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[stubborn-society]

Welcome to Stubborn Society

Nona and I post-show last winter

Short and sweet.

I intend to use this blog to give new artists exposure. I'm going to keep interviewing the folks I want to interview, people you probably haven't heard of yet. I'm going to keep talking about music, community and industry news in a way I think is actually relevant.

The world is changing, there's no point in fighting it. What we need from our art is changing. We're figuring it out together.

I've been working in independent music for nearly two decades - as a touring musician, show promoter, and now, as a manager. I've seen how things work (and what doesn't work) on every level of the ecosystem. It's not easy to work in the music industry right now as an independent entity...that's actually an understatement. I've considered jumping ship several times; I struggle just as much if not more than most people. But I know staying active in the music world is important. I guarantee at the rate things are going, that if the people who supposedly care aren't willing to endure some hardship, whoever takes our place will only make things worse. I have an amazing community that inspires me and keeps me from running away.

I had a website for my mgmt business, but it's an expense I don't need, never needed. I wrote some good pieces and did some good interviews. I'm archiving those here and dumping it.

I now do artist development as a community service and accept extremely sliding scale donations. More on that another time, perhaps.

I hope you want to contribute, participate, and support the project. Yes, this could've been a substack, also no it couldn't have been.

[stubborn-society]

Perfection Won’t Save You

It’s terrorized me for most of my life - the greedy determination to be good at everything, to be perfect, to ascend to a level greater than human. I want to touch the veil between the normal and the paranormal every single day; anything less would deprive me of my destiny. I knew this as soon as I had the faintest grip of consciousness as a baby. As soon as I was aware I existed, I wanted to be great. It doesn’t bother me to admit it, it’s nothing to be ashamed of. 

Now let’s be real: like most people, I came into the world under average circumstances at best. My parents had no reason to put me here. I’m gonna be bold and say you were probably conceived under a very similar set of circumstances. There are a lot of us regular folks out here. No one is perversely concerned with what we’ll do or become now that we’ve been born, other than the things we shouldn’t do - don’t flunk out of school, don’t go to jail, don’t have kids too young - and there are billions of other people on the planet who also only got this directive. We’re brought into the world with very little ceremony - which seems less stressful, to be honest, but the trouble is, if we happen to be born artists, a humble upbringing doesn’t always prepare us for ourselves. It’s still a supernatural calling that we don’t really get to choose - zero resources won’t stop you from being an artist; limitless resources won’t truly turn you into one. One of the most destructive symptoms of being an artist is this supposed entitlement to greatness. Without the breeding to sanely calibrate that privilege, you’re on your own, kid. Kinda.

Some people are told their entire lives that they’re great, omnipotent, special, chosen…and that might not compel them whatsoever. Unlike us, they were conceived to fulfill a duty to be great. I imagine it’s difficult to feel an affinity for greatness when you’re so sheltered from the volatility of existence. The born-greats never experience wanting to be, they’ve never taken a harrowing dive into their deepest, darkest inner world to find a single pearl. Greatness is assigned to them, and they, through no fault of their own, have no reference for how to appreciate it. That’s a completely different experience from the existential hunger and terror us plebs experience. We’re unceremoniously booted out of the womb in the hundreds of thousands daily, only to slash around recklessly in a series of esoteric choke points for most of our lives, if not all. We resent our parents, teachers, and bosses for having authority over us without even having any clue why the hell we’re here - we’re supposed to figure it out while getting yelled at and punished for figuring it out. I’m making a point, I promise. 

I’m assuming that like me, you’re on this planet for no clear reason and you’re also an artist born into conditions that weren’t the most hospitable. Like me, you may have had to either hide your vocation or justify it by vainly obsessing, just to preserve yourself. I’m not insulting you, I’m right there with you. Now let’s say some years have gone by, and you’ve lost the thread. You’re cruising on a malignant loop, with big visions, ruminating over how to bring them to fruition. Let’s say you embark on this artistic journey to create your magnum opus with few resources, no guidance, no support, some close range frenemies, and a lot of internal pressure for your next move to propel you out of obscurity, and not the cool kind of obscurity. The kind that involves putting your purpose on the same level of importance as your family, your partner, your hometown buddies, all of whom have unique reasons to keep you right where you are. Or maybe you’re a few steps beyond that, and your loop circles around the approval of the most successful people in your scene, who also have unique reasons to keep you right where you are. Both scenarios aren’t great. Both spawn a hyper-critical obsessiveness that feels productive because you’re expending a ton of energy, but I’m here to tell you that obsessive perfectionism isn't always inspiration, nor is it hard work. It can be a block. I actually hated typing that. It hurts me too.

My point: you’re a human being. You’re expansive, mercurial, conductive, receptive. You aren’t a Hollywood montage of getting work done and winning. Time is real for you. Practice is real. Frustrations are real.

