Saturday, April 21, 2018
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Monday, December 4, 2017
Hrvoje Bubić | Interview with Rob (the Baron) Miller
For start, tell me about your start, how did you get in punk rock movement and music generally, your influence and your understanding of the punk movement.anarcho punk and crust punk.
I was introduced to Punk Rock initially by my Brother Stig back in 1977,when he returned from working in Jersey with a guitar and a copy of Sniffing Glue fanzine,we began listening to John Peel on radio One as the bands began to emerge,a very powerful and exciting time as a young man.we took the advice in Sniffing Glue literally,they said here are 3 chords,now go and start a band,so we did.This was really before Crass appeared properly or the punk rock movement became synonymous with Political ideals,in a sense it was a freer time.
Amebix, you founded with as lead vocalist your brother Stig(guitar) , Andy “Billy Jug” Hoare (drumes) and Clive Barnes (bass player) as Band With No Name, recorded a demo on a tape that came in Crass member and song University Challenged was featured on first Crass Records Bullshit Detector LP. Latter, Clive and Andy left the band and thye were replaced with Martin on drums and you as bass player. You practice in Martin’s parents house basement but he was removed from band by his parents becose he suffered from paranoid schizophrenic, you guys kicked from house and is it song “Largactyl” is about him?
Yes,it was song about Martin,who was quite tragic really,very much like Syd Barrett from Pink Floyd in that way,a sensitive person who burned out quite young.I am glad to say Martin is still alive and doing OK,i have visited him a few times over the years but realise that the damage is done really.
You swithched name from Band With No Name to Amebix, can you tell as why (cos Band With No Name is very good name) and you hired Norm from Screaming Heads, Phantasmagoria, NormYard as synth player(who was replaced by George on EP No Sanctuary) and Disorder’s Virus as drummer, making first two 7′: Who’s the Enemy , Winter), 12′ EP No Sanctuary. In that time, you relocated to Bristol, you lived in squats, how was living that lifestyle,making music and surviving, probably not very nice, right?
The band with no name was a name we gave ourselves after watching the Good the Band and the Ugly with clint Eastwood,who plays the man with no name.yes it was a good enough name but i think it may have become dated,whereas Amebix has an eternal presence.
Bristol was difficult,but we were young,it was a desperate time and also an exciting time in many respects,it taught me a degree of self reliance,and that no matter how hard rings get you can find a way through,you can survive.
During the recording No Sanctuary, you met Jello Biafra, frontmen of Dead Kennedys and owner of punk label Alternative Tentacles, on which you released your first LP Arise, which I would describe as Motorhead meets Joy Divison. Again there was changing line-up in band, with Spider on drums. You signed to Heavy Metal Records,releasing the last LP Monolith,on of your last shows was in Sarajevo, just before of end of Yugoslavia( btw my buddy Franko was on that show and wants to say hi).
Yes,Sarajevo was quite odd,i think we took some mushrooms before that show,a very chaotic affair,but we enjoyed former Yugoslavia as an experience although there was definitely something in the air too
After the split, Spider, George, and Stig formed band Zygote,what happen to you? I read that you live on some lonely island in Scotchland as self- taught swordsmith, please tell as something about that, did you have another music project? I just listening the Tau Cross, and it very good. It was you on vocals & bass, Michel (Away) Langevin of Voivod on drums, Andy Lefton from War/Pleague and Jon Misery of Misery as guitar players. Tell us more about Tau Cross and another projects?
I left England in 1991 and turned away from music and everything i had known to begin a new life on the barren landscape of the inner hebrides,it was a challenging time,before the Internet and the ease of communication we take for granted now.Amebix became a phenomenon whilst i was unaware of that,when i found the Internet eventually it became apparent that we had an influence on a lot of people despite the lack of any real support or success at the time.
I taught myself to become a Swordsmith in the traditional way,and lived my life that way for 20 years,until a documentary maker came to find me to talk about Amebix,and that stated a whole lot more trouble of course.
What is your opinion about today music scene, ether was mainstream or underground, do you think it still like was in 80′ during the Cold War and today’s War on Terrorism,you know fear as tool? Your opinion on political correctness,what is your life philosophy and view on world?
