How Creative Hobbies Can Better Your Mental Health Regardless of Your Age

September 7, 2018 By Julie Morris Leave a Comment

Written by: Julie Morris

Life comes at us fast. Between work, family, and friends, it’s easy to get caught up and quickly overwhelmed. But spending time for yourself can be incredibly beneficial. Hobbies are not only a great way to pass the time, but they are necessary for maintaining your mental health.

Invest in Yourself

Sometimes you need to take a step back from life and do something that you enjoy. A good hobby can become a powerful tool in helping you cope with stress and unwind. As you continue your pursuit, it can lead to learning a unique skill. It can also be a gateway into opening new social connections and increase your confidence.

This is why it is common for those suffering from depression or recovering from addiction to be recommended they take up a hobby. Often hobbies provide a sense of structure in their lives and give a sense of purpose. It is a great way for them to feel like they have control over their lives.

Sketch it Out

Drawing can be an incredibly soothing outlet. For many, it becomes a form of self-expression and a way to unload thoughts that might otherwise be too difficult to form into words. Not to mention, drawing is known to improve motor skills and creative problem solving.

If you are new to drawing, be patient, especially if what is in your head is not translating to the page. Art takes time to master properly. Try taking a class to boost your skills or turn online. There are numerous resources from step by step tutorials to videos that teach you the basic techniques. However, one of the best things about art is that there is no wrong way to do it.

Feel the Beat

Contrary to popular belief, it is never too late to pick up an instrument. In fact, adults may have the advantage over children. They are able to quickly grasp more abstract concepts and are self-motivated to learn.

Setting time aside each day to practice can feel like a large commitment, but it is one that is well worth it. The sense of accomplishment you will feel from finally mastering a song is unrivaled. Not to mention, playing music is great way to sharpen your memory and enhance cognitive thinking. Whether you are picking up an instrument for the first time or renewing a childhood hobby, you can still reap the same benefits music provides to the brain from just a few months of practice according to National Geographic.

Turn Inward

Poetry is a great way to loosen and unload your thoughts. It is an amazing form of expression that forces you to become more introspective, which can help heal emotional pain through reflection.

Do not be intimidated by poetry. There is no wrong way to write it. If you want to stick to highly structured poems, you can. If you prefer more freeform and less rules, you can do that too. Creative Writing Now is great resource to help you get started.

Turn Up the Heat

Some of the best hobbies are the ones we share with others. Cooking is a great way to incorporate your friends. You can cook up a delicious meal for them or invite them into the kitchen with you to cook together. This is an excellent opportunity for you to bond and grow closer.

Sharing a meal you’ve made can be immensely satisfying. Cooking your own meals is also a great way for you to eat healthier and save some money, according to the Chicago Tribune. Teaching yourself to shop and prepare your own food will reduce the amount of processed and unhealthy foods you eat.

Protect Your Time

While hobbies are amazing to share with your friends and family, keep in mind that a great hobby is one that you do solely for yourself. You do not want to feel any pressure to satisfy someone else when you sit down to do your hobby. This is why it is so important that you pick something that you’ll love.

Photo courtesy of Unsplash.

Gipsy Moon – FMP 003

May 2, 2018 By Michael Morahan Leave a Comment

The Freio Music Podcast

Episode 03 - Gipsy Moon

Overview

Description

Listen in to this intimate backstage interview with Gipsy Moon. You will hear from the band gems and jokes along the way. This extremely talented band is led by mandolin player Silas Herman on mandolin and Makenzie Page on guitar and vocals with Matt Cantor on the bass and Andrew Connley on the cello for extra flavor. Some band members have been on stage since they were children, even before they could play an instrument while others didn't take the stage until becoming an adult. During this episode, you will hear a hilarious first concert story that is just epic! This band and its members are young and their talent will shine for years to come. Enjoy this episode of the Freio Music Podcast with Gipsy Moon!

Gipsy Moon Links:

Facebook.com/GipsyMoonBand

Instagram.com/GipsyMoonBand

GipsyMoonBand.com

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Full Transcription & Show Notes

Hello, my name is Silas Herman and I play the mandolin for Gipsy Moon. My name is Matt [Cantor] and I play the bass. My name is Makenzie Page I sing, play the guitar and tenor banjo. I am Andrew Connley.

Where did you guys meet and how did you decide what instruments were going to be in the band?

Silas - Well we have been through a lot. The arrangement of the band now is a little different than it first began. We started a band about two years ago, and we started with a different band member then. We have been through a couple of things But this current arrangement is what has felt the most natural and right. As far as choosing the instruments we all have our own musical background, so we have brought them together to turn it into something

Matt - I think the most interesting thing… well, it's all fairly standard. Except for the tenor banjo, it is a little different. I think the cello is probably the [instrument] that catches people’s attention the most, as being kind of different. So I guess we could have Andrew answer why he decided to play the cello.

Andrew - Alright. Before that though I met these guys at RockyGrass, the best festival in the world man, that festival changed my life. I met Silas, and Makenzie up there and then Matt later. I used to play mandolin, and the mandolin is just a fuckin awesome instrument. There are a lot of incredible Mandolin players out there, like Silas, he is fuckin incredible dude. It takes a lot of dedication to push yourself outside that pack. Crooked Still I was influenced by them in a way. Someone introduced me to them. That pretty much changed the game. I was like oh, wow… You can actually do that with that instrument, that’s a cool possibility. It is basically a big fiddle. For violins or fiddles, the opposite equivalent for that, the more for informal variation. For cello, there really isn’t a word for that. There is no reason why that is. I saw a lot of mandolin players. There were not a lot of cello players that were pushing outside of that box. So it seemed like a really good play for life to focus on that.

So were you guys exposed to music from a young age? Or what inspired you to pursue being a musician.

Silas - I definitely grew up around a lot of music. My dad actually played in a band, Leftover Salmon, for over 25 years now. So he was on the road a lot of the time when I was growing up. So I was always surrounded by acoustic sort of bluegrass music of that influence. So I really just got into it and got a lot of it in my head. When I was around 12 or 13 years old I started taking it seriously. I started with the guitar and transferred over to the mandolin, which I am mostly playing now.

Did your dad teach you to play the guitar?

He taught me a fair bit to begin with, definitely. But then I tried to go outside of that musical genre to get my own sort of sound.

Makenzie - I did not grow up playing music. I found music when I was older. Ya, I just started with a friend who played. I would borrow his guitar and sing and play with him. I just surrounded myself with people who were really awesome at it [music] and learned.

Andrew - Um, I played a little drums and a little guitar growing up. It wasn’t until, you know, early teen years so that actually happened with the Mandolin when I was 16. My family wasn't really into it but now they are. Rocky Grass, that festival, got everyone in my family playing music in some way. My dad was a big record collector though. He had like 15,000 records when he died. He would be really happy to know that that is being carried on a little bit. He was a big fan.

Andrew - Ya, I played in the school orchestra on the bass for a long time. It was fun but I was never really serious about it until I graduated from high school. Then one day my friend was like “hey do you want to play bass for us at the mall?” I took my grandfather’s bass which I had had for a while but I had never ever played it because I would never practice. I would basically just go to school and play and have fun but I never took it seriously at all. I ended up getting blood blisters from playing at the mall for an hour. It was just an interesting experience because I never realized that people could pay you for playing music. We played at the mall and we each got $20 bucks and was like “woh, this is crazy!”. I just had so much fun and made money! So I basically started, and just did that a bunch like every day, and started making money. That is how I started doing it.

Was your grandfather's bass a stand-up?

Andrew - Ya it is the one I play. My grandfather played music in new york. He played Jazz for like 80 years so it has some history there.

You guys have a unique sound. You have come together with different backgrounds. Are there any genres or artists in particular that have inspired you to pursue the music you create today.

Silas - I feel like just being in Colorado, in general, you are sort of in a Mecca of a lot of amazing musicians and a lot of inspiration. A lot of young bands and bands that are more progressed. We have a lot of friends that have been through a lot of the same cycle of growing as a band. So we have seen that there is hope in the future and have just had a lot of inspiration from a lot of different people in that way, definitely.

Andrew- I am mostly inspired by older music. Old 50’s is what I primarily listen to at my house. That and funk, which is kind of interesting. That was kinda my parents' music. So I grew up with things, not necessarily a lot of disco funk, 80’s and late 70’s funk. Like Rick James and stuff. It is kinda a weird combination. I just ended getting really into Django Reinhardt. From that I have been listening to only really old music and funk. I like traditional Gypsy music too.

Makenzie - Ya I like old music too. My favorite right now is Edith Piaf. I can't stop listening to her.

Andrew - For me, musically, a lot of fiddle players. Though when I listen, it is kinda whatever my mood is into. It could be anywhere… From Bach, to Naughty by Nature to NOFX. Or bluegrass. Or old-time music. A lot of old-time music. So it is across the board it is more about what I am feeling at the time. They just help keep you going and influence you.

How are you able to highlight the individuality of a particular instrument, while at the same time maintaining a cohesive sound.

Makenzie - I think something that has really helped us is that we are really open-minded, as a band. Someone will bring a song and maybe it is totally... an entirely a different direction than we are trying to go. We just do it anyways. We are not trying to put ourselves in this whole genre, where we play this one specific music so we must stick to it. It is like hey let’s try that, now let's go this way. Lately, we have been trying to combine songs. Where one genre and a totally different genre that are just smashed next to each other. It’s really fun. If we do this dark eyes song, which is really gypsy, into this other song which is Calypso. We take traditional songs and totally do spins on them. We go from a Latin vibe into a Celtic tune. So I think that is something that we have been really digging lately.

Andrew - So were you referring to separation and how we set each other up for solos?

Ya.

Trying to be aware of your ranges and try to not step on each other's parts as much as possible. Actually going from a five-piece band to a four-piece band has made that way easier in a way. I mean we had some good people we played with. Especially with cello, it is always trying to figure out where my part fits, like in a puzzle. Try to not muddy up the bass or the guitar, or tenor, or vocals. It is a delicate range. It is always really case by case. It is not really one formula but there are definitely patterns.

Silas - We recorded our last album at silo sound (in Denver) and had Tim Carbone, of RailRoad Earth, produce it. We have made a couple of other recordings with some friends in the mountains. Our first record we did with Dave and Enion Tiller from the band Taarka, at their house in Lyons, which unfortunately got destroyed in the flood.

How do you go about creating a song?

Makenzie - Every song is definitely different. Like it is its own little being. Lately what we have been doing is someone will come up with a basis of it and bring it to someone else. Like hey here is this. Usually, two people will come together. We have been doing a lot of collaborating like Matt, or Andrew or Silas will bring me something and be like I have this idea and it is these certain parts, write some words for it. It's really fun, it’s freeing. It is really helpful to widen your personal perspective on music, because you are working off of something that someone else wrote. So it is a nice broadening of your own ideas.

Andrew - I think it is case by case when it comes to where ideas come from. A lot of times I will have a bass melody and have some chords. Just trying to pass it on. Here try this out. Can you improve it? A lot of tunes have happened that way. Sometimes it is more specific. A lot of times I will want to hear tunes… Well, there are definitely arranged parts in them. It takes some working through to figure out what works for instrumentation. And to figure out if it is a good idea or bad idea. It is a lot of trial and error of just testing out stuff between us.

Do you have any future songs or albums in the works that are going to be released?

Makenzie - Ya we are going to be releasing an album this spring, so ya. In March. We recorded Silo Sound Studio with Tim Carbone. It was Kickstarter funded so we appreciate to all of those people who helped out. It has been a really fun album. A Lot of in-studio kinda stuff. We just got the masters yesterday so we were listening to them. It is definitely a more produced album. It has been really fun to be like “Let’s add this here” and “let's do these crazy harmonies there”. Usually, we are a one take and that's what you get. Last week we went up to this studio, called Mountain Star Studio, it is up in Rollinsville, kinda close to our house. They record straight to tape. So it was fun to do the exact opposite because they record to tape. So literally only one take and that's what you get. So that was really fun. So we did two tracks there that we will probably release at some point. It was an 8 track tape. It was literally straight to tape and then they turn it into digital after. Ya so in the Spring look out for that. It is called Sticks and Stones

So you guys have a management company and a manager. How is it working with a manager and what are the benefits? Are they enabling you to focus on your music while they worry about the scheduling and booking?

Makenzie - It is awesome. We don’t have to worry about that kind of stuff. Because that is half of the battle, when you are becoming a musician, is the business side of it. When you are an artist you don't want to have to think about that stuff.

Silas - It is also hard to promote yourself self righteously. Like saying “hey this is my band and we are so great, you should hire us.” Having a separate party to do that for you is very helpful.

These [next] questions are more individual.

Were there any particular artists that inspired you to pursue the mandolin?

Silas - I started out by playing the guitar. I had a musical upbringing. Then I really drove away from bluegrass I was brought up around. I got into electric guitar. It sort of started out there. Then transitioned back over to acoustic guitar and now mandolin which I am playing now. Some of my bigger influences have been Adam Steffey and Chris Keely. Some of those guys who are just great bluegrass players. I would like to sort of expand past that genre with my own playing too. So take influences from all sorts of things like Jazz.

How do you push yourself to that next level?

