Interview with Brandon Kellum of AMERICAN STANDARDS by Dave Wolff

Interview with Brandon Kellum of AMERICAN STANDARDS

Start the interview with an account of how American Standards started as a band?

Cody Conrad (the founding guitarist) originally reached out to me through email and said he wanted me to check out a new project he was working on. We were all in other bands in the Arizona music scene at the time and I really wasn’t looking to get into another serious project. I stopped by the practice space not really knowing what to expect, and almost instantly everything just kind of clicked. Very low stress. Super organic writing. I think we didn’t assume anything more than just writing a few songs and maybe picking up a local show here and there. Never would have guessed that six years and over 300 shows later, we’d still be releasing albums and touring.

What does the name American Standards mean in terms of your collective vision?

We really just wanted a name that was a little left of center in our genre. Something that wouldn’t pigeonhole us to a certain sound and could be interpreted in multiple different ways. Some serious and others more tongue in cheek which I feel is a good representation of the band’s outlook.

Explain the band’s sound and contributing influences and new directions you’re taking it in.

At its core it’s really just metal played with a punk mentality. We all loved hardcore growing up but hated the tough guy personas. American Standards was our way of bridging that gap. With what we’re writing now we’re really focusing on the mood and atmosphere of the songs. Understanding the dynamics. Where to hit hard and where to show restraint.

Where does the punk/hardcore mentality come from, and how does the band balance it with their influences in metal, without the tough guy mentality you touched on?

The punk/hardcore scene is deeply rooted in the DIY mindset that we subscribe too. We’re not waiting around for a label or manager to do it for us. We don’t need a nice, big venue every night on the road. Just give us a place to plug in and we’ll play.

What bands were the members of American Standards involved in before Cody Conrad contacted you?

Cody Conrad (guitars), Geoff Gittleson (drums) and Brennen Westermeyer (guitars), had all played in a couple bands together, the most recent at the time being a punk band called Sailing On. I was the singer of a southern metal group called The Hostage Situation. Over time, members have changed a bit and our current line up consists of members from Moovalya and Ape Kill Ape.

How active were your previous bands in Arizona before the formation of American Standards? Are those bands still active?

My past band (The Hostage Situation) was pretty active for almost five years. We put out an album then toured with bands like The Irish Front and Arsonists Get All The Girls. We broke up around 2010 but we actually just did a one night only reunion show earlier in the year. The band that our drummer Mitch plays for (Moovalya) is still active but not out on the road as much as they use to be. He’s also filling in and doing studio stuff for bands like At My Mercy.

Does punk and southern metal in Arizona receive more coverage in zines and webzines or bigger underground publications? Do those scenes stay afloat by word of mouth or does social media come into play more often?

I don’t know that underground punk and metal in Arizona gets much coverage anywhere. There are plenty of niche blogs; I just think bands have to find and reach out to them.

What other genres do you hear a lot of in Arizona in addition to punk and southern metal?

Arizona is not dissimilar from other scenes. Genres grow until they burst only to be recycled again. Where five years ago there was a resurgence of pop punk and screamo, things have now shifted more toward melodic hardcore and down tempo stuff. It’s almost like music gets heavier and more extreme until it hits a threshold in which people get burnt out on all the noise.

How do bands from Arizona lyrically reflect their environment and the current state of world affairs?

No different than other bands for the most part. I mean, we did have Sheriff Joe here which was an easy target for the more politically influenced artists, but other than that I think Arizona bands share a lot of the same lyrical content.

When you entered the practice space that became the band’s practice space, what led you to change your mind about getting involved with new musicians?

I think it was just how low stress it all felt. Since we had all been in the scene for a while, we kind of knew what needed to be done and how to go about it. No one expected the band to be the next big thing or relied on it for any sort of stable income. Going in with low expectations allowed us to be continually surprised and excited about any accomplishment.

What did you mean by the term “organic writing” when you described your first impressions of Cody’s practice space?

A lot of musicians have a pretty transparent formula when writing songs, whether it’s at the forefront of their writing process or more subconscious. This can manifest as the verse, chorus, verse, chorus, bridge or in the less commercial genres as things like slowing down the breakdown with a halftime beat or bringing things up with a two-step. Although American Standards has a sound, I don’t think we’ve ever said that we have to write a part that sounds like something. What we write comes more naturally.

How often did you work in professional studios before you started practicing in the band’s home studio?

For the first two albums (Still Life and The Death Of Rhythm And Blues) we recorded at JM Studios in Gilbert, Arizona. The Hungry Hands EP was the first time that we recorded out of state at The Residency in Van Nuys, California then we went back to California to do Anti-Melody at Kingsize Soundlabs.

Which of those recording studios most helped the band achieve their desired sound? What was the extent of the band’s input at each studio?

Each album feels like another step in the right direction. None more so than the Hungry Hands EP and now Anti-Melody. I don’t think we’ll ever quite settle though, just constantly evolve.

