Brian Lambert On the Making Of ‘Wild’
Can you share any interesting or unique musical elements or production techniques used in ‘Wild?’
I think the way in which it was spread out over the course of a few years. Every song was produced differently than the rest. Some of the songs I poured over for a week at a time and by the end of the process it was as fast I could do it. Not because I had a deadline or sense of getting it done but more as a way to make sure and stay out of my own way. I do think my skills in recording have become very refined after doing the 52 Week Music Production Challenge and working on the 2 Star Crumbles records as well as producing a couple of other artists. I also love that so many of the songs became collaborations by the end of everything. That really brings a certain magic to the process.
Can you talk about the recording and production process for ‘Wild?’
Many songs were released during my 52-week music production challenge where I had a strict deadline of releasing a song a week for a year. So honestly those songs are a bit of a blur. I had to program all the drum parts, play bass, guitar, and synths as well as singing, oftentimes writing the song. Then I had to mix and master them as well. For those songs, some I just remixed and remastered to fit the feeling of this album. Some of them I went back and resang a part I didn't feel conveyed what I had intended with the song. The new stuff such as the song “Wild” was easier mostly because I didn't have to play all the parts. I'd program some drums and then send them to my good friend and bandmate Marc Schuster and he'd send back way better live parts. It was awesome to reconnect with my old bandmate Harmoni Kelley who laid down the bass and backing vocals. Same for “Breed,” with Marc on the drum and my boy Quizboy laying down that awesome electric. By that time I really did a little to mix as I possibly could so that the performances would come through.
What did you enjoy most about making ‘Wild?’
I'd say first it was the process of learning how to collaborate online with other musicians. It's great to have your own vision but I love what the collective talents of people can really bring to a work. I tend to like things to be very unstructured because I want to see what could happen. Sure I might have an idea but yours might be even more or take my idea to a place I didn't imagine which is magical.
Second, I love mixing and playing with sound. There are so many things to love about music and right now it might be my favorite thing. Hearing how each move you make alters the sonic landscape never ceases to fascinate me.
Can you share a bit about your musical background and the journey that led you to where you are today?
It's a long one for sure. I started playing on a couch in my dorm common area making up songs about people walking by then went to be in a weird coffee shop trio akin to the Violent Femmes which morphed into a weird little art rock noise band. Afterwards, I played in a band Workhorse, with Harmoni, which played a really weird mix of grunge and Texas country kind of like Slobberbone. I got married and stopped doing music actively for about 5 years and ended up as a stockbroker, gag, going door to door. During that time I was still writing and I ended up knocking on the door of a producer. We ended up making a record that it's hard for me to describe stylistically but I wasn't particularly thrilled with, but it got me back doing music. All of this took place in Austin over a decade ago.
I moved to North Texas and started an indie rock band which ended up morphing into a Texas country band for "career" reasons and location. That band never released an album and there was a rotating cast of members. I decided I was done with bands for a while and did the solo circuit. I would play 4-5 nights at wine bars, dive bars, and the airport to name a few places. All of them were 3 hour sets just playing and playing and playing. I recorded the tracks for the album Before This which was my attempt to fit into the Americana genre. Then COVID hit and I lost my mind trying to figure out what to do next which led to the 52 Week Music Production challenge where I decided there were no one's rules that I was going to play by anymore. When that ended my friend Marc asked if I could sing and write lyrics for some music he had written and that became the Star Crumbles who have released 2 albums and have a single on the way. That pretty leads us to hear. I feel like I covered a whole lot of ground in two paragraphs and I didn't even mention my album Country Music Jesus, but then I guess I just did.
Are there any specific venues or festivals that you dream of performing at?
You know, I went to the first 3 Austin City Limits Music Festivals so that would be a big one. Riot Fest up in Chicago always has a great lineup and I'd love to be a part of that. A bucket list thing is to tour Europe. And I'd love to be on a late-night show, SNL is probably my dream one.
Scoopski Releases ‘Halloween With Scoopski’
Can you briefly describe what the song/each song is about?
“Pumpkins Smile” is an original song about a young couple falling in love on Halloween night. “Monster in the Mirror” is a cover of a Sesame Street song. “I Put a Spell on You” is a cover of the classic Screamin Jay Hawkins song, but done in the style of the movie Hocus Pocus version. “Spooky Scary Skeletons” is a cover of the song by Andrew Gold. “Ghost in the Foyer” is an original song about a couple being afraid to leave their house because they believe their foyer is haunted, so they feel trapped and die in their house together (thus creating more ghosts to haunt the home).
Where was the single/EP/album recorded and who was involved in its production?
