Category: Music

MOVING TO THE OPPOSITE SIDE OF THE PLANET TO MOVE PEOPLE WITH HIS MUSIC: DRUMMER GERALD SELLAN

7/28/2016

Gerald Sellan is sitting behind his drumset with a big smile on his face. Half of the reason is because this is where he loves to be more than anywhere else in the world. The other 50% could be for a variety of reasons. Maybe it is because his band Beat The System (BTS) is rehearsing for a promo tour that will include making the rounds on American talk shows. Perhaps it’s because their first American released album is entitled Journey, after a song by the same title; a song which Sellan wrote about his own personal journey as a musician who wants to make the world a more positive place with his music. It is possibly because he looks to the side of the stage and sees his brother Stewart (guitarist for BTS) and realizes that they (along with songwriter Adrian Puan and American vocalist May Leigh) have done what no other Malaysian band has ever achieved; signed, recorded, and are releasing a major rock/pop record in the US. There’s no sense in asking Gerald to stop smiling; he has been told many times that something can’t be done and his self belief has proven every naysayer wrong. On BTS’s mission of positivity, Gerald Sellan is the proof that believing in yourself truly creates opportunities.
New York City is where Sellan wanted to be when he was beginning to play drums during his adolescence. While he was pursuing percussive endeavors in his home county of Malaysia, he was also paying attention to the music from the UK and America. He loved the melodies of songs by artists like Michael Jackson and Mariah Carey while at the same time being excited by the drumming and musicianship of bands like Mr. Big and Iron Maiden. Honing his skills at church gave him a keen insight into melodies. Gerald recalls, “I always listened to what the singers were singing as well as what they were saying. I learned a lot from them about supporting the vocal melody. I learned to respect the melody and to connect with it on an emotional level.” In the years that Gerald was learning to become a great drummer, his older brother Stewart founded BTS. Recognizing his younger brother’s talent, Stewart asked Gerald to audition for BTS when the drum chair fortuitously became open. The musical connection was as well…two siblings. Before long, Gerald was both drummer and bandleader for BTS.

Like most Malaysian bands, BTS had followed the template of non-stop live gigging, prior to Gerald’s involvement. That continued to a certain extent with him as bandleader but he had other ideas about how to achieve success. BTS has always been heavily influenced by American music and due to this; their lyrics were almost exclusively in English. By singing in Malay (the mother tongue of Malaysia), they could have gained greater acceptance and airplay. With the exception of a few singles (“Penipuan Berwaris” released as a single by Warner Music Malaysia, “Transisi” written and produced by Beat The System for Warner Music Malaysia/EMI artist Fiq) the band focused on music that echoed the artists which inspired them. There were frequent hits and accolades. BTS partnered with Malaysian Idol winner Jaclyn Victor for the song “Shine” which won Song of the Year, Best Collaboration, and Best Genre Bender Awards at the 2012 Asian Voice Independent Music Awards. Having achieved major success with the new pop tinged direction of BTS, Gerald set his sights on the goal he had always held in the highest regard, proving what he and his band are made of…in America!
Although Sellan had reached out to numerous labels and management companies in the US, the one he least expected to respond was Diana Meltzer (A&R, Chief Executive Officer) of Monster Hits Music (formerly of Wind Up Records). Meltzer was instrumental in discovering Creed, Evanescence, Alter Bridge, Drowning Pool, and many other bands; bands that Gerald had been a fan of and inspired by. Meltzer had received “Shine” and in her own words, “It was a good song but not a great song. I felt that there was something deeper going on with this band and I wanted them to find it.” Sellan understood that being vetted by a serious music industry player like Meltzer could establish BTS in a quick way. In their first phone conversation, Gerald doubled down his bet and promised Diana ten newly written, produced, and demoed songs with one month. Realizing that he had bitten off quite a bit, he enlisted songwriter Adrian Puan (whom had previously been associated with the band) to compose as well. The ten completed songs impressed Meltzer enough that she flew to Malaysia to spend a month with the band and see in person what was going on. Her experience set her resolve that the band had loads of talent and inspiration but not that everyone had the same vision. The outcome saw Gerald Sellan, Stewart Sellan, and Adrian Puan travelling to NYC as the members of BTS…ready to fulfill their dreams but without a singer.
New York City can be an intimidating place for anyone. It’s exciting but you have to really hustle to make your own success there. There are great musicians everywhere, so imagine how precarious it feels if you have just moved from the other side of the planet to NYC with a dream and one hand tied behind your back! If you are a band with great songs and musicians but no singer, that is a fairly appropriate analogy. Still, Gerald Sellan is one of the most optimistic people you could ever meet. He felt that something was sure to happen. Singer after singer was auditioned. Gerald comments, “There were so many great singers but no one really fit.” Hearkening back to his early days working with singers in the church and what he learned he states, “When we finally met May and played through the songs with her, I knew it was perfect. It’s one thing to be a great singer but it takes a real pro to connect with the songs emotionally. It makes me play better as a drummer.”

Summer of 2016 finds Gerald Sellan right where he has always wanted to be; in fact, in many ways he is way ahead of schedule. He and his band were discovered and signed to a label by Diana Meltzer. He wrote (in addition to others) the title track of his band’s first major American release. He recorded this record with (4 time Dove) award-winning producer Andy Anderson and (Grammy nominated) engineer Damien Page Lewis. Rehearsals are on going to prepare for the band’s promotion of their life’s work. Impossible has become I’m possible for Gerald Sellan and his goals. It’s no surprise that his smile is getting even bigger.