How much of a difference do you hear between your band and bands who record in professional studios?

I think we’ve had a bit of both. We’ve done the DIY Home studios and also the more traditional studios like Kingsize Soundlabs. Each have their advantages and build into the sound that you’re going for. That’s not too say that you can’t get a fully polished, well produced album at home but we’ve always liked to be a little more rough around the edges.

How often from surfing social media sites do you see bands working in DIY studios as opposed to five or ten years ago?

It seems like the vast majority of bands in our scene are choosing to record at home studios. We’re living in a time where if you have the right guy behind the mixing board, you can make a high quality album at a fraction of the price. Money is no longer the divide, it’s experience and creativity.

So you’re saying home studios help bands without a lot of money record quality material? How much of a financial shift will this cause in American and foreign underground scenes?

I think it levels the playing field but also creates some over saturation. Just because anyone can record for cheap, it doesn’t mean that they should. It also doesn’t mean that cheap will equal good.

How many bands have you come across whose recording quality surpasses their lack of funds? How often do they demonstrate that a capable band doesn’t need a lot of money in the age of home studios?

I’m constantly surprised by how often I hear a band that sounds like they’ve poured a lot of money into recording only to find they did it at home.

How much has rawness been part of the band’s formula since they started? Why is rawness preferable to a polished sound?

It’s been pretty instrumental from the beginning. There’s something about an overproduced sound that takes the humanity out of the music. You can sample your drums, auto tune vocals and edit guitars until they’re perfect, but at that point you’ve lost all the emotion that the song was played with. Humanity is imperfect. Art should be a reflection of that.

What imperfections do you see in humanity that your songwriting and musicianship reflects?

For our newest album I think a big concept is tribe mentality. The desire to belong to a group and say that everyone that doesn’t subscribe to the ideas of the group are inherently wrong.

Name some bands you listen to with raw sound you’re referring to, in which feeling is as important as technicality.

The Chariot, The Dillinger Escape Plan, Botch And Converge are all great examples of bands that write with that passion and intensity.

Does the feeling The Chariot, The Dillinger Escape Plan and Botch And Converge bring into their material match their technical ability?

I would say so. Each bring a pretty high level of technicality while also carving their respective niches in the scene. Now they’re not for everyone but I think that’s the kind of stuff that has more longevity.

Is longevity important for a band in a time when trends come and go more consistently? Many underground bands have been around for twenty years or longer and still attract new fans. Is this a success story of another kind?

It’s easy to follow a trend but that will quickly come and go. Carving your own path takes time and work. If you’re willing to do it, it can pay off.

Describe the rawness that was part of your sound on your early releases, and how you developed it since then.

That just goes back to the idea of allowing for imperfections to make the final cut. There’s going to be drum hits that aren’t as loud as the others. A voice may crack or a guitar have some feedback. All that is what happens live and makes the experience special. Too often bands purge that and opt for a more mechanical sound.

I was recently listening to Ozzy Speaks on Sirius Radio; he and his co-host were discussing how Dave Grohl (Foo Fighters) returned to recording with analog equipment as opposed to digital. Their discussion seemed to suggest that the more perfection there is in a recording, the less feeling there is. Do you think more bands in the mainstream will follow suit?

I think a select few will but I really only see it going the other direction.

Did the band record demos before moving on to recording EPs and full lengths? If so, are any still available for new fans?

There actually are. We did five hundred self-pressed demos where we even made custom stencils and handwritten lyrics. We put these out in 2011 but I’m sure there are a few floating around.

What songs were recorded for your debut demo? How many copies were distributed at shows, to fanzines and webzines and sent to independent labels? Was your debut demo released on cassette, CD or streamed on social media sites?

The first demo was only three songs. I’m not sure we sent many out to Press. Just mainly distributed at shows. CD and digital. We do press on vinyl and cassette now but almost all forms of physical media have become a novelty.

What do you mean when you say most physical media is a novelty these days? Do you think passing around the demo at your shows helped you build a stronger core fanbase?

As much as I loved the idea of standing in line for a CD that I looked forward to and that feeling of first opening the package, I think the age of streaming has brought a cheaper more accessible way of discovering new music. Band like us got to witness that transition from when passing out physical demos at shows really mattered and now it’s more about finding out how to build engagement online.

How many full lengths were released by the band altogether? How much of an improvement was each album from the previous album as far as the band members learning one another’s musicianship?

Still Life and Anti-Melody may be the only two considered as full lengths in the traditional sense. The others are two more EPs (album: Still Life - 2012, EP The Death Of Rhythm And Blues – 2013, EP Hungry Hands - 2014, album Anti-Melody - 2017). With each we’re constantly learning and adapting.

Which of your song lyrics have your most profound reflections on today’s world, and why do you consider them so?

As far as new stuff goes, Churchburner from our new album Anti-Melody probably speaks the most to today’s society. 