Silas - Oh man, just practice. It’s constantly a battle. It's constantly a cycle of getting beat down and then being re-inspired to do even better.

Matt, your bass playing adds a lively bounce and rhythm to the music. You guys don't have percussion and it seems like in a way you fill that rhythmic section. How do you as a bass player elevate yourself to that next level, how do you improve? Was there anyone who guided you along the way? Maybe your grandpa?

Matt - Well, unfortunately, my dad is really old and my grandfather was very old. I honestly started playing music right as my grandfather died. Which sucks because I play a lot of swing which is the stuff that he played. I would say the biggest influences on bass have been Chris Wood, Jimmy Blanton, Gareth Sayers.

Matt - What did you ask again?

(Other band members’ laughter)

Matt - Ok, Ok, I am really hungry. I can't think. I like the first part of the question that you asked. Because I had a realization last week when we were playing. There was this band before us that was really good. Their rhythm was really tight actually but they didn't have a bass player. And they are a string band. It made me realize how much rhythm the bass adds in this certain sense. It was really all there. Their rhythm was really good but because they never have that bass to be like “this is where the beat is”. It just kinda never really moved people, I noticed. I think it moved them, but didn't push them to move. Where it really hits them…

I like watching interviews with really old bass players because they always have really amazing things to say and it is really funny. I was watching this interview with Milt Hinton, who is the most recorded Jazz musician ever. He is on like 9,000 recordings. Now, he is this like 90-year-old guy. He is playing some bass line. I like to play it like this. I like to people to know, this is where the beat is. And that is what I am trying to do lately. Like this is where it is. Be more definite on the rhythm.

Well, Makenzie, I don't know how long ago you started playing vocals, so I would be interested to know that first of all. Your vocals seem to drive some of the songs and lead the direction for everyone else. You all make great space for each other but how did you become such a strong vocalist and so quickly and was there anyone who guided you along your path?

Makenzie - Oh man, you never really think about this kinda stuff with yourself because you are always looking forward. Well, I loved singing Disney songs as a kid. Well, I still do. Ha! I still sing Disney songs. Singing has always been in my life but I didn't play an instrument until I was 18. So I was a little older when I picked up an instrument and had any form training. So singing has always been in my life but I just wasn't really out there with it. It was a hidden, very personal thing to me. So that was something. Coming out of that shell and connecting with the people in the audience. The voice is such a connection that we have to other people. That is something I really love about singing. That is something I really aim for. Trying to have that conversation with the crowd, as if you are in the room with one other person. You kind of take them than somewhere else with that. It is really this very personal thing that you kind of have to give your all to. It is really hard to do that. I think that's why I didn't start playing music until I was older because to me it was such a personal thing. So I guess that is what I aim for and what I look for in my own vocals when I am listening back. Could you understand what I was saying? Did it sound like I am speaking or connecting? It is really just about connection to me. You get a lot of that from old folk singers like Joan Baez. The ones who really sat down and told you a story. I just love that old stuff. I am really into Edith Piaf. Even though it is in French, she has a lot of English stuff too, but she has this old sound to her voice. I think it is so timeless. I am just really digging that right now.

[Andrew] you told me that you recently got a strap. Does that change the way you are playing? Does it enable you to run around onstage as opposed to being locked into one corner? [Also]

It just seems that your cello adds a depth to the music. The melodies that you choose to play seem to create a different direction or depth. Can you speak to the way you play and anyone who has influenced you along the way?

Andrew - So ya. First, the strap is kinda new. It’s way fun. It is called a ‘Block Strap’. So shout out to Mike Block. He is an inspirational cello player to me. He invented the strap system. It lines up really nice. It feels natural. You get it in this spot and it is just like you are sitting down but it follows you around like a baby strapped to your chest. It [takes] a little bit of adjusting. If it is not set up just perfect some stretches are a bit hard to get but if you get it set up right, no problem at all. So maybe it adds a little difficulty but it is twice the fun. So it is a good tradeoff, I think.

Andrew - As far as cello adding depth, it definitely does. It is kinda that midrange that you don't really hear in sting band setups very often. Which makes it kinda difficult to find the part sometimes, because you don't want to step on someone else. Ya, it is like an extra dimension. Now that I am so used to it. When I go back and listen to a bunch of string bands now I feel like it is lacking something. But that is just me personally.

Andrew - But as far as influences… Crooked Still, a great band. They are still playing a little bit. Rushad Eggleston, is one of the players Tristan Clarridge are both fantastic players. Natalie Haas. It is really a small club of non-traditional cello players but I really appreciate what they are doing.

Can you talk about your first live performance, any fears that you experienced and how you overcame that?

Silas - Ya I fall into a pretty unique realm, with my dad being a musician. He would bring me up on stage when I was extremely young before I could even play an instrument. He would just leave it up there plugged in. So I could just go up there and stand there with the instrument. Not making any sound out anything. I think it helped me feel natural on stage and get past that whole thing before I even got into music. So once I did, there wasn't a whole lot to overcome. I will say that whole fear factor thing definitely, in some ways makes you play better though. Knowing that really amazing musicians are there and you look up to a lot will definitely make you play better and push you.

Matt - I had a funny first… Besides playing in school concerts and stuff, I am not going to count that. My first personal music concert. I remember I was playing electric guitar. I was super excited. I think it was a talent contest at my school. I was so excited to play. I was so pumped. We were playing one song. It was the classic thing where the curtain comes up. I think there were three electric guitars and a bass. It was probably really shitty. My amp, it just didn't work! It just didn't work! Honestly… Seriously, as the curtain went down and we finished the song, my amp… Baaa the amp turned on. I just remember I was so furious! I could not even talk to anyone. I just remember my mom saying “don’t worry, you will always remember that your first concert was… the worst. It will be a good story”. I am finally getting to tell it, I am glad.

Makenzie - Oh, man I don't think I have a good first concert story. Mine was at one of those farmer markets, down in my town. It was just me and this girl playing music together.

Were you nervous?

Oh, god. I get nervous now. Even still.

How do you overcome it?

Makenzie - Well… (Alcohol, muttered from the background). Haha, you cant tell the children that! But really that is one way. I do have a drink before I go on stage. I don't know, I guess I just try to forget about it. Practicing! We practice before we play and every time we do that we are tighter and feel better. That is something especially with acoustic instruments, when you plug them in, the whole world is different. If you can play a few songs, acoustic, and remember that that's how it sounds, and it sounds great! When you get up there it can sound all crazy. You hear something different than the crowd is hearing. And then you just reassure yourself that it's all good. Warming up for sure. That's half the battle is getting up there and doing it! It's awesome when you do, and when you let loose!

Andrew - Wow, Devotchka is awesome. Just for the listeners, we are listening to them soundcheck right now and they are amazing. Ya, my first time on stage… The first band I played with was a traditional bluegrass string band. I played Mandolin. The first time I met them, it was a Jam at a festival and they pulled me on stage that night too. It was cool because it was just a bunch of hippies. A bunch of young hippies. I was like ooh, wow. I can play bluegrass to young hippies and they are going to love it.

This is along the same lines as the previous question, and you may have already answered this. Do you have any interesting, strange, or odd pre-performance rituals?

Makenzie - I like to stretch sometimes. That helps me feel better. Definitely, as a girl, I just like getting ready. It makes me feel better when I leave the house and I have done something slightly with my hair and it is not like I just rolled out of the bed. Although on tour it gets hard because eventually, I do just roll out of the bus to go play a show. Just having a moment to myself is one thing I like. I really like to collect myself, no matter what has happened that day. Then when you go in front of the audience, you really have the responsibility to them to give them your energy. If your energy is all crazy and out there it is nice to do some breathing exercises before going on.

Matt - Probably the one weird thing I like… I don't always do it but sometimes I do. it is a little trick I learned from Jaco Pastorius. Supposedly every show he would have a bucket of fried chicken backstage. You just eat some before you play and it gets all over your fingers. It feels really nice on the bass… I don’t think it would work for a mandolin because you are holding a pick. But because you are just using your fingers it gets on the bass strings. It is almost like a lubrication. A bass lubrication system. A B.L.S., that is what a bucket of chicken is.

Silas - I mostly have a bunch of certain picking exercises I do to warm up, just to get the fingers moving and wrists lose. That's about it. Smoke a lot of pot. Ya, scales. Also a lot of picking technique, just the right hand, to loosen up.

Do you have any advice for a band starting out today? Would you encourage a band starting today to get a manager? Or is it practice, again and again? What advice would you give?

Silas - I feel that in the end, it is the music that prevails. There are a lot of bands that do make it through social media but the best ones that have a sustaining audience I feel like have solid music and a unique thing. So I would say just finding yourself and your own sound and exploring that as much as possible before you even get into the business side. Becoming as passionate about music for your own reasons.

Matt- I would say I have two pieces of advice. First play as much as you can. Find some buddies and just get weird with it. I mean that is how I started. Jamming for hours with our eyes closed. That is how I found myself. But I think this band is a little more refined, which is good. I think you need to go through that first stage though. Secondly, if you want to be a touring musician, make sure that you don't really hate being in cars. Honestly, that's one of the things I didn't realize that like 60% driving. Everything is work but if you are not the type of person that doesn't want to be in the car a lot it is probably not going to work out. At least a touring musician. You could be a studio musician I suppose.

Makenzie - It is so interesting to be asked that because I still feel like we are such a beginner band too. But you always feel that way with your own growth. You always kinda feel like you are only just getting it now. My advice is to not worry about it and just play. Play out as much as you can and the management thing is nice. We call him “Mom” because he takes care of everything. So it allows you to just focus on the music and not have to worry. I mean the times we have to worry about getting people to a show and all this. It gives you so much weird anxiety. To not have to worry about that stuff is awesome. Ya, about the car thing… You spend… That's the thing with finding people to play with too. I mean you spend a lot of time with each other in a very small space. I have definitely learned more than I have ever learned, just being in a band, and not just about music. It's been awesome. I recommend it.

Andrew - ya, music is fun. I would tell you that the first thing is work on your music. Try not to suck as much as possible. Try to be unique too though. A lot of bands will get in the cycle of trying to imitate their heroes. Which is nice for learning. But if you are making an act you can't really do that. Well, you can but it is hard to say how far that will go. Sometimes it does, you never know. Having a good singer too. Tim Carbone said to us… a few steps to success is to have good songs, a good singer, and there was something else too. But that was probably the most important thing. Oh ya, and be really fuckin lucky. Ya having a manager too. We got lucky that we had management and representation early on. Well, we first started with our buddy Kiam. It was his first time managing a band and then we got Ryan in there and it was his first time doing it too. So I recommend...

Makenzie - Find a friend who really gets along and who is business oriented and minded.

Andrew - Ya, If you have a friend who is really O.C.D., can write lists, and type emails, and wants to party a lot, he is the man. Just be like hey dude, do you have much going on? Do you want a side hobby for a little while? Make a few bucks and then eventually you will make a lot more. So ya, if you have a friend, get him involved. Get him to manage for you. I love our manager!

Where can our listeners keep up with your tour schedule and your latest releases and learn more about Gipsy Moon.

Makenzie - Facebook is honestly the best. Facebook and Instagram. Facebook.com/GipsyMoonBand Instagram.com/GipsyMoonBand on each of those. Also our website. We keep that updated. GipsyMoonBand.com So, ya those are the best places. Facebook you will kinda get a more personal view of us whereas the website is a little bit more formal.

Well, thank you Gipsy Moon, for sharing your knowledge and sharing your time. I am really excited to publish this and thank you again for your time.

Thank you, we really appreciate it.

Other Podcast Episodes

FMP 07 – Diggin Dirt

FMP 05 – Sunsquabi’s Kevin Donohue

Willdabeast – FMP 004

ProJect Aspect – FMP 002

April 1, 2018 By Michael Leave a Comment

The Freio Music Podcast

Episode 02 - ProJect Aspect

Overview

Description

This Episode's Featured artist is ProJect Aspect AKA Jay Jaramillo, a high-energy electronic producer, and guitarist from Colorado. ProJect Aspect is a collaborator and an instrumentalist. He reveals how he is able to play live instruments on stage leveraging the power of multiple computers to produce complex and high energy sets with a full band. Jay reveals how he is able to tame the complexity of playing with several musicians with several computers live on stage while leaving room for spontaneity and unique events. The same song will never sound the same and he decodes the mystery behind it all. He discusses how he was able to get started and how is unorthodox education helped him become the creative powerhouse that he is today. Stay tuned!

ProJect Aspect's Links:

Listen to ProJect Aspect Music

Listen to Unlimited Aspect

Facebook

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Mile High Sound Movement

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Full Transcription & Show Notes

Start out by introducing yourself

Thanks for having me, man. It is good to see you. My name is Jay Jaramillo, I go by Project Aspect. I am twenty-nine years old and started playing guitar when I was about ten years old. My dad gave me a guitar with a built-in amplifier on it. Previous to that I had never thought about being a musician or even playing music. He kinda shoved me in that direction and the rest is kinda history. I just kinda picked it up and played by ear. I started joining bands and putting together my own bands. I made t-shirts when I was like 10 years old. That kinda progressed and snowballed into producing music, which is what I got into at the end of HighSchool. After high school, I took it to the next level. Me and my friend, Zach Karuza, aka Kruza Kid, one of my best friends, we went to high school together. We started the mile-high-sound movement which is a collective of artists and promotional record label that we have kind of like grown into what it is today. It is becoming bigger and better. It is developing into what we want it to be. Instead of throwing together random shows, we put time into it and we curate events. We make sure that our friends have a chance to vend their jewelry and their merchandise. We like to bring everything to the table, as much as we can.