As artists, we need to continually clean our mental slate of media that oversimplifies our reality. We have to be able to look objectively at the things that inspire us, that seduce us, that fundamentally change us, and remind ourselves, this isn’t real. Eat and drink it for what it gives you, but suspend absolute faith. Because the practice of finishing art is making a village look like just one person. We don’t need to become data-crunching industry magnates to finish our work. We just need a proper grip on reality and a healthy relationship with fantasy. Sometimes it is hard to accept that we’re creating an escape for others to experience. We don’t live in our finished product, because it’s not for us. That’s just the rule, I didn’t make it. You’ll never be able to put our elbow in our ear; don’t get caught trying. The good news is that it doesn’t matter. Another artist made a world for you to walk into, and you can surrender to it at will because they aren't your competitor. 

Wait, wait. Don’t curb your enthusiasm! I’m suggesting you give yourself grace. If the pursuit of perfection is blocking your flow, give it up. Clean up glaring mistakes then keep it moving. Your outlook shouldn’t be controlled by the intentionally digestible media about how it all goes down, because that’s not how it all goes down. Nothing is wrong with you, that’s just not how it goes down. Music documentaries are entertainment. Autobiographies are entertainment. Even Wikipedia is entertainment in a way. The real depth is the reality of your process and flow. The stories we consume are counseled, drafted, edited, polished - and under no obligation to be true. It’s not gospel, it’s also not the product of one hot-blooded misfit chiseling away in their basement, even if that’s the story. No. For you to even see it, labor is divided among several experienced people. None of them individually are sweating as hard as you. Perfection is collective. Closing yourself off from working with others so you can retain your obsessive scruples over every step isn’t making art, it’s merciless vanity and self-involvement; it’s a weight on your spirit. I’ve been this person, I’m allowed to say this. Love yourself enough to be imperfect. Don’t worry. Eventually, all the low-budget insanity is going to make sense. Help is on the way.

I know not everyone is wired for humility, and that’s not a problem. I'm not asking you not to be arrogant. You can teach your arrogance to boogie with grace and chill. It’s really all good.

So far I haven’t found better instruction than this passage from the Tao Te Ching. It’s a reminder to stay grounded in the present, but with the courage to look outward and ahead: 

“He who stands on tiptoe

doesn't stand firm.

He who rushes ahead

doesn't go far.

He who tries to shine

dims his own light.

He who defines himself

can't know who he really is.

He who has power over others

can't empower himself.

He who clings to his work

will create nothing that endures.

If you want to accord with the Tao,

just do your job, then let go.”

(Dear Peasants, Perfection Won't Save You - originally published on beastsunltd.com February 9th, 2023)

[stubborn-society]

New Release: Grey Windowpane’s Churn Clockburner Ace

Photo Credit: M Turner

ATTN PSYCH NOISE FREAKS:

On July 29th, Grey Windowpane’s Churn Clockburner Ace was released on bandcamp through Torn Light Records (Cincinnati, OH). A limited edition run of cassettes is already almost sold out. Listen to track, “Ovoid Skin”, here:

Here’s the press from the label’s Instagram (couldn’t have said it better myself):

Writing about Mazozma aka Ma Turner’s work is like trying to frame a river. Throughout the course of their prolific career and many projects, the Lexington, KY native has explored free improv, freak folk, noise & punk, all while maintaining a singularity of vision within their work. A Mazozma release could only come from Mazozma, and Grey Windowpane’s Churn Clockburner Ace is no exception. Veering & shifting constantly, Churn Clockburner Ace creates & then straddles a line between modern comp tape music and fried out noise-folk. Picture the sludge and crumble of Dead C alongside the piercing and nauseous overtones of Alvin Lucier. But, as soon as you think you’ve pinned down Churn Clockburner Ace, it contorts in a completely new direction. By the time the tin-can guitar and ghostly voices of the title track appear, you realize that Mazozma’s done it again and you shouldn’t have expected anything less. Personally speaking, I was so surprised and blown away that I had to laugh a little. Surrender to the flow of Mazozma’s river and experience the joy that only a true Kentucky weirdo like they can bring.

– Cleo Meyer, Torn Light Records

All songs performed and recorded by Mazozma February-March 2023 at Lincoln Shoppe in Brighton, UK.

We corroborate that we too enjoy Churn Clockburner Ace and all of GW’s prolific blooms of tender chaos.

(Originally published on beastsunltd.com August 2, 2023)

[stubborn-society]

Landfall Releases Debut EP, Insolation Damage

Matt Penfield of Landfall. Photo credit: Erin Conger

“I’d like my music to act as an amplifier to experiences that can be confusing or ambiguous,” Los Angeles-based artist Matt Penfield describes the connective concepts that underpin his project, Landfall. “I’m interested in making music that helps that along and isn’t presented as too specific or subjective.”

Penfield is half of the LA/Chicago-based drone-wall duo Sedenion, which has previously released work on limited-run cassette labels Lurker Bias and Reserve Matinee. His first solo release, Insolation Damage, is a deeper study of the more subtle, unresolved aspects of his output. “I wanted to make something that left more uncertain or even uncomfortable thoughts and emotions space to resonate and reflect.”

Landfall’s origin stems in part from Penfield’s enduring, deep-rooted appreciation for electronic music. Discovering the dynamic, diverse mid-90s rave scene as a teenager, his fascination matured to include work that forges space for mercurial and fluctuating interpretations. The absence of specificity is, in his mind, the ideal route to a deeper understanding of the form. His own approach to machine music may not even be best described as a concept - in his sonic world, nothing is meant to be static. Everything is temporary, fragile, breakable. He wants listeners to create their own setting to appreciate the liminality of his work. 

