citylog
The E-
Edition:
CW
page
by page

Tumblr.jpg Google_Plus.jpg

 

 

 

 

 

 

 
Gavin's Underground

Cavedoll, Mesa Drive, & Kid Madusa

by Gavin Sheehan
- Posted // 2008-06-09 -

Pride came and went this weekend in it's traditional multicolored fashion.  Probably being one of the coolest festivals (thank you weather department) as well as one of the most entertaining in its history.

Highlights included seeing Mayor Becker in a pink boa, booth after booth of activities (and awareness to boot) the amazing lineup of local acts, a slew of local political and random celebrities, and... Horiuchi?  Alright, fair enough.  All to the sounds of Tina Turner's cover of "Proud Mary."

And for you who missed out or were too afraid to come... sucks to be you! All you've got to look at are the over 250 photos from my trips over Saturday and Sunday, and interviews with three local acts who took the stages at Pride.  The hard synth-rock of Cavedoll, the alterna-indie Mesa Drive, and the dark melodic sounds of Kid Madusa.  Much thanks to Yana Walton and the entire Pride staff who did much more work to put this together than most know about.

Cavedoll  (Allison Martin, Janet Marie, Vanessa Chamberlain, Camden Chamberlain and Ryan Petersen)


http://www.cavedoll.com/

Gavin:
Hey, first tell us a little about yourselves and how you came together as a band?

Camden: Cavedoll is a bit different from the typical band.  It's essentially the culmination of my songs/recordings from the past seven years.  The project has also gone under the names Deliccato, Jupassa, and Geisha Glory in the past.  The name Cavedoll has been around for about two years though and the live lineup has been undergoing tweaks and changes for those two years.  The current lineup has been together for about two months now and is definitely the most stable lineup to date.  That line-up is myself on guitar/vocals, Vanessa on vocals, Janet Marie on bass (been with Cavedoll for about a year and a half), Allison Martin on keys (with Cavedoll for roughly six months), and Ryan Petersen on drums (with Cavedoll for about two months). Besides myself, Vanessa has been the biggest contributor to the project over the years.  Aside from providing vocals for a lot of the music she has also lent her production ears to most everything I do. I got into recording about ten years ago as a way to make music and not have to rely on flakey musicians.  I had been playing guitar and or bass in various bands since the age of twelve. I started releasing my own albums about seven years ago under the name Deliccato.  Those original albums are long out of print, but the songs have been re-vamped, re-mixed, re-mastered, and re-released under the Cavedoll banner... once and for all now. Recording/writing has become my therapy/obsession and I would say on average over the 7-8 years I usually spend anywhere from 10-50 hours a week working on music.  A by-product of this behavior has been the founding of my recording studio Kitefishing Studio. I've got a great location (built onto my house) in Holladay where I work with a wide variety of artists.

Vanessa: I have been performing since I was a little kid, but my real love and appreciation for making music came when I re-met Camden.  I briefly knew Camden when I was a junior in high school.  Camden and I really got to know one another at a friend's birthday party in 2001.  We have been together ever since.  He heard me singing to Radiohead and had to record with me.  He liked the unusual harmonies I was finding.  A few short weeks later we were working on our first album together and we totally fell head over heels for one another.  Our relationship makes creating music interesting.  We have such respect for each other's opinions that we can pretty much say anything and it is taken into consideration.  We have always been able to compliment each other's work.  Camden writes a song and I add the flavor.  When Camden says he loves something I sing, it is like the biggest thrill in the world.  He is an amazing artist, and to impress him is really something special.  I love him and I love singing with him.  He is my best friend.

Gavin:  You've been doing this for a while and have quite a number of CD's out.  Do you find it's gotten easier over the years, or just new challenges every time?

Camden: It's always been easy and has come very naturally, but it has definitely gotten better.  As I've grown as a person/artist I've refined my skills/tastes quite a bit. Writing and recording is just like breathing to me.  I just do it and don't really think about it that much.  Working with Vanessa in particular can be difficult at times and I suppose that aspect of it has grown more challenging over the years due to our outside commitments, like having kids.  Fortunately, she gives me the space to create as much as I like and will usually pipe up when she hears something I'm doing that she wants to have a little more of a hand in.

