BROOMFILLER

BROOMFILLER
Alternative Punk Rock

Richard – vocals, guitars, songwriter
Eric – guitars, backing vocals
Zeke – drums, backing vocals
Dylan – drums, backing vocals

For more information on BROOMFILLER:
http://www.broomfiller.com
http://www.myspace.com/broomfiller
http://www.purevolume.com/broomfiller

Interviewer: Hawk Chavez
mousagenrepromotions@gmail.com

MG: Tell us the brief history of your band?

BF: Got a few hours? Haha. Um…well I started out drumming in bands all around my home town area, and when there was no other bands to drum for (broken up etc), I decided to front my own band. I always played guitar etc, but never had the chance to front my own band. After getting a bass player and drummer, we played several shows and toured Ontario as a 3 piece. I then moved to Toronto for work and school purposes, and took the band with me. Several friends and musicians would come in and play live shows with me, but I never really had a band. It was just the same, as I always wrote alone, and demoed everything, myself on my old analog 4 track.

MG: Who writes the songs and what are they generally about?

BF: I’ve always been the songwriter for the band. It’s one of my true rare joys in life. Lol. They are about whatever I’m thinking about, or have been through. Not really one to get too much into politics, but some of the newer songs for the newer album will be a bit more politically charged. Mostly are about relationships or how I perceive certain things as a voyeur in life or experiencing first hand.

MG: How would you describe your shows, visual and musically?

BF: Visually, we are all over the stage. Extremely energetic, very physical, hot and sweaty. A nice visual feast! Musically, we’ve been told we were one of the loudest bands around. Now as a 4 piece live, that wall of sound has thickened up.

MG: What is your outlook on the record industry today?

BF: If I can quote Norm from the TV series Cheers… “It’s a dog eat dog world out there, and I’m wearing Milk-bone underwear”.

MG: How does music affect you and the world around you?

BF: It calms me down. It excites me. I couldn’t imagine living one moment of any day of my life without music. I live, breath, eat and shit music. I constantly have a rotating song list going on in my head. Mostly of the tunes I’ve written, or am currently working on. It’s the best feeling in the world, and to me it’s my ‘escape’ and zen. It affects me by wanting to write something better, catchier, more melodic.

MG: What image do you think your music conveys?

BF: Hope. Despair. Hate. Fear. Love. Truth.

MG: What is it about your music that makes it different from other related genres?

BF: Melody. The focus of any of the music I’ve ever written has always had to have some sort of melody, that is catchy or memorable. Not that I’m reaching to find a melody, but I’m not happy with it unless there is a melody that I can’t get out of my head afterwards.

MG: How long have you been actively playing your type of music and music in entirely?

BF: Well I started the band as a basement side project back in late ’96, but had been writing for many years before that. It was late ’97 and early ’98 that I started playing live as BROOMFILLER on a regular basis.

MG: What has been your biggest challenge as a band?

BF: Finding the right people to compliment your songs and play live with. I’ve had numerous drummers and bass players. Either for creative differences, or just some good friends coming in to play some shows with me, you really need to feel that trust and groove with other musicians. Something that I never really found until recently. Some things, perhaps as simple as fellow musicians, come naturally and very easily to some, but not to all. I didn’t want to compromise what I was writing, or the direction of where I wanted the band to go.

MG: How often and for how long do you practice?

BF: It was interesting as just a trio, but now with 4 people, it’s more of a juggling act to make sure everyone’s schedule meshes, but we normally practice twice a week for a few hours each. It also depends on whether we are working on new material, or trying something out with our set list for an upcoming show.

MG: Have you ever considered playing covers in addition to your original music?

BF: Yeah, and we have played a few covers over the course of the band’s existence…but it was never a focal point. Dylan and myself recorded a cover song back in 2007 where he drummed and did all the engineering and mixing, and I played the guitars, bass and vocals. We were going to release it on a future EP, but we never did anything further than the initial first few mixes. We might pull that out of the vaults in the future, who knows. We are toying with the idea of doing a few covers as a 4 piece live, but we’ll see.

MG: How has your music evolved since you first began playing music together?