Is the band planning to compose material for a new full length in the near future? If so how much more experimentation will you explore trying out new methods of songwriting?

We are. Since we had such a big gap between Hungry Hands and Anti-Melody, we were really excited to get this album out so we can start writing for what’s next. Hopefully we’ll push some boundaries with that. 

How would you want American Standards to be remembered for their impact on underground music in general and metal specifically?

I’d love for American Standards to be remembered as a band that helped bridge genres and crowds. A band that opened people’s minds to new things and created some memories along the way. We’d never expect to be regarded as the most talented or technical band, but being a band that went out there and gave it our all is what matters to us.

American Standards on Facebook

American Standards on Youtube

-Dave Wolff

EP Review: THE GOOPS Bored And White

THE GOOPS

Bored And White

Soundwag Records

Release date: June 3, 2016

If suburban angst of a James Dean film could be replicated in the form of music then the offerings of punk group THE GOOPS and their EP 'Bored and White' would certainly be an apt contender. A short EP in length, yes, but it most certainly isn't lacking in terms of punch and aggression. The group relentlessly toured in the Nineties with notable acts such as THE OFFSPRING and RANCID, - and it's fair to say retrospectively they haven't been given the recognition they so rightly deserve based on their association with said contemporaries alone. The title track is built around a guitar theme which fully utilizes pinch harmonics, giving it a moderately post-punk edge ala JOY DIVISION, VIOLENT FEMMES or TELEVISION. 'Twelve Forty-Five' features a solid 4/4 groove and is very reminiscent musically of STEPPENWOLF fused with a tinge of contemporary punk. Lyrically the track deals with post-breakup angst. 'Dead Alive' is probably the best number on the EP due to its seethingly outrageous attitude and thumping rhythms; - and not to mention the backing vocals which have a very nice touch to them! Next comes a cover of the short-lived, Michigan-based 70s punk group SONIC'S RENDEZVOUS BAND 'City Slang' although obviously more modernized. 'Hate You' was recorded live at one of their first CBGB shows and it gives an interesting insight to the group at perhaps a more vulnerable position. Live they have a very dishevelled, raw and no-nonsense attitude which I like although I think it only works in a live context so I'm glad they didn't incorporate it into their studio works so much. 'Giggletown 2' is the EP's closing track and offers a diversion from the group's usual electric output accompanied by female-fronted lead vocals. The song is primarily acoustic, upbeat and features male vocals which offers perhaps a tad "comic relief" element to the mix. Overall it's a must-have for fans of old-school punk rock, CBGB enthusiasts and existing fans of THE GOOPS. -Jaime Regadas

Track list:
1. Bored and White
2. Twelve Forty-Five
3. Dead Alive 92
4. City Slang 92
5. Hate You (Live at CBGB)
6. Giggletown 2 (Acoustic)



UPDATE: I just discovered The Goops contributed a song to Kevin Smith/s movie Mallrats and were spoofed on Beavis and Butthead. What a small world we live in. -DW

Single Review: JAIME REGADAS Sigismunda Mourns (The Desolate Heart)

JAIME REGADAS

Sigismunda Mourns (The Desolate Heart)

Release date: November 26, 2017

It was just last month when I reviewed Jamie Regadas’ EP The Old Room and his new single was released just today. I liked the title immediately; it sounded like something Cradle Of Filth or Theatre Of Tragedy would have written (which should be considered a high compliment as their lyrics have always been above the grade). And the cover art has the same impressions of gothic horror you’d find in the underground (Sigismunda Mourning Over the Heart of Guiscardo by William Hogarth who is also the artist behind A Rake’s Progress). Sudden bursts of inspiration like choosing classic paintings to represent your work are a nice touch but you need ability to back up a statement as bold as that. This song fortunately shows that potential. Furthermore this is not to be confused with black or goth metal as Regadas’ influences are from elsewhere. As my review of The Old Room indicated his influences include classic and psychedelic rock like Frank Zappa and Pink Floyd. Here he draws from progressive rock like Yes and Rush, especially in the keyboards. The production tends to sound thin but the variances in the keyboards sound becoming of the current season and the coming of winter. There are hints of Ray Manzarek (Doors) sound wise; obviously a great deal of planning went into the arrangements and multi layered atmospheres. Luckily those are incorporated without hints of mechanical preparation as if Regadas was making an overdone effort to be contrastive. While I don’t think it was intentional, there were some moments that reminded me of symphonic metal; this makes sense as many similar roots are shared by that genre. If anything this proves musical expression can cross over instinctively, and it can be done in an honest manner that’s not conspicuously exaggerated. I’ve made this point consistently but it fits here as much as it did then. -Dave Wolff

Interview with Efes of FS PROJEKT by Dave Wolff

Interview with Efes of FS PROJEKT

Describe the making of your new single Kredo Tvoyo (Thy Creed) and why you released it independently. On Bandcamp it states the song is based on the computer video game Assassin’s Creed? What inspired this?

