INTERVIEW: Geoff Mison of Melband and Pony Music

We have moved! Our blog is now at www.paper-deer.com. 

Chances are that if you're a musician in Melbourne, you have at some point or another trawled through the advertisements on Melband to sell that unused distortion pedal or to find a band to fill a support slot after a last minute pull-out.

Paper-Deer met up with Geoff Mison to talk about the successful Melbourne community site and his other business, Pony Music.

Tell us about how you got into the music industry.

I played my first gig at the age of 16 in Canada while on student exchange. We used to skip music class at the end of the day and jam in a friend’s basement instead. I did a week’s work experience at Mackin’s Drumshop and ended up getting a weekend job there during school and when I studied audio engineering. While I played in bands, I hung out at gigs loading in, doing lights, and learning from the audio guys. I did a few weeks of work experience at Metropolis Studios before landing a job at Regency Recordings as a mastering engineer. After six years at Regency, I opened Pony Music in 1997 with a bunch of ideas and no money.  Melband came about soon after when I couldn’t find any information on Melbourne music anywhere on the internet.

                                                  

What job title do you go by, and what exactly do you do at Melband?

The Boss… Only because I couldn’t think of another title and a few members were calling me that at the time so it stuck. I suppose I basically facilitate the site these days and try and keep the peace.  

What exactly is Melband, and why do you think it is so successful in the Melbourne music scene?

It was essentially designed as a directory listing of all things music in Melbourne and has since grown into a more forum based site with musicians networking with other musicians, sharing tips and knowledge and posting adverts. Many similar sites have come and gone over the years but for some reason Melband has stuck it out and continues to grow.

Lots of local bands have sold old equipment, found bands to play with or joined bands through Melband. How does it feel to know that your website has had such an impact on the local scene?

It’s always a good feeling to speak to someone who has joined a band or got a gig or whatever through the site. I have even employed people through the site myself. It’s nice to open the gig guide of a local street press magazine and see how many bands are out there playing and are involved with the site in some way or another.

Any big Melband plans for 2011?

2011 will see a new site being launched (www.ausband.com.au) incorporating all the good stuff from Melband while adding sections for users Australia-wide. It will incorporate a searchable database with a modern look plus all the trimmings: profile pages, audio and video sharing capabilities and a bigger focus on music tips and information along with artist interviews, gear reviews, news and more.

Apart from Melband, you also run Pony Music. How did Pony get started?

I started Pony Music on a shoestring budget in 1997 and have since moved three times to larger buildings before settling into our current complex in 2007. What started out with just me and two rehearsal rooms has grown into a killer recording studio, six rehearsal studios, production and lighting hire, repairs, tuition and a music store in Hallam, as well as a second location in Rowville which has five rehearsal studios.  Pony Music was incorporated in 2005 with the addition of a business partner (Damien Young) and we now employ 10 staff and numerous production casuals.

Any hints for young bands on how to make the most of their time in the studio?

Practice, but make sure you’re practicing right. Playing to a click track with a band years ago really opened my eyes to how out of time we all were. Demo your songs at home or in the rehearsal studio and get them to a point you are ready to record them properly before laying out your cash for a studio. Record the least amount of songs for your budget. It’s no use recording an album-worth of songs in two days and having them sound sub-par due to poor performances or not enough time to setup or mix properly. A kickass sounding single will get you more attention than a mediocre sounding EP or album.

Any advice for young kids interested in getting into the industry?

Get off your ass and get out there! We receive hundreds of resumes from people “wanting a job” but they’ve got no experience. The last two people we have employed hounded us for months for work experience before we got them in and have become a real asset to the business. If you are interested in recording, buy a microphone and interface, record everything you can. If you are want to do live sound, go to gigs and hang around with the engineers. If you are young then join the local Freeza group and become involved with putting on their shows. There is a lot you can do to get out there, just don’t wait for it to come to you! Do it for the love, don’t expect to make any money!

LINKS:

• Ausband/Melband website
• Pony Music website

Industry Interview: Dave Stevens of Pure Pop Records

We have moved! Our blog is now at www.paper-deer.com. 

Mention to any Melburnian that you're going to a chilled out Sunday afternoon gig to watch a great music act, chances are they'll turn around and ask, "Pure Pop?"

Tucked away in the iconic suburb of St Kilda, Pure Pop has carved itself out a niche as being quite possibly the only combined record store, record label, cafe and live music venue in the world. And despite being in one of the city's trendiest, celebrity-filled areas, you will find no pretension here at all. You can pick out a quality vinyl at the front, or head to the back and enjoy a good toastie and beer while watching an intimate unplugged set on the venue's tiny stage (which we imagine is battling out with The Birmy for first place in the small-stage-stakes).

Paper-Deer had a beer with owner Dave Stevens about his pride and joy.

As one of the owners of Pure Pop, one of Melbourne's iconic record stores, what do you do?

It’s more of a question of what don’t I do.  Pure Pop is a pretty small operation and between myself and our three staff members we manage to get most things done.  We manage to run the record store, café, bar and venue pretty smoothly although it can have its moments of chaos.

It's been said that Pure Pop is the only record store/cafe/live music venue/record label in the world. How did the idea to combine four amazing concepts together?