BF: Well, I’ve been told over the last 6 months or so, that the new tunes I’ve been writing have been more ‘mature’ sounding(??), which I can only take as a compliment. I usually held back on too many guitar parts and overdubs, as I liked to try to play as accurately sounding live as to what the recording was. However, now with Zeke on bass and Eric on 2nd guitar, it’s opened up a whole new gamut of possibilities for vocal harmonies live, as well as more intricate parts. It’s basically allowed me to open my mind up to more musical parts and or instrumentations, which is very freeing. As a footnote, we played our first show ever as a 4 piece at the International Pop Overthrow Festival here in Toronto in November 2008. I struggled with the thought of becoming a 4 piece, but with these guys it’s been really great. A total great bunch of guys to work and play music with. I’ve never felt more confident in this band than now and am really enjoying the journey!

Dust Covered Carpet

Dust Covered Carpet
Experimental Modern Folk Pop

Volker Buchgraber – Vocals, guitars, lyricist, percussion
Julia Luiki – Violin, glockenspiel, percussion, flutes, BV’s
Katharina Pfiel – Accordion, clarinet, flutes, percussion, BV’s
Magdalena Adamski – Cello, flutes, percussion, BV’s
Armin Buchgraber – Drums, guitars, percussion, BV’s

For more information on Dust Covered Carpet:
http://www.beatismurder.com (CD is available for ordering)
http://www.myspace.com/beatismurderdotcom
dustcoveredcarpet@gmx.net

Interviewer: Hawk Chavez
mousagenrepromotions@gmail.com

Recently, I got the honour of interviewing this highly talented band from Austria, about their dreams and passion; hope you enjoy the read.

(Note- two questions were combined)

MG: How did the name Dust Covered Carpet come about?

DCC: Most of the songs were written and recorded by Volker on the carpet in his flat in Vienna. It is very dusty.

MG: When was your band formed?

DCC: The band as it is now, was founded in April 2007, but the whole project was started in 2003 with solo recordings and gigs and also with an ever changing army of background musicians, friends and family.

MG: What is everyone’s band position?

DCC: As of now Volker does the songwriting, composition and live he plays the guitar, mouth harp and sings. Julia is our violinist, and also does the glockenspiel, melodica and flutes. Katharina joins in with accordion, clarinet and transverse flute. Armin is our drummer and second guitar player. And last but very not least Magdalena plays the cello or flutes, though we are all very flexible with the order of using the instruments. Everyone sings background vocals, does percussions, whistles, stomps their feet, etc.

MG: How did you all the band members meet?

DCC: Volker and Armin are brothers, everyone else was found on the way.

MG: Have you guys played any shows?

DCC: Sure! Tons. But only close to home so far…

MG: What do you want your fans to get from your music?

DCC: We would like them to learn to listen closely and recognize the worth of little things (in life and music), and to realize the importance of feelings.

MG: How would you describe your music?

DCC: It is rather hard to describe but it could be called, melodic- dramatic- harmonic folk pop.

MG: In today’s music, who inspires you the most?

DCC: No one in particular, but the band tends to listen to all sorts of music from Indie Rock to old folk songs, musicals, experimental music in general, local bands and bands from our label (Beat Is Murder Records).

MG: What is the driving force and main storyline behind your music?

DCC: Everyday experiences, dreams, fears, love, boredom and friendship.

MG: On the band’s site, it is stated that the band’s line-up constantly changes; can you explain the purpose of the spontaneous changing?

DCC: As we stated before, the band has been going through some construction work with all the people that have been involved in the whole process of Volker’s songwriting, composing and live performances. We are always open towards new ideas and people with a hand for any other instrument that has not yet been included in the band.

MG: What is your ultimate direction for your band?

DCC: Phew. Lots of things, but nothing to far in the future. Right now we are concentrating on playing more live shows but there are several plans for new releases in the nearer future. Soon we will bomb the record stores with a split 7” vinyl with Liger and the next album is planned to come out in mid 2009. Also we have just purchased a band bus and need to spread our music by selling our recent album “Rerededust The Doubts I Trust” everywhere, and play more and more and bigger and bigger and bigger shows.