A full-service event.

Ya, for sure. So that has kinda been the focus for a while, other than pursuing trying to be a full time touring musician. So that is where we are at now.

Now tell me your vision a little bit more with Mile High Sound Movement… How many artists are involved currently and where do you see it going in the future?

Our roster right now includes about eight artists that we are fully committed to. But it is always open for interpretation. If you are in the Colorado Music scene, don't hesitate to reach out. We are always open. It is an open invitation. We are always down to expand the family. The vision at first was to just kina help hungry musicians who had a product that they are passionate about. Give them a chance to showcase that on a bigger level rather than a local cafe show. When me and my friend Zach were starting out we had so much trouble getting shows. It was such a struggle and we really didn't have that much help. We were doing a lot of show at Herman’s Hideaway on south Broadway because we had a hip-hop band at that point. We wanted to bring something together that helped people. [Like us] when we were in that situation that we wished we had. We just want to put people on, and get people in front of crowds and enable them to do their thing.

Kinda help them get to the next level.

Exactly. It has transformed into a record label which has always been the vision. For about a year now it has been an official record label. So we are really excited about that. We want to keep that going and make it as big as possible.

Clearly, it sounds you are sharing what you have learned along your path with the next generation, or at least with your friends and the artists around you. So you have mentioned your dad already who was an influence on you early musically. Are there any other artists that kind of helped you on the path?

Not really, man. Just kinda my peers and the people who I went to school with and started these early bands with. Other than that, I was just heavily influenced by Punk Rock and Classic Rock. My dad raised me on Classic Rock. I eventually got into alternative music and punk rock. That was a major influence to me and molded me in the early years. I did a lot of power chords on the guitar. But it was all self-taught. I just kinda played by ear.

Picking up tabs online?

Ya, Picking up tabs online. Honestly, I can just listen to something and replicate it by ear. Obviously, I wish I had a little more classical training. This way it is fun. I like to let my mind do the work for me. Do the work for my hands. And just freestyle. That played a huge role in the beginning too. Then When I started producing music I just took that knowledge and put it into arranging and making sections of a sound.

Can you remember your first musical memory as far as performing? So not just hearing a song but the first time you either jumped up on the table in front of your family and started singing or the first time you played for your school...

One memory sticks out vividly. I played at this coffee shop and it was just an acoustic performance with me singing. I was probably 11 or 12 years old or something. I told my whole family and all of my friends. My whole family came out and we packed out this cafe. It was just this little coffee shop. I did a couple covers but it was mostly original. I have always just written music and performed it. But I remember covering a Staind song. Remember that song ‘Outside’? [singing] “I'm on the outside. I'm looking in”. I played that song and a bunch of other songs. That was just the beginning. That was the first musical memory. It was pretty well received but I was just a kid. That was the very first time I had showcased what I was working on. It was gratifying. It was tight.

That's awesome. It is also… I think very telling, that you had a family their that really packed the venue. You had a sold-out crowd on the first show.

Right. Ya, my family has always been a huge support. Huge support. My mom, my dad, my brother, my siblings. Everyone has had my back from day one and believes in my dream. It really helps me and influences me to keep going.

So guitar was your first instrument? Is that correct?

Correct.

What about artist have influenced you by ear or meeting them in person, touring. I know you are very active in the music scene, and you get exposure to lots of different artists.

Like I said I was really into punk-rock back in the day. We were talking earlier about my Offspring remix. Offspring was big early… Just kina listening music influence for me. I liked Blink 182 a lot. Blink 182 was the first concert that I went to that I vividly remember. Apparently, I was at Michael Jackson when I was a year old… but yeah seeing Blink 182 when I was around 10 years old, just after I started playing the guitar. Bad Religion opened for them. A lot of people back then thought that that was kind of strange because Bad Religion was a huge Punk-Rock band and Blink-182 surpassed them playing pop-punk music. That was a sweet experience. I really didn't start being inspired until, by music, until I started joining bands in high school. My peers were huge influences for me. I had a band called “Street Light Symphony”. It was an Emo band. The members in that band were a huge influence for me. But I ended up going to a show at Red Rocks in 2005. That was what really opened my eyes to a whole new world of music.

What show was that?

That was 'Big Summer Classic' a two-dayay event. String Cheese Incident headlined both nights. They had a stacked lineup, both nights with Umphrey's McGee, Keller Williams, Michael Franti and Spearhead, Yonder Mountain String Band. That two day event was a major turning point for me. I went from liking alternative music, hip-hop, and rap music to this hippy jam-band happy go lucky scene that I had never imagined participating in but it opened my eyes. It turned my brain around and made me want to explore that more.

Great. So we were talking earlier, and I found it interesting, somehow it came up in conversation that you went to an atypical school and it really impacted your life or trajectory. If you could go into that a little bit and talk about why the change of school was such an impactful event for you. And how old were you roughly or what grade?

So, I left traditional school in 6th grade… Actually ya I think it was 6th grade. It was the transition from 5th to 6th grade. I was going to Green Mountain Elementary School. I had transferred over to Jefferson County Open School, which is an alternative school in Lakewood Colorado, that my sister had been going to because she was a “Problem Child”. These schools were meant for kids who weren't excelling in traditional schools. It kind of helped them find more meaning in their life and pave their road for the future. Which was huge for me. This school, they made you create your own curriculum. So you did six passages; Adventure, Global Awareness, Creativity and so on and so forth. Each one was a different challenge for you to research and make a paper and do hands on work. For instance, my creativity passage was making an album.

That’s Awesome

My plan was to make a full album and I only got to three tracks. Just doing multi-track recording. It was a huge learning experience for me because I learned that recording doesn't come easy. You can't just knock something out, just like that. It takes time. It takes so much time. Yeah, it takes so much time. It really opened my eyes to what the world of music had in front of me for the rest of my life. For my adventure passage, I became a vegetarian, for two months. I learned a lot about the facts about meat and healthy living. And how it made me feel. I got a little irritable.

With meat or without it?

Without it. I made me kind of learn that I do like meat. I like it in my life but I am still open to trying it out…

That’s great that you are open-minded enough to totally radically change your diet.

Ya, it was a great experience for me.

And that was part of your school! That is so interesting... Coming from a western mind, an American Mind, thinking about diet in school is very far down the list of topics.

The school was more so getting you ready for the life ahead of you rather than more school if that makes sense. Instead of molding you to get ready for college. They mold you to get ready for the rest of your life. And it changed my life. It made me realize I wanted to be a musician for the rest of my life. If it wasn't for that school and my advisor Daina, I wouldn't be the man I am today. So I am thankful every day that I made that transition.

That is great! Out of curiosity, do you think that this school is great for everybody or is this kinda a creative outlier school that's...

I think the school is good for anyone who applies themself and really uses their tools to take on what you want to do. I think if you are really passionate about something. I think that if you want to get out of the traditional learning situation and focus on your life, I think that’s a good move.

Ok, moving on from that. You collaborate frequently. There are many different vocalists on your tracks. You mentioned Kruza Kid [earlier]. Tell me about collaboration why you choose to do it and if it is important to you, why?

I think the most fun thing about collaborating is that you are not limited to your own ideas. So when I collaborate with someone, it’s fun because you can take a pallet that someone else laid out and manipulate it. You kinda already have something to work with. When you are doing something by yourself you have to start from scratch. It's all you. You are kinda limited to that. When you are working with someone else it sparks off so many more light bulbs. It makes you… It brings more influence to the table. For instance, when I collaborate for Unlimited Gravity, we feed off each other. We bounce back and forth. We do what we call the “Hot Seat”, and that's when we are in the mode, and one of us is going to be producing and the other one will be kinda chillin in the background. When we are the one producing we call it the “hot seat”. We just go until we feel that we did something substantial then we switch it out. You know, we eventually we come up with this orchestration of sound that we would have never been able to accomplish on our own. That's the beautiful thing about collaboration, is that you can use both minds to create something bigger.

That’s great! You said a lot of awesome points that I hope young musicians hear and really take to heart. As you said, when you are working with yourself, you are limited to yourself. And you've got to recognize that you everyone is finite and we are all limited. I love the “hot seat” idea. Both the fact that when you are feeling the flow you have got to be in the driver’s seat, in the control center, in the cockpit, or behind the mixer, but at the same time you have got to yield way to the other, for their turn in the hot seat and kinda sit back and listen.

Yah

Sometimes you have got to let… I assume you guys are working with loops and you have got to let the sound kind of soak in.

Exactly

And eventually, maybe an idea comes out. From not the hot seat but the dude chillin in the back who has been there with his eyes closed.

Exactly. There are two important roles for sure. It’s fun to sit back and listen to what you have been working on and listen to what they are working on.

Truth. Because one person is actively trying to slay the dragon and the other person is just kinda being more passive and being more reflective.

Yah. I like that. I like that. Yah, that is definitely the approach for sure.

But I think it actually takes a lot of discipline to sit back and let someone else do some work.

That's true too. But you would be surprised at how anxious we can get too.

Yah, sometimes you have to speak up.

Haha, sometimes we are like you've got to let me in there [the hot seat], I've got this idea. Like I said collaboration is like another level of creation.

Tell me about your album.

I am working on a full-length concept album called “Sync About It”. This is kind of my baby right now. This is what I have been working towards and putting all my energy towards right now. Did you want to talk about “all we dream”?

No, let’s talk about your new album.

So this new album is called “Sync About It”. It is a full-length concept album which means that it flows from beginning to end and there are no breaks in the tacks.

So it is meant to be listened to in order?

Correct. So it is just one long story. I have always wanted to create something like this ever since I was a kid listening to Pink Floyd albums and stuff. So this is a really important project for me. This is actually breaking me outside of my comfort zone. When I was a kid and I was in and out of bands playing guitar and singing, I did a lot of singing and I did a lot of writing. I wanted to get back to that. I am not the greatest singer in the world but I like to sing. I did a little singing on this album and I did a lot of guitar work. I wanted it to be something that lasts forever. The Idea behind this is to make something that has substance and holds true for generations to come. I just want something that’s going to stick around. That people will be listening for a long time.

Are you collaborating with other artists on this album?

Ah, I do have Kruza Kid featured on a track.

Is it fair to say that this album is, in a way, a different path than your others in the sense that you are getting back to your singing and writing?

In a way, yes, but it also stays pretty true to the traditional Project Aspect sound. I don't want to do something completely different that it is unrecognizable. I just want to expand on what I have already got. So it is more complex I would say. It just has more substance to it. I want to branch out my sound. I don't want to limit myself to just making dubstep, or bass music, or electronic music. I want it to be real music that anyone could listen to. So I would like to head in that direction. But I'll never stop making heavy bass music because I love playing that at shows. It is always be something that is important to me. So I just wanted to branch out on this album and kinda create something that has a lot to it and I would like to reach different demographics.

So it is going to be a wide-ranging album?

Yah, definitely, There are going to be some rock-n-roll inspired tracks in there. And I do a lot of intricate guitar soloing and harmonizing my guitar. You will find some hip-hop sounding tracks like the one that Kruza Kid is featured on. There are ones that follow the traditional Project Aspect sound that I have always stapled into my music. I am always going to love to make the glitch-hop kind of grimy bass music. So there will always be parts of that scattered throughout the whole record. I am excited for it man. This is something that I have been working on for almost two years. I haven't released a full-length album since 2016. So this is a big one for me and I hope it breaks some barriers.

Ya, I believe it will. I'm excited to hear it and we are all going to have to stay tuned. Where will the new album be released, just for our listeners? Where can they find it when it comes out?

You know we are still in the early stages of it. I have a lot of promo work that I am trying to work on. But I am shooting for the end of spring.

Ok. When it comes out… ProjectAspectMusic.com?

We are also working on launching the Project Aspect website. So stay tuned for that. So it is going to be a process of things leading up to the album. First, we are going to launch the website. Then we are going to launch the videos for the singles. Then the album is going to drop. Then we are going to do a whole album release party in Denver. So it will be one thing after another leading up to the album.

Nice, that is a good campaign. So some of the people listening [to this podcast episode] will likely be listening in years to come. So in a way, we will be in the past when they are listening. Am I correct with the URL ProjectAspectMusic.com?

Right, ya.

Ok I just wanted to make sure because when it is launched, someone will be new to it and it will be already out there.

That will 90% likely be the URL.

When you decide to market your music... First of all, how do you balance your time between creating new music, performing your creations, and at the same time hustling, for lack of a better term. You have got to get the next venue to call you, you have got to get on the next bill, you have got to collaborate with these artists… not only that but you have got to launch your website, you have got to get your music videos, you have got to get your apparel. So how do you balance those demands and do you have a team working with you?