That is another discussion,and impossible to summarise in a written interview.As we grow older we can become less connected to music,this is how i feel now,there is very seldom anything i hear that makes much of an impression.
For the end what is legacy of Amebix,I notice that lots of bands mention Amebix as influence. The last Amebix album was Sonic Mass from 2011 with Roy Mayorga on drums, will there be a new Amebix stuff, some show in Split and what you would to say our readers?
Amebix split up again 2012,there will not be another Amebix.
Sunday, December 3, 2017
Sunday, January 1, 2017
Saturday, November 22, 2014
17 COSE CHE GLI ARTISTI EMERGENTI NON RIESCONO AD IMPARARE!
Ari Herstand è un musicista che si gestisce interamente da solo, ma lo fa in un modo talmente efficace e redditizio che il suo blog è diventato un punto di riferimento per tutto il mondo DIY. Spesso i suoi post vengono pubblicati su siti di informazione di settore; è il caso di “17 Things Local Bands Just Don’t Get” pubblicato su Digital Music News. In questo post Ari si è concentrato esclusivamente sul live, uno dei suoi temi preferiti e uno dei punti fondamentali per ogni artista, facendo una lista di cose che le band o gli artisti emergenti non riesco a capire. Un breve cappello introduttivo giusto per anticiparvi che questo è un adattamento, non una mera traduzione, anche per cercare di trovare un nesso tra il mercato italiano a quello americano. Ma che vedrete si assomigliano più di quanto non pensiamo.
Partiamo:
- Parlare male di altre band appartenenti alla vostra stessa scena non peggiora la loro reputazione, bensì la vostra.
- Rimanere in fondo al locale con le braccia conserte e completamente indifferente mentre suona una band non fa di voi una persona ‘cool’. Diventate molto più popolari stando sotto i palco a cantare le loro canzoni.
- Sembrare una rockstar non è poi così importante; fondamentale è SUONARE come una rockstar.
- L’immagine è fondamentale. Evitate di esibirvi con i pantaloncini militari multitasche, quelli sono perfetti per il barbecue, non per i musicisti sul palco.
- Essere rispettosi e gentili vi porterà professionalmente più lontano rispetto ad essere superiori e arroganti.
- Andare ai concerti degli altri gruppi è la cosa più importante che possiate fare per aiutare la vostra scena musicale.
- Spesso le persone influenti (direttori artistici, blogger, giornalisti, personalità, etc.) sono amiche tra di loro, diventa amico di uno di loro e lo sarai di tutti. Se ti comporti male con uno sarai inserito nella lista nera di tutti.
- Non hai bisogno dell’attenzione della stampa per organizzare un concerto. Necessiti di un’etica di lavoro molto forte e un buon piano di azione.
- La promozione attraverso oggetti fisici è ancora molto importante. Esci di casa e appendi qualche locandina o distribuisci flyer. Non passare tutto il tuo tempo su Facebook.
- Facebook sta morendo. Se tutto il tuo piano promozionale è sul social, sei condannato all’insuccesso.
- Prima di partire con un tour devi conquistare la tua città. Se non interessi a nessuno a livello locale, cosa ti fa pensare che potresti piacere ad altre persone?
- Fare concerti non ha nessun senso fino al momento in cui non arriva il pubblico. Non ti conviene iniziare un tour se ancora non sai come far arrivare le persone.
- Se vuoi conquistare la tua città (vedi punto 11) non devi suonarci molto. Dirada i concerti così sarai in grado di promuoverne bene uno ogni 6/8 settimane.
- Quando inizi, comunque, devi suonare ovunque e in qualsiasi location per fare esperienza. Registra ogni concerto e quando inizia a piacerti ciò che senti (e persone che NON SONO tuoi amici o familiari pensano la stessa cosa) puoi iniziare a trovare nuove date e fissare un cachet.
- Se fate schifo non avete diritto ad essere pagati. Prima dovete diventare bravi. Poi chiedere un cachet.
- Nell’industria discografica a nessuno interessa quanto sia bella la vostra musica; a loro interessa solamente il successo che avete ottenuto da soli.