DCC: We had fun doing this interview.

MG: Thank you for the opportunity of letting me interview you all, it was fun indeed and the best of luck to you on your musical journey.

Kevin M. Kirker – Harpist/Songwriter

Kevin M. Kirker
Vocalist, harpist, songwriter

For more information on Kevin M. Kirker:
http://www.kevinmkirker.com
http://www.myspace.com/kmk808

Interviewer: Hawk Chavez
mousagenrepromotions@gmail.com

Via myspace request I discovered another upcoming musical talent, Kevin M. Kirker, an instrumentalist and songwriter. I got the opportunity to interview Kevin about the ins and outs of music and then some.

MG: Do you write your own music?

Kevin: Yep! I’ve tried working other musicians in the past but it usually doesn’t work out. I need to do things my own way. At least, for now.

MG: I assume ‘Our Story Now Begins’ is base on true life experiences?

Kevin: Yeah, a good portion of the lyrics are verbatim from my personal collection of unsent letters. Or letters sent to me. I didn’t do much in the way of abstract imagery or metaphors, most everything is simple and meant to tell a story clearly.

MG: What made you choose the harp? What type of harp do you play?

Kevin: Hmm, when I was a kid it was the best sounding instrument to me. I grew older and got into the machismo of the guitar. It’s still a badass instrument, but there are millions of guitar players out there now. I spent a long time trying to figure out how to play guitar like a harp. Eventually I just decided that it would be better if I played harp.

I’ve got a giant 46 string Venus pedal harp, I use that for recording since it’s too hard to transport. My second one is a small lever harp that’s light and easy to move around.

MG: Do you play any other instruments than the harp?

Kevin: Oooh yeah, I got a nice little collection of instruments now! I’m learning some new ones too. I think overall… hold on let me go look. I got a big assortment of different kinds of guitars. I got a mandolin, banjo, glockenspiel, various keyboards. I’m starting to get decent at drumming, but I don’t think it’ll show up on any future records.

I’ve got some ukuleles now, a bunch of different kinds of flutes and wind instruments. I have a shakuhachi that I haven’t figured out how to play yet. I hope I can do that one day. I just got a snake charmer, it sounds awesome. I have a mini toy accordion that’s becoming one of my favorite instruments. I have too many to list and keep track of I guess.

MG: What are your thoughts on the state of the Music industry predominantly with major labels?

Kevin: It’s at a big turning point now. The big four record companies are slowly losing their grip. The internet has changed everything. Before, if you weren’t with a big record company you had no way of promoting your music. With the internet, even somebody relatively unknown can get recognition. In two or three generations, I think music will be back in the hands of the people again. For better or worse.

I think what we’ll see is the fall of the superstar; the fall of the universally acclaimed musician that’s adored the world over. In it’s place we’ll have a horde of moderately successful musicians earning only a decent living but having loyal fans. That’s just my guess, though.

MG: Does your family have any musical talents?

Kevin: Ha! Me having any musical talent is debatable, let alone my family. No, I think there’s lots of good musicians in my family. Too many to list.

MG: Do you perform in public or for private events?

Kevin: I’m a bit of a hermit, so it’s been quite a long time since I played a show. I play over the phone to people sometimes; I think that’s about it. I’m obsessed with writing songs so that’s been my focus for a long time. I’m not very good at it though, so it takes awhile.

MG: What are your rehearsals generally like? Do you have a set time in which you practice?

Kevin: There was a point in time where I practiced 10+ hours a day, but those days are long gone for me now. I usually just write songs away from instruments, then learn how to play them later. That’s the extent of my practice these days.

MG: What is your ultimate direction for your music?

Kevin: Hard to say. My only real goal was to just make something that moved people, I guess. In that respect, the response from people has been overwhelmingly positive. I’m grateful for all the people who seem to have been touched by what I’ve done. I get alot of heartfelt emails, and it’s crazy to me that I could effect anyone so deeply. Just a few years ago, I was totally alone. And now to somehow be apart of so many’s people lives is just a strange, wonderful feeling.