Um, really it is just deciding what to do next. It is just one day at a time. We try to not look too far into the future because you only know what is going to happen today. So we are steadily game planning, me and my manager Chris Bockman(spelling?) and Ronny, Unlimited Gravity. We are really just scheming towards what we are going to do next. We are going to be releasing a new Unlimited Aspect album “Bass Ass Volume II” which will be coming out in the next few months. So that will be the beginning of that route because me and Ronny love making music together and doing the Unlimited Aspect thing. So we want to do that as much as possible. But as far as finding balance, man, its like I said. It is just taking on one thing at a time and not overwhelming yourself. We do everything in-house, we are not working with an agency right now. We are doing everything ourselves. It makes it that much harder but at the same time, the reward is that much sweeter. We are trying to organically create this snowball, this tidal wave that is going to eventually crash, and its going reach everybody. It's going to be something special, man, because we are working on something unique. It's going to be something that I hope people are going to be behind for a long time.

When you release an album, let’s say you and Ronny are making a collaboration… Do you then finalize it, stamp it, bounce it and you are done or do you send it to a mixing / mastering engineer? Can you walk me through the workflow after you have produced a song?

So when me and Ronny produce solo tracks we usually do our own mastering. It is kind of an unorthodox method we just use plugins and do it our way. Sometimes we send it to into mastering. Sometimes we create mixdowns that are at a lower volume and send them to someone to master. But for the Unlimited Aspect album, this was kind of a unique situation because we tracked drums for this album because Unlimited Aspect has become a live band. So our drummer Steven Kuzma is going to be featured on the entire album. So that was another challenge because we had to track all the drums. And our engineer who ended up moving away and we were not able to finish it with him. So we kinda had to take it on with what he had and finish it ourselves. So that is where we are at right now. Just kinda putting on the final touches to it and finishing it ourselves. We like to do a lot of it hands on. It is not the most professional method but it sounds good in my opinion. We like to have it completely our own.

And you get the final say. You get control over it. No one is going to send it in a different direction that you didn't foresee.

Ya. I have sent my own masters to some pretty good labels and they have accepted it, which felt pretty good. So I think we are on a good track.

So if you don't mind, can we jump into some the equipment that you use, either on stage or in the studio. What types of software, plugins, mics, guitar, whatever you want…

I produce in Ableton. We perform all original tracks. So I break down all of my songs into stems. That’s like pieces of the song that I play simultaneously. So I can affect every piece differently. So we have highs, bass, drums, vocals. So we play all of that simultaneously and we use APC 40’s by Akai. When we are using the APC 40’s we can literally manipulate pieces of the song and mix in different pieces of the song. We can jam out and toggle back and forth with anything we make. All the songs that we make are split up so that we can do this crazy interactive hands-on DJ technique that not a lot of people do. I think that it is really unique. A lot of people use stems but the way we use it is unmatchable in my opinion.

You are talking about the live performance, right?

So if I am not mistaken, we are talking about a beat pad that has translucent buttons.

Ya, its a midi controller.

And that hooks up into Ableton.

Correct

So you are slicing and dicing your song on the fly.

Right. We produce them. We export them all into pieces [stems] and we put them all into the live set and we put it all into the live set and we slice and dice on the fly… correct.

Beyond the computer and how you are interacting with your tracks [APC40], I have seen you perform and you frequently have a guitar and everybody has an instrument on stage with you.

How are you mixing that in? And tell me about what instruments you play and what is on stage.

Like I said. I started out playing the guitar when I was a kid. Then I went into the producing game and I kind of put down the guitar for a while, for about three years. Eventually, I realized I wanted to bring it all back into the music. And have it all together, the electronic and the analog. So for the past three or four years, I have really been hitting the guitar hard. Bringing it back into the live sets and recordings. So when I do the live set guitar, I do live looping. So I have the guitar plugged into another computer, which is also on Ableton, and I sync the two computers together via ethernet. That enables the second computer to slave to the first computer so I can quantize and loop my guitar on another controller. I can manipulate the guitar record on the fly [live] with the controller. So that’s been a really fun adventure to bring that in and also have it be part of the live set. Where I can still manipulate it like the other tracks. It can be all like one huge live workstation. It is really fun. It is fun to improvise and bring it in now and again and just rock out. For Unlimited Aspect, I play guitar, Ronny plays keys, and we have our drummer Steven Kuzma, and Ronny does live looping with the keys too. Eventually, he is going to bring his vocals again. Which we were doing for a while. He was doing live vocals and looping live vocals. He is working on a new album as well, which is showcasing his vocals because he was in choir pretty much his whole life. So he wants to go back to his roots and showcase that. So I imagine as we start doing more Unlimited Aspect shows he will start singing too. So that is exciting. Sometimes we bring up a saxophone. Sometimes we have other sit-ins. I dabble with pretty much any instrument, except for brass. I have never really messed with Brass. Anything I touch I can play a little bit. Not great but I can dabble.

Enough to be quantized, spliced, and put into place.

Ya, the guitar is the main instrument that I feel like I can handle.

I appreciate you revealing how you have two computers running and one is a slave to the other

Ya, I feel like people don't get to know that or see that during the live set.

As an audience member, I am always thinking how are they doing this!? Trying to decode what is going on onstage. As a sound engineer, myself, I am always thinking about monitor mixes and I see people with in-ear monitors and someone has a click track somewhere. It is a complex signal path. So I appreciate you demystifying what is going on on stage.

Ya it’s a pleasure for sure.

It is certainly interesting and I think it will help people get to the next level. A few more questions… One regarding your music and distribution. Your music is out there. I can stream you on Spotify, on Apple Music… I can find you on SoundCloud. You are doing a great job getting your music out there. So first of all, how did you decide where to put your music and how to get it there?

Oh, man that is a really good question. Basically, with music that I have come to the conclusion of, you just have got to get it out there, regardless of how you do it. Whether you are pedaling burnt CDs or putting it on SoundCloud, or you are doing a professional label release. In the grand scheme of things, it really doesn't matter because it is going to be out there and word of mouth is going to circulate. That is what I am coming to the conclusion of… If I have music to release I need to get it out there regardless of how it happens. One of the first Sonic Blooms that I attended… Shout out Sonic Bloom by the way. That is my hometown festy right there. I burnt a bunch of CDs. Me and my homie Ronny actually, Unlimited Gravity. We burnt a bunch of CDs and handed them out to people. And to this day people will come up to me, and that was about 8 years ago, and say “hey, I've still got that CD you gave to me at Sonic Bloom”. That is crazy to me because that was such early on music that we made.

And you were there as a fan. An attendee, non-performer.

Correct

So you really just showed up to where the music is and hustled your music. And give it a few years...

It was the dopest campaign too! We would be like “do you guys like free music?” People would be like “ya”. Ok, “Here, take this”. It was easy to get into people’s hands. I might start doing that again, you never know.

What is amazing to me is that a few years later, a few cycles around the sun, you are playing at Sonic Bloom. That’s awesome.

Ya. It really came full circle with that one.

That is interesting and I appreciate you sharing the hustle. You have got to be Guerilla Marketing…

That’s true man. You have just gotta think outside the box. I mean people have been hustling CDs out of their trunks forever. When you are giving out free music it is kinda hard to say “no”, you know? That was definitely the early hustle.

Ok, a few more quick ones [questions]... First of all, describe your music in one sentence… or a word. A rough sentence, it could flow into a few.

All original, high energy, high octane, electronic bass music with guitar.

Booya! This one is kinda far out, big, philosophical question. I went to school for Philosophy so you have got to forgive me. But… What is music?

Music is what feelings sound like.

Very nice.

It is the best I could come up with right now.

That's great. Do you have any odd or interesting pre-performance rituals before you get out on stage?

We like to get down on the spliff game, me and my bro Cam. I love smoking spliffs so that's always been something I like to do before a show. Other than that, man… I get anxious before shows honestly.

Is it just nerves coming up?

It is nerves but also just wanting to get up there. And being backstage and having to wait to go on. It’s something that I have always… Not an issue with… but it always kinda happens, regardless of the situation. I am excited. I want to get up there. I want to play. I don't want to hang around and talk about nothing. I want to do my thing. But I love connecting with the people. That is one of the biggest parts of this scene is the people. It’s all about making those connections. So that is a big part of the pre-ritual is having your family there. Having your friends come backstage and hang out and just kick it. That really calms the nerves for me too. Just hanging out with the homies too is a big thing.

What advice would you give to a musician starting out today?

Go with your heart. Make music that you want to hear. Make music that makes you feel things inside. Don't do it for somebody else, do it for yourself.

Moving towards the end. Some label questions if you don't mind?

Sure

You are on 1320 Records, GruntWorthy Music, and Adapted Records. Can you tell me about how you made those connections and how you got signed to a record label? There are lots of aspiring artists out there who think that “I just need a record label and the doors would open for me”. I just want to hear your experience with the different record labels that you have worked with and why you chose to collaborate with them.

As I mentioned before, It is not a huge impactful thing regardless of how you release your music. But it is an honor and always a privilege to release your music under an established record label. It is just another form of collaborating. As I also mentioned before, collaboration is one of the most beautiful creations we have. It's fun to work with other people on your music and work on distributing it and getting it out there. 1320 was a huge one for me because it's Sound Tribe’s record label. Sound Tribe was a huge early influence for me. They were the first band I saw using Ableton. That was before I even knew what Ableton was. They made me research what Ableton was. Eventuall,y I got signed to their label and I got to open for them. That was another full circle thing. Shout out Sound Tribe for everything they have done for me. 1320 Records was a huge step for me. It was cool just to be under… not only under such a huge touring act and someone that I looked up to but also being alongside of other people who have released music under that label. That is another cool thing. When you release music under different labels you are alongside all these amazing artists. There are so many artists out there, and most of them I have never even heard of but they make the dopest music. It's an honor to be alongside people with similar interests. The Adapted thing was cool because it is an Australian label. It was cool to get my music internationally released. That was kind of the fun part about that. Like I said, it is just fun to work with other people.

So how did you get to Australia?

Man, we just submitted it and they liked it and they released it.

Walk through a young artist… What do you mean you submitted it? You found something on their website and obviously you had some tracks that were fire and ready to be released.

Ya, so most record labels have a demo submission page on their website. If you make music you can always send it to labels it's not an issue. Whether or not they will listen to it or like it, that’s up in the air. But must labels have a demo submission page. Even the biggest record labels in the world have mailing addresses that you can send it to. Ya, it’s just submitting your demo and hoping that the right person hears it and likes it. It helps having word of mouth and having friends on the inside too who have worked with the record label also. That is a slightly more helpful way but if you have the right music and you submit it, there is no reason that it won't be picked up.

But you chose them out of a group. There are thousands of record labels. I would imagine that you targeted some and I guess that you did not send your record out to every label. So how do you choose and what do you look for when you are working with a label?

Just look for professionalism. That is the one thing that you try to find in anyone that you work with in the Music Industry. Just professionalism because there are a lot of shady people out there and it is important to find people who are doing it for the right reasons. People who are in it for the music and willing to work to help you get your brand out there. Being on top of dates and royalty checks. Just being communicative. Communication between the artist and the label is really important.

Reflecting back on your younger self… What would you tell yourself then that you know now?

Get ready for a hell of a ride buddy! You are about to meet a lot of people and see a lot of things. I don't know, man. I think that I was prepared for what I am doing today. I think that the school that I went to and my dad and going to shows has molded me into the person I am today. I think I knew what I was in for but not quite the fashion that it’s in right now. So I think I would just tell myself to “get ready for a good ride”.

Well Jay, aka Project Aspect, thank you so much for being on the show! Is there any last parting words of wisdom that you would like to share and or links / plugs for your upcoming album or social handles that you would like to share.

Ya, keep on touch on the Facebook man. Facebook and the Instagram are the number one resources to find what I am doing next. So Facebook.com/ProjectAspect Facebook.com/ProJectAspect Like I said, I will be launching my website soon so keep an eye out for that, along with starting my promotion for my new album. Keep an eye out for the new music videos coming in the next few months. Just keep in touch and don't be afraid to reach out. I love to connect.

And Fans can learn of your new tour dates and upcoming shows on your facebook page?

Yes.

Great. Well thank you so much for coming on the FreioMusic Podcast.

Thanks Mike, Much Love!

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April 1, 2018 By Michael Leave a Comment

The Freio Music Podcast

Episode 01 - HÄANA

Overview

This episode's featured artist is HÄANA. She shares some amazing stories about her life's journey and her travels throughout the world. HÄANA is a classically trained violinist who utilizes electronic (digital) and organic (analog) elements to blend her creations into delicate works of art. HÄANA will take you on her journey from playing on the streets of Europe to playing festivals and shows around the world!

Description

This episode's featured artist is HÄANA. She shares many entertaining stories including one about nearly drowning in water during the creation of her music video. She also shares a pivotal moment when she found herself penniless on the streets of Europe with only her violin to earn a living. HÄANA is a classically trained violinist who utilizes electronic and organic elements to blend her creations into delicate works of art. This episode is on the longer side but will keep your ears gripped to the speakers as she reveals details about her life and career that have never been shared on record. She discusses collaborations with some of the top artists in the electronic field as well as the process she uses to finalize her creations. Haana Thiem is a violinist, producer, and creator / founder of two record labels Paper Gold Records and Deep Sonos. Stay tuned!