I think it was when I realised that I had achieved my dream of owning my own record store about twenty years too late. Downloading, CD burning and other things had conspired to make my CD store as popular as a penny farthing shop. I was trying to sell something that was pretty much available free elsewhere, albeit illegally but with very little chance of prosecution. After a few months of no sales, banks and creditors screaming, debt collectors knocking my door I was sitting in the empty backyard of Pure Pop, head in hands wondering what I was going to do.

The idea of the bar and live venue came to me and with the help of a few tradie friends we transformed the place bit by bit over a few months to make the venue and start putting on bands. The liquor license took longer (two years) but somehow we survived, I really don’t know how, but now we have a place that we can truly be proud of. Alcohol sales allow us to keep our CD and vinyl stocks healthy and the increased traffic through the store has led to increased sales of music.

It is often mentioned to us that we should get rid of the music and open up the whole place as a bar and live venue. We would make more money but to be honest the soul of the place is that we are first and foremost a record store and always will be.

Does the cat in Pure Pop's logo belong to someone? (Weird question, but I've always wondered.)

The cat is a tattoo that I have. Pretty fierce, hey?

Paper-Deer has heard about the Pop  Goes the Curfew gig around the traps, and particularly that Swedish group The Men are flying down for the gig. What else can you tell us about the gig?

It started out as our fifth anniversary gig but unfortunately we opened our doors in July – not the best time to put things on in St Kilda. We spoke to the Prince and they were keen to do something in January.  From there it snowballed and now it’s become an all singing, all dancing entertainment one night only spectacular!

                                                                       

The Men were the first band we put out on the Pure Pop label way back in the deep dark days. They are a fantastic sixties style mod band from Lund in Sweden. We’ve stayed in touch over the years and in November I wrote to Sven Kohler (The Men’s frontman) to catch up, and mentioned the Pure Pop gig in passing and he said he’d ask the guys if they were keen to come down. The rest is history.

The other bands on the bill are all Pure Pop faves who have graced the courtyard stage over the years. Gun Street Girls and Pony Face will be able to turn up the volume a bit higher than our council restrictions allow so that will be great. Mates of ours like Tim Rogers, Charles Jenkins, Ryan Coffey, Jeff May, Heath & Alex (from Dirt River Radio) and Hugh Gurney (from The Skybombers) are dropping by to do a song or two each and the fantastic comedy duo Anyone For Tennis will be hosting the night.

Pure Pop is known for amazingly intimate gigs from prominent musical artists in your cosy venue. Why the decision to host Pop Goes the Curfew at the Prince of Wales Bandroom?

Our courtyard is very small and of course outside. Therefore all our shows are limited to 50 people and we have strict sound restrictions. We wanted to a have a party, we have more than 50 friends and we wanted to make a lot of noise. The Prince have been great friends of ours – as have all the St Kilda venues – and offered us their place to hold the party.

Pure Pop's incredibly unassuming stage has seen the likes of Charles Jenkins, Tim Rogers, Kate Miller-Heidke, The Swell Season, Barry Adamson and more. Which act was your absolute favourite and why?

It would be too easy to say The Swell Season because their performance was spine-tinglingly great as were the others you’ve mentioned but what really excited us was when a 17-year-old school kid named Alex Lashlie dropped in after school to ask if he could play. We gave him a Friday night spot and he absolutely blew the place away. He ended up doing Fridays for over 12 months and his sets became legendary. He’s now 20 and is touring Europe.

Owning your own indie record store always seems like the ultimate job. Any advice for budding music lovers who are desperate to get into the business?

Don’t open in St Kilda. This spot’s taken. Seriously it makes me sad to say but I wouldn’t recommend anyone opening a record store unless they are able to supplement the turnover with something else. We’ve gone down the route of bar, café, venue but there are other options.

UPCOMING EVENTS:

• January 1: Conway Savage at Pure Pop
• Sunday January 2: The Adventure Spirit and Pure Pop Ha/Ha at Pure Pop
• Saturday January 8: Brillig, Ben Revi, Chris Assaad, Conway Savage at Pure Pop
  
• Sunday January 9: Cambodian Space Project, Coby Grant, The Scholars and The Skybombers at Pure Pop
• Friday January 14: Large Number 12s at Pure Pop
• Saturday January 15: Jules Sheldon, Dan Webb, Conway Savage at Pure Pop
• January 16: Pop Goes the Curfew at the Prince Bandroom [with The Men, Gun Street Girls, Pony Face, Tim Rogers and others]
• Sunday March 27: Paul Collins at Pure Pop
  
• Friday January 21: Large Number 12s at Pure Pop
• Saturday January 22: Cloudmouth, Lord Bishop Rocks, Conway Savage at Pure Pop
  
• Sunday January 23: Citrus Jam [EP launch], Yeo, The Skybombers at Pure Pop
• Friday January 28: Large Number 12s at Pure Pop
• Saturday January 29: Delsinki Jane, Conway Savage at Pure Pop
• Sunday January 30: Lisa Wood, Nick Batterham, The Skybombers at Pure Pop

LINKS: 

• Pure Pop Records official website
• Pure Pop Records on Facebook
• Pure Pop Records on Twitter

By Paige X. Cho

INDUSTRY INTERVIEW: Tania Wilson of missmanagement & paranoidbydesign

We have moved! Our blog is now at www.paper-deer.com. 

