TuneCore Interview Follow Up Part I: 4 Benefits To Using Independent Artists (When Possible)

Processed with VSCOcam with f2 preset Processed with VSCOcam with b1 preset

Photo from an upcoming Sessions At The Steps…Stay tuned!

Last month I had the great pleasure of chatting with Kevin from TuneCore about how I fell into music supervision, my favorite projects and more. The result of that conversation appeared on the internet early this month.

Read the full article here.

While I am grateful for the opportunity to talk (my favorite activity!) and generally pleased with how the final product turned out, I think everyone can identify with the experience of finishing a conversation and thinking, “Argh, I should have said this instead!” or “Oh that would have been a way better way to explain that”. Full disclosure, they were kind enough to let me edit the interview, but as an occasional interviewer myself, I attempted to keep at least some representation of the actual conversation, despite temptations to just re-write my more inarticulate moments.

In particular, there were two questions I wanted to clarify and/or expand upon. Initially I intended for this to be one post, but then the words started flowing and I took it as a sign to split it into two.

This week addresses some of the benefits of placing music by independent artists, when they can save a music supervisor’s life (and how to avoid complicating it).
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Now Digging / San Fermin

San Fermin Denny Renshaw

Photo Credit: Denny Renshaw

In my extreme old age (I turned thirty this year, guys) I’ve become much choosier about the shows I get out to, especially if they are farther than my immediate Eastside vicinity. I know I have friends who roll their eyes at this. To those people I say, “INVITE ME OUT MORE THEN JEEZ”

Last month I trekked all the way to the Troubadour to see San Fermin. It was 100% worth it, and not just because I found a parking spot less than a mile away. It was one of those shows that reignited my love and desire to be a part of an industry that helps support such amazing art.
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A Final Word on Fake Off Season 2

Fake OffI’m sure all of my friends in real life and on social media are more than over all things Fake Off by now (#sorrynotsorry) but I had to mention it at least once here on the blog. With the final episode having aired on Wednesday, and the season officially over, it seemed an appropriate time for a debrief from the musical perspective.

What is Fake Off?
For any readers not Facebook friends with me you can find various descriptions of the show and what a “fake” is on the show website, but in my opinion the only way to understand is to watch a performance (see below). Trying to envision the show using the term “fake” as a starting point will only lead to confusion.

Since I don’t always have the opportunity to force the person I’m conversing with to watch a video (I know, it’s unbelieveable that I don’t have any performances bookmarked on my phone) here is the description I’ve been using over and over for the past few months.

Fake Off is a performance competition show where 10 teams (e.g. dance crews, theater groups) are challenged to create 90 second performances on a theme. The performances are fully-mounted mini-productions, with professional sets, props, costumes and special effects (confetti!). There is some voiceover (looking at you Tribe Of Fools) but for the most part performances are entirely visual, set to music. Teams are judged on how impressively they tell the story of their theme using their particular skill(s).
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Now Digging / RIVVRS

Rivvrs_14Give me some rowdy anthemic choruses and a warm rootsy guitar and I am sold.

Loving this EP by RIVVRS, also known as Brandon Zahursky. It’s only four songs and all are worth a several listens.
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Now Digging / Marian Hill

Marian Hill
It is very rare that a particular song sticks in my brain.

Normally when listening to music, I forget what I listened to almost immediately. Even if it is a great song. I listen, file, and move on. If I were to hear the same song a day or two later chances are I would know I’d heard it, but not be able to identify the artist or song title in a million years.

Not so with Marian Hill. I vividly remember hearing “Got It” for the first time on KCRW. I was in my car and think I may have actually said, “Ooh!” out loud, to no one. The same reaction as when I first encountered the intro to “Settle Down” by Kimbra.
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