One thing that does remain somewhat fixed throughout Insolation Damage, however, is Penfield’s staunch commitment to the mundane. Employing both field recordings and guitar, he pulls a cathartic, unrecognizable thread from these elements to create something desolate and gripping. “The core of it comes from organic samples heavily manipulated, and tools pushed to extremes,” he said, describing his process, “...to get as much friction and life out of the combination of sounds as possible.” Notable examples of this are the crisp but angular, “hatch frame” and the fleshy, quavering drone of closing track, “OT owl”.  

The result is a debut that’s both tense and agile, pensive but roving - leaving ample space for the listener’s unique grasp. 

(Originally published on beastsunltd.com July 11th, 2023)

[stubborn-society]

Kam Theory: “everything that’s meant for me will come.”

Photo Credit: Kam Theory

Cheers, I apologize for being absent from my post. I’ve been busy af, then I got sick with covid for the first time. Take it easy on me, would you? 

I’m so excited to be back. Things have been steadily moving along here at Grapefruit HQ. Our house is growing, and given the state of western civilization, I think everyone is more or less happy. I feel booked and blessed. 

As is my style, I am bringing you fresh, new artists to keep your eyes and ears on before anyone else. I’m no paycheck patsy out here lazily sowing seeds for the machine. I’m just one woman, the boss, out here putting her BST in the game every day. Mark my words. This is a threat and a promise.

I’ve waited a long time to get this interview under my belt and it’s finally come to fruition I’m so stoked: 

Another Friend of Grapefruit - this is the lovely and gifted Kam Theory. I’ve put her 2020 single, The Process, on 5 playlists already. Check it out for yourself. 

Hi, Kam Theory! 

Hi! 

How’s it going?

It’s going haha.

First, in your own words, tell us who you are. 

I am an ATL-based artist and producer from Savannah, GA.

I love Atlanta, especially the artists from there. How long have you been making music for this project? Is there a story behind it? 

I’ve kinda always been making music for this project but I just didn’t know what I’d call myself at those earlier stages. I’m always aiming to discover and hone in on what exactly I'm doing and slowly but surely I'm finding my sound and as a result, a name that stuck came about. I don't exactly even recall why I chose it. Partially it was my nickname Kam that my friends started calling me to shorten Kamiah. And Theory I think just resonated with my personality, interests, and the subject matter of my music, haha.

I got my first project name from a joke someone made when I worked in a call center when I was 20 and had it for 15 years, there’s no rhyme or reason! So tell me more about your path as a musician and what got you to where you are now. 

My music journey started as a child, I instantly gravitated toward music. I showed interest in it from my earliest memories. Through elementary school I would bang on any keyboard I could get my hands on, I played violin in 5th grade (but quit sadly haha), and then picked up a guitar at 13. I kinda always had these fleeting moments with being able to learn or play because I didn't actually have an instrument that was mine (or could afford lessons) until my first keyboard and first guitar at 13/14. But from there I taught myself how to play guitar by learning songs I loved and by writing my own songs. Naturally, I wanted to record myself and my own creations, so that bred my love for production. At 14 or 15 I got my first USB mic and MIDI cord to connect my lil casio and begin teaching myself programs like Mixcraft and eventually Ableton Live. I spent many hours just creating and trial and error learning music to get where I am today with it.

That’s cool you started producing songs so early! Kids really didn’t have that kind of access to recording programs and all that comes with that when I was that age but it’s really cool to see. 

We started following each other on TikTok a few months ago; that’s where I discovered you are crazy talented. What made you decide to start promoting your music on TikTok?

Mostly being encouraged by people around me to post my music on the platform, because it can be a great tool for discovery. And it can just be fun! I’m not always as consistent with it as I should be but it’s definitely cool to connect with others as a result of posting.

I notice some artists are very aggressive with their promotion on the app and others prefer to take a much more organic, real-life approach to it and just put their work out there and let it reach who it reaches. What has it been like for you as an artist promoting their music on social media? 

It’s a good tool when I am consistent with it, but sometimes I find it draining if I find myself feeling like I have to create content to be seen or not drowned out by the algorithm. But overall it's helpful when I am intentional about it and just remember that everything that's meant for me will come.

Yeah for sure, it’s stressful to be on there trying to get a song to go viral; I kind of think that ship has sailed anyway (definitely for the better). But it’s such a great tool for connecting with people and building community. Do you use it to connect with other artists or creators on there?

I do find music there occasionally, from specific artists that I might discover down to accounts that actually make lists of artists/or songs to listen to.

Has TikTok been a good platform to build community and find other musicians?

I think it is or can be. Social media overall has the potential to be that. Just depends on who you meet, connect with, and how you plan to move based on that imo!

Totally. Musictok can be a very energizing place, especially now that things have chilled out and it’s not so much like The Hunger Games or something. But some people do still have that energy vampire vibe that’s annoying. Do you enjoy the other music content that you see? Do you think on TikTok the content matters more or the music? 

I do. I love to see artists/musicians play and discover new ones via the algorithm that I potentially wouldn't have otherwise. Usually, it’s the music but also I enjoy how an artist can kind of curate a short-form video to reach a wider audience. A good visual is satisfying too, but especially when it compliments the music that’s already happening!