There sure are quite a lot of managers out there in the Melbourne music scene, but nothing quite says "awesome" like a veteran who's been in the industry since 1995 (when most of the musicians on this blog were probably infants or toddlers), has rubbed shoulders with some pretty illustrious shoulders and has two businesses to her name.

Melbourne artist manager Tania Wilson has seen everything and done it all - everything from large scale international tours, artist development, mentoring, events management, promotions, booking and publicity. She's set up paranoidbydesign, her successful events company, and missmanagement, a management firm set up to help young, budding female managers gets a leg up. 

Paper-Deer listened to Tania's wise words, because honestly if there's something that you want to know about the Melbourne music scene it's probably in her head.

 

What job title do you go by?

Slave to the grindstone.

Sounds violent. And what exactly do you do?

Solve problems, find answers and make sure I have an educated, well-rounded and informed opinion.

What are your plans for 2011 for paranoidbydesign and missmanagement?

missmanagement is working on releases and tours for its artists for 2011 and paranoidbydesign has a heap of events coming up that we’re working hard on.  We’re also establishing our record label so we’ll be sourcing good upcoming artists to release.  Plus we’re expanding the team and welcoming some great girls into the crew which is exciting.

What artists do you currently work with?

I currently manage Fare Evader (VIC)and i, said the sparrow (WA). 

What do you love about them?

I love both bands because they fulfill the checklist of everything you want in a band – they work hard, they’re creative and innovative, they’re young, fresh and unjaded by the industry, they write great songs that I love and will happily play over and over, they have huge potential ahead of them, they respect advice, and they are both a pleasure to work with.

Fare Evader I love because they just make me happy. Working with them is a joy plus it’s always great when the sound guy in every venue gets into your band and gives you his card at the end of the gig asking if you ever need him again. Sparrow is a new challenge and also has a lot of potential. I’m dying to see them live again as I’ve only seen them once (the difficulty of managing an interstate band).

Fare Evader’s new EP is out next year. Has it been exciting and rewarding watching this Melbourne three-piece go from strength to strength?

Fare Evader are always going to be a pride and joy because I’ve known them from the early stages of their career when they were a fledgling band. They are one of those bands that make the hard-yards-and-no-sleep part of management worthwhile. With them, being a manager became a positive experience again and I’m like a happy parent every time they achieve a new milestone. I can’t wait to see where they go from here.

You’ve travelled the world and worked with bands from other Australian cities and other countries. What do you think about the Melbourne music scene and our bands?

I’ve been working in the scene since 1995 and have always thought it was amazing and always appreciated its health and vitality.  No matter where I’ve been I always say hi to my baby again.  But over the years we’ve fallen afoul to things like errant ill-informed legislation and the residentalisation of entertainment precincts.  Venues have struggled against dwindling numbers and increasing costs. 

On the band side I think the scene had a tendency to take itself for granted and other cities have recently overtaken us in successful bands coming out of their towns.  Plus interstate there is greater organisational and government support for the industry in terms of export and education.  I think with things like SLAM and Music Victoria that will start to change hopefully but with the change in local government it will be interesting to see what pans out in the near future. 

I’d strongly disagree that violence was as prevalent as the media and government wanted to make out but I think there is an increasing lack of respect for your fellow patrons when people are out these days. I’d encourage young bands and people entering into the industry to work on not just their individual careers but the Melbourne music community as a whole. Join in with things like Music Victoria so you can work on supporting your industry on a day-to-day basis before it comes to a head like with The Tote. All that being said I think we’ve been lucky and haven’t had as low lows as other states had in the past. Melbourne will always be my favourite just because it’s where I came of age into the industry.

What advice would you give to bands looking for managers?

Just do the job yourself. Too many bands want a manager simply to do the jobs they don’t want to do. If you want to have a mate manage you then just grab a mate who’s good with numbers and on the phone. If you want a proper manager then you have to establish your band as a viable business that a good manager will be interested in.

A lot of bands say they have a manager when really what that person does is book the band gigs – that’s a booking agent and there’s a shortage of those too. A manager manages the business of the band and works on the long term career of the band. A band shouldn’t be too fast to hand over their management as they should be invested in their futures from the ground up and the better job the band does of that the more ready they are to have a proper manager who can take them to the next level. There are different kinds of managers too so you have to work out what kind of support you need and what direction you want to take the band in before you can decide appropriately what kind of manager you need.

On the other side of the coin, any advice for budding artist managers?

Reverse of the previous question – if a band can’t manage themselves you’re not going to be able to manage them and if they’re not prepared to work hard on their careers you’re going to be the only one doing any work and that is just well… stupid. Trust me. It’s okay to say no.

Avoid rockstars. If they’re acting like rockstars when they’re on the way up imagine how they will act when they get to the top, and then when they’re on the way down. The more experience you get in the industry the faster you will spot the fledgling rockstar and the quicker you will walk the other way.   