Vanessa: Making music with Camden is pretty easy when we both are in the mood.  It is fun and intense all at the same time.  I would say the hard part is creating time to pursue it.  Camden works so fast and he is a perfectionist, so it is a challenge to be as great as he is at creating music.  He is unmatched, in my unbiased opinion.

Gavin: How did you get involved with Pride 2008 and chosen to perform?

Camden: Well, we basically just submitted an application to play, but I suppose the groundwork for us performing was laid when we played Pride Benefit/PurrBats CD release show back in March or April.  We're all honored to be performing at a festival in support of a 'cause' like this.  It's refreshing that even in the midst of Mormondom a Gay Pride festival gets this kind of support and attention.  Gives me hope for the gay rights movement nationally.

Gavin:  What's your take on the local scene, both good and bad?

Camden: Well, I think it's a great scene relatively speaking.  I've definitely enjoyed it over the years, but if we're talking about how it relates to the country on a whole, I would say it's a very SMALL and isolated scene. We've been working with various national promoters for radio/PR over the past few months and they're always really shocked when they find out we're from Utah.  Most of them have never heard of any bands from Utah and have definitely never worked with any.  There are some very notable people here locally though that are working to increase Utah's visibility and my hat goes off to them.

Vanessa: One of the best parts of the local scene has been meeting bands, and people that support the scene like Circus Brown, Jamie Gadette, Portia Early, Bill Frost.  It makes me feel that all my hard work has been for a good reason; creating relationships with great people and musicians.  I also love having people that come to our shows come up to me say hello and chat afterward.  That is fabulous.  I love meeting new fans and making new friends.  I guess the hardest part would be breaking into the scene.  It takes awhile to create a buzz in Utah. Utahns, are very loyal fans to their bands and their music.

Gavin: Anything you think could be done to make it better?

Camden: Well, just support music and keep an ear out for what's going on.  I'd love to see more eclectic and artistic music getting made too.

Vanessa: People should keep reading City Weekly, SLUG and listen to Circus Brown's show to find well made music in Utah.  There is a lot of talent here and people just need to see a local show and let loose.  Plus the venues here are so fun if you come out to a show, a good time is guaranteed for all.

Gavin:  Putting you on the spot a little, if you had to pick, what bands do you feel are the best in the local scene now?

Camden: Mushman (I'm biased on this one), The Purr Bats, Kid Theodore, Knife Show, The Wolfs, The Brobecks, Touchtone, Nonnon, Nolens Volens, The Brobecks, The Deadbeats, etc.  There are a lot of great bands, too many to name.  Some appeal to my current musical tastes more than others, but I do really feel that there is a lot of quality out there in various styles.

Gavin: Switching to mainstream, what's your opinion on what's out there now?

Camden: Well, it's hard to have an opinion other than to be overwhelmed.  There's just so much music out there and all within easy reach.  It's exciting and daunting at the same time.  A lot of the time I find myself not listening to other peoples' music that much because I'm too involved in working on my own (and there's only so much time in the day).  Some of my current favorites though are : The Knife, Midnight Juggernauts, MGMT, NIN, Bird and the Bee, Lily Allen, Terminal 11, The Rapture, etc.

Vanessa: I have really been into Electronic music lately.  I have been into The Knife, LCD Soundsystem, Midnight Jauggernauts and The Bird & The Bee.  It has been a really big influence on the new stuff Camden and I have been recording.  Some people might think that it is an easy kind of music to create, but really it is harder than people think.  If electronic music isn't done well, it can become grating and too repetitive.  I also really like the new NIN album.  The power of his message hit me hard.

Gavin:  How about your thoughts on the record industry and the state it's in?

Camden: I think it's kind of a dying beast.  People are realizing that all the record industry is, is a bunch of shady loan-sharks. I don't know, whatever, it's a mess.  It's a very hard industry to make a profit in due to file-sharing and all the rest.

Vanessa: I love that Indie labels are getting a lot of attention and now signing really excellent and unusual bands that may have been over looked by the larger companies.

Gavin: What do you think of file sharing as it relates to you and your music?

Camden: Well, it's a mixed bag.  I love it in the sense that it makes it easier for people to get turned onto new music they might not have heard otherwise, but I do think its hindering artist’s ability to make a living at their art.  I'm all for people file-sharing my music though.  In fact, I'd like to eventually move to a donation format where people can have free access to my music as long as they make a small minimum donation, like a $1 or something.