Indeed, Kredo Tvoyo was inspired by the Assassin's Creed game universe. I'm not going to shy away from the fact that this song, as well as my three previous special singles (Za Khladny Gory, Elfiyskiy Marsh and Iskusstvo Voiny), is an attempt to draw the attention of the respective target audience to my music and, thusly, to boost FS PROJEKT's coverage and exposure. In no way does it mean though that my intention to make this track was dictated by this reason alone. It just doesn't work with me. I usually can't do anything of a merit based on something (a plot or an idea thereof) that doesn't speak to me. I'm certain that one of the challenges in writing the lyrics for this particular composition was that the game's plot has very little to do with the actual history of the Order of the Assassins (which I studied as part of one of my university courses). And I wanted to write a song that would appeal to both the fans of the game and history enthusiasts. So I decided to build the lyrics around the сreed of the Assassins as is presented in the games and to question its morality. I intentionally give no answers, allowing the listener to decide for himself. By the way, non-Russian speaking listeners will be able to do this as well, as I've just released a translation video for this song. Go check it out on FS PROJEKT's YouTube channel!

As far as the making of Kredo Tvoyo goes... As usual I brought the fully composed and arranged draft of the song to Oleg Mishin (O.M., Catharsis, End Zone), my vocalist and co-producer. We recorded a preproduction demo, checked and double-checked the parts of all the instruments, verified the tabs, etc. Then I recorded the final guitars and bass at my home studio. Then the relevant materials were sent to Warsaw (Poland) to Pawel Jarosczewicz, who tracked the drums at JNS Studio. Simultaneously Rodrigo Abelha recorded the Latin percussion in Sao Paulo (Brazil) and Mike Trubetskov (EOL Studios) processed some samples in Melbourne (Australia). Then Oleg, his daughter Anna and yours humble recorded the final vocal parts for the song. I also recorded castanets and classic guitar. After this all the tracks were sent to Arkadiy Navaho (Navaho Hut Studio) for mixing and mastering.

As for why Kredo Tvoyo was released independently... I don't know how to answer this question, really. It's just the way it is. I'm an independent author. And keeping in mind how labels work today I can't think of a single reason why I should need one... However I'm always open to new offers as they present opportunities. If it's right and fair, why not take it...

Has FS PROJEKT only released those four singles, or are any full length releases out? How much has your musicianship improved through all the material you have released to the public?

Apart from the abovementioned four singles FS PROJEKT has released two EPs - Rozhdeniye Maga (2013) and Garpiya (2015). As far as my musicianship is concerned, I can say that it has been benefiting on all possible fronts since day one of FS PROJEKT. Nothing pays off as much as investing in one's own experience and skills. I also have the honor and privilege of being able to hire some great session musicians and studio professionals to record drums, vocals as well as to mix'n'master my songs, and I learn a lot from them.

Who are some of the musicians you worked with on your singles and EPs? Are any of them in established bands in Russia?

Here I would like to underline that I hire musicians only from professional acts. There's no place for amateurish stuff in FS PROJEKT. My songs are dear to me, and there's no way I'm employing anyone who doesn't make the cut. Besides, hiring session musicians from established bands and acts gives me a little extra exposure and weight, which is always crucial for any independent author. There's no point in employing no-name session musicians when I have channels and opportunities to hire well-known pros and not only get professional results recording-wise, but learn from them in the process of our cooperation, which is priceless. I have no interest in making FS PROJEKT a sort of a "nursery" for metal wannabes, especially when I'm the guy who pays for everything. And yeah, as FS PROJEKT's mastermind I'm regarding all of the musicians I employ as "paints and brushes" on the canvas of my imagination.

That being said, so far I've employed the services of the following session musicians and studio specialists: Oleg Mishin (O.M., Catharsis, Mango-Mango, Razgruzhat Vagony, ex-End Zone), Paweł Jaroszewicz (Hate, Antigama, ex-Vader), Andrey Itschenko (Arkona and hundreds of other bands big and small), Dmitriy Borisenkov (Chyorniy Obelisk), Evgeniy "Zhenk" Belousov (#####-5diez), Anna Mishina (Mrs. Greed and other projects), Rodrigo Abelha (Zambé, BandaRockCom, Nacionarquia, Iris Lacava, Luca Orsini), Arkadiy Navaho (Navaho Hut Studio), Paweł Janos Grabowskiy (JNS Studio), Alexander Dronov (Margenta, Valkiriya) and Mikhail Trubetskov (EOL Studios, ex-Gift of Madness).

With the geography of the musicians ranging from Russia and Poland to Brazil and Australia, one can safely say that FS PROJEKT is truly an international effort.

Shed some more light on how your previous singles and EPs were written and recorded. Were they worked on in the same studios or was each recording location different?

