can. Therefore, if NOBODY liked the music
I share in this life, it would not change my process. The way I
see it- if I were to alter the music for personal gain rather than
true inspiration- it would literally destroy the greatest gift I've
been given. I'd then be a slave to a superficial job; I'd be a
puppet, which would contradict my identity completely. My love for
creating raw, unfiltered music is worth more to me than any critical
opinion. While I do invite and take constructive criticism to heart,
regardless of any opinion, this may be perceived as egotistical in
some light, but I do believe myself to be a channel, a vessel, an
instrument of a transcendental force of creation, no different than
the piano or drums in which music comes through when I play, and I
know that my purpose in life is to always strive to translate the
music that moves me in it's most pure form.
Gavin:
Awesome! How did you get involved with Pride 2008 and chosen to
perform?
KM: I have performed in past Pride festivals
as part of other bands - but not yet as Kid Madusa. This year I
performed in three groups in the Pride Festival. Bronwen Beecher (my
violinist in Kid Madusa) has been a long time accompanist of mine. We
also have a two piece- in which we perform Bronwen's compositions.
Bronwen's idea for this year's festival was to create an all star's
band made up of five professional musicians who performed their own
set's throughout the festival, and as the headlining (last act of the
day) we combined to perform- to fulfill Bronwen's vision of an all
stars band. So Bronwen put my own Kid Madusa set in this year's
festival so that I could officially and personally be part of her all
star dream band at the end of the day. I'm grateful to her for her
decision to make Kid Madusa a feature part of this year's Pride Day
line up.
Gavin: What did you think of the crowd from
Pride?
KM: Besides the sound difficulties- and being
unable to hear anything on stage other than the drums- it was a very
rewarding experience. There was a great turn out. The crowd totally
danced it up, and according to feedback after the show- the sound
problems on stage didn't seem to affect our performance- and the mix
was good for the listeners. Which makes for a successful performance
in my book.
Gavin: What's your take on the local scene,
both good and bad?
KM: I think I covered enough of my
negative perceptions about the musical "scene" already. I
will tell you what I DO like about local music. In my experience-
being in a decent band with a unique sound in SLC (such as my
experience with "Redd Tape" for example) - we were able to
open for bands in small and intimate venue's like Kilby Court or
Urban Lounge with successful touring musical acts who would be
playing in HUGE venues in other states. If we lived in Seattle or New
York for example, chances would have been very slim that we could
have received so much notoriety - and the opportunity to open for
some of our favorite musicians. One time Thurston Moore of Sonic
Youth (one of my favorite bands of all time) personally emailed our
Redd Tape email account asking us to open for Sonic Youth in SLC the
last time they performed here. Unfortunately we were unable to- as I
had just broken my arm and had reconstructive surgery- there was no
way in hell I could have played the drums- though I was ready to try. In my opinion- SLC is a good place to learn how to
break through the music scene- and a good place to make connections,
where as the competition in most other cities can be overwhelming. I
think some great music comes out of SLC- I've theorized about
wondering if the extreme seasons (living in a desert that is also
hailed for the best snow on earth) and extreme dominant religion in
Utah makes for more extreme individuals and artists. It seems to me
that the art that comes out of SLC is quite often very unique - not
many bands in the thriving music scene here seem to be competitive
amongst one another. Whatever your sound, you are thereby eligible to
open for the touring acts who's sound you will most appropriately
compliment. Many doors have opened for me personally as a local
musician here in that way. I think it's rad to have such
opportunities. So I will stand by a positive reply in that
respect.
Gavin: Anything you think could be done to
make it better?
KM: Actually, I feel that the local
music network here is pretty great. I personally feel that SLUG
and City Weekly magazines, and the local venue's that I most
frequently play are really awesome about supporting local artists.
You get out of it what you put in - in my experience - I've been
treated with great respect for the majority of my involvement in the
local music network.
Gavin: Putting you on the spot a
little, if you had to pick, what bands do you feel are the best in
the local scene now?
KM: Subrosa, Vile Blue Shades,
Either / Either Orchestra, The Furrs, Under The God.
Gavin:
Switching to mainstream, what's your opinion on what's out there
now?
KM: Well it's mostly so corporate, ainit?!
Mainstream music is like fast food musical MacDonald's. It is easily
accessible and satisfying to the majority of the population - those
who naively eat up everything the media convinces them they should
buy. But every once in a while- there is an artist who actually makes
music that is totally authentic and honest- and it is just
universally and undeniably GOOD by all (or most) accounts. Such as
the Beatles, etc. But, as I mentioned earlier- I feel that everyone
should be entitled to shamelessly allow themselves to freely enjoy
the music they personally like. Without worrying about jeopardizing
their reputation. Honestly, I am comfortable admitting that I
personally connect with bits of music all across the board. I don't
care who the fuck made the song- if I connect with it, I like it -
and I don't care who cuts me from the cool club as a result. The
music I really love is usually pretty obscure - experimental,
underground, and independent. I listen to very little radio- but I
love some of the classics that are totally overplayed- Led Zeppelin,
Cyndi Lauper, etc. I just prefer to avoid exposure to the corporate
leeches and subliminal exploitation that drowns the authenticity of
most mainstream artists.