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Q&A with the Preeminent film composer and orchestrator Emily Rice

6/27/2016

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Film composer and orchestrator Emily Rice: "The role of music in film is to enhance the story, or to say what the picture doesn’t or can’t say alone."

Film composer and orchestrator Emily Rice has assembled a career that’s characterized with coveted, outstanding achievements many pursue and few obtain. Rice — born and raised in London — has punctuated her presence in the realm of film and TV, doing so behind the cameras with impactful music that’s integral to cinematic storytelling at its core.

It’s been a prolific year for Rice that’s included her musical brilliance dispatched to 11 different film and TV titles such as director Kavi Raz’s feature historical drama, “The Black Prince,” that’s produced by the management-production power, Brillstein Entertainment Partners, Castille Landon’s feature family adventure, “Albion: The Enchanted Stallion,” starring Jennifer Morrison (“House”), Debra Messing (“Will & Grace”), Stephen Dorff (“Blade”) and Oscar nominee John Cleese (“Monty Python and the Holy Grail”), the feature drama, “93Days,” from director Steve Gukas and WGN’s historical drama series, “Underground,” starring Jurnee Smollett-Bell (“The Great Debaters”) and Aldis Hodge (“Straight Outta Compton”).

Throughout her impressive tenure, Rice’s music has been heard in a copious collection of films including “Najmia,” an award-winning bio drama based on Fawziya Abdullah Youssef, for which Rice received a Best Composer nomination at the 2015 Underwire Film Festival (U.K.), as well as in “Lost Girls,” that stars Bar Paly (“Pain & Gain”), Marisol Nichols (“Scream 2”) and Siena Goines (“The 40-Year-Old Virgin”) and the award-winning animated short, “Cowboys in a Saloon.”

An alum of the University of Southern California’s Scoring for Motion Pictures and Television program, Rice has recorded and conducted her own original material at both Warner Brothers and Capitol Records. She has collaborated with a who’s who list of talents including the Emmy and Grammy-winning composer, Laura Karpman, and Brian Tyler, who composed for box office sensations such as “Avengers: Age of Ultron,” “Furious 7” and “Iron Man 3.”

We recently had the chance to visit with Emily to get an insiders look into her own story that we are proud to present today!

What was your initial inspiration to pursue a career as a composer and orchestrator for film and TV?

ER: My initial inspiration was actually the singer-songwriter, Björk! I’d studied her music videos as part of my undergraduate degree and found them to be a really powerful storytelling tool. As soon as I realized that I also enjoyed writing music, music for film and TV became the obvious choice. As a kid I wasn’t that into film though, it was always music, and my parents didn’t watch a lot of movies. My earliest memory of films was watching Star Wars and Disney films at home, and my earliest memory of going to the cinema was probably to see Godzilla when I must have been about 12-years old.

Who are some of your musical influences and favorite composers?

ER: I grew up playing the cello in orchestras and my parents always humored my musical interests when I was young. So I’m definitely influenced by orchestral music and I love composers like Beethoven, Stravinsky, Rachmaninov, Prokoviev, etc. As I got older, I started mixing that up with a lot of Pink Floyd, Radiohead, Björk, 90s pop music, and as my interest in music and film grew, I started adding John Powell, John Williams and Alexandre Desplat to my list of favourites. The list really is endless though!

How did your assimilation into film and TV begin? What were some of your early projects?

ER: My very first projects were student films, and before I even started doing those, I remember contacting an animator I’d found online to ask if I could download some of his work and score it as ‘practice’! In addition to starting on student films, I also got on board with the film composer, Frank Ilfman, very early on, and was lucky to assist him on a number of his projects, including the Saturn Award and multiple Israeli Film Academy award-winning, “Big Bad Wolves.” I was so fortunate to get this kind of ‘real life’ insight very early on in my career.

What are some of the go-to ingredients that make up a most effective score and how do you go about implementing those into your approach?

ER: I think that the best go-to ingredients aren’t actually anything to do with music, but rather attitude. Because each project is so different and every film has its own very specific set of needs, my approach is always to first spend time with the film and talking to the filmmakers, figuring out what they want from the music. From there, it can be a different process every time. Creatively speaking, I do try and mix up live audio with samples if I’m not recording everything live, and I try and bring a unique element to every score.

Music is the essential auditory complement to what’s seen on screen. How do you go about building up and enhancing what audiences see?

ER: My approach is always specific to the individual film. Spotting, which is deciding where music should start and stop, is an important part of the process and dictates how successful a film score can be. Music also needs to be attached to meaning, sometimes to a character, but not always. For example, in “Star Wars” I always think of Yoda as being a vehicle for wisdom and goodness – so his musical theme is not about him as such, but rather about the ideas that he embodies. So it’s a combination of enhancing what the audience does and doesn’t see.

What’s the key in matching compositions to storytelling conventions such as tone?

ER: There is no one answer or formula. I think one must spend time with the film and get an understanding of it – you need to understand the tone before you attempt to tackle it. This is where an in-depth understanding of music and orchestration really do become helpful and one of my composition teachers once said to me: ‘There are no mistakes in music until you establish your intention.’ I definitely use orchestration to help define my intentions and match a films’ tone. A feeling of chaos can come from developing ideas too quickly as well, and the pace of a story is another important element to match musically.

It’s said often in film and television production that locations can serve as characters themselves, places like the Overlook Hotel in “The Shining” and the mystifying island in “Lost.” Can film music take on a similar capacity and life of its own?