As of now, FS PROJEKT's releases can be divided in two groups: (1) Rozhdeniye Maga (EP) and Za Khladny Gory (single); (2) all the releases that came after.

The major difference is that "Group 1 releases" were pretty much a toe in the water for me. I had no in-depth experience in producing and recording. I had recorded some stuff before that, but that had been zilch as compared to what FS PROJEKT is all about now. Basically this was the period of figuring out the ins and outs of the production process and getting the hang of it. Back then I had no professional studio equipment at home, so I tracked all guitars and bass at Oleg's home studio. The drums were recorded by Andrei Itschenko at Orange Studio (Moscow), mixing and mastering was made by Dmitriy Borisenkov at Chyorniy Obelisk's studio, the keyboard sound design was performed by Alexander Dronov at his home studio. All the artwork was done by Max Master a.k.a. Paintrock.

"Group 2 releases" have started with the Elfiyskiy Marsh single. They can be characterized by the following significant changes:

- I was able to hire such a truly amazing and world-renowned drummer as Paweł Jaroszewicz;

- I started collaborating with Arkadiy Navaho, Russia's best metal mixing and mastering engineer;

- I employed the services of a new artist - Pavel Kurbanov;

- I finally acquired some state of the art studio equipment, so I've been autonomous in terms of tracking guitars and bass ever since (which has reduced the financial burden and time expenditures significantly). In fact, my guitar amps are one-of-a-kind pieces of equipment; having my own signature tone is an inalienable element of my creative vision;

- Oleg and I started working on keyboard and orchestra sound design without outsourcing anyone.

Don't get me wrong, the experience of working with such musicians as Dmitriy Borisenkov, Andrei Itschenko and Alexander Dronov is priceless, they're great musicians and I'm grateful for all they did for FS PROJEKT. Who knows, maybe I'll employ their services in the future once again. However, with Jaroszewicz, Navaho and Kurbanov everything sort of clicked into place, like a puzzle. Like Oleg, these guys understand everything right away. It does not mean that I just show them the songs and give them free reign. On the contrary, they're probably too polite and well-brought-up to tell me that I'm driving all of them nuts with my ultra-detailed zillion-page briefs! However, once they get the idea, they grasp and execute it to its fullest. Sometimes it even scares me a bit, as I have this feeling that they are actually able to see and "hear" inside my head. But I absolutely love it, because I leave nothing to chance during the tracking as well as mixing & mastering stages.

As far as the current organization of the whole work process goes, it's pretty similar to that I described previously when I talked about how Kredo Tvoyo (Thy Creed) had been recorded.

The most important thing here is that I managed to find the right people, which is the most difficult thing to achieve in any field. And I've been tirelessly working to further expand, enhance and build on this foundation. My approach is: "OK, the bass on the previous release is great. Now, let's outdo ourselves and make it sound even better on the next one", rather than: "Let's try something new". Basically, once I find something which works for me, I try to cut off everything superfluous and then push what remains to the next level. Same thing with people - the more we work together, the better the result.

How long has Oleg Mishin contributed vocals to your project and co-produced your releases? How has your experience working together benefitted you both? Is he or has he been involved in other projects?

In fact it was Oleg who actually nudged me to proceed with the implementation of my creative ideas back in December 2013. I had known Oleg and used to take guitar lessons from him. So in 2013 (after a forced pause in our tutor-student activities) I came back to him with the initial intention to continue taking lessons. However, when I told him that the end goal was to release my own songs (already composed), he told me that I should believe in myself, stop beating around the bush, stop waiting for being ready, but start doing it right there and then. That's how it all began. He's a great inspiration and pleasure to work with. I hope he feels the same way. I think that being part of FS PROJEKT allows Oleg to further explore and expand his vocal potential as compared to his other projects and bands which are quite different from FS PROJEKT's style, music and genre.

How much experience has Arkadiy Navaho had mixing and mastering for bands?

Arkadiy Navaho has been in the mixing and mastering business since the 90s. In my opinion with his twenty-plus years of experience in the industry he is the best mixing and mastering engineer in Russia and the CIS, who is more than qualified to hold his own against any of his colleagues from abroad. I really enjoy working with him. And what sets him apart from many others is that he does not stop until the desired creative vision is achieved in fullest.

Who is Pavel Kurbanov and what sort of art has he done for bands in Russia and elsewhere?

Pavel Kurbanov is a really cool emerging artist from Russia. He's got his own studio, Pavel Kurbanov Design Studio, where he creates logos, cover art, illustrations, merch designs and all other kinds of artwork for bands from all around the globe. I've been working with him since the Elfiyskiy Marsh single. He also produced all the designs for the current FS PROJEKT merch.

As you have worked with musicians of different genres and styles, how much effort went into finding common ground with them?