KM: I will actually admit that
for the first time ever, I actually went from claiming to HATE
American Idol (having never even seen it before this season) to
becoming quite engaged this year. I suppose I was initially drawn in
by morbid curiosity, and being outraged by what I perceived to be a
totally superficial rat race. Then I became intrigued by witnessing
the politics infused in such an extravagant spectacle, and becoming
more conscious of what seems to be the heart of mainstream music
culture. In the end I think I've decided that I continued tuning into
the series despite my qualms because at some point I learned to
respect the sincerity of the individual contestants. I feel sorry for
them that they are now forever locked into churning out that generic
musical MacDonald's fast food product- but it seems to me that anyone
who dedicates themselves and invests their time and energy into
making art of any kind - good or bad - is still a much more positive
contribution in life than so many of the destructive alternatives in
life. I mean, how many people sell their souls to working jobs of any
kind that they hate? Maybe most people? Who am I to judge how sincere
a person is in doing what they do? Plus, all of the
mainstream music that is emotionless and talentless- performed by
people who don't even write the songs, and sell it solely by having
socially acceptable and popularly voted "attractive" bodies
just makes the truly unique and sincere music all the more authentic
in my opinion. So maybe I should write Paris Hilton a thank you
letter for multitasking? Either way, we're all imperfect people- and
while i personally choose to support independent and underground
artists, I'm not going to waste my time hating the industry, or bash
anyone for liking what they like. I'd rather use it as incentive to
make music that I like- and support the music that I feel sparks
higher consciousness, creates revolution, etc.
Gavin:
How about your thoughts on the record industry and the state it's
in?
KM: Well, times are always changing. It seems that
we're entering a depression in all aspects of the economic states. If
a musician devotes their life to writing and performing music
professionally as their career- and especially if listeners value the
art and respect the work of the artist, it should be therefore
supported.
Gavin: What do you think of file sharing as
it relates to you and your music?
KM: I once listened
to an interview Tori Amos did in New York in which she was asked the
same question, and I was really moved by her response- She compared
it metaphorically to a winery, saying something to the effect of: “A
consumer should be able to taste the wine to decide whether or not
they enjoy it enough to purchase it.” But at some point, you have
to consider the families and independent vineyards who produce the
wine. Those people are working hard to produce the wine- and the
money they make by selling that wine is how their means of survival.
She said, if someone really doesn't have any money, she would rather
that they steal her record than never hear her music. But for the
people who DO have the resources to support the art they are taking-
she asks: do these people realize how disrespectful it truly is to
steal from the artist who devotes their life to creating the product?
I definitely agree with her response.
Gavin: You
released We Are Drodna a short time ago. What's the reception
been like for it?
KM: To be honest, there were some
miscommunication between Filthy McWhiskey and when the actual
printing procedures were done. A long story short, very few copies
were printed. Most of which were distributed on tour, and very few
have been distributed in SLC. So- I'm in the process of doing a run
of my own, at which point I will distribute copies to SLUG and
City Weekly magazines, and we will see what kind of feedback
is received. Dolly Rime magazine in the U.K. is also going to do a
record review and a Kid Madusa feature in an upcoming issue. I have
only heard positive and encouraging feedback from those who have
listened to the record thus far. I've been honored to receive some
extremely warm reviews from notable people in New York and England. For example, the owner of the Knitting Factory (popular music
venue in New York City) personally invited me to come to his very
professional recording studio during my recent stay there- claiming
that after hearing my recorded compositions he is inspired to produce
more of my music. The record in it's entirety is a very professional,
clean recording, and I feel that there will be a positive reaction as
it is spread out and listened to widely. I'm really burning to get
into the studio again! I have written sooooooooo many songs over the
years that I feel strongly compelled to document and share with all
who want to listen. I have worked with many local producers over the
years in all of the many bands i have participated in, and all of the
producers (well.. most of them) have their unique talents. I love
Jeremy Smith's productions, and i hope to work with him again in the
future. Camden Chamberlain (of Kitefishing Records) is also
great.
Gavin: You recording anything new or just riding
out the album a little longer?
KM: I am doing some
recordings with Andy Patterson, whom I love working with. Currently
my very favorite local producer is Rapha Cordova, who recently
produced the first track on the We Are Drodna EP entitled: The
Baderie Assid Recovery Project. He also created a music video as
we were tracking the song in the old Art Museum up at the University
of Utah a couple of months ago. Definitely by far the coolest
recording experience I've had so far. Rapha has such an impressive
professional ethic, and he really GETS the Kid Madusa sound.
Understands it in a way that is very appreciated. I am so honored for
the opportunity to work with him- and really thrilled for what is to
come.
Gavin: What can we expect from you the rest
of the year?
KM: Well on Thursday the 26th of this
month, I'm honored to announce that I'll be performing a Kid Madusa
set at this year's arts festival with The Skeleton Key's- @ 7:30pm on
the Park Stage. Come check that out, it's sure to be an exciting one.
I will be doing another tour in New York City for the last couple
weeks of this coming July and all of August, as i have ongoing
recording projects in various places around Brooklyn with very
talented producers and accompanists. I love booking shows there in
between recording sessions. I've also been invited to perform in some
upcoming festivals in the U.K. later this year. Stay posted on the
MySpace page for upcoming shows.
Gavin: Anything you'd
like to plug?
KM: Sure! Request Kid Madusa on KRCL-
Circus Brown is sure to play it during his show. And to be put on my
personal KID MADUSA email list- send an email to: KIDMADUSA@gmail.com.