ER: Absolutely. I think that some of the best film music we have does exactly that; it has its own identity and so it brings a stronger identity to the film overall. Having said that, the role of music in film is to enhance the story, or to say what the picture doesn’t or can’t say alone. It shouldn’t be overbearing and so the music taking on a life of its own isn’t necessarily the right approach for every film.

There’s music from composers like John Williams, Hans Zimmer and Alan Silvestri that is so recognizable, iconic and synonymous with dozens of great movies. What’s it about their quality and sensibility that resonates with audiences so well and pushes a movie into the classic threshold?

ER: Each of these composers have a very unique musical voice and have their own strengths which, in my opinion, they apply to their films in a very sophisticated way. John Williams is known for writing wonderful themes and has a traditional sound, whereas Zimmer has always been an innovator when it comes to creating new sound worlds. The point is that they are each extremely good at the thing that makes them unique. Movies are also always a team effort and for a film to be considered a ‘classic,’ every element of the filmmaking process must come together successfully.

You’ve mentored and trained under talents such as Frank Ilfman, Bruce Broughton, Christopher Young, Garry Schyman and Jack Smalley. What’s your takeaway from working with them and seeing their methods up close?

ER: The greatest thing is that I’ve learnt something different from each of them and have seen and heard the different ways that they all think about and approach writing music. Having said that, the one thing that I’ve seen consistently from them all is the integrity of their work and their motivation to create the absolute best work they can, no matter what the project is. And take great joy in doing so!

How did the scoring program at USC help shape your composing approach?

ER: USC was such a wonderful all-round experience. I was able to take away some very practical things like specific writing techniques, learning to conduct and run a recording session, as well as try new ideas like creating a concept for a score.

What’s your experience been working with Laura Karpman and Brian Tyler?

ER: Both Laura and Brian have been working in the industry for more than 15 years and so my experience with them both has been very enriching. It’s also been hugely varied as they each work on different types of projects and both work in different ways. They are both very creative musically and so it’s been a pleasure to witness them work and be part of their teams. I’m star struck by both of them on a daily basis basically!

Share with us a little bit about “Najmia.” What was the premise of the film?

ER: The idea behind “Najmia" was to highlight some of the difficult conditions child brides experience, especially when faced with pregnancy at very young ages. The aim of the film wasn’t to pass judgment on other cultures, but rather to help raise awareness about the need to improve sanitary conditions and midwife training in regions where these situations are common.

What was your approach in composing “Najmia” and what came together well that led to your award nomination?

ER: My initial concept for the score was for it to be predominantly strings. This was primarily because the film had moments of great intimacy, loneliness…stillness, but also reaches a pretty intense climax. As a cellist, strings have always been so emotional and expressive to me, and so I felt that they could convey everything that the film needed the music to be. We did add some piano, synths and a touch of brass for some additional colour later in the process. I think that the award nomination was a result of several factors, not least that the film was beautifully made and the story was told very effectively; I was very excited when I first saw the cut. The entire central cue was written around a repeating bass line, which I think helped the emotional content of the film feel very relentless and thus had a more powerful affect on the audience.

“Albion: The Enchanted Stallion” has a superb cast. What did your job as orchestrator entail for this variety of a fantastical family adventure?

ER: For me, orchestrating for other composers is such a joy as you get the opportunity to see the nuts and bolts of their writing and how they put their music together. The role, when doing it for someone else, can be any number of things from filling out harmony and instrumentation, to formalizing a sketch or mock-up that is already very detailed and near complete. I don’t view orchestrating for other composers as a form of self-expression. The opposite is true though when I orchestrate my own work. On “Albion,” my role was to take George Kallis’ music and expand it for the full orchestral and vocal forces that we had available, making sure I fulfilled his musical intentions. At times, this meant taking an adventure-like cue and filling out the brass section, or in a more fantasy based passage, making sure that the orchestra was being used to demonstrate its full range of colours.

You’ve also been working on historical dramas like “The Black Prince” and “Underground.” What’s the goal in crafting music for those productions and what do you think serves as the best music for titles that are rooted in history-based storytelling?

ER: You know, even though these two projects share the historical drama umbrella, they are so different to one another that it’s difficult to draw parallels. But this is also the beauty of composing for film and TV; that no two projects are the same. However, the goal in writing music is always the same for every project — serving the story. But at the same time, it’s how you serve the story that changes from production to production.

For “The Black Prince,” my role was orchestrator and the challenge was to maintain a classical feel in the score to reflect the time period. I also wrote some additional music, and as an additional music composer, ones’ role is to reflect the lead composers’ style and blend your writing with his or hers. This might mean doing an arrangement of a theme, for example.

“Underground” was a completely different type of project – it was a TV show rather than a film and had a contemporary approach in that it mixes modern songs with original underscore and slave songs from the time. I think one should at least hint towards the time period in historical dramas as this is a strong part of the story’s identity and perspective, helping tell us where we are and when. It also helps marry the score specifically to the film or show and gives it its own identity.

Your music for “Cowboys in a Saloon” sounds very interesting with its live performance by the Helix Collective at the Los Angeles Live Score Film Festival. How would you describe the score and its ensuing performance with the screening where it went on to win Best Picture?