Aim to be the kind of manager that progresses a band’s career not one that fetches water. At the end of the day the band’s career rests in your hands and it’s a great responsibility. Management often doesn’t receive the overt credit it is due but without a great team that performance never gets onto the stage. 

Find good mentors and managers to network with. I am incredibly lucky in that I have a great set of people I can reach out to and ask advice from and who encourage me.  Find every avenue you can to expand your knowledge base and make new contacts – music conferences (Fuse, Big Sound, One Movement) and industry training (JB Seed Management Workshop, Austrade Masterclasses).  Diplomas and degrees in the industry can be great but make sure you are doing internships and work experience while you are studying. All of the best managers in the country learnt through actually doing it.

Work out what skill sets you have and which ones you’re missing. Make a list of what you have to learn and what you can get someone else to do. These days a manager has to be everything from business manager to personal manager to record label manager. Some things you can just oversee rather than micromanage if you have another person you can trust – like an amazing FOH guy or a great booking agent.

In the early days of a band’s career spend money wisely.  Don’t rush to outsource everything; do what you can yourself in terms of publicity, releasing, branding and marketing. There are great avenues like Amrap/AirIt for sending your songs to radio so save money on a publicist until all elements of the band are ready for the next stage and the money is worth spending. Plus the more you and the band do to develop your personal connections to press/radio, they will do to help you as the band grows the more.  It is always about the authenticity of your business and connection for long terms careers versus one hit wonders.

The most difficult advice is that if things just aren’t working out it’s okay to walk away. Even though you’ve invested your heart and soul and sleepless hours into something it just isn’t working right. You can’t trade your happiness for the “what if next week it breaks out into something big” because it really just isn’t worth it. It’s the hardest lesson to learn.

UPCOMING SHOWS:

• Thursday December 23: Melbourne Fresh Presents Xmas Gig, Revolver Upstairs
• Friday December 24: Fare Evader supports Goldfields, Karova Lounge, Ballarat
• Friday January 21: Summertime Goo, The Palace
• February - March: Fare Evader east coast tour and EP release
• March: i, said the sparrow east coast tour and single release
• Saturday March 12: i, said the sparrow, Rock The Bay, The Espy
• February 7 & 15: Melbourne Fresh Grand Finals 2011

LINKS:

• paranoidbydesign official website
• paranoidbydesign on Myspace
• paranoidbydesign on Twitter
• Fare Evader official website
• i, said the sparrow on Myspace

 

INTERVIEW: Scott Thurling of Popboomerang

We have moved! Our blog is now at www.paper-deer.com. 

"I'm going to start a record label!" Sure, lots of people say that phrase and it's usually met with lots of eye-rolling. One man did that and succeeded massively, and now has big acts like Frente!, Skipping Girl Vinegar and Celadore under his roster. Meet Scott Thurling, the man who started, runs and makes all the decisions for Melbourne indie label Popboomerang. That may be a lot of hats to wear, but the Melbourne-based label manager must have a huge coat rack as the only brain behind the thriving label.

Paper-Deer picked at Scott's brain for his tips on how to get your act on an indie label, and all things record label.

What do you do at Popboomerang?

I am Label Manager at Popboomerang Records. Being a one man operation this obviously means I am sole decision maker in regard to the bands that are signed and the overall direction of the label. I do a level of artist management & development &  publicity as well as booking shows and all other admin involved in running the label.

How did Popboomerang come about?

Popboomerang was established in 2000 & released the first recordings in 2002. I’ve always been a MASSIVE music consumer, and perhaps because I don’t play music, was always interested in music business as well. Popboomerang started as a “swap shop” website around 1997 trading Australian Pop & Rock titles to overseas fans in return for CD’s unavailable in Oz. I would make CD samplers of the Aussie bands for the overseas fans and enjoyed this so much the idea started to form of legitimising things to form a proper label.

What do you think boutique, indie labels have going that major labels can’t touch?

Indie labels enjoy faster decision making, are more personal and timely communication wise and ideally, can carve out a niche in the music scene and to produce intense consumer loyalty as well as a real “community feel” and support amongst the bands. They can spot trends in the industry & react to them faster. Of course there are disadvantages in to working with a small label and bands need to weigh up their options if they are in a position of having some labels courting.

There are some really rad bands on Popboomerang’s roster, including Skipping Girl Vinegar, Frente, Georgia Fields and Young Werther. Is there a common thread among all the bands on your label?

The most common trend about the bands that have done well on the label is a high level of ambition and passion about their music and overall career. That intensity and hunger is something I look for when considering adding a band to the label. Not every band is in a position to tour as extensively as bands like Skipping Girl Vinegar, Celadore or The Bon Scotts but it is a dream if they can!

Which young band on the Popboomerang label are you most excited about for 2011?

I think Celadore qualify for this one as they are truly one of the youngest & most hard working bands on the label. The guys head into the studio this week to start recording the follow up to Distance Is A Gun .The Solomons made a splash with their debut EP this year and are about to record a bunch of songs for release in 2011.

If you could get us to listen to one album/release from a Popboomerang artist, which would it be and why?

That is tough, like asking a parent to name a favourite child!!! The releases which have made the biggest impact with fans and the media include Skipping Girl Vinegar’s Sift The Noise, The Aerial Maps’s In The Blinding Sunlight and Georgia Fields’ new self-titled album. Releases by Tim Reid, Tamas Wells, Underminers, Bon Scotts and Splendid are among others have also been very well received.