The EP was recorded over Summer 2023 in our home studio, produced and mixed by Scoopski.
Who are the band members and what do they play?
Scoopski - Guitar, Bass, Vocals Mrs. Scoopski - Piano, Synth, Vocals
How and where did you get together?
We're a married couple who first met as bandmates in 2011. We have been married now for 7 years and started making new music in this project in 2019.
Have you played any notable gigs, festivals or other events? Likewise radio or TV appearances?
We have been featured multiple times on Little Steven's Underground Garage on Sirius XM as well as many college radio stations around the US.
Molly Willis On the Making Of “Hypocentre”
What was the initial spark or idea that led to the creation of "Hypocentre?"
I wrote a lot of the songs off this project at one of my old jobs, actually. I'd scribble lyrics that popped into my head in the margins and then try to record a voice note of the melody on breaks before I forgot it. I think “Hypocentre” was one of those. My mental health always takes a bit of a hit in September, and the song's very literal - September can indeed do one.
Can you talk about the recording and production process for "Hypocentre?"
This was probably my favourite song to record so far. I got to work with Jack from Mama Oh No. He was studying music production and being taught by Jonny Cole, who I made my first EP with. He thought we'd be a good mix, and Jack was awesome to work with. He took the track in a more psychedelic direction than I was expecting, but I wouldn't have had it any other way. He was also extremely patient. There was a whole hour or so where I just couldn't take of one of the guitar parts that I was happy with. I even asked him to play it for me instead, but he insisted that my messy version fit the song better. Anyone who can embrace messiness and imperfection is probably a good person for me to be working with.
What do you like the best about this track?
I'm really proud of the guitar riff on it. It's super simple, but I don't care, it fits perfectly. This song had been sitting around gathering dust for two years before I wrote that riff, because I knew I wanted it to be a rock song, but I was still pretty new to writing for lead guitar. I actually sang it to myself before I played it, which is why I think it's kind of catchy - it's made to be sung.
What inspired you to pursue a career in music?
I realised there was nothing else I wanted to do more. It took me a while - I've been singing and writing songs since I was a kid, but university was always my goal, and while I was there, I had set my sights on being a journalist. Once I was out of that environment and my future was wide open, I realised I didn't miss journalism at all and didn't have the drive for it - I had just been sucked into the idea of doing something 'important'. What I did miss was music.
Are there any specific venues or festivals that you dream of performing at?
I mean... is there a musician alive who doesn't dream of playing Glastonbury? It feels ridiculous to even say it, but it'll always be the one. Stick me on a box with a karaoke mic, I don't care. I'll even play next to the Portaloos. If I get within spitting distance of Worthy Farm with a guitar strapped around me, I'll feel like I've peaked.
Saer On the Making Of “Walk The Line”
What was the initial spark or idea that led to the creation of "Walk The Line?"
Have always been a great fan of Cash's and love his later cover interpretations. I read a story about how “I Walk The Line” began as a ballad, it was a promise to his wife to remain faithful during his time on the road. I believe it was the record company at the time that wanted to make it more upbeat. I began experimenting with some chords and discovered more about Cash's darker side on tour and it led to this interpretation of his classic track.
How did you work with the producer or engineers to bring your vision for "Walk The Line" to life?
It's all me in a studio. I'm fortunate to have a close collaborator who produced the video for the track, we're often able to discuss what is working and areas for improvement. We try to stick to three points of improvement and then look to sign off. This really helps me in getting productions over the finishing line and ready for release.
What has been one of your favorite memories along the path to making "Walk The Line?"
The first time seeing the video creation from Paul Griffin. I went round to his house and he'd been working away at rigging a CGI cat through animated scenes giving lots of nods to Cash's life and experiences. I was blown away by it and feel incredibly fortunate to have such a creative collaborator.
Can you share a bit about your musical background and the journey that led you to where you are today?
I've always been into composition and even in school, I'd base myself in the music block, mixing everyone’s projects, and just loved creating. This has stayed with me and I now work from a studio in my garden, slowly building up a hoard of random instruments and synths!
In 2018 I was fortunate to perform a blind audition on the Voice UK and couldn't have imagined it going any better. This gave me a boost to record more, collaborate, and explore music further as a career through performing and composing.
How do you approach collaborations with other musicians and maintain creative synergy?
It always depends on where the project starts as to who has the main idea. I think it’s always good to have mutual respect and a lack of fear of an idea being a bad one, especially in the early stages of creation. I've improved at that over time. With some early experiences, I've possibly been a touch reserved and have come away annoyed at myself but the more you create with other people and the more you make independently you get more of an idea of identity and sound and what you can bring to the table.