ER: “Cowboys in a Saloon” is such a charming little film. In my experience, I have found animations often need a lot of music because the mood/tone is changing at a faster pace than in live action. On top of that, “Cowboys” had very little dialogue and sound effects to add to my challenge! It gave me great freedom though, and meant that the score really was at the forefront from start to finish. I was quite nervous of the screening as the film wasn’t actually finished for the festival and I wasn’t sure how the audience would react. The Helix Collective performed the score perfectly with the best outcome we could have hoped for!

You composed for the dramatic thriller, “Lost Girls.” What’s the film about and how did you go about crafting music that serves the suspense and drama?
ER: “Lost Girls” is about a young girl (Marisol Nichols) who is kidnapped and sold into sex trafficking. We follow Marisol and the woman who helps kidnap her (Kara, played by Bar Paly). The film’s content is obviously serious and dark, so I started writing with these tones in mind. “Lost Girls” actually became two films — “Lost Girls” and “Lost Girls: Marisol” — each one told from the perspective of one of the two main characters. “Lost Girls” is Kara’s journey and we learn about her history and what led her to position she finds herself in. So there is an added sadness in parts of the score, whereas Marisol’s tale hints at hope.

Share with us a little on your composing for the short film, “FIrefly” that recently screened at the Los Angeles Film Festival. What’s the film centered on and what qualities encompass its score?

ER: “Firefly” is centered around a young girl who is determined to catch the ‘monster’ that goes bump in the night. When she finally discovers her ‘monster,’ she realizes that things aren’t always as scary as they seem. I wrote the score from Maya’s perspective as we spend the whole film inside her imagination. The instrumentation I chose and the way I orchestrated helped convey to the audience that we were very much in a child’s world; it was vital to get the tone right!

What are some of your hobbies when not working on film music?

ER: Haha! Well music started out as my hobby and I still view it this way – playing music, going to concerts or writing. And I feel the same about watching films and playing video games, though I’m a little rusty on the latter having left my Playstation back in England! I love the beach so I try and jump down there for walks as much as possible – we’re spoilt for choice in California and I wish I had more time to explore the state.

What’s next up for you?

ER: Up next I’ll be working on a feature-length documentary called “100 Faces of Survival” about Armenian identity today against the backdrop of the 1915 Armenian genocide. Season 2 of “Underground” was recently given the green light and I’m looking forward to working with Brian Tyler on his upcoming projects. I’m in discussions about a few other things of my own which I can’t mention yet!

Out of all of your achievements to date, what’s the most proud mark you’ve made in your career as a composer and orchestrator?

ER: It’s difficult to choose one specific project, and really I’m just proud to be doing a job that I love. I very much enjoy the process of moving from one project to another that is completely new and different, and I’m especially happy when I get to work with live players. I’m also very proud to be supported by BAFTA LA (British Academy of Film and Television Arts, Los Angeles), including receiving a BAFTA scholarship. As a Brit, being recognized and supported by such an organization is very meaningful to me! 

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Q & A with Australia's Leading Horrorcore Musician, KidCrusher!

4/1/2016

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Australian musician KidCrusher shot by Rom Anthonis

For Australian hip hop metal artist KidCrusher it seems that out of the darkness came the light, or at least an incredibly successful career. Internationally regarded for his dark and diverse blend of rap, metal and hardcore.

Since he first began making music over a decade ago, KidCrusher has released 12 studio albums, toured extensively opening for Insane Clown Posse (ICP) and Tech N9ne, as well as headlined the release party for EB Games’ Grand Theft Auto V in South Australia. He’s even had his music featured on every ones favorite legal drama, “Law and Order.” Just like ICP has struck gold, and platinum, with the countless albums they’ve released over the years creating an unshakable empire on the basis of being “The most hated band in the world,” KidCrusher took societal ostracism and turned it into a golden throne of Horrorcore stardom. Juggalos around the world know him and they never fail to show their support.

Last year KidCrusher’s most recent album “Metal Murder 3D” took home Metal Album of the Year at the Faygoluvers Music Awards. For the award, which is determined by public vote, KidCrusher was up against other international heavy weights in the metal genre including Mushroomhead, Cannibal Corpse and Hed PE, but KidCrusher’s fans spoke the loudest.

Earlier on in his career KidCrusher’s song ‘F**ked Up’ was featured on the Tunnel Runners compilation released by Psychopathic Records, one of ICP’s labels, which debuted on the Billboard Rap Charts at #21.

In addition to writing and performing all of his own material, KidCrusher creates the majority of the beats and plays most of the instruments heard on his tracks; and he continues to come up with new and innovative material. Anyone who has seen some of the music videos that he has released to date, whether they are fans of metal or not, will agree hands down that KidCrusher has a unique talent for creating videos that powerfully support his music. From videos like “Meet The Monstors” and “Alice In Zombieland” it’s easy to see that he knows how to effectively deliver intense visual stories that often make viewers feel as though they are watching a horror film.

His impressive skill in that regard has definitely not gone unnoticed in the film industry either. Over the last few years KidCrusher has been tapped to lend his musical genius to films like the 2015 post-apocalyptic Australian flick “From Parts Unknown: Fight Like A Girl,” for which he composed an intense and original metal score in addition to handling the film’s sound design. He also did the sound design and composed the score for the upcoming film “Sheborg Massacre.

To find out more about KidCrusher make sure to check out our interview below!

You can also check out his music and find out about upcoming releases through his website: http://kidcrusher.com/

And follow him on social media at:
Facebook: https://www.facebook.com/kidcrusher666
Instagram: @KidCrusher666
Twitter: @AustralianAlien

Where are you from? What was it like growing up there?