HÄANA's Links:

ThisIsHÄANA.com

Deep Sonos

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HÄANA Podcast Transcription

Start out by introducing yourself

My name is Haana Thiem, I go by HÄANA on stage. I am very particular about my brand because it is recognizable, and what people read, see and hear. I live in L.A. now. I used to live in New York and the east coast for about 10 years, before New York was Boston. I am kind of a nomadic individual. I love the question “where have you been?” rather than “where do you live?” or “where were you born?” because that doesn’t say a lot about a person, I think.

In that light then, where are some of the highlights of where you have been?

(HÄANA Laughter)

Well some of the most special places, I lived in Germany for a year. I lived in Spain for almost a year. I lived in Granada . I lived on an island in the Mediterranean called Formentera, which is just south of Ibiza. Then I traveled through Greece. I was studying Greek and I was going to move to Crete, but instead I moved to Boston somehow. They are kinda parallel, kinda not. I studied German, studied Spanish. I have had opportunities to play in a whole bunch of different places but, for a moment I realized that, all the traveling was kind of confusing me. But what I wanted to do instead, was hone my art, and my craft, and my offering and then travel. Which is how it has turned out.

Great, so where were you honing your craft? Was it in the Mediterranean?

It kinda started there. The really interesting turn of events. Should we get into it?

Sure. Ya, lets get into it. That’s why we are here.

Well, lately i have been posting old photos of me from when I was 21 living in Formentera and living in Spain. It is a really Inspiring story. I think it is important to share the back story. I feel like people want to know about that. I tend to shroud myself in a bit of mystery. I want to let more people in, so thank you for the opportunity. I was living in Granada, Spain and at that point I wasn’t performing on violin that much. I started playing Violin when I was three but I was studying languages in college. So, I bought a violin while in Spain and started playing casually on the street. It wasn’t until, this was the turning point of my whole career, somebody stole my wallet. I had no money. So, I decided that I would go put on a costume with a beautiful shirt and shall or something. I don’t know, It wasn’t really a costume, but something to make me feel different and embolden me. Then I went to this restaurant, near where I lived in the old Arab district, and performed outside for all the people dining. Then I went around and asked for a tip. People gave me, at that point it was the one and two Euro coins, so you could make a decent amount. It wasn’t really the money but the validation that people really enjoyed it. So was making up beautiful songs and performing very firey, and they loved it. So I was like wow, I can do this. So I would start to make my rounds in the evenings and would make about 80 Euros in about 15 minutes. Then my new debit card finally came so I could have access to my money but I had started a whole new career path.

Wow that is amazing. A lot of people would be very upset and let the it ruin their day or week for vacation or moment but you were able to seize opportunity in the difficulty. Now tell me about that costume, I am just interested. You said “embolden you”, was it like armor against negative thoughts, or a hater out there would ‘boo’ at the first show?

Kinda of. Hahah. Well, just to give you a little more backstory, I started classically. Sometimes it is really hard to get out of that classical mode and to make up your own music. To improvise. To be free. To not read music off of a sheet. At that point, I was really feeling not very inspired by playing dead people’s music. You know? And how to put the emotion into it? When i started to improvise, I was sort of tapping into this feeling. I am naturally an introvert. A lot of people don’t know that about me either because I am up on these big stages all the time. I have diagnosed myself recently as being an extroverted-introvert.

Ok? If you don’t mind, go on about that (being an extroverted-introvert) how does that happen?

Ok, but I would like to explain one more piece to the Spain story. The costume itself helped pull me out of my shell. Helped me feel like a different person. Like oh, if this fails or doesn’t work out, than nobody knew it was me. So, I was a different person.

Did it help break you free of the classical mindset, being dressed up in a costume?

Ya, I ended up meeting a dancer from Barcelona, her name was Sophia. She would do this flamingo-mime ballet movements. My music would inspire her movements and the reverse. We ended up traveling to Barcelona. She lived on an organic compound just outside of Barcelona. So we ended up traveling to Formentera and living on an island in the mediterranean and performing every day. It was amazing. To this day, I still perform with dancers, especially with ballerinas. You never know where life will take you.

Thats awesome. If you could go back to the ‘Extroverted Introvert’. What does that mean to you?

So I used to be extremely shy. To the point of not really even knowing how to talk to people. Not that extreme but as a kid I was a thinker. I loved to read and hang out by myself. I was always an artist drawing and photographing. My dad gave me a camera when I was four or five, which its also my parallel career as a photographer. My older sister was always very extroverted. I feel that in birth order the kids want to be different than their siblings. I was more the quiet thinker. The pensive one. Then what actually happened is that I started working in a restaurant. When you have a role, there are things you need to say to have people order food. I would just make jokes. I started my standup comedian career at that moment. To get people to laugh to interact to get to meet them. You don’t have to go very deep. You just have conversations. Through that i learned how to be a bit more extroverted. To this day when I meet people, I really try to get to the root of who they are. Rather than “how are you?” “where are you from?” “what do you do?”. Those questions are so boring. Ask interesting questions. Sometimes making a silly joke or asking something interesting, where it feels natural but getting to the heart of the person. That’s how i like to interact with people. I still remain a very one-on-one person. I don’t really like big groups. But there is something about being on a stage where I just embody this energy. Where I am pulling everyone into my world. Kind of captivating. I am definitely an extrovert but in an introverted role. But I don’t know, I’m sure there are other people like me out there. [laughter / chuckles]

I’m sure there are. When you are on stage does it feel like the crowd is giving you energy?

Yes

It does. So you kinda take in that group collective energy. That is great. Well now that you have made it difficult for me to ask good questions because you have ruled out all the shitty questions.

Haha. No you can ask me those boring questions. I don’t care.

I have one that is super general and kind of a curveball but I am curious where everyone takes it. What is music to you?

Music is a universal language. You can talk to everyone about it. Even people who are deaf. They can still feel vibrations.

I have seen at some shows there is a deaf area where there are balloons for people to hold and feel the vibrations.

Or I think the sub-pack as well. My friend David Starfire and Zach are working with Sub-Pack and I am pretty sure they do these workshops with Deaf children and everyone wears this sub-pack that you can feel the vibrations, especially the bass frequencies.

I couldn’t agree more that it [Music] is a universal language. Being yourself, well traveled, how do you associate the different cultures that you have been with and how do they meld or culminate in your sound.

I have spent a good amount of time in Iceland. That was such a beautiful and inspiring time there. My solo-project started just after my first time in Iceland. I didn’t realize…. now reflecting upon it I see the inspiration that that gave me and where I started to take the music. Before that, I had a band called ‘Copal’ and I also had an electronic project called ‘Nixis’. Then I studied at ‘Dub Spot’ and got into my own music production. As in producing all of the music. Not just writing the melodies & harmonies and having other people to the other content, the rhythms and bass lines. The very first song that I produced for my solo project, HÄANA, was called “Brym Al Mar” . I have a music video for that out. It was the biggest project manifestation of my artistic vision to that point. So that in itself was incredible. Brym, the word, means the salt spray hitting the rocks or surf. But surf sounds funny. Salt spray sounds more romantic. Al Mar, is in Spanish, of the sea. The melody itself was inspired by a Norwegian folk song. The video goes into life and death and multiple iterations. Also this folktale about the ‘Norns’. In Nordic mythology these three sisters who weave the threads of past, present, and future. So you will see this in the video. It is kind of abstract but I love things to be mysterious. You will see the Norns weaving the threads of life and you will see me going through this iteration. Being in a white dress on top of a cliff and then fall into the water and emerge as this badass with a mohawk wearing all black with a black hardanger fiddle by the fire. So it is incorporating a lot of the elements.

There are a lot of people out there who don’t have a music video and who do have music. In that light, did you dream up this vision of yourself in the music video? How did it come to be? Were you working with a producer?

Well, I met this dear friend, a very creative individual, “Armin Matine” (sp?) in New York. I knew that this song really needed a music video. I knew that that’s what I wanted before I released it. So I told him about my idea. I am a photographer, I don’t think in moving pictures. I think in fames, snapshots and composition. I told him what my idea was. Then he really dove deep into it. He is this incredible creative individual. He works on big commercial projects in New York but this he took on as a personal project. So he did a lot of research. He discovered the Norns. I didn’t even know they existed. He wove all these different story threads. I was like wow, how are we ever going to be able to do this? I don’t have that much money to pull this off.

Ya, and the song is only so long.

Ya. He does CGI [computer generated images] and After-Affects.

So you didn’t actually take a cliff dive?

Well I will get into that, if we want to. Depends on how long you want to make this interview. So then he presented it to Alice. Alice Miller, who is an incredible cinematographer in New York. She apparently has been obsessed with the Norns since she was a little girl. so she was like “yes! I want to do this”. So she took it on as a personal project as well. The three of us were very interested in creating a piece of art. Sometimes when people really take on an idea and take ownership of it, a lot more beauty can come out of it. Because it is not just the dollar sign. It’s not the commercial product. Its the art mission. The passion. So then everyone that we hired for the team…. You know, we had a budget. Everyone wasn’t getting their commercial rate but everyone was pulling 200% of their energy. We had this incredible assistant photographer and an incredible lighting designer. Part of the shoot was done underwater. We used the black-light cannons. They basically spent the whole day setting up this part of the shoot, that you can see in the video, that is under water. It was incredible. The piece that they didn’t do. They didn’t heat the pool, and it was May. I was supposed to fall into the pool backwards from a diving board into the water. I was like “ok, calm face. Calm face. It’s going to be great. It is going to be wonderful”. But, you know there is fear involved. Wearing this long dress. We added more fabric to the dress because we went shopping for fabrics that would glow with the blacklight cannon. I was envisioning how it would be in the water. I bought a cheap throwaway violin on Ebay for like $30. So the violin was going to go into the water. I was envisioning me twirling in the water look in the water, playing violin in this whole romantic beautiful scene. The reality is…. I fall into the water backwards. I’m sure my face had some sort of grimace on it. I fall in and then I am trying to swim up but my dress wrapped around my legs. I could not swim. I couldn’t move. So we have slow motion footage of the lighting designer diving in to rescue me and pull me to the surface. All this water came out of my nose and ears. It was like I was waterboarded. Oh, also I had this makeup artist Jess Toth (sp?), who did this waterproof makeup look on me. My makeup did not budge one bit, thanks to her. So she was like “you can’t do that again”. She was like “if you don’t feel good we can stop this right now”. I was like “no, no we can do it”. So we did that sequence a couple more times. One of the best shots we did was, I holding on to the edge of the pool because I didn’t want to fall in again. With my dress and with the violin in the water, waving it back and forth, creating this abstract texture, which you can see in the physical CD. I did a beautiful print of that particular shot, inside [the CD]. That was a pretty incredible experience. It was a three day shoot and the end result was something that looked like we spent twenty grand on it. We just pulled our resources. It was just something that I was feeling so passionate about it and I just knew I needed to invest what ever I could in it. I really truly believe that if you think big, and if you act big, than even if you are not quite there yet, you will get there. Also thinking of it like a legacy. This is a forever project. So I didn’t want to put anything out there that wasn’t top top top quality. Top caliber. I also didn’t want to do a Kickstarter campaign for it because I would prefer that it was something that I am funding, I am not asking people for money. I think that sometimes those things [Kickstarter Campaign] can be successful, but sometimes it is sort of a more begging thing.

It is kind of like losing control because you don’t have control over the budget and can’t plan accordingly.

I think it is important to put out the best quality work you can, because it will be for forever. Well, we don’t know really what the future holds but I’m thinking it will live for forever.

Forever, as long as foreseeable. Working with that production team but also musically… building your albums and recording it… Collaborating with other musicians and sound engineers… How do you build and cultivate a team that helps you succeed? Can you speak to the building of teams?

Sure. Well, “Brym Al Mar” was the first song I did for my solo project, I actually went through a few iterations with a few different producers. My friend Benny Cante (sp?) did some of the dubstep growls and textures. Empsh Subatomic worked with me. [He said] “before we actually mix this, I think we need to go into the sounds, themselves. Let's get the best kick drum sound we can. Let's get the best textures. Because if you have the best quality audio, than everything else will follow”. He also had there idea to merge, you know when you are doing electronic music with violin and vocals. Kinda merging those elements so that it is not this cold, stark electronic content. When I went into the studio I recorded peppercorns rice shakers, these organic shaker textures and then also this Icelandic jaw harp I had. Just in the act of having a few organic percussive elements helped fuze those two worlds together. The digital and analogue. From there I had it mixed by Ming, who is another producer in New York, who Empsh introduced me to. It is kind of like you connect with one person and another person and another person. But really I wanted to find the person who really fit, and really understood what I was doing and really got me. Working with Ming, super fast and efficient. There are some moments in the song where there are transitions, I didn’t really know how that would work. But it [the song] still wasn’t there. Even after all those people. Then I finally brought it to Dave Sharma. He mixed that whole EP that I released. I basically sat with him for a bunch of the sessions. The processes with that is finding where the song wants to live, which is interesting. Each song actually has a place where it wants to live. I have approached a lot of my music as an artistic expression, that's really important. I am not producing something that anyone else has any quality control over. It's not a commercial label that has this specific thing that they want me to fit into. Its my expression. I am ultimately giving the “yes” or “no” to the final product. I really felt that Dave got my vision. [He] was pulling out elements of each song. When we were working on [the song] ‘Phavet’, which is inspired by a Finnish a capella women’s chorus, as represented by violins. I had a particular way that I thought the track should go, but he was like “no, let's try it this way”. I was like "ok, well I’m open to it”. I am very happy with that direction we took. Then finding a mastering engineer, that's another critical piece. I have been working with AudibleOddities. He [Shawn Hatfield] has worked with some of the top electronic artists like Amon Tobin. I am an audiophile. Finding people who really care about audio and sound quality. The first track I sent him to master came back perfect. No need to revise things.