I’ll be honest, I don’t think anyone has mastered the art of seamlessly merging their content with their music on TikTok yet. But it’s not shade, I guess that doesn’t necessarily have to be the goal. Besides, a lot of artists on TikTok are solo. You also write and play all the instruments, record, and produce everything yourself. How do you feel about that? Is it your preference?

 I think it has its pros and cons like with everything. I like not having to wait on anyone to get things done or made as a result of being solo. But I do miss collaboration when I've gone through a long period of time without it. And it's nice to have a creative control break when working with others because the work is spread out over multiple brains vs just one haha.

Yeah, I used to get weird about collaborating but when you are really vibing with someone it’s really hard to go back to juggling everything yourself. This is sort of a non-sequitur, but how do you feel about competition in the music industry? Do you feel affected by it?

I think competition tends to stem from competing for an opportunity as opposed to competing for the sake of it. Also competing for attention because attention can lead to such opportunities. But there’s more room in this now than ever before because of social media and the internet. So it’s just interesting to witness or experience. I think it can bring out the worst of some personalities tho haha.

ABSOLUTELY. I think if there’s anyone to compete with it’s the stories we tell ourselves that hold us back. 

Lately, there has been a lot of conversation around indie artists maintaining control and ownership over their music and working independently of a label. Do you have any personal thoughts on signing to a label? 

I kind of touched on this in the previous question without even knowing haha. It’s absolutely an important conversation. The industry can be predatory, so I'd say my hope is that every single artist has the ability to decide what works for them. I would hope that everyone makes informed decisions vs hastily made ones that they might regret later on or ones made in the face of deception. In a perfect world, all artists could pursue the career in music they desire without the aid of a label to eventually leech off the fruits of that labor. But on the flip side, that same aid gets you the resources to execute your vision to a higher degree. So it can be subjective. I personally know that I want to maintain ownership and control of my music so I will move accordingly.

I respect that, and I think it means a lot to certain fans these days, too. But as you mentioned, there are a lot of great labels that are run by people with good taste who truly want to help artists, too. I think staying open to the right opportunities always helps the artist. So, what does the end game look like for you right now? What are your most immediate goals? 

Definitely building a platform to get my music heard and connect to more people. And to create more opportunities for myself in music as a result of that, so yes, playing more live shows and finding more collaborators. I really don’t know if I’m seeking a label or ever will be because I would like to keep my autonomy, haha. But as I continue to learn more about the industry and business aspect of music maybe that will change, who knows. I’m kind of going with the flow right now but I would like to continue down this path and just grow organically.

I’m all about organic growth, I think it serves the artists best. Another non sequitur, but I really want your perspective. How do you feel about the expanding space for black artists and black music right now? Does it inspire you to witness and participate in the shifting of people’s perception of what Black music is? 

I love that the perception is changing surrounding the expanding space for black artists. And the reason I say perception is because, to me, black artists created many if not all of the genres many other artists take credit for so this was ours to begin with! It absolutely inspires me because while marketing is important and influences so much, I think social media has given black artists back the power to create space for whatever we want to do. We can create our own lanes. 

We absolutely can. Personally, I think TikTok has been a great platform to bring greater visibility to Black alternative artists. Would you agree it’s more instrumental to this than other platforms? 

I would say yes! All of the algorithms have their bias (we know this for sure) but the main thing I like about tiktok’s algorithm is that it seems to really tailor itself to its specific audience and as a result, we can uplift our own people more. I love that.

For sure. I love the music community, seeing artists’ creativity and the way people engage each other on topics there. So…here’s a prompt for you. What are two of your favorite albums that you consider polar opposites?

This is such a good and hard question haha. I’d say The Beauty In Distortion by J*Davey and Homogenic by Bjork. The reason I say this is because while both albums are beat-centric and make use of distortion at times, the end result was so different. Another pairing imma list is Girl In The Half Pearl by Liv.e and Strange Mercy by St. Vincent. I love these albums and both have a melancholic vibe but in different ways. The music nerd in me wants to point out how both of them are from Dallas, Tx haha.

I still haven’t listened to Liv.e. I keep hearing she is amazing, I really need to get it together. So with artists releasing singles and really taking their time to release a full album now, I have to ask - especially younger artists - what do you prefer more, full albums or singles/playlists?

I love full albums to the core. I love the concept of bringing to life a whole project with such an intention and tying something together like that. And the way an entire album can become like a capsule of a certain time over a collection of songs as opposed to one. The rollout, the aesthetic, the concept/theme, the sonic choices that tie everything together is just the most satisfying thing. And to experience it the way the artist intended. I love it. (Singles/playlists are great too tho! haha)

I agree so much. I love it. I accept other answers, but I love this answer.

Your content is really fun to watch because you’re wholesome yet so confident! I can tell you really love guitar and the process of constructing songs. Do you draw a distinction between the songwriting process and production or are the lines more blurry? 