KC: I was born and raised in Adelaide, South Australia. I grew up in a suburban town with my mother and two siblings, sadly my father passed away when I was only 6 months old. Throughout my childhood and high school years I was labeled as an outcast therefor I spent a lot of time on my own. I’ve always loved Adelaide though, can’t seem to stay away longer than a week without getting home sick.

How and when did you get into music?

KC: With so much free time on my hands, I fell into creativity and entertainment with movies and music. I was attracted to creating music at a very young age inspired by hardcore hip hop as it was so restricted for me to listen to, that did nothing but power my urge to want it even more. I started my first rap group at the age of 12 and released 2 albums on cassette tape (around 1998), when I reached high school I was introduced to metal music and assembled my own cover band but everything kept falling apart due to the lack of commitment from other members. At this time I wanted to go solo when I discovered a breed of darker hip hop that was mixed with death metal, two genres I was fascinated with. When I released my first single, the music video went viral and it really gave me the drive to do it professionally. Not long after that I gained a massive following internationally online and that was back in 2005.

How many instruments do you play and how long have you been playing each?

KC: I’ve played guitar, bass, programmed drums, piano and vocals for all about the same amount of time since, pretty much since I started back in 1998, but I am more focused on vocals, guitar and sound engineering. I do a lot of production work on my albums, along with the help of various other producers on some occasions. I have recorded all of my albums since 2007 in a home studio I call “The kCave.” I studied music and sound engineering at Tafe SA and worked under two different recording studios before building my own.

What does music do for you?

KC: I still remember the first time I recorded a track to mp3 and burnt it onto a CD and listened to it on my sound system, it was almost like giving birth to a child and it became so addicting and exciting. I became my own biggest fan in a way, I wasn’t concerned about having fans or playing shows, I just wanted to make music for my own entertainment and then I shot my own music videos to begin with in my backyard. I honestly never thought it would go any further than that. Music is and was my way of ventilation. That’s how I feel a lot of my fans have connected in some ways more than others, because I let out a lot of personal feelings as well as fictional entertainment for those who want some fun.

Why are you passionate about playing music?

KC: Music has always been like my best friend forever, I connect so well with it that to me, music is my life, career, and the past, present and future of me. Every time I finish an album I say to myself “I’ll take a mini-break and relax for a bit” and it never happens, it pulls me back in. I feel so separated without it. I don’t know if it’s boredom or the drive for that amazing feeling of creating a masterpiece. Ever since I gained a following, I feel like I owe them everything for everything they’ve done for me, I still feel like I haven’t given back enough, even with 12 albums under my belt, they always ask me for more and I feel guilty it takes so long to release albums in the present time of my career, because I always look at my last album and want to do better than that because I know I can and I’ll refuse to rush an album for the sake of releasing an album these days. Overall I’d say my music is an artwork, a symbol, a decade of my life and one of the most amazing rides I feel so privileged to be a part of. It will always be somewhere that feels like home to me.

Who are some of your music influences, and how have they influenced you?

KC: SPICE1 was the first rapper that brought me into the dark side of rap, it was when I heard the “Tales from the Hood” soundtrack in primary school. Prior to that Slipknot, Korn, Linkin Park and Limp Bizkit for their emotional and personal connection with music as well as the rap-metal influence. System of a Down, Mudvayne, Fear Factory and Marilyn Manson are some more metal influences, as well as a strong inspiration from the Australian industrial grind group The Berzerker for motivation of getting music done with or without anybody, and of course for their extreme brutality and character. I would have to say Insane Clown Posse and Twiztid are probably my biggest influences for pursuing my dream and creating KidCrusher as I never felt so connected with any other music, it made me want to represent their following and become a part of their world.

How would you describe your personal music style?

KC: It’s hard to put my entire catalogue into one genre, as I love to venture out into several styles. So my album can go from straight hip hop, to metal rap, to death metal, to Dubstep, to industrial, to comedy skits. Overall people would consider me apart of the Horrorcore genre and a Juggalo rapper.

Have you played on or written any songs used for film, television or commercial projects— if so, can you tell me which songs and which projects they have been used in?

KC: My song “A Dirty Fuckin Murder” alongside the music video was featured on TV’s “Law and Order” in the episode “Steel-eyed Death,” which I made headlines in magazines such as the New York Times for. The episode was based on the Farmville murders killer “Sam McCroskey” who was a fan of my music in real life.

I created an original musical score and did the sound design for two Australian films by Strongman Pictures entitled “From Parts Unknown: Fight Like A Girl” and the upcoming release “Sheborg Massacre.” They also produced several of my music videos including “Back To The KidCrusher” and “Alice In Zombieland.”

Alice In Zombieland was a short film for a KidCrusher song with the same name, which screened in cinemas around Australia during the Monster Fest Trasharama.

Can you tell us about some of the music videos you’ve released so far

KC: ‘A Dirty Fuckin Murder’ was the first music video I ever shot for my band, KidCrusher, and the song is featured on the album “Light to Dark and Life to Death.”

‘Meet The Monstors’ was the first professional KidCrusher music video I did and it was produced by Strongman Pictures. The video came together after I requested to produce a song for the soundtrack of a film they were developing. It was shot inside Aradale Mental Asylum in the outback of Melbourne, Australia. The theme of the video/song was that of the script of the movie (Love, Lobotomy and Zombies). Fangoria Magazine also covered the production. The song is featured on the album “Cannibal Clown.”