For this release that I did with Desert Dwellers they put Leya, I think I release it in 2015. It was Laya and then four remixes by a few different artists; Haj I Ji, An-Ten-Nae, Kaminanda, and Twin Shape. They used a different mastering engineer. I think we went through four or five different revisions with that one.

So it pays to get the right person.

Again investing just a little more, because it is a legacy that will live forever.

Thanks for sharing. Tell me about Paper Gold Records.

Well... Paper Gold Records is actually my label. At the moment I am the only artist on it, but my vision with it, which could tie into what you are doing, is to inspire young girls and women to pursue a career in music, and the whole world of electronic music. There could be definitely be a lot more women that could take on that challenge. So with Paper Gold, it is currently a vanity label but my vision is to take that to the next level and have it be a platform for other artists to release their music on.

How do you make a record label? Not all artists are willing to put in the work. Tell me how that is for you and how you balance dealing with the record label and all of the political/ legal hoops that you need to jump through.

It is getting easier and easier to release your own music and to be an independent artist. Sometimes it is good to have an additional avenue to release your music. First of all, its quality control. Also if I own all the pieces of my music, than getting it placed for television, for a commercial, for films… If I own of my publishing and all of my mastering… The down side to it though is that when you are part of a bigger label you are part of a bigger network. If you want to do it on your own, you build your own team. Everyone starts somewhere. Everyone starts small and grows. If it is the right thing the path might be easy and if it is not the right thing, than the path might be a little more difficult. It depends also on how much you really want it. The important key element that I found was distribution. I work with Symphonic Distribution and they’re amazing. That is how I get my music up on Spotify and iTunes. Soundcloud is different but all the digital distribution happens through my distributor. Ya, it’s not too difficult to start your own business in that way.

Well, you have to be bold and take that first step.

Yes. Ya, and come up with a good name. Really the biggest thing was Paper Gold Label or Paper Gold Records. Ah, they are so similar…

Was that a week, or a month or how long was that debate?

I don’t know, maybe a month or maybe two. I have been spending a lot of… the beginning of this year and last year working on my new EP called Salt. I actually played one of the songs last night at my show on the Green Tree Stage [at Arise Music Festival]. I invited up a guest guitarist for that. Salt is the single I released in June. Then I was touring the east and west coast with it. The lyrics are in Icelandic. I worked with my friend Outsa (sp?) in Reykjavik (Iceland) and she helped me with the diction. I have been studying some icelandic and I am a linguist but I don’t speak Icelandic. Part of my interest in working with different languages… I even have some songs in a made up language. The thing about that is to pull people into your universe, it doesn’t really matter what the words mean. But anyway the lyrics are basically “Tears of the ocean, salt of the sea. Find yourself at the bottom of the sea, white doves over head and drift away”. Then there is this badass Icelandic medal section that drops in. The guy who plays on the track Stephen, in Austin… You know I never ever wanted electric guitar in any of my music but that just worked, really worked. But back to your question earlier about collaborations… I do write a lot for Cello. My new EP will have a few different guitarists on it. A string trio. I recorded a violist Nils Bultmann who works with Blue Tech. Then Jill Berta (sp?) and Adam Maloof (sp?) they are cellists who live in New York. I have a lot of piano on there. I play piano too. You know collaborating with people in the sense that… If you are just one person you have just one expression. But if you pull other people in and their talents in… Wow, it’s so beautiful. Tear drop, the cover I did of Massive Attack, I worked with a Cellist named Raymond who tours with Celine Dion or he did in the past. His expression on the Cello is just this gorgeous… like your heart just goes Oh… and melts. You feel things. I want people to feel things. So that's what I keep in mind with every piece of music that I write.

----------Part two-------

Tell me about your first performance and if you had any anxieties and how you overcame that.

Wow, rolling back the time. I started playing violin when I was three but then we took a bit of a break with that. I kept envisioning me in a pink dress in front of an orchestra soloing. Then my very first recital for my Suzuki concert, my mother and I sowed a pink dress. I thought about that later and was like “wow, I really actually manifested that”. Haha. I was extremely nervous, I was so young. For my class in school, when I was just learning, I would bring my violin and my Suzuki book to school and I would have them pick out a song and then play for them. I was kind of bold then. When I auditioned at New England conservatory for the master’s program in Boston. That was a deathly horrifying nerve racking experience. Somebody later told me about taking beta-blockers. It was so bad. When you are so nervous that your hands are shaking. Then my knee started to shake. So I did a graceful move to [try] to stop shaking. Like my knee was about to fall of or something. haha. I was like I hope they don’t see this. So I got through that interview or that audition process. At that moment I didn’t make it in, which was disappointing. I feel like performing on stage is a very different thing than auditioning. Auditioning is nerve racking

Well they are judges not fans.

Ya, they are all just sitting there staring at you. Its intimidating.

How did you overcome your fear? Did you get yourself into a mental mindset? Do you use meditation to clarify your vision before you step out and the curtains open? How do you get yourself ready mentally?

I do try to do that. If at all possible I try to have the green room cleared right before my set. Spend a few moments centering and grounding. Two years ago I played Lighting in the Bottle at the Thunder stage, and I tried something new there. I arrived in the evening. My set was maybe two days later. I arrived to the space and it was at night and everything’s closed. I just did a visualization there. I closed my eyes and envisioned the whole space filled with light and setting intention to really inspire people. Envisioning the whole space, this enormous ball of energy. That was really powerful. Arriving to a space, setting an intention. Really doing some visualizations. It doesn’t happen every time, especially at festivals. Sometimes those change overs are so rapid and there are just a million things and chaos. and the rain… why does it have to rain…. And there is also all that adrenaline. So sometimes it is a little bit rushed. And maybe not that grand. You know it is not always the ____ Stage, and then Grand Reveal, and then I enter. You kinda have to roll with whatever is given to you and make the most of it. One important practice I do too… of course it is ideal if ever performance you have you have the best lighting, the best sound, the best ambiance, the best audience. But if you don’t have all those elements you just ‘fake it’. What I am saying by that is that let’s say I can’t hear myself very well on stage or if something shifted with the audio. You roll with it. You don’t make a big deal about it. Unless it is something that will really affect your performance. The most important thing is that people… Their watching, they are listening, they are there for an experience, they showed up. They want whatever it is you are going to give them. To break the flow, I don’t like to do that. I like to proceed. If it is not ideal, its ok. It’s improvising in the moment as well.

Ya, I remember watching a set… it was actually here at Arise… it was Linx, is who it was. Her computer restarted on her mid-song and she didn’t lose a beat. She was beatboxing over the track and then suddenly everything cut out, and she kept beatboxing without losing the rhythm. Then later on revealed “so I hope you liked that last one, that was just me beatboxing as my computer restarted but here we go”. I didn’t even catch that there was a crisis on stage. It was just serene, she just rolled with it.

(Tangent): I think that’s something very important and some younger musicians don’t do. I have taught Guitar and learned the Guitar myself. And one thing that people do when you are just learning is you hit the wrong cord [or note] and then you stop. You freeze. You’re like oh, that was wrong. And then go back to the beginning. That was the wrong chord but the next chord should be right. So just keep going. Pretend like it [the error] didn’t happen. So I think keeping that flow is important.

So getting into that mental mindset tell me about your meditation music.

So I have this side project called ‘Deep Sonos’ and it is a full-spectrum sound meditation experience. Part of that was I wanted a channel for this more meditative, pretty, contemplative music that I write. I actually did a workshop here on Saturday morning. It was in the dome, the Sunrise Dome and it was basically 2/3rds full. So many people showed up at 9am for this experience. It was basically this full spectrum sound experience, where all my textures, sounds, electronics, bass frequencies, violin, and vocals are pulling people into this really deep effortless space for meditation. I actually have four episodes of these 10 minute meditations out that people can get online at: SoundCloud.com/deepsonos/

I have been doing a lot of those workshops around. I really believe that music can create a very deep mental… ah… almost like a bed. Like you can just fall into it. Like you fall onto this feathered mattress and… there is a cushion… and you just melt. No drugs involved. Haha. So Deep Sonos started, I have a background with Yoga. I have been touring with Wanderlust for about four years. I did all of the U.S. and Canadian festivals. I would take people on these hikes with just my violin in its case. We would go to a beautiful vista. I would sit everyone down and center and ground everyone in nature. Its beautiful. It's on a mountain somewhere. There’s.. Oh, gorgeousness everywhere. Everyone gets really comfortable. They are dropping in, they’re present. They are in nature. Then I start playing violin. About 30-45 minutes I would improvise. Emulating the sounds of the birds, the bugs, the textures, ancient melodies that are coming to me. I am kind of channeling music that comes to me, but I don’t normally say that. But then I also walk around. So as people are in this meditative state, they are hearing now the violin is her… now it's there, now it’s here. It's like this out of body experience.

Just imagine… your eyes are closed. you are in the grass. you are lying down. You hear this beautiful violin. Its to the right of you now it’s left now it’s far away. I’m not moving around that much but it’s this kinda tippy experience because when you are falling into this deep sedated state you are not totally aware of the specifics of what is happening but you are just kinda drifting off in this mellow space. So, I love doing those hikes so much. Some of them were at sunset or early morning. So I did a lot of music accompaniment for Yoga which is how I actually got into my solo electronic project because when people are doing Yoga they are not really paying attention to if you’re turning the right knob or if you played that melody correctly. it is just more about this immersive experience. What can happen with a yoga class [is that] as I am interpreting and feeling the environment, and the class [students], and the teacher, I am providing something for something that is being facilitated by someone else. A couple of years ago I was in Portland for a Yoga event with this teacher Jill Knouse and we added on a meditation experience at this space, that was specifically dedicated to meditation call, Hush. I had a full sound system, a full PA, because the bass frequencies are what are really important for this experience. So I created a whole Deep Sonos sound meditation, an hour long. It was basically like having a pallet, a painters palette. A little green, a little red, a little splash here. I didn’t have anyone to tiptoe around. I was just intuiting, and feeling what these people who were meditating wanted. I was creating this immersive experience for people to drop deep into meditation. That really resonated with me. It really felt like something that I wanted to do more of and curate more. So from there, I produced these ten-minute meditation sequences. This was after a trip to Costa Rica and I recorded textures. Like jungle textures. Like sea pods, and crinkling up leaves, and rubbing two sticks together. haha. I recorded all these things with a Tascam Audio Recorder. Then wove those into this 10-min meditation track. I produced it in Logic and wrote it all in Logic.

In Logic are you working with midi and digital instruments as well as these organic sounds that you are pulling from around the world?

Yes. I use Native Instruments a lot. I use Machine for a lot of my drum sounds. I use a lot of different plugins. So I am doing a lot of studio recorded violin and vocals and sometimes guest cellists and guitarists. Then I use a lot of Sine waves for base. Sometimes I’ll layer that with...

Just straight clean sine-wave for bass?

I’ll synthesize sounds or do a little oscillation or wobble in there to give it a little texture. The challenge for Deep Sonos to do these segments at 432 Hz. I wanted to try it and see if that indeed felt more meditative. They do say…

Tell me about 432

There are lots of theories about… I am not an expert but from what I have gathered… 440 Hz is what most music is produced at. The frequency… I don’t know if we should even get into this.

Well if you don’t want to, we don’t have to.

Well, I am not the most scientific about it. 440, 432… Apparently, Tibetan singing bowls, if you put a tuner to it, the frequency that it emits is 432, not 440. 440 is a bit of a contrived frequency.

It’s Round

Well, there are theories about controlling people and I don’t know. I don’t even want to get into that. But, I wanted to try it because people do say that 432 is the sound of the universe, of nature, of the sphere and some people claim that it is more meditative. It is challenging.

What about in your experience?

I honestly don’t feel a difference. That’s my take on it. But what’s interesting the challenge to produce at 432hz. My ear is so trained to play my violin at 440 that to down tune it just 8 herz. It’s like oh am I playing out of tune or is this not right? And then all of the plugins like Native Instruments, Konnect Medal (sp?), and I love Alicia's Keys, it’s a plugin for Contact for piano. And a lot of these instruments you can change the tuning. You can change it to 432 and some others you really have to dive in. It was a good challenge.

Now these, ten minute… You called it a sequence of meditations… Are they meant to be listed to in order?

No. They live on their own. The first one called Vernal the next one is called Ephemére and then Autumné and then Viintara. They’re kinda seasonally based. But yea they are intended… Take ten. In the morning. In the night. You know when the song is up it has been ten minutes. I live in L.A. I go to the Beach. I listen without any music just the sound of the waves. I put my timer on. Inevitably at one moment, I will look. “Oh, it must have been 10 minutes already. Did I miss it? Oh, no there’s two minutes left”. I find that when I am meditating to one of those episodes, I really like Ephemére, I’ll actually drift off into this out of body experience and maybe I’ll be asleep for 30 minutes. Then I wake up and like ‘wo, where did I go?” And I feel refreshed like I took a 5 hour nap but it was only 30 minutes. And the fact that it can do that to me, and I created it, I mean… I channeled it, is pretty amazing.