I must be blessed to be working with the coolest musicians ever! I hope they feel the same way about me. Finding common ground was 100% effortless on my part. I have a very professional no-BS approach when working with anybody. I have the vision, I know what I want, I'm paying the money, but I do my best to be polite, lighthearted, respectful and decent. The proverb "do as you would be done by" works like a charm for me every time. I'm also very specific when it comes to conveying my vision to others, i.e. if a brief or an assignment needs to be fifty A4 pages long - fine, if this or that idea needs an hour to be explained, that's exactly what I do. I don't even know what else to add.

My first exposure to FS Projekt was  Bandcamp. Are there other social media sites where you stream your work? How well has social media promoted you in Russia and other countries?

Of course there are! First of all, there's the official site. FS PROJEKT is also present on Reverbnation, Bandcamp, Soundcloud, Facebook, Youtube, Twitter and VK.

I guess that, for good, or ill, the social media is an indispensable attribute of promoting anything nowadays. On the one hand, it's cool, because getting one's material across to one's target audience has never been easier (provided one has sufficient budget for this), on the other - not so cool, because when everyone can do this, it means that there's no perk in this. People try to invent new means to effectively promote themselves on the social media. However, once one comes up with some cool and working idea, it becomes outdated and redundant in about a week. Besides, the ever-growing amount of amateurish junk music on the social media is suffocating, and really cool pieces of music often get lost and are neglected in this "sonic clutter".

I used to invest in promoting my music in the Russian social media. However, when the economic conditions changed several years ago (namely the RUB/USD exchange rate) I had to abandon this in order to simply keep on recording my stuff at the same high quality level. However, I can say that although those investments had brought some results, they fell short of being spectacular, as such results require more financing than a regular everyday normal guy's salary can allow.

But I can't say that social media promotion is something I really like. I may resume doing it out of necessity, but I'd much rather invest my time and efforts into interacting with heavy music websites, e-zines, reviewers, magazines, etc. directly, because if e.g. my release gets reviewed, then I immediately have some real content to post on my social media and add to my quote sheet, EPK and so on and so forth.

How badly did the economic conditions around social media have an effect on the project?

The advertisement rates, both official and unofficial, have always been unreasonably high. The 2.5 time drop in the RUB/USD exchange rate just made it totally unfeasible for me (since everyone simply adjusted their prices to the new exchange rate) and was a signal to redirect my investments elsewhere.

How much more beneficial has corresponding with zines, e-zines, websites, etc. been for you as opposed to promoting on social media?

Social media promotion is impersonal... Like an ad in a retail chain store. Reposts, likes, retweets, etc. are just numbers. And although they may be important for some purposes, rarely do they reflect the actual state of affairs as far as public awareness and exposure go in such area as music. I know bands that have like a zillion subscribers and followers, but actually nobody knows them. And there are other bands that play sold-out gigs but whose social media following leaves much to be desired. I know for a fact that there are many people who don't follow FS PROJEKT on any social media, but they love and listen to my music.

Besides, it's not a natural process. I mean, if one has enough money, one simply pays the social media to force his stuff (even if it's mediocre at best) down the audience's throat (or ears to be more precise). What I want to say is that huge online following does not necessarily mean great music. What it means is the sufficiency of one's advertising budget.

Direct interaction with zines, e-zines, websites, etc., on the other hand, is way more satisfying, as you're actually trying to get your songs across not to some amorphous target audience, but metal enthusiasts, i.e. real people, the majority of which really love and feel for this kind of music. It shows in how these people react to my e-mails and what they write in their reviews.

However, as I've already stated above, the greatest benefit of all is that such interaction results in tangible content which I can immediately use for FS PROJEKT's further promotion.

Are your EPs and singles pressed into compact disc format as well as streamed on social media? If so, how many copies are you usually able to make for distribution?

As with many things, e.g. play-through videos, I thought that CDs were mandatory when I launched FS PROJEKT. So I pressed both of my EPs and the Za Khladny Gory and Elfiyskiy Marsh singles into CDs, 100 copies hand-numbered limited editions each. However I stopped doing this. Iskusstvo Voiny is a 100% digital release. Kredo Tvoyo as of now is physically featured only on two promo compilation CDs - Against PR - Death (Portugal) and Slowly We Rot Issue #10 2017 (Romania).

As to the reasons behind such a decision. Well, one has to admit that today no one seems to really care about CDs in general, let alone those coming from an independent author. The cost-to-income ratio is very low in this respect, so it's just not feasible. I use the already printed CDs for self-promotion purposes, as part of my merch bundle to express my gratitude to those e-zines, sites, blogs, reviewers and interviewers (like yourself) who are kind enough to spare their priceless time to review my work or interview me. So once I get rid (LOL) of those CDs, I'll press something which will better suit my needs, like a "gift & promo compilation" without any remastering and with some cool but minimalistic artwork and packaging. But I can say that I'm done with jewel boxed and fully bookleted CDs for the foreseeable future, unless something changes radically, of course.

How much has your distribution plan helped you reach more listeners? Are you able to save finances by releasing your work digitally instead of spending to print CDs?