‘The Naughty List’ is the second KidCrusher music video produced by Strongman Pictures; with my spin-off side Christmas project based on the movie “Dr. Suess’ How The Grinch Stole Christmas” with Jim Carrey. The video brings in more of a serial killer tone than the original; the song alone is about killing evil people in my home town on Christmas eve.

‘Heavily Medicated’ was another video for my band that was produced by Strongman Pictures. We shot the video in an abandoned building and the song is about my struggle with depression over not being able to perform for my fans in the United States and being treated like an animal and drowning in the past. The song was released as a single and given away free online.

For the music video for the KidCrusher song ‘Alice In Zombieland’ Strongman Pictures came to me with an idea about shooting a short film/music video inside a role playing zombie factory based on Alice in Wonderland. The song for the movie was also featured on my album “Metal Murder 3D” and the video also screened in cinemas for Monster Fest / Trasharama.
The music video for ‘Back To The KidCrusher,’ produced by Strongman Pictures, was created to celebrate the 10 year anniversary of starting my career as KidCrusher. It also happened to synchronize with “Back To The Future Day” October 21, 2015. Back to the Future is my all-time favorite movie so I wanted to theme a music video towards the film and time travelling back to “2005” when I started KidCrusher to remix my first single “A Dirty Fuckin Murder”. We also had a DeLorean in the video and special effects. After the music video features a 30 minute documentary entitled “Ten Years Of KidCrusher” which highlights the albums and moments in my career.

I also released the music video ‘Ka Boom Boom’ with my band KcaveMen featuring Todd Hansen the drummer of The Berzerker, a band which I always looked up to. ‘Rectal Birth’ is another music video I released with my other side project, Penetration off the album “The Nothing”; and I play all the instruments in this industrial metal band. The album and video were based on the storm from the movie “The Neverending Story” and they focused on depression, destruction and betrayal. The clip was shot entirely on green screen as me as every member of the band, and I have future releases from this project coming into the mix in 2017.

What do you think separates you from other musicians? What makes you good at what you do?

KC: Not to be completely cocky about it, but I believe I’m one of the hardest working, and most successful independent underground musicians in Australia. What other artist has done 12 studio albums in 10 years, and produced movie grade music videos and scores for films? Has toured with major artists and did it all without management, a label, or basically buying their way on stage or into promotions. I’ve done everything with nobody but me, my music and my fans to get me there and I’ve done all of it from bottom of The Underground of the Industry. I’ve never had commercial radio play or major promotion, I’ve written recorded and released and distributed everything from my own CDs, DVDs, MP3s and a clothing line all myself and have the determination to take it even further.

America has had hype building for me since 2008, I feel like I’m that animal in a cage, waiting for be given my chance to be with my fans and really give the world what I have got. Just in Australia I’ve played by request for Insane Clown Posse, Tech N9ne, Hed(pe), Mushroomhead, Hopsin and more. I’m the outcast of hip hop and metal, I’m the underdog that succeeded by being rejected by the world and taken to an underworld of music. In the tunnels we run and you will find me, under the ground.

How do you feel when you’re playing on stage? Was it something you had to get used to, or were you immediately comfortable in front of the crowd?

KC: I still have stage fright from time to time, it’s kind of like, you snap out of character and start to think, and that’s the point I slow down - the normal stage you just flow with the music and you’re on pure adrenaline, that’s what I love. It’s definitely something I had to prepare for physically as well, as I’m not very fit, as I was never planning on performing live when I first started so to this day, I need a few months to prepare for a tour. Most of my songs are too difficult to perform live as well so there is only a small list that works. The more I’ve performed over the years, I’ve definitely progressed and I feel more powerful than ever up there today. It’s something that’s become an addiction like the production of my albums.

Aside from playing music in the bands you play with, do you write any of the music or lyrics—if so please tell me about some of the songs where you had the biggest role in that aspect/ where you got your inspiration/ what the collaboration process was like?

KC: I write all of my music, usually the beats as well. Inspiration comes from various things in most cases when I first started KidCrusher, I studied a lot of serial killers and cannibals through documentaries and online. Not because I love or support it in anyway, but because of the shock factor in entertainment. I wanted to produce a horror movie on stage / or / in your mind. My albums are designed the way a movie soundtrack is put together, there’s sounds you’d usually hear from movie scores, intros intermissions outros, as well as the amount of skits and samples I use. Other inspirations come from real life situations or movies which I twist into an original tale.

What do you hope to achieve in your career as a musician?

KC: Continue to have a die-hard fan base and of course touring the world and making music full time. I have conquered a few of my goals already, which was to share the stage with a few of my influences; Insane Clown Posse, Tech N9ne and The Berzerker..

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The Discography of Curtis, and the Man Behind the Magic, Siegfried Meier

11/23/2015

Lennie Haggerty (left), Siegfried Meier (center) and Michael Chhangur (front) of the band Curtis

Emo music first began hitting the sound waves in the mid 1980s, a genre that branched off from the hardcore movement that swept Washington D.C. at the time with bands like Rites of Spring paving the way. By the 90s the general output of emo records had moved away from their hardcore roots and merged with more pop-punk and indie styles.

For the most part, American bands have been the marked leaders of the genre through its stylistic transitions over the years, but one emo punk band that needs to be taken note of, and you can bet audiences across Canada already have, is the band Curtis.