Absolutely.

What Meditation does is gives your brain a chance to calm down. We have so much stimulus. So many things going on. So much distraction. I think a lot of us feel like we are running around like a chicken, with our heads cut off. Giving your brain and your body a moment to just calm down. To center and ground and to focus. Also to not have to worry about anything. I have found that with music it allows you to be effortless with this space of just calming your mind. So you are not worrying. The brain likes to run around. “Did I plan my dinner” or “my plans for the week”. If you can just calm it all down. So at one of my Deep Sonos workshops. I do these one hour sound meditation workshops and this one guy said “wow, I was actually scared to come to this workshop. How am I going to meditate for an hour?” And he said [after] the first five minutes of music his mind was a complete blank slate. It was completely blank. He said “I have never ever experienced that” to just have a completely calm mind. I think he has a little A.D.D. I think it is super healthy. You can read all the benefits of it Meditation. I know for myself, when I have a regular practice of it [meditation] I can approach my day with a lot more clarity.

My assumption is, that you want to share that clarity with your listeners and that is why you have created Deep Sonos.

Yes.

Is Deep Sonos also intended to expand to other artists or is this a solo-project?

At the moment it is a solo-project but I do have bigger visions for it.

Well we are going to have to stay tuned.

All of my music can be found here: ThisIsHÄANA.com

What do you call the A with a double dot [Ä]?

Umlaut. Yes it is German.

And where is the best place to listen to Deep Songs

SoundCloud.com/DeepSonos

Well thank you for taking the time to talk with us and I really appreciate all of the wisdom you have shared. I wish you safe travels throughout the U.S. and to Australia and beyond.

Thank you so much.

Other Podcast Episodes

FMP 07 – Diggin Dirt

FMP 05 – Sunsquabi’s Kevin Donohue

Willdabeast – FMP 004

TMRW.TDay ~ The Vibe

June 17, 2017 By Michael

Photo (above) by Corey Hamilton

Culture Festival in Jamaica | TMRW.TDAY | Beachside Music Venue (Photo Description: Stage facing towards the land and the photo is taken looking straight at the stage towards the ocean horizon | Seven Mile Beach | Photo Credit: Michael Morahan — TMRW.TDAY | Negril, Jamaica | Photo Credit: Michael Morahan

TMRW.TDAY is a unique gathering of mindful reggae lovers. The cultural fest has a touch of house, a toe-pinch of white sand beach, a mouthful of flavorful fruits, a breeze filled with tropic scents, and island lifestyle for the retreat of a lifetime, and plenty of reggae to sooth your soul.

As an American who had never been to Jamaica before, it took a few days to reset my urgent internal clock, from a rapid walk to a soulful stride, more closely matching the graceful rhythm of the waves.

With early morning 8am, (yes this was ‘crack of the dawn early’ or the coffee shop is still closed early), Meditation the day started with a gentle stretch of the body and mind. The venue was a 5-minute walk from where I stayed, so just an easy stroll on the beach and I was on “festival grounds”. The meditation on the beach was enhanced with some live instrumentation for stress elevation.

Irie Soul's Stacy leading a yoga/meditation class ~ Savasana ~ Photo by Corey Hamilton — Irie Soul’s Stacy leading a yoga/meditation class ~ Savasana ~ Photo by Corey Hamilton

The Irie Soul Beach Wellness Program has a plentiful schedule of meditation (starting at 8am) and various yoga classes throughout the day. Clear-minded people flow off the mat and into the mingling area. Friendships created from the chance occurrences at Chances on the Beach.

With fruit drinks, a full bar and some local food, everyone is well nourished and in a good mood.

The pace of ‘island time’ is a phenomenon not unique to Jamaica.

The tides map the hours of most businesses and the music fills the void.

The event schedules tended to begin at least 30 minutes late, which made it easy to be early.

The live headlining acts command control of the 11pm-2am time frame.

Fun Fact:

The newly enacted Jamaican law requires a permit to host events at night and promoters must obey the Noise Abatement Act. “… permission is given to have an event up to 12 midnight during the week and 2:00 a.m. on weekends… These laws are to protect the patrons that are coming to your events. Organizers must take into consideration the safety and security of the patrons. We (JCF) want the patrons to be safe,” – Head of the JCF’s Corporate Communications Unit (CCU), Superintendent Stephanie Lindsay (Jamaican Government).

Naturally, music pushes the limits.

Main Stage TMRW.TDAY | Negril, Jamaica | Protoje | Photo Credit: Russell Ward

Tmrw.Tday is run on island time and is designed for relaxation. With built in “just chill mon” times from 9am-4pm followed by a drum circle session from 4pm-7pm, one is never rushed. Plenty of time for livin, chillin, and being. A dive into the tropical jungle. A dip into the calm ocean. A soak on the white-sand beach.

Photo of the sunset over the ocean with a small motor boat silhouetted in the foreground. — Photo by Michael Morahan

The pace of the island is ⅔’s time, a slow wandering stroll’s beat.

The energy of the island comes from the sun during the day and from the people at night.

Looking back on the festival…

Tmrw.Tday was simple yet diverse. Easy to navigate yet spread out. The variety of venues and attendees made the whole thing a pleasant experience. We are excited for what the future of this Culture Festival has in the works. First-year festivals are by definition an experiment, a new test and there are many unknowns to be worked out along the way. With the first year

Don’t worry, we covered the music from Tmrw.Tday as well! Music from Jamaica and Tmrw.Tday Festival

Impressions from the Jamaican Culture:

Photo of street market in Negril, Jamaica. Colorful bags and clothes hanging on walls. — Photo by Michael Morahan

[quote] A morning went a little something like this:

I stroll to the beachside restaurant. Get out my pen, notebook, & order:

“A Jamrock omelet, coffee & water, please”

“Ya mon”

“Thank you”

The rain yields for the time being to a cloudy haze that blends the ocean’s horizon into the sky.

The temperature is ripe.

The humidity is lively.

The pulse of the island is coming into light.

From the crickets of the night to the dancing paintings and carvings on the wall, music runs through them all.

The soulful melodies spill forth, almost involuntarily, from the locals.

Is everyone a natural vocalist?

[/quote]

The small businesses thrive in Jamaica and the markets are vibrant with people and goods. One person employment can be seen from the seven-mile beach.

One beach hustler’s day

Mad Rebel Recording Studio with two musicians out front of the ocean-front recording studio| Negril, Jamaica | Photo Credit: Michael Morahan — Mad Rebel Recording Studio | Negril, Jamaica | Photo Credit: Michael Morahan

A man carries coconuts, straws, and a hatchet. “Coconuts…” he says, as he walks along the beach trying to make eye contact with any and all tourists. He takes 5-7 steps. “Coconuts…” he repeats, as he is now 1o-15 feet further down the beach. He knows the limitation of his voice’s range and he is competing, after all, with other people and the ocean. Again 5-7 steps. Finally, “Coconut Mon….” for the last 1/3 of his vocal cadence. The three-part vocal loop seems to serve as advertising, a pace setter, a marching beat, and reassurance that he is actually getting somewhere on the 7-mile beach. If you are sitting on the beach you will probably hear the loop twice as he passes. What is that rule 7 for advertising again? Oh ya, that people buy after they hear about your product several times. When business is good, a quick walk inland and a new harvest can be acquired. When the sun gets low the day is done.

Each step is one closer to a new sale. “Co-conut”… “Coco-nut”… “Coconut Mon”…

“There are around 500 beach hustlers” – Paul (beach hustler)

There is an ever-changing flow of people, tourists, and travelers who soak up the island tropical sun.

Friendly entrepreneurs selling a story with their product or service. Friendly people so jolly that a word is worth it.

The smooth trotting pink-hatted horse riding salesman, slowly making his moves. Everyone is hustling their products and services

A Yoga class stretching on the beach. Photo by Corey Hamilton with a man in a pick hat leading a horse in the background by the edge of the ocean. — *Yoga Stretch | Photo by Corey Hamilton*

Later that day, the pink-hatted beach horse salesman scored a lady tourist for the ride of a life. He washes the young rider with vocal melodies and song. With gentle guidance and a quick step, the man leads the lady and horse along the water’s edge. (The legend himself can be seen in background of the picture – see left)
Creativity in approach, service, products & storytelling is on full display. Rude guests foil high hopes.

Clearly, the Jamaican culture benefits from tourism, festivals, the cross-cultural exchange of ideas. Jamaica continues to attract creative minded people to the lush jungles and white sand beaches, to enjoy a brief visit to paradise.

We covered the music from Tmrw.Tday as well! Read and take a listen here: Music from Jamaica and Tmrw.Tday Festival

World’s Finest

March 1, 2017 By Michael

The Domino Room-February 17th, 2017

Last Friday at the Domino Room in downtown Bend, Oregon, we were able to catch Leftover Salmon’s opener, World’s Finest. Featuring an electric banjo, saxophone, and vintage guitar, they had a rustic and organic vibe. Blending elements of ska, bluegrass and reggae, they were able to touch on several familiar sounds while adding their own character and a bit of a twist.

Juggling genres and different styles, it was obvious the group drew inspiration from assorted backgrounds. There were many moments of feel-good-bluegrass easily associated with Portland and The Pacific Northwest. Both upbeat and rock influenced it reminded me of groups like Fruition. Other times they would tone things down and switch over to reggae and ska. Some highlights included “Rub-a-dub” reggae and well timed breakdowns to group acapellas. With flexible musicianship, they were able to showcase a few covers as well. My favorite was their funky-bluegrass cover of “Pick Up the Pieces” by Average White Band. The nostalgia of the song, accompanied with their provocative saxophone, was a great way to close out the set.

Full of fun energy and a feel good vibe, World’s Finest had very personable crowd interaction and seemed to thoroughly enjoy their time on the stage.

Check out the links below for music and more on the World’s Finest!

Website

Facebook

Pigeons Playing Ping Pong

February 15, 2017 By Michael

The Volcanic Pub Theater-February 12th, 2017

Wildly entertaining, eccentric and funk-nasty. The words that come to mind after last nights show at The Volcanic Theater in Bend, Oregon. I knew to expect some funk with an East Coast jam band influence. What I didn’t expect was a roller coaster of spacey interludes, mambo break-beats, and jazz waltz noodling. And yes, of course there was always a sneaky funk breakdown to tie it all together. On point transitions and tight coordination amongst the group allowed for fresh switch ups and genre blending. It’s hard to explain exactly how I would classify their style, but just take my word for it, you don’t want to miss them live. Its beautiful, musical madness at its finest. With a packed house on a Sunday night, Pigeons Playing Ping Pong definitely have a following and were a perfect fit for the wacky Bend crowd, looking to get the most out of their Sunday night.

It’s rare that you come across such an animated front-man as lead singer and guitarist Greg Ormont. Sporting pajama pants and a frizzy Afro, I’m pretty sure he never blinked. His wide array of facial expressions were both engrossing and humorous. My initial hesitation slowly grew into captivation and it became hard to look away. Incredibly skilled guitarist Jeremy Schon really took it to the next level. It was clear that this type of seasoned musicianship demanded a bigger stage. With a calm, natural presence on stage, Ben Carrey laid down filthy, funk bass lines to back the group. Drummer, Alex Petropulos playfully transitioned between different tempos, genres and moods with ease. All together, this group was a tight knit team. Their raw and playful energy on stage really reflected their confidence to push their music to new boundaries.

This group is big news and word is spreading fast. They had so much support that they were able to fund their new studio album “Pizazz” through contributions from their followers. It should be releasing sometime this Fall. Also, make sure and check out their new live album “The Great Outdoors Jam” coming out February 17th!! For those of you out in Colorado, Pigeons Playing Ping Pong will be playing at Red Rocks, August 13th with Moe and Twiddle!

Written by Greg Powell

Photography by Molly Buckiewicz

For more info on upcoming tour schedule, music and the band check out the links below!!

Music, buy album
Website
Tour

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Sonic Bloom 2016

July 12, 2016 By FreioMusic

Sonic Bloom 2016 has a stacked lineup producing incredible performances too numerous to describe here. It is safe to say, “SonicBloom has become one of the best electronic music festivals in North America!” It is worth noting the international talent attracted to the base of the Colorado Rockies to share their vision, talent and art. To see the full lineup click here.

The mindfulness and vision to attract the top talent from across the globe, must be recognized and commended. The three official stages vibrated with historic house music. This festival is the nexus of the Colorado electronic music scene. The location is perched atop a beautiful space of land with the foothills of the Rockies to the west and windmill filled fields that go on to meet the eastern horizon. The festival has succeeded at curating a fertile ground for the world-wide cutting edge of musical maneuvering.