Is there a difference between a good band and an excellent band that will be successful?

If there was a secret I would not be telling. But seriously an “excellent band” has to have a point of difference in some way in their recorded music & hopefully also in their live performance. I have seen bands I thought were “excellent” waste their talent and implode & bands who I felt were “good” get every ounce of success possible by working really hard.

Any tips for bands interested in getting signed by Popboomerang? Any hints or anything they should definitely avoid doing (e.g. stalking you)?

Do your research on the roster! Don’t send in recordings for consideration that are devoid of melody! Don’t waste my time with styles of music Popboomerang does not release don’t work with (rap, hard rock, dance or reggae etc.) Be polite in following up for feedback, persistence is fine up to a point (over email is best). Be imaginative and eye catching with your promo packs but don’t go over the top. Don’t sulk or burn your bridges if you don’t get a release as labels often “talk” and recommend bands to each other (or not).

Do you do anything else in the music industry?

I have done some mentoring for Freezer/The Push. But the sad news is I head off to the dreaded day job each day. Rock n’ roll has not made me rich yet! Ever hopeful.

Any tips for young industry kids who are keen on starting labels or working for record labels?

I would hope they have rich generous parents or partners!! But seriously, they need to be aware that the industry is changing and the old models of recouping your investment from CD sales alone are gone. I would encourage them to do some work experience in established labels or seek out some mentoring before starting out alone. I would say learn from your mistakes and don’t repeat them (in saying that successful decisions you make along the way are not always replicated).

 UPCOMING EVENTS:

• Friday December 17: Popboomeranng Xmas Party at The Cornish Arms, free entry, featuring The Bon Scotts, D.Rogers Band, Georgia Fields (duo), Underminers (duo), Courtney Barnett (solo), Greg Williams (solo) and Remake DJs. Free event sampler here.

LINKS:

• Popboomerang Records official website
• Popboomerang Records on Myspace
• Popboomerang Records on Facebook
• Popboomerang Records on Twitter

BY PAIGE X. CHO

INDUSTRY INTERVIEW: Quincy McLean of Bakehouse Studios and SLAM Rally

We have moved! Our blog is now at www.paper-deer.com. 

If the Melbourne music industry was a town, Quincy McLean would surely be mayor. As the founder, owner and head honcho of Bakehouse Studios, the industry veteran has helped everyone from the world's biggest rock stars to Melbourne's youngest bands within his rehearsal and recording complex's walls. More recently, Quincy's moniker may be one to make politicians quake in their boots, as one of the primary organisers behind Melbourne's groundbreaking SLAM Rally to protect the Victorian music scene from downright ridiculous claims from the government and over-the-top liquor licensing practices.

Paper-Deer managed to have a chat to the busy man about how his Bakehouse, his tips for young industry kids and his work with SLAM.

What do you do at Bakehouse Studios?

I set up Bakehouse as a small, single-room rehearsal studio in 1991 and it gradually evolved into a recording/rehearsal complex. The staff call me Quincy but you can call me the boss. 

How did Bakehouse become to be?

I started it when I was in a band that needed somewhere to rehearse and record. Then we had a son, Angus. I had to feed a family so I had to find a way to make a buck and it had to grow. The birth of our daughter Lola seven years later ramped up the pressure so I've had to keep improving the place and expanding it to keep the bands coming and happy.

Weirdest shit to go down at Bakehouse?

This is the entertainment business, you could write a sit.com about the stupid stuff that happens here but I don't know whether you have the space for the character development to do it justice. Names would have to be changed to protect the innocent, ignorant or down right thick headed. You'll have to wait for my biography.

Bakehouse has seen some pretty awesome musicians within its walls, like Nick Cave, The Drones, Beasts of Bourbon and Beth Orton. Do you ever get star struck, and by who?

I'm Stranded was the first Australian album I ever bought. It was punk. Its genesis was independent and totally self-funded although the album ended up coming out on EMI. It was the major turning point for my preferred styles and mind sets in music and it changed my life. So when the original Saints were gearing up for their first gigs outside of Brisbane in over 30 years, it was a massive few days for me. Q: Star struck? A: With not a hint of shame.

What else have you done in the music industry? You were  obviously a musician, but have you filled the roles of band manager, venue booker and other assorted titles?

Yes, have dabbled in all of the above. 95% of my staff are very creative people on their own missions. All of them are passionate, connected and very much involved in Melbourne’s musical soup with many of them taking breaks to tour the world with their bands or to undertake  solo expeditions.

Another aspect of the “music industry” that we have tackled was the SLAM Rally, which my wife Helen and I organized in February this year. It blew out to require lobbying of liquor licensing and the government for the last 8 months and a resulted in some very positive changes to the LLC's procedures. Most importantly, live music will never be deemed to be a contributing factor in violent behavior in Victoria again.

In your opinion, what’s the single most irritating thing a band can do while recording?

Whatever it takes to get the result they require is their prerogative but "it's your dime". If bands don't respect the process, that's pretty dumb. You can have a healthy or anarchistic handle on it and great art can come from apparent chaos, but even the Pistols and Edgard Varez respected their process.