I've been releasing and distributing my music in digital format since the official launch of FS PROJEKT. My songs are sold and/or streamed by all major digital outlets - iTunes, AmazonMp3, GooglePlay, Spotify, Deezer, etc. The thing is that distribution plans themselves do not do the promoting. I still have to invest money, time and efforts to boost FS PROJEKT's exposure. I'm doing this, trying new methods and channels to understand what works for me and what doesn't. But I think that abandoning CDs was the right thing to do. Of course it allows me to save money, as I don't have to pay for the design of CD booklet layouts and for the printing and packaging of CDs.

How much time do you put into promoting your work each day? And how do you keep up with the digital outlet sales?

I don't actually have some sort of a schedule. It's not like "I spend 15 minutes on promotion every single day". It varies and depends on many things both musical and not. I try to do this naturally and comfortably. I take these things slow, give them time to get the full picture of the results, try avoiding rash decisions, etc. It doesn't mean that I'm inconsistent. I'm always googling stuff, searching for new sites, blogs, and zines to send my EPK for reviewing. Unfortunately many things about online promotion and the opportunities offered by so many "heavy music promotion agencies" are bullshit and don't bring desired results. If such an agency offers to "send your stuff to like a zillion+ sites for XXX USD..." and says that "we can guarantee no results"... C'mon, you must be friggin' kidding me! What kind of a promotion agency is that?! I can and do all of that stuff myself for free, it's just a matter of being persistent, consistent, patient and disciplined. Had I some extra cash to invest in more costly promo campaigns I'd have better results. And theoretically I can do this by putting some of my non-musical expenditures on hold. But I won't do it, because I don't want to have the negative feeling of "I can't afford this or that because of my music". My music means so much to me, that I can't bear the thought of tarnishing it in some way, even to boost its own exposure.

As for keeping up with digital outlet sales. It's pretty simple. I use Reverbnation for my digital distribution. And this site provides me with all the necessary info and very detailed sales and streaming reports.

How much internet exposure has Reverbnation generated for FS Projekt since you began promoting through them?

Some, I guess. I'm constantly participating in promo opportunities they offer. But Reverbnation is not a PR or promo mechanism, rather a distributional, organizational and representational tool. PR and promotion are something different. And sooner or later every independent author understands that it is he and he alone who should be doing this. Not a hired pr-agent or somebody else. And this is what I'm doing currently, i.e. trying to pinpoint my target audience, to really know them, not like "power metal fans" or "Tolkien admirers". It's far too broad and needs to be really narrowed down. The natural question is "How to do it?” And the answer is trial and error. And it's not free. One has to invest into certain research activities to understand how to obtain and then actually obtain this data.

How do you go about getting to know your fanbase as opposed to finding listeners through a public relations team?

Well, that's the question I get asked a lot by fellow musicians... Same thing goes for writing a good press-release or forming a professional press kit. And I have to point out that I never give away any free information that may somehow affect my competitive advantages. I've been investing in acquiring this kind of knowledge for a long time, and I surely can tell anyone interested how I do things but for a certain fee. However, I can describe the process in general. Working with a PR-agency is disgustingly easy, you pay'em and they deliver whatever they can. The trick is that you pay your hard-earned money for their "whatever", which is hardly measurable in any coherent manner, since the data for such assessment is unavailable. You're not in control, and it's really hard to judge whether this or that move was right or not. However, when promoting yourself on your own, you're in total control. This makes all the difference, as well as what you do with the things you're in control of. It took me a lot of time and effort, trial and error to understand this, and I'm still making my first steps in this direction, but even now the picture is way clearer than it used to be when I employed others for my promotional activities.

What changes would have to occur for you to consider releasing your work on CD again?

The whole idea of printing CDs was my response to my listeners' demand. It wasn't like I couldn't live without having my music on CDs with fancy booklets and all that mumbo jumbo. There are always better things for me to do rather than checking and rechecking booklet layouts, looking for, negotiating with and visiting CD printing companies. This whole process is a huge pain in the ass. Anyway, I printed the CDs and found myself in a situation when nobody actually needed them. Not only did the majority of those who had demanded the CDs suddenly disappear, but those who didn't, told me that I (an independent author not backed by anybody, for crying out loud!!!) should be selling them at the same price as is charged for the CDs of well established bands and acts. I think this is totally irrational and unacceptable, because if I do so, I won't even be able to pay off the costs of making them! It's nonsense. Anyway, I ended up with two boxes of CDs that nobody wanted to buy. To tell you the truth, it's a rather unpleasant feeling to put it mildly. I decided to do something about it. I made some merch - A3 posters, embroidered patches, button badges, stickers and fridge magnets. So now I have this cool little merch bundle which I use for gifts to those listeners who come up with some fan-art based on my songs or for promo purposes, or as tokens of my appreciation to those bloggers and reviewers, who welcome my efforts to promote my music and write some cool and helpful reviews, interviews, etc.