- Cerca di aiutare i tuoi colleghi, spesso questo aiuto torna indietro.
17 Things Local Bands Just Don’t Get
1. Trashing other bands in your scene isn’t hurting their rep. It’s hurting yours.
2. Acting disinterested with folded arms at the back of the room at other bands’ shows does not make you cool. Singing along at the front of the stage does.
3. Looking like a rock star isn’t as important as sounding like one.
4. Image is actually important. Cargo shorts are for dads at a barbecue. Not for musicians on stage.
5. Being respectful and friendly will take you much further than being superior and entitled.
6. Going to other bands’ shows is THE most important thing you can do to support your scene.
7. Your scene’s gatekeepers are friends with each other. Get in with one and you’ll get in with them all. If you piss one off, prepare to be blacklisted.
8. You don’t need press to pack a show. You need a strong work ethic
9. Physical promotional materials are still incredibly important. Get out into the world and put up some posters and hand out some flyers. Don’t spend all of your time on Facebook.
10. Facebook is dying. If your entire promotional plan relies on it, you’re doomed.
11. You need to conquer your hometown before you can hit the road. If no one cares about you locally, what makes you think people will care about you anywhere else?
12. Touring means nothing unless people actually show up to your shows. Do not tour unless you know how you’re going to get a crowd at every show.
13. Playing around town all the time weakens your draw. Spread out your shows so you can promote one big show every 6-8 weeks.
14. HOWEVER, when you’re starting off, you need to play out everywhere and anywhere all the time to get practice. Record every show. Once YOU love listening to your live set (and non-friends and non-family tell you they love your band) then you can book real shows and charge a cover.
15. If you suck, you do not deserve to be paid. Get good first. Then you can start charging.
16. No one in the industry cares about how good your music is. They care about how successful you have become on your own.
17. Go out of your way to help others in your scene. It will eventually come back around.
Ari Herstand is a Los Angeles based singer/songwriter and the creator of Ari’s Take. Listen to his new album, Brave Enough, on Spotify or download it on BandCamp. Follow him on Twitter: @aristake
Photo from Flickr by Grenade used with the Creative Commons License.
Wednesday, November 12, 2014
Saturday, November 8, 2014
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Monday, June 2, 2014
Monday, April 14, 2014
17 Cose Che Gli Artisti Emergenti Non Riescono A Imparare (di Groovadia)
Groovadia
Ari Herstand e' un musicista che si gestisce interamente da solo, ma lo fa in un modo talmente efficace e redditizio che il suo blog e' diventato un punto di riferimento per tutto il mondo DIY (do it yourself). Spesso i suoi post vengono pubblicati su siti di informazione di settore; e' il caso di "17 Things Local Bands Just Don't Get" pubblicato su Digital Music News (altro sito che vi consigliamo seguire...). In questo post Ari si e' concentrato esclusivamente sul live, uno dei suoi temi preferiti e uno dei punti fondamentali per ogni artista, facendo una lista di cose che le band o gli artisti emergenti non riesco a capire. Un breve cappello introduttivo giusto per anticiparvi che questo e' un adattamento, non una mera traduzione, anche per cercare di trovare un nesso tra il mercato italiano a quello americano. Ma che vedrete si assomigliano piu' di quanto non pensiamo.
Partiamo:
1. Parlare male di altre band appartenenti alla vostra stessa scena non peggiora la loro reputazione, bensi' la vostra.
2. Rimanere in fondo al locale con le braccia conserti e completamente indifferente mentre suona una band non fa di voi una persona 'cool'. Diventate molto piu' popolari stando sotto i palco a cantare le loro canzoni.
3. Sembrare una rockstar non e' poi cosi' importante; fondamentale e' suonare come una rockstar.
4. L'immagine e' fondamentale. Evitate di esibirvi con i pantaloncini militari multitasche, quelli sono perfetti
per il barbecue, non per i musicisti sul palco.
5. Essere rispettosi e gentili vi portera' professionalmente piu' lontano rispetto ad essere superiori e arroganti.
6. Andare ai concerti degli altri gruppi e' la cosa piu' importante che possiate fare per aiutare la vostra scena musicale.