Vanessa: I think that it is unstoppable, a blessing and a curse I suppose.  I think that if a few of our more popular songs get passed around, then maybe they will resonate and fans will want to look us up and buy our music.  We have so much to offer people I am sure that everyone out there can find something that they like.  It makes me feel great when people come up to us and say "Hey I heard you on your MySpace page, and had to come see you play live."  What an amazing compliment that is!  With this technology it has been easier to find new fans of our music.

Gavin: You released No Vertigo a short time ago.  What's the reaction been with it?

Camden: Really positive.  It's been receiving some great airplay all over the world... USA, Canada, UK, Europe, Australia mainly.  Lots of podcast and internet radio exposure as well.  We've had nothing but positive magazine reviews so far as well… probably just jinxed that.  The next thing on the horizon for the album is shopping it around to various TV shows and whatnot.  Our radio promoter will be working on that this summer, so we'll see what happens with that.

Gavin:  What can we expect from Cavedoll the rest of the year?

Camden: Probably some more releases, more shows, etc.

Vanessa: More short shorts and mini skirts and crazy amped up live shows.

Gavin: Anything you'd like to plug?

Camden: Our music on iTunes... We will have four new albums out in the next week or so... Three albums of remixes of our songs, and one album, Robot Love Scene 1, comprised mostly of electronica covers of songs by artists like Radiohead, Janes Addiction, Tori Amos, PJ Harvey, Blur, RATM, XTC, Outkast, Flaming Lips, Bird and the Bee, etc.

Vanessa: Request us on KRCL and X96!


Mesa Drive (Marcus, Zach, Jon and Chad)

http://www.mesadrive.com

Gavin:
Hey guys, first tell us a little about yourselves and how you came together as a band?

Marc: Chad and I had always played guitar together growing up but we never really wrote together until a few years ago. We’d basically just show up to my parents house each week and show off the riffs we’d came up with. Both of us had different musical backgrounds but when we decided to focus on the soul side of rock everything just clicked. Within a few weeks, what started off as jamming turned into focused writing and then to looking for band members. We met Zach at an open mic night at Moe’s Bar and Grill. He was this 16 year old kid just ripping it up on the bass. We decided right then and there that we wanted him in. The funny thing about Zach was that until he met us he really hadn’t listened to music with words so the first bit of arranging songs with him was pretty interesting. Jon was introduced us by our keyboardist at the time. He basically just sat down and picked up on even our most complicated arrangements without even hesitating. He’s a musical machine. Honestly, I don’t think we’d sound half as good without a drummer as tight as him.

Gavin: How did you get involved with Pride 2008 and chosen to perform?

Marc: Our management submitted us and we were fortunately accepted. Funny story - our first photo shoot as a band took place during the Pride Festival a few years ago. It was pretty hard to keep a straight face when the parade floats strolled by.

Gavin: What's your take on the local scene, both good and bad?

Marc: I think the local scene has a lot of heart. I’ve seen good bands break up and reform and venues go under but fans keep coming back. Some of the most amazing musicians live here and people don’t even know it.

Chad: The local scene here is pretty good. The fans are great, the venues are fun and there is some serious talent here. The hard part is getting people to stick around after or even during a show. There are many people that just come to see one band and then take off. I wish that would change.

Gavin: Anything you think could be done to make it better?

Marc: Just get involved. Bring your friends to shows and have a good time. That’s what it’s all about anyway.

Chad: Other than what I mentioned above about fans sticking around for the whole show, I think its fine. It is what it is.

Gavin: If you had to pick what bands do you feel are the best in the local scene now?

Marc: The Brobecks, Trevor Price, Allred, Mury, Cub Country.

Chad: The Brobecks, Allred, Ask for the Future, Mury, Chris Merritt.

Gavin: On mainstream music, what's your opinion on what's out there now?

Marc: Mainstream music is more diverse then ever before and it’s awesome. Some of the most well recorded albums have been released by artists within the last two years. I’m excited for where music will continue to go.

Chad: I think the music out nowadays is awesome. But granted this is coming from someone that only listens to the radio. I’m not really into the underground music scene like I used to be back in high school.