So, you see, for me to resume releasing my music on CDs (and I mean like full color jewel boxes or digipacks), I must be sure that my listeners will buy them at my price. Otherwise, it's just a waste of time and resources. I'd much rather invest in some new merch once the old one runs out, or in some new promotion scheme, or something. Because, frankly speaking, I agree that CD-format is dead and has been such for a very long time.

How often do you mail those promo packages to fan artists, interviewers and reviewers?

Well, if one posts a photo of some original art or a video and says that it's inspired by my music... or if a reviewer, interviewer or blogger comes up with a helpful and honest publication concerning FS PROJEKT, he gets a free merch package as a token of my gratitude. It's as simple as that. One good turn deserves another. And this is a matter of principle for me, I never neglect those who are really supportive of my music.

How much are you able to conserve your finances while making the material that goes out in your promo packages?

I'm not (laughs). The design, manufacture and shipping of the merch cost money. So what? I consider this to be an investment rather than an expenditure.

Would you consider recording and releasing a full album if you had enough material?

The funny thing is that I already have more than enough material to record at least two full-length albums. Basically now I'm recording and releasing the songs I composed back in 2006-2008. Of course, I'm reworking and rearranging them. But the majority of plots were conceived back then. I have the material, what I don't have is sufficient funding. I take pride in the fact that my songs are professional in all possible respects, especially, production and its quality. However, one has to keep in mind that this doesn't come cheap. And with my wallet being FS PROJEKT's only source of financing and my having to work non-musical jobs (and thusly, taking away the time from working on my songs) to finance my musical activities (for obvious reasons, if you know, what I mean), it's really hard to think and plan in terms of albums. Don't get me wrong! If there's a beneficial way to release my stuff in an LP format without compromising the quality (there's no scenario when this is acceptable for me), I'll go for it. But for the time being I'm planning to stick with the single/EP and quality over quantity approach. My music deserves nothing less!

Is there new material you are working on and planning to release this or next year?

I'm currently recording my third EP which hopefully will be out sometime in 2018-2019. It's too early to fix a release date yet, because there are many variables to consider. As of now the pre-production stage is completed, and I'm in the process of recording the final guitar and bass tracks for my new work. Several things that I can tell you as an exclusive: a) this will be the longest of my releases in terms of its overall duration; b) it will feature quite a few guest appearances by various renowned Russian metal vocalists; c) one of the songs will be a fantasy metal oratorio. Needless to say, that the sheer volume of the work ahead is enormous, but I'm pretty excited about how the demo versions of the songs evolved during pre-production and I'm really enjoying the sweet feeling of anticipation.

Will you work with artists and musicians you worked on for past releases, or are there new talents you’ll work with?

Yes, as I've already mentioned, I'm all for consistency. Many of the musicians I've already worked with will be featured on the next release. There will be new names as well. I don't want to disclose them just yet. As the Russian saying goes: "Want to make God laugh? Tell him your plans". Everything will be revealed in its due time. 

How actively will you seek new musicians to collaborate with once your new release is out?

Well, it's not like a have a specific goal of seeking out new musicians for every one of my releases. The decision-making process in this respect is pretty simple and goes as follows: there's a song; at a certain point during composing or arranging it, I understand that I'd like something different here in terms of vocals or percussion (since I track all guitars and bass myself, there's no point in inviting guest guitarists or bassists); then I fool around with the idea, to narrow it down to exactly what I want it to be, e.g. what kind of voice and vocal delivery I want for this particular verse; once the idea is crystallized, I look at the professional musical community and find the person who's right for the job (having checked out his portfolio, of course). From then on it's just a matter of negotiating terms, fees and other conditions. So, you see, I'm not inviting new musicians simply for the sake of inviting them or to show off, or whatever. It's the music itself that "tells" me when I need to hire somebody new, and when I don't.

-Dave Wolff

Film Review: Bokeh by Sophia Cynthia Cabral

Bokeh

Drama

Release date: February 3, 2017

Companies involved: Zealous Pictures (presents), Vintage Pictures (in association with), Verge Pictures (in association with)

Directors: Geoffrey Orthwein and Andrew Sullivan

Starring: Maika Monroe, Matt O’ Leary, Arnar Jónsson

Plot: On a romantic getaway to Iceland, a young American couple wake up one morning to discover every person on earth has disappeared. The struggle and its toll, the knowledge of the why and other questions await…

Review: I must say that overall it was a great movie for its genre, the characters were fleshed out really well and I liked the realism of their outlook on the whole situation, also I liked the sense of comedy they kept in the beginning of the movie and to about halfway through. In general the movie it’s what I could consider something I’d enjoy re-watching maybe two more times, since sometimes a thing or twois missing when it comes to these kind of movies. All in all I’d recommend it to anyone who’d like to see realism and humor in a post-apocalyptic world. -Sophia Cynthia Cabral