Any advice for bands on how to get the most out of their recording time?

In the words of Chris Bailey of the Saints, “know your product”. Study the classics, learn how to edit yourself and cut the shit, practice heaps and make sure you do as much of this as you can before

The tape starts rolling (so to speak), the clock starts ticking and the debtometre starts to explode.

Any tips on starry-eyed kids interested in getting into sound engineering, production and recording?

Immerse yourself in your area of passion thick locally. The bands you are likely to get your first gig with are more likely to be playing at the Tote than Etihad Stadium so frequent the Tote, Old Bar, and other small venues. More truly great inspired music happens in little venues than the over-polished tired old crap made by hacks going through the motions to sheep with binoculars in stadiums.

 LINKS:

• Bakehouse Studios official website 
• Bakehouse Studios on Facebook
• SLAM Rally official website 

BY PAIGE X. CHO

INDUSTRY INTERVIEW: Lisa Ariganello of Trail of Ink

We have moved! Our blog is now at www.paper-deer.com. 

 It's true that we leave footprints wherever we go, whether they be the outlines of your feet in the sand, your digital footprint or a trail of broken hearts and memories. Band-manager-and-everything-else Lisa Ariganello may have started out in America, but she's weaved in exotic locations across Asia and Australia into her life story and has ended up in the Melbourne live music scene, writing her way across continents. And just as she has left a trail of music reviews and blog posts as she's travelled, Lisa has cleverly named her business Trail of Ink, and now works with some of Melbourne's best know roots, gypsy and folk acts like Rapskallion, Rosie Burgess and Jungal, as well as many others.

Paper-Deer had a chat to the world traveller about being a manager and how the Melbourne music scene compares to the rest of the world.

What job title do you go by?

Like most people in this industry, I tend to wear many hats. Job titles I use most often are artist manager, publicist, booking agent, tour planner, friend, roadie, therapist and sometimes merch bitch.

If you have to explain what exactly it is you do in the music industry in a nutshell, what would you say?

Well, those job titles listed above pretty much sum it up. But the gist of it is: I manage bands, organise gigs, tours, and publicity campaigns, review gigs occasionally, and work for festivals, too!

You’re originally from California and have travelled all about the world. What do you think of the Melbourne music scene compared to other scenes in the world?

Yeah that’s right, I’m Canadian slash Californian. A mixed breed. I moved to Melbourne mainly for the music scene. To me, Melbourne has always been known as a cultural hub – a melting pot of musicians and artists. I think the music scene in Melbourne is very supportive in its own way. Musicians, managers, publicists, agents come together (for the most part) and support each other’s musical paths. It’s less competitive than trying to “make it big” in Canada or the US, where there’s so much competition and a fraction of the bands out there actually have their music heard. From my experience, independent musicians in Melbourne have a lot more opportunities, support and resources to get their music out there because the community is smaller and less competitive.

How did you fall into management, publicity and journalism?

I pretty much just started off as a fanatical lover of music from a young age, which led to me running off as a teen following bands and festivals around the US much to my parents’ dismay! After studying journalism, I started reviewing gigs and interviewing artists for local music magazines – mostly to score free tickets and CDs – and that led into helping musician friends get gigs and planning tours in places like Taiwan, Australia and New Zealand.

I find a common problem that faces people who work on the business side of the industry is this inability to just do one thing – we all seem to have a dozen business ventures and projects. Why do you think we all fall into this trap?

Tell me about it! Multi-tasking has become my middle name. I think that there are so many different areas of the non-artist side of the music industry and they are all closely linked. Managing bands leads to booking gigs, which leads to publicity, and so on. It just seems natural to pick up other projects that are closely related. I don’t mind it, actually. I’ve learned so much by working with different musicians, bands, venues and festivals. It’s all about expanding your skill set now because it can be tough to “make a living” in this industry.

Where did the name Trail of Ink for your business come about?

Trail of Ink was actually the original name for my blog when I was living in Asia. I wanted to have a place to publish my random little thoughts and titbits on life.  The meaning of the name just came to me. I wanted to use the concept of travelling and writing, and leaving a little meaningful path of words and thoughts behind me as I pass through countries and encounter different cultures and people. The ink trail seemed appropriate, and that became Trail of Ink.

Name some of the bands that you work with for Trail of Ink?

I am so grateful to work with some fabulous musicians, including: Rapskallion, Rosie Burgess, Jungal and El Moth & The Turbo Rads. Occasionally I work with Saritah, CC The Cat, Dub Dub Goose, and others.

What is the most rewarding thing about being a band manager, and what’s the most shit?

The most rewarding thing is definitely being able to be a part of something that I really love. I am really passionate about all of the bands that I work with, and am a huge fan of their music. It’s great knowing that I can somewhat help these artists along their path and can be supportive of their musical dream. The most shit? Would most likely be the fact that I don’t even play a damn instrument so I’m forced to remain offstage.

Any advice for budding music industry kids who are interested in starting their own businesses?