Gavin: How about your thoughts on the record industry and the state it's in?

Marc: I think that while the record industry may be struggling, the music industry is alive and well. I could care less about record labels as long as people still attend concerts.

Chad: I think they’ve got their hands tied. Never in the history of music have musicians been able to record their own work with the same amount of quality that the major labels can produce. The internet has blown things wide open for independent artists. The record industry is having a hard time but the music industry is not. It is actually thriving.

Gavin: What do you think of file sharing as it relates to you and your music?

Marc: If someone enjoys our album enough to burn it and share it with their friends, it can only help. As long as they can sing it back at a show, I don’t care how they get it.

Chad: Obviously I would like to make a living doing something I love, which is playing music. But I also want the music to get out there. So I’m kind of between a rock and a hard place on this one.

Gavin: You released Take What You Want last year.  What's the reception been for it?

Marc: I think “Take What You Want” has been received better than we had hoped for. Our fans continue to request the songs and new fans continue to buy albums. That’s all we could ever ask for.

Chad: It has been great. Everywhere we play, we sell albums. We have our fans to thank greatly for that. At our concerts, people sing back and that has got to be the greatest feeling in the world. Who would need drugs?

Gavin: You recording anything new or just riding out the album a little longer?

Marc: We have plans to record a new EP sometime this Fall. However, we plan to push one last single to radio stations for the next few months.

Chad: We have a lot of new songs that we play and are itching to record. We have plans as of right now but nothing is set in stone.

Gavin: What can we expect from Mesa Drive the rest of the year?

Marc: We plan to keep the momentum going between writing and recording we’ll be focusing on big Utah shows and touring out of the state.

Chad: Playing a lot of big concerts with some national touring acts. Playing local shows/house parties here with local bands and getting out on tour.

Gavin: Anything you'd like to plug?

Marc: Yeah, pick up our album on iTunes and chat with us on
MySpace or Facebook.

Chad: Buy our album then come see us play it live.


Kid Madusa

http://www.myspace.com/kidmadusa

Gavin:
Hello. First tell us a little about yourself.

KM: I’m Lindsay Desirée Heath. Always been an artist and musician, playing piano by ear since the age of two, and singing since birth. Played in the bands Redd Tape, The Tremula, Delicatto, Vile Blue Shades, Mushman, Phono, Milk For Cats, Natural Grafitti, Community, etc.Mostly toured throughout North America / Canada over the last six years as a professional drummer, supporting many well known bands and artists. The instrumentalists who perform in Kid Madusa are Cache Tolman, Rebecca Vernon, Sam Compton, Joel Hales, Bronwen Beecher, Vanessa Shuput, James Miska, Tox & Goldlox. I perform solo avidly, but when I include accompanists in a performance I call the band: “Kid Madusa The Skeleton Keys.” In all of my years of performing musically, I have met an endless list of professional musicians who inspire me. So, as I compose material, I invite the artists and instrumentalists who I intuitively feel will be specifically specialized and especially appropriate for the unique sound of each piece to perform as part of the Kid Madusa line up. I am very inspired by so many of my friends who are musicians- I love exploring the various chemistry's sparked in the act of collaborating with each individual accompanist. It propels my own musically experiential explorations in infinite ways.

Gavin: You were recently in the U.K. for a small tour. How was that experience?