Thank you, haha. It took and is still taking a long way to exude confidence in it so I appreciate that. I would say it's more blurry for me because I tend to do both interchangeably. When I write it's not just about the song structure and content but I usually also have an idea of how I want it to sound once it's clearly conceptualized in my head and I'm trying to get it out and recorded. So for example, I might write a lyric and a melody but I also hear that it HAS to have this kind of delay on it or it doesn't feel complete haha. If that makes sense.

It makes perfect sense. That’s part of why I think the recorded medium really adds to the experience of songwriting. You have that control, but a responsibility not to exhaust yourself or exhaust the song. Do you believe in the concept of a magnum opus? Do you think people can strive for it or do you think it just happens?  

I think it’s subjective. But in the case of it happening, I tend to believe it just happens, and the best way it happens is when an artist has grown into themselves and found a sound that is THEM. I’ve thought about this in terms of when an artist self-titles an album. They believed after however many projects they previously put out that this one embodied THEM fully. Yet, that could still not be the album of theirs that is considered magnum opus to listeners haha.  

Haha, true! True. When I was a kid a self-titled album used to really bother me and I think maybe that had something to do with why but I never articulated it. Or I just thought they were lazy. I don’t know. 

So here’s a wild card question. Do you believe in reincarnation? 

Yes. Energy just recycles and we are energetic beings having a human experience.

Me too. I really hope next time I get to be something other than human. How much do you feel like you infuse your life philosophies into your songwriting? 

A lot haha. I’m very interested in the metaphysical and spiritual. And it’s just natural to sneak in those existential concepts when that’s what all of this is haha. Art and creation fragment themselves and are imitating and experiencing themselves. Ourselves!

I’m definitely a sucker for artists who do this, probably because I vibe with it pretty deep myself. So What’s on deck in 2023 for Kam Theory? What are you looking forward to? What can your new fans look forward to?  

I definitely have goals in mind for this year musically but they are also dependent on my personal life goals at the moment haha. I definitely will just be taking opportunities as they present themselves and making more of them. But if all goes well I'll be performing more and collaborating more, and I'll finally release a project as opposed to just singles. Let's hope for and manifest the best! :)

WE HERE HOPE FOR AND MANIFEST THE BEST FOR KAM THEORY <3

(Originally published on beastsunltd.com March 8th, 2023)

[stubborn-society]

Scarlet House

Photo Credit: Kameron Odums

Everyone was saying, you gotta get on TikTok. It’s the place to see new artists get their break. Not everyone is going to find their audience there, but you still have to be there, blah, blah, blah. What does this have to do with me? I thought TikTok couldn’t possibly be a place for anyone with any kind of taste. But I was curious how pop star wannabes and study beats producers promoted their music on the weird kiddie app. I also thought hey, everyone’s pressuring me to get on here, I’ll shoot some nonsense into the void, too.

Pro tip: TikTok is fucking incredible. I’m really impressed (and occasionally annoyed) with the way communities form and function on it. And if you’re really into music, it’s really fun. Almost too fun. But that’s a post for another time. 

I’ve found most of my favorite new artists on TikTok lately. It didn’t take long for me to find Scarlet House. A dreamy, shoegazey, alt-pop song playing to a close shot of Kameron’s face (note: handsome face) while he’s driving (presumably to or from work), a sullen expression in his thousand-mile stare with a wall of text that read: 

“i know alternative isn’t the biggest genre in the world but it’s the one that means the most to me and has done the most for me so i’m gonna keep making it no matter who will and won’t listen”

The little hairs on my arm stood up. I got those goosebumps I get when something hits right. I was instantly endeared by the sweetness of it, but it was something else - I immediately bought it, and I’m not the only one. With early endorsements from Kehlani and Fred Durst of Limp Bizkit, Scarlet House is a band we should keep our eyes and ears on. His fan base has been steadily growing and he’s making smart moves. I love to see it.

This is Scarlet House. 

Hi, Scarlet House. 

Hello there!!

How’s it going? 

I woke to see another day, so things are going great for me.

Hell yeah. I found your music back in October, pretty shortly after getting on TikTok. How long have you been making music for this project? 

I've been working on this project since about mid-2021. I've had a love of rock music for a long time but always thought I wouldn't be able to make it, so Scarlet House was my attempt.

Did you have a project before Scarlet House or were you playing in other bands?

I previously went by my real name Kameron James! I made a very different style at that time, mostly consisting of RnB and pop songs.

What made you decide to start promoting your music on that platform?

I never had any backup plan outside of music, so I told myself it was time to buckle down and focus on promo to get these songs to the world. TikTok happens to be the best place to do it right now as we all probably know.

Yeah, it seems like every band is on there right now! Sometimes it feels crazy, but I’m starting to really love the platform from a discovery perspective. How long have you been promoting your music on TikTok?

I started seriously promoting Scarlet House Music summer of 2022. I posted before that but never with a plan of consistency.

It’s pretty common to see cool accounts get started, then the creator loses interest. I’m glad you stuck with it. What has it been like for you as an artist promoting their music on social media? 

It's ironic because before pursuing music, I'd never been the biggest social media person. I found it hard to convey who I was, but when I stopped overthinking and started doing it, that's when it became easier.

It’s a weird and sometimes scary step. But I like that you’ve taken the format and used it to express who you are. What were some of your goals when you started promoting your music online? 