I say just go for it. There are so many musicians in Melbourne who are looking for help from managers, publicists and booking agents. We could build an army of industry kids in this town. The first step is to find a band that you really care about and genuinely love their music, and then think of how your skills could be used to support their art. Music business networking meetings and industry-supported workshops are often good places to learn more about the business and offer great opportunities to schmooze with local musos and industry peeps. Networking is key!

Funniest thing to have happened to you while working in the music industry?

Some of my most hilarious moments were when I travelled around Australia and New Zealand managing Canadian singer-songwriter, Faye Blais. We lived in little a red van called Ruby and slept in the back amongst all of her guitars and amps, and our clothes. During our trip to New Zealand with Melbourne band The April Maze, we rocked up to a venue, only to find out that the venue had been shut down in some sort of sketchy mafia scandal and there were mysterious spray painted messages on the front of the building. The owner apparently had a reputation for spontaneously shutting the doors and not telling anyone, and unfortunately our gig was supposed to start in an hour. So we wandered outside the venue trying to figure out what was going on because no one would let us in, yet we could see the staff members through the window. No explanation. We decided to go drink wine in a park instead and make up rap songs in various English dialects about the mysteries of the venue owner. It’s these random moments where you can only laugh at the fact that even though we had flown across the ocean to do an international tour, it wasn’t always going to be peachy and perfect. Weird shit exists everywhere in this industry!

LINKS:

• Trail of Ink official website 
• Trail of Ink on Facebook 
• Trail of Ink on Myspace
• Rapskallion official website
• Rosie Burgess official website
• Jungal official website
• El Moth & The Turbo Rads MySpace
• Lolo Lovina official website
• Dub Dub Goose official website
• CC The Cat official website
• Saritah official website

By Paige X. Cho

INTERVIEW: Hammocks and Honey

We have moved! Our blog is now at www.paper-deer.com. 

Ethereal, airy and bewilderingly good, there's something about dreamy two-piece Hammocks and Honey that makes you sink into a cloud of bliss. Classically trained cellist and synth addict Prudence Rees-Lee makes up one half of the duo, and is completed by the experimentally electronic inclined Alex Nosek of ii. This dazzling and unexpected equation results in music that's partly baroque-inspired (trying really hard to hold my tongue and not name a certain Yngwie Malmsteen song), orgasmically electronic and so dreamy that you'll be pinching yourself to check if you're awake.

When it comes to talent, these kids have the Midas touch, and it appears that have it when it comes to manufacturing as well with their debut EP Spellbinder also available amazingly as a solid gold "vinyl".

Paper-Deer daydreamed about clouds, synths and classical music while talking to Prudence, the female half of Hammocks and Honey.

We have to say that Hammocks and Honey is a lovely band name. Is there a story or meaning behind it?
It was a phrase in a book, Ada or Ardour by Nabokov, which is a story about two young cousins discovering their sexuality together, among other things. It doesn’t really have much of a baring on how the band sounds though, just a coincidence that I was reading that book when I started writing music.

So how did the pair of you end up where you are now?
Alex and I met quite a few years ago playing in another band, but only started playing together in Hammocks at the end of last year. Special Award Records got involved in February and since then we’ve just been really lucky. Blogs and community radio picked up the demos we’d made we’re releasing on EP which is available digitally already, and on vinyl which is coming out on the 22nd of November.

As a classically trained cellist, is it sometimes hard to loosen up and turn to dreamy, electronic pop?
Yes, it was initially hard initially to loosen up. Writing and playing something like this is very far from what I’d imagined I would be doing while I was studying. I value the classical education I’ve had very much, and it’s given me a great base knowledge about music theory and music history, but in a way I had to forget most of that when I was writing these songs. It’s such a different approach to making music. I think lots of electronic musicians have classical backgrounds though. Programming beats and samples on a computer is very similar to working on an orchestral score.

Many writers use words like “dreamy”, “surreal” and “otherworldly” to describe Hammocks and Honey’s sound. What would you call it?
I’d agree with those descriptions, I think they suit Spellbinder well, although they probably make us sound a bit wishy-washy or aimless, when the music definitely isn’t and the stuff we’re working on now is a bit darker.

Tell us all about Spellbinder. What was it like working with Morgan McWaters (The Emergency) and Casey Rice (Tortoise, Pikelet, Dirty Three)?
They were both really amazing to work with. We spent a lot of time with Morgan, first recording everything and then mixing together as well. It was really fun, but he was great because he’s so skilled at what he does and could quickly translate the kind of sounds we had in our heads into the tracks.

Casey was great too! I didn’t know much about mastering and what’s involved, but he explained everything he was doing and did it really well, he seems to really care about artists and music, and is actually very affordable! Everyone should ask him to master them!


Spellbinder is really… spellbinding, for lack of a better word. How do you create such a timeless piece of work?
Thank you! I take timelessness as a huge compliment. I guess we’re not interested in doing what’s particularly fashionable at a given time. I want to write good songs with interesting arrangements regardless of trends, although it is hard not to be influenced by them in some ways. I guess that makes it timeless, we have a very wide range of influences from all the classical stuff I grew up with to more experimental things, and also lots of pretty mega pop.

Was recording at a beach house just an excuse to get sandy?
We couldn’t afford to hire a proper studio, and none of us lived anywhere that would make a good home one. The beach house was a good place to go where we wouldn’t be disturbed and it would be quiet, it was kind of a last resort but it worked out to be the perfect place.