KM: My two week tour in the U.K. was an absolutely amazing experience. Truly, one of the most ineffably inspiring creative journey's of my life. Filthy McWhiskey (the guitarist who was originally lined up to perform on the New York / U.K. tour along with me as the Kid Madusa two-piece) actually dropped out of the whole deal at the last minute, and turned back home after one show in New York. I suddenly found myself facing the abrupt decision to either cancel the much anticipated tour, or, gather my bravery and continue on as a solo act. So I chose to continue on. Risking the inevitable vulnerability of performing solo - when I've been accustomed to performing with a big band of accompanists to back me up and fill out the sound - it does assure a certain amount of security... But, part of the reason that I have chosen to perform solo over the past few years because of the challenge that is presented in being the focal point. It can be a lot of pressure at times, it definitely forces great humility - but in my experience, there is nothing quite so rewarding as the confidence and reaffirmation that comes only by putting myself in such a uniquely challenging position. It has given me the opportunity to KNOW that I am capable and fully adequate to stand on my own as an artist, testifying to myself that I am strong enough as an individual artist to give a powerful live performance, and to convey my vision, and the true essence of my compositions on my own. Which I feel that I accomplished successfully on the tour! An amazing music magazine in the U.K. called Dolly Rime published an article about Kid Madusa in the issue that came out the day of my arrival. They facilitated all of the recourse's for every show, and various instruments to use along my journey. I owe the success of my tour to Dolly Rime, and to the wonderful friends I made while there who supported me and transported me around the land. My gratitude runs deeply, to say the least. This may be controversial, but one of the main feelings I am left with after my experience touring in the U.K. - is that the music listeners, and the show goers, seem to be so much more sincere and supportive as a whole than that which I have perceived in the musical "scene's" in America, in my experience. A popular attitude that I perceive to plague the musical "scene's" in America did not seem to be present there. For example, a person doesn't seem to have an elitist attitude about a "hip" musical genre there, the people seem passionate to celebrate and share the music they love with all, and in general, they just seemed to have a refreshingly unique and loyal love for music in general. It seemed very apparent in the overall demeanor of the people who attended the shows I performed there anyway. The show attendees were so intently engaged with every performance of mine, and the performances that I witnessed there. They were so sincerely supportive and expressive of their reception and constructive feedback.

KM: Basically, I'm trying to describe that in my experience, the people who attended the shows in the U.K. clearly love MUSIC, and they generally did not seem to be swayed by an elite attitude in relation to genre, and the fleeting fashions or trends that seem to shape and dominate the American musical "scenes". I'm just personally disenchanted by such politics in the American music culture which produce gangs of art critics who despise any art that is regarded by a fascist group as inferior, especially because of social or intellectual pretension. I feel that every individual should allow themselves the personal freedom of liking what they personally like, and disliking what they personally don't like. Not because it's the fucking FAD to like or dislike something in the fleeting musical trends. Mainstream or underground- the music listeners in the U.K. seem to unapologetically like what they personally like. Which was inspiring, to know that there are some genuinely honest listeners out there. Not to suggest that I'm concerned with whether or not people like my music- I am a musician because I have always known that music is my language. My only goal is to channel the music as purely as I possibly can, without molding it or skewing it to make it more sell-able or accessible for personal gain. It is bigger than me, the music, and I know that my purpose in this life is to strive to translate and convey it as honestly as I possibly can. Therefore, if NOBODY liked the music I share in this life, it would not change my process.  The way I see it- if I were to alter the music for personal gain rather than true inspiration- it would literally destroy the greatest gift I've been given. I'd then be a slave to a superficial job; I'd be a puppet, which would contradict my identity completely. My love for creating raw, unfiltered music is worth more to me than any critical opinion. While I do invite and take constructive criticism to heart, regardless of any opinion, this may be perceived as egotistical in some light, but I do believe myself to be a channel, a vessel, an instrument of a transcendental force of creation, no different than the piano or drums in which music comes through when I play, and I know that my purpose in life is to always strive to translate the music that moves me in it's most pure form.

Gavin: Awesome! How did you get involved with Pride 2008 and chosen to perform?

KM: I have performed in past Pride festivals as part of other bands - but not yet as Kid Madusa. This year I performed in three groups in the Pride Festival. Bronwen Beecher (my violinist in Kid Madusa) has been a long time accompanist of mine. We also have a two piece- in which we perform Bronwen's compositions. Bronwen's idea for this year's festival was to create an all star's band made up of five professional musicians who performed their own set's throughout the festival, and as the headlining (last act of the day) we combined to perform- to fulfill Bronwen's vision of an all stars band. So Bronwen put my own Kid Madusa set in this year's festival so that I could officially and personally be part of her all star dream band at the end of the day. I'm grateful to her for her decision to make Kid Madusa a feature part of this year's Pride Day line up.

Gavin: What did you think of the crowd from Pride?

KM: Besides the sound difficulties- and being unable to hear anything on stage other than the drums- it was a very rewarding experience. There was a great turn out. The crowd totally danced it up, and according to feedback after the show- the sound problems on stage didn't seem to affect our performance- and the mix was good for the listeners. Which makes for a successful performance in my book.

Gavin: What's your take on the local scene, both good and bad?