The band, which was formed by Siegfried Meier (guitar, piano & vocals), Lennie Haggerty (drums & vocals), and Mike Chhangur (bass & vocals) back in 1994, has made an indelible mark on the Canadian music scene over the past two decades. Curtis, which is currently signed to Bright Side Records, a label whose other artists include Breaching Vista, Stranded In Nostalgia, Sector Seven, Benefit of a Doubt and Chasing Mercury, has made five albums since they began playing together in the early 90s.

In 1997 the band released their self-titled debut, which was produced, engineered, mixed and mastered by Meier. The 14-song release is full of catchy upbeat instrumentals with the occasional anthemic power-pop undertone, but the band never fails to maintain their punk edge.

The way Meier delivers Curtis's often confessional and esoteric lyrics with the perfect blend of that melancholic emo whine and pop-punk optimism that's so memorable of 90s underground emo punk solidified their place next to American bands like Jawbreaker, Knapsack and Sunny Day Real Estate.

The purposeful semi-rough sound that comes through the band's self-titled release proves Meier's finesse for creating albums that authentically represent the band's sound as if they were playing live in your living room. In fact, since forming Curtis in 1994, Meier has gone on to produce and engineer a seemingly endless list of albums like Blue Skies at War's "You Pour the Gasoline, I'll Light the Match," Capeside's "A Thousand Silent Voices," Seconds to Go's self-titled debut, Sector Seven's "The Hunt Club," The Dunes' "Subject to Change," the "Vitals" EP for Perry's Faultline and more.

His ability to maintain the honesty of the artist's sound when making their album has been a huge draw factor for many who work with him, especially when it comes to punk, metal and rock and roll where finding a balance between clarity and the heavy hitting energy of the instrumentals can be, for most engineers, extremely challenging. Meier however, has proven that these genres are his undoubted forte.

He explains, "I feel it’s important to stay true to the artist. I’m very much a performance based producer since I’m a musician myself, so I make sure to get full takes of the artist. I feel this has a much more realistic vibe and really captures the essence of what the artist is going for, without losing the heaviness that they’re accustomed to hearing in a live situation."

In 1998 Curtis released their sophomore album "Thanks Stu," which Meier also produced, engineered, mixed and mastered. Offering up the same raw, heart-felt emotion that's apparent in their first release, the album shows the band's growth in terms of instrumental precision, tight-knit playing and fantastic clarity.

Six years later came the release of their album "Live in the Studio," which Meier produced, engineered, mixed and mastered, and brought together a powerful combination of some of the band's hits from their self-titled and "Thanks Stu." records, along with some new unreleased tracks.

Two years after the release of "Live in the Studio" Meier opened Beach Road Studios, where he has spent the majority of his time since making other band's projects become a reality as a producer and engineer.

"I began my production career by recording all of our albums," explains Meier about recording albums for his band Curtis. "It didn’t take long before I realized that by making records with bands that we shared the stage with that I could afford to buy more equipment to build up the studio. While our band is still together and making music to this day, for me the focus shifted quickly to producing for a living early on."

Meier has literally produced hundreds of albums over the years, but some of the most notable projects include heavy metal band Kittie's album "I've Failed You," which charted at number 10 on the Billboard Top Hard Rock Albums in 2011 and 178 on the Billboard Top 200, as well as the band's 2009 album "In The Black," and Woods of Ypres' album "Grey Skies & Electric Light," which earned him a Juno Award in 2013 for Best Metal/Hard Music Record of the Year.

While Meier carved out a place for himself as a highly sought after producer, engineer and mixer, fans of Curtis were itching for a new release, and nine years after the release of "Live in the Studio" they got their wish when the band released "Full Circle."

"Full Circle" displays the same youthful sound and fast paced punk rock energy of the band's previous albums, but the overall melodies and vocals on the album have a much cleaner sound. The band's cover of The Outfield's 1985 hit 'Your Love' is a great amalgamation of the song's original melodies with their own interpretation, bringing a heavier sound into the mix.

Curtis also released the album "Rarities, Randoms and Lost Souls" the very same year, which included unreleased tracks and new takes on some of their past hits like an extended version of 'All' and a live recording of the intro to 'Boxes,' as well several new songs like 'Remember to Write,' 'Old Car,' 'This is the Year' and 'Upstairs Bedroom.'

Besides being the lead vocalist, guitarist and pianist, as well as the producer, recording engineer and mixer on all of Curtis's releases, Meier also wrote most of the songs, but he admits, "It's a collective effort when I bring the ideas to Lennie, but I do write the structures, melodies and lyrics."

The fact that the band is still going strong to this day is a rare accomplishment considering the lifespan of most punk rock bands, which only further proves the strength of the musical bond between Meier, Chhangur and Haggerty.

Meier's musical genius has obviously helped Curtis reach an impressive level of success; but it's his personal strengths as a musician who is uniquely able to apply his talents as a multi-instrumentalist, vocalist, recording engineer and producer to projects for other bands, that has made him the legendary figure he has become in the industry.

DJ Kiraz, Japan's Leading Female EDM DJ Brings Her Sound to the States!

4/6/2015

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DJ Kiraz shot by Baku Hou

Elin Ekdahl, known to international EDM fans as DJ Kiraz, has been one of Japan's leading female DJs for the past four years.

This breathtaking and talented beauty discovered her love of music early on in her teens back home in Sweden where she was influenced by artists like Aly & Fila and Bjorn Akesson, among others.

About these artists, DJ Kiraz says, "They are so incredibly talented, and they create the kind of music that I want to create. But at the same time, they are incredibly kind and down to earth."

