Just about every artist will tell you they never pay attention to reviews. Those same acts can most likely recite word for word those very same reviews. Sound bites, artistic temperament and tight deadlines are not the makings of a quiet life.
I ve been on both sides of the artist/critic divide and know that both professions misunderstand the demands and tensions that fuel the other. Basically both can be a pain and if any one of us had sense we d be accountants and forget this whole music lark. Fortunately for fans, art, and advertisers looking for the youth market, common sense rarely prevails in these matters.
One review will never make or break a band. There is a vast multitude of factors that lead to an act s success or failure. Good press can help, but even a paper mountain of accolades won t guarantee bums on seats. If that were the case Dr Millar would be headlining Croke Park instead of Celine Dion.
As an artist, the idea is to create your art to the highest standard. As a thriving member of the music business you are supposed to make your company and yourself a lot of money. To be commercially and artistically successful you have to find a combination of the two that works for you.
First plucked from the Demo Dip hamper Adrian Sood a solo artist from Co Kildare. Adrian has included 10 tracks recorded on his home portastudio. It s advisable to only provide a record company or reviewer with three tracks unless asked for more. The reasoning behind this is that your sound may be charming, interesting and even compelling if your strongest material is first. That charm or novelty will probably wear thin after the fourth track. Most industry pros will only have the time to listen to the first minute of the first track unless they are impressed enough to hear more.
Adrian will need to refine his material and update his sound somewhat before approaching record companies or serious management. He is working exclusively with keyboards, and his style has a particular 80s sound.
Adrian s strong points include his singing voice, and an ear for a melody. He should develop those melodies further and focus on the songs. He can sing, but would most likely benefit from performing in front of an audience. It is all too easy for solo acts working without a producer to lose the musical plot. It s vital to have another pair of ears to listen to the demo before sending it. Too often here intros and middle eights plod on far longer than necessary. The overall sound suffers from poor tape copying where entire segments drop out. Home taping is perfectly able for demo tapes, but it is important to experiment with, and really learn to use a portastudio.
As fate has it s way the next random demo by Kevin M. Donnelly from Dublin shares many of the same qualities as the previous keyboard-dominated outing. His cover letter tells us that he was previously in several other bands but is working on his own self-penned music.
Kevin has a high, almost falsetto voice which is interesting but can be grating after a second listening. He should think about getting training to control and use this more effectively. Again the sound is dated a more Eurovision sort of Soft Cell might be one comparison. The programmed drums here add to the nostalgic feel of the track. Again the recording and the copy of the tape itself is very unintentionally lo-fi and difficult to listen to.
The Mush Puppies from Antrim are very much a band. They know how to play together, and have a sense of dynamics that could only come from a band who respect and like one another and rehearse a lot. This is rare enough in young bands who play hard or heavy music. The Mush Puppies tread a fine line between metal, rock, and grunge. There isn t a lot to set them apart from the horde of other competent bands in that same genre, though. They ve only been together for less than a year so they still have time to refine their style and create something unique for themselves. It should be noted that they boast a well-written cover letter and excellent presentation, which gives a good impression that they know how to deal with the business side of music.
Warhead aka Sean Muldoon and Bill Campbell, a songwriting duo from Belfast, are hoping to have their music included as soundtracks to local films or documentaries. Their Great Plague demo is the most interesting of the recordings dipped into this issue. They put the synth and various keyboard sounds to effective use, and are aware of how to create tension and emotion within the music.
The vocals here would be too distinct to be the musical wallpaper required for most soundtracks, usually a good sign for a band. There are vague elements of 90s Goth, a retro movement that has gained momentum big time in the States, so there is an added commercial incentive.
If they are striving for soundtrack work Warhead might consider contacting film schools, colleges, or independent cinemas for film makers to work with and learn from. A soundtrack is only as good as the emotions and tensions in the film it creates and supports. It would be worth their time to check out composers like Ennio Morricone (The Good, Bad and the Ugly), Lalo Schifrin (Dirty Harry films), or any of the Rhino or Warner Bros box sets on great film music. n
Want more than a quiet life? Tune in to the Hot Press Hot Spot hosted by Debbie Skhow every Friday night 9-11 PM on East Coast Radio, Country Wicklow.
We ll praise you, worship the ground you walk on, or maybe just say you could do better. Send in your demo delights to: Hot Press, Debbie Skhow, Demo Dip, 13 Trinity St. Dublin 2. It s a good idea to include a cover letter, brief band biography, photo if you have one and your best demonstration tape, vinyl or CD offering.
On line, got a question, Demo Dip query or request for the Hot Press Hot Spot? write direct to Debbie at [email protected]