KM: I think I covered enough of my negative perceptions about the musical "scene" already. I will tell you what I DO like about local music. In my experience- being in a decent band with a unique sound in SLC (such as my experience with "Redd Tape" for example) - we were able to open for bands in small and intimate venue's like Kilby Court or Urban Lounge with successful touring musical acts who would be playing in HUGE venues in other states. If we lived in Seattle or New York for example, chances would have been very slim that we could have received so much notoriety - and the opportunity to open for some of our favorite musicians. One time Thurston Moore of Sonic Youth (one of my favorite bands of all time) personally emailed our Redd Tape email account asking us to open for Sonic Youth in SLC the last time they performed here. Unfortunately we were unable to- as I had just broken my arm and had reconstructive surgery- there was no way in hell I could have played the drums- though I was ready to try. In my opinion- SLC is a good place to learn how to break through the music scene- and a good place to make connections, where as the competition in most other cities can be overwhelming. I think some great music comes out of SLC- I've theorized about wondering if the extreme seasons (living in a desert that is also hailed for the best snow on earth) and extreme dominant religion in Utah makes for more extreme individuals and artists. It seems to me that the art that comes out of SLC is quite often very unique - not many bands in the thriving music scene here seem to be competitive amongst one another. Whatever your sound, you are thereby eligible to open for the touring acts who's sound you will most appropriately compliment. Many doors have opened for me personally as a local musician here in that way. I think it's rad to have such opportunities. So I will stand by a positive reply in that respect.

Gavin: Anything you think could be done to make it better?

KM: Actually, I feel that the local music network here is pretty great. I personally feel that SLUG and City Weekly magazines, and the local venue's that I most frequently play are really awesome about supporting local artists. You get out of it what you put in - in my experience - I've been treated with great respect for the majority of my involvement in the local music network.

Gavin: Putting you on the spot a little, if you had to pick, what bands do you feel are the best in the local scene now?

KM: Subrosa, Vile Blue Shades, Either / Either Orchestra, The Furrs, Under The God.

Gavin: Switching to mainstream, what's your opinion on what's out there now?

KM: Well it's mostly so corporate, ainit?! Mainstream music is like fast food musical MacDonald's. It is easily accessible and satisfying to the majority of the population - those who naively eat up everything the media convinces them they should buy. But every once in a while- there is an artist who actually makes music that is totally authentic and honest- and it is just universally and undeniably GOOD by all (or most) accounts. Such as the Beatles, etc. But, as I mentioned earlier- I feel that everyone should be entitled to shamelessly allow themselves to freely enjoy the music they personally like. Without worrying about jeopardizing their reputation. Honestly, I am comfortable admitting that I personally connect with bits of music all across the board. I don't care who the fuck made the song- if I connect with it, I like it - and I don't care who cuts me from the cool club as a result. The music I really love is usually pretty obscure - experimental, underground, and independent. I listen to very little radio- but I love some of the classics that are totally overplayed- Led Zeppelin, Cyndi Lauper, etc. I just prefer to avoid exposure to the corporate leeches and subliminal exploitation that drowns the authenticity of most mainstream artists.

KM: I will actually admit that for the first time ever, I actually went from claiming to HATE American Idol (having never even seen it before this season) to becoming quite engaged this year. I suppose I was initially drawn in by morbid curiosity, and being outraged by what I perceived to be a totally superficial rat race. Then I became intrigued by witnessing the politics infused in such an extravagant spectacle, and becoming more conscious of what seems to be the heart of mainstream music culture. In the end I think I've decided that I continued tuning into the series despite my qualms because at some point I learned to respect the sincerity of the individual contestants. I feel sorry for them that they are now forever locked into churning out that generic musical MacDonald's fast food product- but it seems to me that anyone who dedicates themselves and invests their time and energy into making art of any kind - good or bad - is still a much more positive contribution in life than so many of the destructive alternatives in life. I mean, how many people sell their souls to working jobs of any kind that they hate? Maybe most people? Who am I to judge how sincere a person is in doing what they do? Plus, all of the mainstream music that is emotionless and talentless- performed by people who don't even write the songs, and sell it solely by having socially acceptable and popularly voted "attractive" bodies just makes the truly unique and sincere music all the more authentic in my opinion. So maybe I should write Paris Hilton a thank you letter for multitasking? Either way, we're all imperfect people- and while i personally choose to support independent and underground artists, I'm not going to waste my time hating the industry, or bash anyone for liking what they like. I'd rather use it as incentive to make music that I like- and support the music that I feel sparks higher consciousness, creates revolution, etc.