Little did she know that only a few years after she turned professional she would be spinning tracks alongside some of the very people she idolized in her youth. Some of the electro and trance icons DJ Kiraz has shared a bill with include the likes of Headhunterz, Rebecca & Fiona, Yoji, UMEK, Stephane Pompougnac and Paul van Dyk.

Being called to perform at an impressive list of events in Japan, DJ Kiraz has already become a household name in the country's EDM scene. Some of the venues and events in Japan where DJ Kiraz has performed include XEX Nihonbashi, Club Asia, Aoyama Laputa Garden, Opera and Origami, as well as several summer parties at two of the hottest beaches in Tokyo, Zushi and Enoshima.

DJ Kiraz is known for blowing the roof off every event she plays at, a reputation that led her to be tapped as one of the DJs for Vogue Fashion’s Night Out event where she bumped her insane beats at the Swarovski store in Omotesando, Japan. Taking place in 2011, the event was the country's first ever event of this kind, and included other notable artists such as The Crooks and Jennifer Hudson, as well as a list of the world's foremost fashion designers including Christopher Bailey, Roberto Cavalli, Michael Kors and Kris Van Assch.

Just like the artists in the scene that she personally admires, DJ Kiraz's approachability and down to earth attitude combined with her unparalleled musical prowess have made her a beloved artist in the eyes of fans, something that has led her to astonishing international acclaim.

"The first reason I'm a fan of DJ Kiraz is because she plays real EDM music. Japanese DJs play EDM as well, but their taste is more melody oriented," explains Reiji Kobayashi, one of DJ Kiraz's most dedicated Japanese fans.

"Elin's mixes are more beat oriented, which helps me get into the zone and dance without thinking. The second reason is that she is not only beautiful, but she is a very accommodating person; personality is an important factor for a top DJ, and as far as I have seen she is very kind to everybody."

For the past year DJ Kiraz has been blasting her signature sound for an ever-growing fan base at high-profile clubs in Los Angeles, most notably Exchange LA.

Although Kobayashi now lives in London, he says, "I miss her as a DJ so much, so perhaps I should start going to L.A. to see her at nightclubs there."

Earlier this year DJ Kiraz found representation with Alejandro Rodriguez, a highly respected manager in the electronic music scene who is known for working with other prominent artists like Steve Aoki, Deorro, Nervo, Joachim Garraud And Autoerotique.

With a solid list of incredible accomplishment as an EDM DJ already under her belt, a coveted collection of clubs and events across continents vying for the chance to add her to their line-up, and Rodriguez as her manager, there is literally no stopping DJ Kiraz!

If you want to find out more about her and immerse yourself in her music, make sure to check out her soundcloud page where she posts a bi-monthly podcast of tracks that are sure to knock your socks off.

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Musician Spotlight: Saxophonist Gianni Vancini

9/25/2014

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Gianni Vancini Photo by Mauro Traldi

Like a great film, Gianni Vancini has a soundtrack that seems to accompany his life. When he was a boy, the sound of his father playing the piano filled his childhood home. At six years old, he too began to practice the piano, a gateway instrument that would soon catapult him from playing tunes from a small town in Northern Italy, to making music that would ring out in homes all over the world. While his love for the piano is what initially sparked his affair with music, Gianni Vancini developed a passion and talent for speaking through many different instruments including the drums, the clarinet, the flute, and what he is most widely known for throughout the world today, the saxophone.

Performing both as a solo artist, a well as with various bands, Vancini has toured every country in Western Europe, and almost every country in Eastern Europe. Additionally, he has been received with renown in Australia, Canada, the United States, Turkey, and Romania, to name a few.

For the past 12 years, Vancini has accompanied acclaimed singer Umberto Tozzi on the saxophone. Aside from releasing several hit singles including “Tu”, “Gloria” and “Te Amo”, which topped charts around the world, Tozzi’s music has been included on several soundtracks for film and television shows like The Wolf of Wall Street, Gloria, Glee, Will & Grace, Heroes, The Lather Effect, Saturday Night Life, and countless others. Together, Tozzi and Vancini have performed over 100 live performances. The duo also had the honor of being asked to perform at Italian tenor Luciano Pavarotti’s wedding last year, where they played alongside other notable performers including Bono from U2 and Andrea Bocelli.

Over the past two decades, Vancini has continually demonstrated his signature style and ingenious technique, which the world has received with open ears. In addition to his repertoire of international live performances, Vancini has produced and composed several studio albums. While his full discography is too considerable to discuss at length, several of his singles have achieved notable acclaim in the United States, including “Grapes” from the album entitled Souls United, and “Get Your Groove On,” from the album Get Your Groove On.

Vancini is currently filming a music video for his song entitled “Live”, which is set to be released later this year. In between touring, composing, and recording, he finds the time to teach the next generation of musicians, who aspire to one day reach the prominence that they see – and hear – in their teacher.

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MOVING TO THE OPPOSITE SIDE OF THE PLANET TO MOVE PEOPLE WITH HIS MUSIC: DRUMMER GERALD SELLAN

Q&A with the Preeminent film composer and orchestrator Emily Rice

Q & A with Australia's Leading Horrorcore Musician, KidCrusher!

The Discography of Curtis, and the Man Behind the Magic, Siegfried Meier

DJ Kiraz, Japan's Leading Female EDM DJ Brings Her Sound to the States!

Musician Spotlight: Saxophonist Gianni Vancini

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