Live shows are probably one of the biggest things I hope to get out of my music career. I've always dreamt of them so now being on course to making them happen is amazing. Other than that I'm just seeing where the journey takes me and taking it a day at a time.

Totally, it’s the only way. Does TikTok feel like a competitive environment? What do you think is the biggest challenge an artist faces promoting their music on the platform?  

One thing that I've realized is that there is a lane for everyone. With millions of people on the app, there's enough space for everyone to grow. In this age of music, it's easier than ever to get caught up in numbers. I try to think about the reasons I love music to keep myself grateful and centered.

I wholeheartedly agree; numbers should never be the end game. It gets exhausting for everyone and you can always tell who lost in the analytics and who really wants to be there. Do you find music on TikTok? Are there other indie artists you follow?

All the time! The beauty is in the fact that you get to see how much talent is out in the world. Art is perspective to me, so being able to see the world the way someone else does is both amazing and important. My favorite artist at the moment is this guy vhs ghost. I bonded with him through having a similar life walk so his music speaks to me in a special way. Lofi gold.

I’m so stoked to hear that. I always wonder what the social experience is like for artists on TikTok. So you think TikTok is a good platform to build community and find other musicians?

It is the best platform that I've seen! I think nothing beats a face-to-face community, but having TikTok makes it where you can build community no matter the distance. 

Yes! I have found some truly legit artists and hardcore music fans on there and as an artist myself, it really is so exciting. Do you enjoy the other music content that you see? Do you vibe more with the content or the music? 

For sure! I connect with the music usually but the content is the selling point so I have a very strong respect for the content creators I do see.

What are the main qualities that draw you to your favorite music? What makes a song great? 

I think a great song, for me, is a song that can make me feel something. I take a strong interest in the topic of nostalgia. I think there is beauty in being able to feel a glimpse of your own past through a song that is new to you.

I feel this so much! I love all the various music revivals happening online - it gives me an excuse to share my favorite music with people who haven’t heard it. Sharing is great for intergenerational bonding in the music scene, passing music down (and up!) is so important. Are you into full albums or do you like singles/playlists more?

Each presentation of music can be cool in its own way but my favorite thing is to find an album and get lost in its world.

I’m so happy to hear that! I’m addicted to making playlists now, but I love knowing people still enjoy the full album experience. It feels crucial to fully enjoy the art form. Albums can become part of your life. A lot of artists are pushing singles rather than albums right now. Do you see the “marketing advice for indie artists” accounts, and if so, what do you think of them? 

I see them quite often. The internet is huge and is full of so much advice, I think the key is understanding which advice is for you and which isn't. Everyone has a different path to their goal so knowing what will work for you and your brand is crucial!

Absolutely. I notice a lot of accounts try to make everything seem easy and plug-and-play when the reality is it’s very tough to navigate alone. Do you follow any industry accounts?

Honestly, I don't follow too many industry accounts. It can all be a little overwhelming when I think about the business side of the industry.

Judging from the comment sections alone, that’s probably smart. There’s a lot of conversation lately around indie artists maintaining control and ownership over their music and finding success without a label. Do you think this is an important conversation, and do you think it’s a good option for artists? 

I've definitely stayed in tune with the debates surrounding labels and ownership. I think the most important thing is having a team around you that you can trust. Every deal is different so I think as far as signing, just being confident in what you bring to the table and knowing your worth are super important! 

I notice a lot of artists on TikTok are solo. You write and play all the instruments, record, and produce everything yourself. Do you feel like there are limitations to being a solo artist on social media or in general? 

There is definitely a set of pros and cons to being a solo artist. Limitations present themselves when I'm in a creative drought, that's when collaboration can be beneficial. I've had a specific sound that I've been trying to achieve for a while now and I'm still working towards it so in the case of my artistry, it's been easier to go on the journey alone.

I think a lot of people can relate to that. Being a band leader is also different and can be pretty challenging. Are you a perfectionist?  

A perfectionist from my own perspective! I don't want to say that my work is perfect, but I'm stubborn with my vision and ears so I won't stop chipping away at a song until it's where I'd like it to be. 

I think it comes through in a good way and when you have a band it’ll be a seamless transition. 

Something I was super excited to see is how much TikTok gives visibility to artists of color in every genre. I can see directly how deeply it resonates with fans. Do you have any thoughts you’d like to share about that? Does it inspire you to see other Black artists pivoting into genres previously only marketed to white audiences?

Growing up in school I moved around a lot and dealt with these feelings of being an outsider. Now that I'm older and understand the world a little better, I can see that a lot of us had many things in common back in grade school, the similarities just never surfaced. For this reason, the Black alternative scene is a very exciting thing to me. One great thing about the internet is that it provides a space to be yourself. Going forward I hope to see more of my peers embracing who they are regardless of the pressure society puts on them to conform. Alternative scene or not, everyone deserves to be themself.

  

Do you feel like TikTok builds awareness for Black alternative artists more than other platforms? 

It's interesting because I look at TikTok as being the land, you can build whatever you want there. This has been a huge stepping stone for so many Black artists to be discovered and heard.