The sound systems are tuned to the valley and can bump through the entire festival grounds. The security is appropriately staffed and energetically aligned. The friendly faces can be found throughout the campgrounds, stages, in swinging hammocks, in high fiveing security guards, or the dancing chefs who happily serve nourishing food at reasonable prices. The ice, in high demand in the hot sun is the only noticeably overpriced product at $1/lb. The showers run at full capacity as people line up for their chance to clean off that layer of accumulated dust and dirt that is kicked up from all of the movement. The sunny and beautiful weather also brings with it the dryness enabling the dirt to turn to dust. The wind is welcome and the stream is an oasis for people looking to take a dip and cool off.

The unofficial or ‘renegade’ stages include tipis and camp sites stacked with speakers and subs. The colorful crowd and the apex of art have arrived to create an immersive experience that people are willing to dedicate four days to. Some of the crowd has traveled from across the continent to enjoy the this dreamed up reality.

This festival has become a small close nit group of people who are looking out for one another to form a utopic village for just under a week. The production continues after the last set as everything needs to return to its original order; stages must come down, lasers, lights, projectors, sound & lighting boards, 1,000’s of yards of electric wiring, speakers, microphones, instruments, and framework to name a few. The thankless work of setting up all of the stages and hauling in the gear was executed with time to spare and enough technology to entertain even the most avid of festival goers.

People in their ‘A-Game’ costumes come energetically into the festival entrance in groups. Everyone has made 10+ new friends and friendly neighbors. The exchange of ideas, paints, music and visual art permeate the mind of every attendee. One cannot help but be inspired by something of unique beauty.

Day in the Life; at Sonic Bloom:

Winds whip down the hills and across the plains. Dust moves in a hurried Eastwood direction. Every walk of electronic culture strolls through the grounds interacting with experiences, sonic vibrations and frequencies across the perceptible spectrum. Cars have been rolling in for over 12 hours at a steady pace filling up the campgrounds. The lucky and wise are nestled among the 6′ shrubbery whose neighbors are bushes and trees. My neighbors on the other hand-made the pilgrimage to SonicBloom from Louisiana. A tightly packed vehicle of four young energetic and enthusiastic beautiful artistic human beings. As a group, it does not seem possible to gather so many like-minded humans in a place to enjoy and thrive in a collaborative environment.

Friendly staff greet the goers. The hippy chicks and the electric glowers.

From the lighting to the sound, from the stages to the camp ground, there are smiles to go around. With the hammocks from Yammocks, and the beats from the peeps the festi is full of fun-loving music geeks.

Three stages of stacked sets featuring some of the top electronic acts from around the world. American electronic music lovers treat this event as an annual pilgrimage to discover and reunite with the music, people and source of creative energy that is the foundation of a festival. Creativity flows from the ornately decorated stages and sublimely composed tracks that suddenly take hold of the listeners and create a simultaneous bodily expression of enjoyment including but not limited to twerking, spinning, jumping, dropping, exploding or floating.

The breeze kicked up into a howl for Nightmares on Wax’s last song featuring one of the most recognizable guitar riffs around. The high energy Bonobo set was filled with masterfully woven bass lines pulsing through the night. The crowd can be heard cheering for miles.

The late night stages rage like there is no finality to human diurnality. The artists continue to stoke the flaming crowd into the next adventure and from one set to the next. The solitude of night embraced with the warmth of bass and faces.With the evolution of the performances, the pulse of the festival was amplified and magnified by the exemplified beat technique. The audible entertainment abruptly ended, with a slow retreating high pass filter that faded out for 15 min or more notifying the audience that the silent disco was starting. With headphones on, the party rolls on…

The nexus of Colorado electronic music counter-culture is here; at Sonic Bloom, on the beautiful property at Humming Bird Ranch.

7 Clever Ways to Profit From Your Music

January 4, 2016 By FreioMusic

Seven Clever Ways to Profit From Your Music

In this blog post you will learn some of the best proven strategies used by some of the most successful musicians around today. If you have been a professional musician for decades or are just starting out today this article is for you. These seven clever ways to profit from your music have been tested and proven by some of the best musicians out there. This article will help you monetize and maximize the impact of your new musical release.

7: Sell Stems

An other strategy that caters to musicians is to enable people to buy the ‘stems’ (individual tracks or instruments) that comprise a song. This strategy will likely only make you money from other fellow musicians. For instance a rudimentary version of this strategy is to sell an instrumental version of your track and remove the vocal stem from the final product. You could also sell just the vocal stems. Perhaps if you are Carlos Santana you could sell the guitar parts only. It is up to you how you slice up your songs and sell the parts. Some musicians refuse to show the listener ‘under the hood’ of the artwork. It is revealing when you tear apart a song into its components. The purpose (from the consumer’s end) is to isolate individual sounds to create a better remix or sample of the song. If you want to encourage others to remix or sample your song, you should consider releasing the stems to one or all of your songs.

6: Sell High Quality Files for More Money

One clever strategy is to enable the purchase of your music in multiple file types. MP3s, the most common musical file type, is compressed. Compressed files are great to conserve space and to pack as many songs as possible on an iPod or your phone. Compressed files are not high quality. Some careful listeners (a.k.a. Audiophiles) will be able to notice the difference between a compressed file and an uncompressed file if the song is played on high quality speakers or headphones. If you want to make more money from your music, sell different file types at different price points. One great platform that enables you to sell different audio files is Bandcamp.

5: Sell a Package Deal

Give your customers incentive to buy all of your albums or an album rather than a song. Some clever musicians prevent the purchase of particular single songs on iTunes and encourage people to buy the album to gain access to that particular song. You can also sell a package that includes your music as well as apparel or memorabilia. You can give a relative discount, compared to buying each item separately, to your fans for buying the package.

4: Touring Up-sales

As you tour, you can and should maximize your reach by selling products at the show. You can sell apparel such as hats or shirts. You can sell memorabilia such as posters or stickers. You can sell your music by offering physical sales of your album. The key to this strategy is hiring someone to manage and run your merchandise table while you are focused on preforming. You need to make sure that your sales will continue while you are on and off stage. Collect emails and make sure to reach out to your fans!

3: Raise Money From A Crowdsourcing Platform

This technique is especially useful for young musicians or musicians who are tight on cash. Are you ready to get into the recording studio but the price tag is intimidating you from pulling the trigger? As your fans for support in exchange for an exclusive offer or bonus. Your fans can help you raise the money needed to get into the recording studio and create that album you have always dreamed of. Crowd funding reduces the risk of launching your album to the sound of crickets and a negative bank account. Every musician should understand that there is a huge investment of time and money to create, record, and promote their music. With some support from your fans, you will know that people want to hear what you are working on. Not only will you be assured that people are interested in your upcoming release, after your first sale, you are in the green and making profit. You no longer have to worry about ‘breaking even’. Your expensive recording costs will disappear. Your ‘studio time’ will be already covered and you now have a solid base of fans to help you promote your work when the launch date arrives. There are many crowd funding platforms that are popping up but two of the most popular platforms are: Kickstarter, and Indiegogo. For a great resource to compare the two platforms: click here

2: Pre-sell Your Album

If you have an established fanbase, one of the more lucrative strategies is to presell your upcoming album. Pre-sales create excitement, anticipation, and money for you, the artist. When the album is finally released you can be sure that all of your pre-order customers will be thrilled to finally get their ears on your music. Your pre-order customers will help generate a boost to the awareness of your music. Your music depends on word of mouth and people becoming aware of your music. By pre-selling your album, your album will launch from a solid base of passionate fans who will help you every step of the way. Imagine launching your album knowing that you already have 1,000 people who have already bought your album at $10. That is right, you just earned $10,000 prior to the first day, and you now have 1,000 excited fans sharing your album all over social media! Compare that to launching with no guarantee that your album will sell to anyone. Of course if you do your homework by creating incredible music, touring to create enthusiastic fans, and promoting your music on all of your platforms you will likely not launch to the sound of crickets. What is there to loose? Nothing. By Pre-selling your album, you will only extend the time you are able to sell your music. You can even use some of that revenue prior to launch to hire the best mixing and mastering engineers to give your album even more value.

1: Sell Your Free Music

How can you sell you free music? Great question and the answer is not necessarily obvious. You can sell your music in exchange for an email address (example: enter your email to download). An other strategy is to take the middle path. You can also leverage multiple platforms and cater to those customers. For example: Pretty Lights a Colorado native has demonstrated this strategy with extraordinary prowess. Pretty Lights enables free downloads from his website while simultaneously selling the same music in iTunes. Derik Vincent Smith, the mastermind behind Pretty Lights, has said that he earns $100,000 from iTunes per month! (Source: Fast Company)

Thats it! You have now know the 7 Clever Ways to Profit From Your Music.

Still Want More?

Join the conversation by commenting. What is your favorite strategy?

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Wonderfruit

October 28, 2015 By Michael

Take a look at Wonderfruit’s official trailer for “Journey to Wonderfruit”. This one of a kind festival kicks off Dec 17-20th. Take a look at what really makes Thailand a special destination for what’s being called Thailand’s socially-conscious, eco-friendly version of Coachella.

Wonderfruit has added new acts to the lineup: Yasiin Bey (aka Mos Def), Rhye, Lucent Dossier Experience, Daedelus, Catching Flies, Greasy Café and more join a hyped 1st wave roster including The Faint, The Submotion Orchestra, and the world premiere of Jon Hopkins x Chris Levine’s audiovisual collab, iy_project.

The festival aims to be part of a shifting paradigm in Asia.

Date: December 17th-20th 2015

Country: Thailand

Festival: Wonderfruit

More details:

PATTAYA Chonburi, Thailand – Wonderfruit Festival Thailand’s pioneering, sustainability focused and eco-friendly festival, featuring world-class international live acts and DJs. From hip-hop and electronic to alt-R&B, Thai folk, techno and circus arts, as well as a variety of regional Asian acts, Wonderfruit is set to spellbind audiences with the best music and performances from around the globe.

The second wave is led by legendary hip hop artist Yasiin Bey (aka Mos Def), R&B duo Rhye and the breathtaking, twirling, fire-breathing cirque performers of Lucent Dossier Experience. The international line up also includes Heartthrob, Elektro Guzzi, Daedelus, Goldroom, Viceroy, Catching Flies, Com Truise, Papercutz, Anchorsong, Arjun Vagale, Ocean Lam and Gaby Endo. Meanwhile, not to be outdone, Thai artists on the bill include Pongsit Kampee, Greasy Cafe, Boy Thai, Kidnappers and Dan Buri. They join a stand-out first wave including the world premiere of Jon Hopkins x Chris Levine’s iy_project, The Faint, Submotion Orchestra, Howie B, Dapayk Solo, and more.

Get a deeper glimpse into the magic of what’s to come with the official “Journey to Wonderfruit” trailer. The forthcoming mini-film from The Confluence is teased here with stunning shots of Thailand, the festival’s home, which mingle with visages showcasing the beauty of Wonderfruit’s people coming together to celebrate art, creativity, and individuality.

Providing homes to this diverse spectrum of artists are the highly conceptualized Wonderfruit stages. The Main Stage will be transformed by artist Joel Dean Stockdill into a sculptural paradise using locally sourced materials, while the Solar Stage will be designed by Los Angeles-based Vita Motus, renowned for their innovative stage designs for Coachella’s Do LaB stage and Boom Festival. Leading Thai contemporary fashion house, Issue will team up with architecture collective, Bang Bang to embellish the Soi Stage by layering specially designed printed fabrics with alluring chinoise architectural elements. The festival grounds will be further brought to life with incredible art installations that interact with the local ecology as well as Wonderfruit guests.

Younger festival goers too can get creative with the activities in dedicated kids’ area, Camp Wonder. From free running workshops with champions Team Farang and a kids’ disco, to foraging and traditional kite-making, plus storytelling, magic and a puppet show from Chao Khun Thong, it’s the perfect place for little ones to express themselves and for parents to join them in having fun and exploring Wonderfruit’s sustainable ethos. What’s more, with a professional nanny service on hand, grown ups can drop the tots off while they explore the delights of the field.

Joining award-winning Chef Gaggan in the Theatre of Feasts is noted mixologist, Shingo Gokan, owner of Speak Low in Shanghai, who will design a signature cocktail to be served to feasters. Foodie favorites Hong Bao, Bad Motel, Fillets, Broccoli Revolution, Maison Jean Philippe, Moo Ping Hea Owen and more than 20 traditional Thai street food outlets are set to join hungrily anticipated food and drink vendors Knock, Rocket, Surface and Peppina. Stay tuned for the full epicurean lineup and list of vendors for Wonderfruit 2015.

As well as delectable eats, Wonderfruit offers food for thought; brand new for this year, Scratch Talks presents global thought leaders including Dream Rockwell – the founder of Lucent Dossier Experience, legendary music producer Howie B and noted architect Duangrit Bunnag for a series of perspective-altering interactive discussions. Additionally, The Sharing Neighbourhood, presented by SC ASSET, provides a platform for passionate individuals to share their unique skills and deliver engaging workshops from handicrafts and mask-making to yoga, dance and meditation. Further outward-bound activities include human foosball, tug of war, aqua-volleyball and silly circuit training at Wonder Boot Camp, while indulgent treatments are available in the Healing Village from energetic body mapping to reiki.

From December 17-20, 2015 in The Fields at Siam Country, just 150 kilometers southeast of Bangkok, Wonderfruit presents not only an unforgettable party but a transformative experience, rooted in their ethos of social responsibility.

For more info visit: WonderfruitFestival.com