We’ve heard that Spellbinder will also be available in solid gold vinyl. Where did this idea come from?
It seems kind of crazy to me that people still make CDs, as a format it’s really unreliable and commercially not solid either. I think digital, vinyl and cassette releases are going to be much more relevant in the future of music distribution, so the decision to release on vinyl was kind of an obvious one. As for the gold… the option was there, why wouldn’t you?

How much will the solid gold vinyls cost, and where can one pick them up? Will postage be a bitch since it is solid gold?
They’ll be in independent record stores and available via mail order (probably the best way) from www.hammocksandhoney.com. In shops the price will vary slightly depending on where you go, but they should be retailing for around $19. We’ll be selling them at the launch for $15.

UPCOMING SHOWS:

• Saturday November 27: Bouverie Studios, 1/81 Bouverie Street, Carlton [EP launch with AOI and Isle Adore]

LINKS:

• Hammocks and Honey official website 
• Hammocks and Honey MySpace 
• Hammocks and Honey on Bandcamp (purchase music here) 

INDUSTRY INTERVIEW: Tiana Morrison of Shiny Entertainment

We have moved! Our blog is now at www.paper-deer.com. 

The Evelyn may not look like much from the outside. Bare brick, a dash of colour paint here and there. A chalk board that always gets smeared with the constant drizzle that is Melbourne weather. And a smattering of silver chairs and that peculiar freestanding column (will someone please email in and let us know what it is before we die from curiosity).

But inside, The Evelyn is one of Melbourne's best live venues. With the obligatory crusty velour couches, exposed metal beams and a roster of fine bands performing every night of the week, one could argue that the Ev is the heart of Fitzroy's music scene.

Paper-Deer had a chat with the ever-witty, perpetually-about-to-pull-out-her-hair venue booker Tiana Morrison, who is the person you want to stalk* if you would like to rock out at the esteemed Evelyn Hotel.

Job: Band bookings for the Evelyn and the Curtin Bandroom. 

Employer: Shiny Entertainment

Typical day in the life of Tiana as the Evelyn/Curtin booker?

Stumble from my work to work in a bleary-eyed, tea-needing state. Read the millions of emails that I get sent overnight and try to tackle them chronologically. Sate over-energetic bands that feel the need to send me THE SAME email every day with some kind of reply. Drink 8 cups of tea. Listen to radio and turn off the station when Muse or John Butler Trio are played. Eat a super-late lunch, stumble back to work. Reply to more emails and make everyone happy. Sometimes this routine is interrupted by meetings with venue owners, random musicians or managers and trying to pat the timid dog that is the companion of the builder doing renovations to the office. Oh and jokes, lots of bad jokes.

How did you get the job?

I volunteered for over a year with another booker for another venue, made some really awesome friends and somehow managed to impress Shiny Stav.

When did you first decide that you wanted to actually work in the music industry?

I dropped out of year 12 (stay in school, kids!) and worked a lot of crap retail and cafe jobs. Then I met a musician who I really wanted to help because of his talent. So we moved to Melbourne and worked our arses off while starving on the dole. I remember a very cold winter in an old Northcote house listening to music and drinking a cask of red wine every night before things started coming together.

Raddest thing about working in the industry?

Lots of free tickets, but then, if I have a full-time job and I don’t support bands, I’m not really supporting the industry, am I? Also, wearing whatever you want is fun. Means that when I wake up and put on the nearest item of clothing that is probably dirty, I’m not going to get told off.

Any advice to anyone else wanting to be a booker?

Be prepared to work long hours and deal with pissed off bands when you don’t give them what they want. Develop a tough skin but make sure your people skills don’t suffer. And volunteer. Lots.

Most musicians work in retail or in bars to fund their passion. Is it weird that you get to work in the industry for you day job?

It’s so weird! Makes the years of watching old women try on bras and getting yelled at for not making a coffee within 30 seconds seem worthwhile.

What else do you do in the music industry (maybe plug your bands here if you’d like)?

I play in and manage The Orphanage. It’s hard work and I don’t get paid for that at all, but the buzz you get from playing live shows is amazing. Been recording an album which was meant to come out this year but that’s not happening till next year now.

What do you like and dislike about the Melbourne scene?

I like the diversity of the Melbourne scene. My hometown has nothing like it. The sheer amount of venues with good shows on every night means that you could never be bored. The history of the industry's development is so rich. I guess the only bad thing about a scene like this is that it also breeds complacent bands. But there are too many amazing and hardworking bands to really get flustered by them.

Any embarrassing tales about your job as a booker that you’d like to share with Paper-Deer?

I’m sure there are, but I’ve only been here for a few months and haven’t screwed up too badly. Lately my only jokes are True Blood related, and they’re not funny unless you’re there. I won’t bore you anymore.

LINKS:

• The Evelyn Hotel homepage 
• The Curtain Bandroom homepage 
• The Orphanage MySpace (Tiana's band) 
• Shiny Entertainment homepage

* Please don't actually stalk Tiana. That would probably get you banned for life, as well as a nice little holiday in the penal system.