It’s really amazing. As someone who always pushed hard for this freedom growing up and even now, I love seeing this grow and watching people flourish. One thing I really love about your content is that you’re so transparent and honest about what making music means to you. You just seem like such a nice person! Social media has a reputation for hooking people in with drama and toxicity, and I can tell your fans really appreciate your authenticity. 

The times that were in can be brutal. Mentally, emotionally and spiritually. If there is anything I could offer to a listener, I want it to be an escape. A reminder that things can be okay.

They can feel it. I’m glad you’re sharing it with people. So what’s on deck in 2023 for Scarlet House? What are you looking forward to? What can your fans look forward to? 

I'm beyond excited for all that's to come in 2023! My biggest focus is just releasing more tracks! Hopefully, the songs will resonate with listeners as much as they do with me. 

(Originally published on beastsunltd.com January 31st, 2023)

[stubborn-society]

Liminal Show Business

The Live Music Ecosystem and Preserving The Underground

I mean…it was bound to happen. Live music has been terminally ill for a long time. Industry leaders either lack the awareness to see the fault in their failed standards, or they’re market testing for development that will push imprecise solutions using poorly interpreted data. And it couldn’t be happening at a worse time. This is the first time in my living memory that we’re seeing such a heavy crop of new artists with this high level of public visibility. They're keen on transitioning their fan base from online to the real world™, but with infrastructure too feeble to support them. Blame the pandemic if you want, but I think we can credit long-term, coordinated oversight for the blundering stew we have today. 

15 years ago it should have been harder for artists to get a start, but it was easy. You linked with bands on Myspace, you asked friends, and you emailed a tiny venue that had shows almost every night. If your music was a match and you had an okay reference, they responded more often than not. These places weren’t obsessed with nightly attendance, market segments, or taking a cut of merch sales. They didn’t need to worry about that because they were the social hub, and did a decent to excellent job of curating a good time. People would likely show up just to be around people they wanted to be around. It was about culture, not status (at least not the way it is now). If your music was great, sick. If it wasn’t, big deal. You’re not blacklisted. Just put a good bill together next time, be reasonable, and don’t hog the prime spot. All your favorite artists publicly sucked at some point. Trust me, I saw a lot of them. 

That spirit is critically endangered. We are severely lacking fertile space to be a public beginner, which only makes it more difficult for artists to develop to higher levels. Alternative venues and dive bars are prospected as vacant spaces by investors. The Ghost Ship fire in 2016 brought an almost predatory level of visibility to the social values of DIY; correspondingly, en masse underground culture has suffered nearly irreversible scorn in the public eye. The aftermath of that tragedy was so defaming, many felt hamstrung into accepting the deterioration of public privacy and heightened vigilance, with little time to analyze and oppose the consequent obsession with superficial respectability and reputation. Frankly, it was already too late. The tenuousness of DIY was on the mainstream’s radar. Punk negligence spawned an age of enlightenment for real estate developers and other plutocratic bodhisattvas. Little did the music industry realize that what probably seemed like a boon at first would eventually unravel its way up to major tour cancellations and a completely unsustainable industry sector. 

And now no one will book you. Talent buyers would rather bleed out for some no-name because a dude doing “serious business” with a teamwass.com address is behind the semi-gloss request (no offense, just making a point). The music might not be interesting enough to justify the ticket price, but at least they’re not amateurs. Besides, kowtow to a Wasserman unknown, and someday they might send more beloved artists to your croaking, overpriced Iowa venue. Coddle the unknown street urchin in the Honda Fit with a gmail account, and you’ll be Loser HQ forever. One sour note becomes a meme dripping in damning metadata. Too risky. So that’ll be a no, young Kendrick Lamar, you can’t book here on a Wednesday. Picture saying no to the sheer audacity of some dirty flop star called Madonna. Disgusting. We don’t do that here. 

So the question remains: who will? 

A few days ago, I came across a video of an “expert panel” praising alternative venues. Basement shows. We must bring back DIY. Of course, but bring it back? It reeks of scanty detail recollection. And hold on. An industry panel. Talking about DIY. Why on earth would something like this be happening? After reading the sales-funnel-y, self-congratulatory responses in the comments, I realized the post was from a tech company we’ll just call “Michael Maus Clubb”. MMC is a burgeoning new platform that aspires to be, in one super-reductive sentence, the AirBnb of DIY music. With many music venues allegedly closing (I haven’t actually seen proof of this writ large, but sure) and surviving talent buyers having very little duty to art itself, independent artists are left with fewer options to book themselves. Michael Maus Clubb promotes their platform as a way to boost profits with services like ticketing for house shows and connecting a vibrant community of artists and event hosts. My immediate response was a major “pass lol” gag reflex, but I’m a professional, so I did my research. My conclusion? I’m neither a full proponent nor a full opponent. If you stumble upon a company model that resembles Michael Maus Clubb’s, I encourage you to carefully draw your own conclusion. 