7. Spesso le persone influenti (direttori artistici, blogger, giornalisti, personalita', etc.) sono amiche tra di loro, diventa amico di uno di loro e lo sarai di tutti. Se ti comporti male con uno sarai inserito nella lista
nera di tutti.
8. Non hai bisogno dell'attenzione della stampa per organizzare un concerto. Necessiti di un'etica di lavoro molto forte e un buon piano di azione.
9. La promozione attraverso oggetti fisici e' ancora molto importante. Esci di casa e appendi qualche locandina o distribuisci flyer. Non passare tutto il tuo tempo su Facebook.
10. Facebook sta morendo. Se tutto il tuo piano promozionale e' sul social, sei condannato all'insuccesso.
11. Prima di partire con un tour devi conquistare la tua citta'. Se non interessi a nessuno a livello locale, cosa ti fa pensare che potresti piacere ad altre persone?
12. Fare concerti non ha nessun senso fino al momento in cui non arriva il pubblico. Non ti conviene iniziare un tour se ancora non sai come far arrivare le persone.
13. Se vuoi conquistare la tua citta' (vedi punto 11) non devi suonarci molto. Dirada i concerti cosi' sarai in grado di promuoverne bene uno ogni 6/8 settimane.
14. Quando inizi, comunque, devi suonare ovunque e in qualsiasi location per fare esperienza. Registra ogni concerto e quando inizia a piacerti cio' che senti (e persone che non sono tuoi amici o familiari pensano la stessa cosa) puoi iniziare a trovare nuove date e fissare un cachet.
15. Se fate schifo non avete diritto ad essere pagati. Prima dovete diventare bravi. Poi chiedere un cachet.
16. Nell'industria discografica a nessuno interessa quanto sia bella la vostra musica; a loro interessa solamente il successo che avete ottenuto da soli.
17. Cerca di aiutare i tuoi colleghi, spesso questo aiuto torna indietro. Diciassette consigli da tenere bene a mente, forse alcuni sono troppo cinici, ma in questo momento storico anche l'arte deve diventare piu' cinica e meno sognatrice... o forse no?
Tradotto e adattato da Fabrizio Galassi Link all'articolo originale: http://www.digitalmusicnews.com/permalink/2014/02/27/17-things-local-bands-just-dont-get
17 Things Local Bands Just Don’t Get
1. Trashing other bands in your scene isn’t hurting their rep. It’s hurting yours.
2. Acting disinterested with folded arms at the back of the room at other bands’ shows does not make you cool. Singing along at the front of the stage does.
3. Looking like a rock star isn’t as important as sounding like one.
4. Image is actually important. Cargo shorts are for dads at a barbecue. Not for musicians on stage.
5. Being respectful and friendly will take you much further than being superior and entitled.
6. Going to other bands’ shows is THE most important thing you can do to support your scene.
7. Your scene’s gatekeepers are friends with each other. Get in with one and you’ll get in with them all. If you piss one off, prepare to be blacklisted.
8. You don’t need press to pack a show. You need a strong work ethic
9. Physical promotional materials are still incredibly important. Get out into the world and put up some posters and hand out some flyers. Don’t spend all of your time on Facebook.
10. Facebook is dying. If your entire promotional plan relies on it, you’re doomed.
11. You need to conquer your hometown before you can hit the road. If no one cares about you locally, what makes you think people will care about you anywhere else?
12. Touring means nothing unless people actually show up to your shows. Do not tour unless you know how you’re going to get a crowd at every show.
13. Playing around town all the time weakens your draw. Spread out your shows so you can promote one big show every 6-8 weeks.
14. HOWEVER, when you’re starting off, you need to play out everywhere and anywhere all the time to get practice. Record every show. Once YOU love listening to your live set (and non-friends and non- family tell you they love your band) then you can book real shows and charge a cover.
15. If you suck, you do not deserve to be paid. Get good first. Then you can start charging.
16. No one in the industry cares about how good your music is. They care about how successful you have become on your own.
17. Go out of your way to help others in your scene. It will eventually come back around.
Wednesday, March 26, 2014
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La battaglia EPICA di mio figlio con il mostro di Aladino!
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