Gavin: How about your thoughts on the record industry and the state it's in?

KM: Well, times are always changing. It seems that we're entering a depression in all aspects of the economic states. If a musician devotes their life to writing and performing music professionally as their career- and especially if listeners value the art and respect the work of the artist, it should be therefore supported.

Gavin: What do you think of file sharing as it relates to you and your music?

KM: I once listened to an interview Tori Amos did in New York in which she was asked the same question, and I was really moved by her response- She compared it metaphorically to a winery, saying something to the effect of: “A consumer should be able to taste the wine to decide whether or not they enjoy it enough to purchase it.” But at some point, you have to consider the families and independent vineyards who produce the wine. Those people are working hard to produce the wine- and the money they make by selling that wine is how their means of survival. She said, if someone really doesn't have any money, she would rather that they steal her record than never hear her music. But for the people who DO have the resources to support the art they are taking- she asks: do these people realize how disrespectful it truly is to steal from the artist who devotes their life to creating the product? I definitely agree with her response.

Gavin: You released We Are Drodna a short time ago. What's the reception been like for it?

KM: To be honest, there were some miscommunication between Filthy McWhiskey and when the actual printing procedures were done. A long story short, very few copies were printed. Most of which were distributed on tour, and very few have been distributed in SLC. So- I'm in the process of doing a run of my own, at which point I will distribute copies to SLUG and City Weekly magazines, and we will see what kind of feedback is received. Dolly Rime magazine in the U.K. is also going to do a record review and a Kid Madusa feature in an upcoming issue. I have only heard positive and encouraging feedback from those who have listened to the record thus far. I've been honored to receive some extremely warm reviews from notable people in New York and England. For example, the owner of the Knitting Factory (popular music venue in New York City) personally invited me to come to his very professional recording studio during my recent stay there- claiming that after hearing my recorded compositions he is inspired to produce more of my music. The record in it's entirety is a very professional, clean recording, and I feel that there will be a positive reaction as it is spread out and listened to widely. I'm really burning to get into the studio again! I have written sooooooooo many songs over the years that I feel strongly compelled to document and share with all who want to listen. I have worked with many local producers over the years in all of the many bands i have participated in, and all of the producers (well.. most of them) have their unique talents. I love Jeremy Smith's productions, and i hope to work with him again in the future. Camden Chamberlain (of Kitefishing Records) is also great.

Gavin: You recording anything new or just riding out the album a little longer?

KM: I am doing some recordings with Andy Patterson, whom I love working with. Currently my very favorite local producer is Rapha Cordova, who recently produced the first track on the We Are Drodna EP entitled: The Baderie Assid Recovery Project. He also created a music video as we were tracking the song in the old Art Museum up at the University of Utah a couple of months ago. Definitely by far the coolest recording experience I've had so far. Rapha has such an impressive professional ethic, and he really GETS the Kid Madusa sound. Understands it in a way that is very appreciated. I am so honored for the opportunity to work with him- and really thrilled for what is to come.

Gavin: What can we expect from you the rest of the year?

KM: Well on Thursday the 26th of this month, I'm honored to announce that I'll be performing a Kid Madusa set at this year's arts festival with The Skeleton Key's- @ 7:30pm on the Park Stage. Come check that out, it's sure to be an exciting one. I will be doing another tour in New York City for the last couple weeks of this coming July and all of August, as i have ongoing recording projects in various places around Brooklyn with very talented producers and accompanists. I love booking shows there in between recording sessions. I've also been invited to perform in some upcoming festivals in the U.K. later this year. Stay posted on the MySpace page for upcoming shows.

Gavin: Anything you'd like to plug?

KM: Sure! Request Kid Madusa on KRCL- Circus Brown is sure to play it during his show. And to be put on my personal KID MADUSA email list- send an email to:
KIDMADUSA@gmail.com.

  • Currently 3.5/5 Stars.
  • 1
  • 2
  • 3
  • 4
  • 5
Post a comment
 
 
Close
Close
Close