My issue with this model is that, rather than addressing the problems endemic to the live music industry, MMC aims to leverage the problem by “legitimizing” DIY. I will concede that some aspects of their service may be beneficial for certain types of live events (ex: 200+ cap, one-off warehouse parties/concerts, small shows in a brick-and-mortar business). It isn’t altogether useless in experienced hands. But that definitely does not mean we should give unbridled support or data access to a business that’s essentially infiltrating a cottage industry within a very small community to skim a profit. The long-term consequences of allowing DIY to become an earnings-based endeavor do more to infect and almost nothing to cure the problems created by this mindset in the first place. And I haven’t even mentioned how little the platform can account for re: legitimacy, experience, and safety. Anyone can register as a host. Anyone. The most important credo of DIY booking is alarmingly absent here - trust. You seriously thought we just showed up at some unknown interloper’s house? Only the most creme de la clueless industry sponger would overlook something that basic. I would never, ever let a client book a tour this way. Seriously, are you out of your mind? 

To be ultra clear, on principle, DIY does not have the problem. This is a mainstream industry problem and it needs to stay that way. The boundary between these two cultures has always been intentional; blurring the lines is nowhere close to a solution. Have aggressive, anti-capitalist values in DIY unwittingly exploited working artists? Occasionally, for certain. Is the solution creating dependency on an outside platform that has no vetting process and takes a 10% commission and tacks on service charges for a basement show? I beg your pardon, you raving lunatic. The problem is certainly not that basement shows don’t cost $27 and aren’t ticketed. The problem is the unmitigated greed, lack of empathy, and myopic business practices of the bigger guys. Don’t turn that into a “we” problem. Get outta here. Even suggesting upwards of $30 for a house show is absolute psychopathy. It smears the infection of ineptitude onto even more amateur hands, and frankly, sounds like a disaster waiting to happen. 

My point is this: Services cost money; solutions can be free. 

Small and mid-size venues can do this for zero dollars: 

Book better music more regularly. Hire someone to handle booking who has good taste and is proactive, responsible, and understands what a cheap, good time is. You’re grabbing for everything because you’re not curating for a built-in crowd. When people know that over 50% of the time they’re going to be annoyed rather than have a good time they’re not going to take a chance just to be social, which is what small venues are for. Needing an astronomically good reason for people to walk through your door isn’t raising your profile. It’s a sign people would rather be somewhere else most of the time. 

Speaking of being social, make your spaces social again. Lower your prices and book good DJs. Learn how to arrange seating like a hospitable person. Be fun, get a clue. If you’re not in a major city, there aren’t local places for interesting people to hang out anymore, because someone decided they aren’t important. You can provide culture. If people can go to your club just to be social and see their friends for 0 to 5 bucks most nights, they will pay more when it’s worth it. Stop making everything expensive and not fun. No one has money to spend on pretending to be a person. That was 2018.

Book good local bands and take a chance on promising scrappy touring acts again. Explain how promoting works, tell them they need to promote their shows, and help them. Then treat them the same as any other artist. Give them a chance to make money. The main reason they don’t make you any money is that they don’t know how to, they don’t know what they’re doing. Not teaching them is a bum move on your part and a lose-lose. If that becomes an entry barrier for some that’s okay; laziness and apathy are what’s making you unpopular now. 

DIY venues and alternative spaces can do this for zero dollars: 

Be transparent about finances and stop being weird about...everything. Understanding event finances, egress, booze laws, and fire code doesn’t make you a square. Establish roles based on experience. Too often in these spaces, one person is organized and good with money but is too embarrassed, domineering, or socially stigmatized to be open about it and everyone else is high. This is an important part of being equitable to artists and keeping spaces running and safe. If it doesn’t get effectively passed down or incorporated when new people are being vetted to take over, things get fucked up. Everyone should have an understanding of the space’s responsibility to support artists and community, and the community’s responsibility to support the space. Teaching folks practical shit is cool and punk as well. 

Learn how to promote. It’s a moving target. Every few years it changes, learn what works best for your communities and your space. Sometimes word of mouth works great, flyering, or making a monthly show calendar of all the DIY shows. Everything doesn’t have to be done online, do what resonates with your community. Ideally, give people a place online to confirm details for out-of-towners. Again, doesn’t have to be social media if that doesn’t resonate. It can be a password-protected website that you publish in a zine or leave cards at houses. Do what you want. But make it accessible somehow. If you book a local band, communicate that they need to promote the show. Whoever knows less should help the other learn. It’ll be fine.

Be clear about expectations. Run the space responsibly. Think about the experience of others, the needs of others, and what you can realistically provide. If you need help with something rudimentary, ask for help, and keep asking until you get the help you need. Learn from your community, share, and pass on what you learn. Be generous. If someone isn’t community-minded, responsible, and in a place in their life to be generous or accept guidance, they’re not ready to run a space, but they can help out until they are. It’s the way you make things work that makes it cool, not just being cool. 

You don’t have to take my word for it, but we’ll see what happens if this continues to be ignored. Business types have a confusing tendency to overlook the importance of other people and their experiences. Maybe all of the objectively less important things they want from business success are less volatile when they leave the small guys alone and think about their responsibility to provide for other people first. Punks are extremely superstitious about responsibility, which ends up being just as self-centered and ineffectual, just unintentionally. These two ecosystems have quite a lot of symbiosis, both are in great need of rehabilitation, but otherwise, they have little in common. I believe in order to maintain balance, they need to be able to coexist in separate spheres from each other. 

And everyone needs to stop even considering charging so much.

We’ll see. 

(Originally published on beastsunltd.com January 26th, 2023)