I suppose my goal hasn’t changed. I’d like to make more music that resonates with people, even if it’s flawed or not that great.

MG: Music-wise, what are your ongoing plans? Any upcoming albums, projects?

Kevin: I was working on a triple album, but now I’m considering throwing it away and starting over. I usually keep my website, http://www.kevinmkirker.com, pretty updated with what’s going on musically. It’s always changing since I usually tackle more than I can handle.

MG: What aspect of making music excites you the most right now?

Kevin: The fact that I can share whatever I make with nearly anyone in the world via the internet. What an amazing, wonderful tool. It’s a great time to be a songwriter I think.

MG: What do you hope for other musicians of your genre to achieve?

Kevin: I don’t listen to much music anymore so I haven’t been able to keep track of what’s going on with the kind of music I make.. but I’d hope that more people are taking chances now. I feel like people are starting to get bored of hearing guitar/bass/drums every song. I think they’re starting to get bored of being told what to feel, and just want something real. I’m not sure though.

I guess I just hope fellow musicians are able to work hard and get rewarded accordingly. It’s difficult to see people work so hard on something musical and have it not pay off for them in the end.

Tribal Machine – Industrial/Rock

(This is the only interview I could save, the rest are MIA).

TRIBAL MACHINE
Industrial Metal Rock

Sever Bronny – Vocals, keyboards, sequencing, programming, additional guitars
Brian ‘Meta’ Hartlen – Lead guitar
Brad Wutke – Bass, additional graphic design
Ken Pretty – Live drums

For more information on Tribal Machine:
http://www.tribalmachine.com
http://cdbaby.com/cd/tribalmachine
http://www.myspace.com/tribalmachine

Interviewer: Hawk Chavez
mousagenrepromotions@gmail.com

Since late September of 2005, big and bigger things have happened for Tribal Machine, they are quickly on the rise. I got the opportunity to interview vocalist/keyboardist/additional guitarist Sever Bronny about what makes the band tick; among with other remarkable events.

MG: The newly released album title, ‘Soldiers in a War of The Mind’ is intriguing. What is the concept behind the title?

Sever: The war itself is about control of thought through propaganda methods and advertising. It is the common person versus those who own the Medias and the large corporations. Those of us who are losing this war on the mind are painted with brands, or hold unquestioned views identical to those emphasized by the people in power.

MG: When a band is created, the first matter at hand is establishing the band’s genre. Your band is categorized as industrial, electronica, and folk rock. Indeed you’re industrial and electronica; however how do you figure the folk rock in your style?

Sever: You’ll hear some of the folk rock influence on the album with songs like “One More Time”, “Oversold the World”, and “Pheromone”. I wanted to put a genre in there that reflected the ‘folkish’ story-telling side of Tribal Machine. It’s an interesting part, and although it doesn’t sound like folk music on the first pass, part of my musical roots come from old Polish folk songs which I sang as a kid. It really is there to describe the story-telling side of Tribal Machine more than the sound.

MG: When was Tribal Machine born, are the band members the original line-up?

Sever: Tribal Machine was born in around 1997, where I was trying to think of a name that best reflected me and the work I was doing. It was a one-man band then, and remained so for many years. Various musicians came and went through-out the years, each filling a role in the band for a short period of time. In 2003 I started working with the guitarist, Brian Hartlen, who really brought a unique understanding to the band. Then in 2004 I brought Brad Wutke in on bass and Kristy Farkas on keyboards. Kristy ended up moving to Japan but that didn’t stop us from doing shows. At this point we’re just getting ready to integrate a drummer into the line-up.

MG: You have often been compared to Nine Inch Nails, was that the initial intention for the band’s sound?

Sever: Actually it was NIN that really sucked me into music, over ten years ago now. Because I was religiously listening to Nails the influence was unavoidable. At the time I was pretty much imitating them, without realizing it. It took many years of toil before I was able to find myself in the sound as an independent and unique musician. I think one of the things that helped me do that was that I stopped listening to music altogether, aside from what I would create. I think this allowed me to branch off in my own direction. I’m like a sponge and sometimes if I really like something it will subconsciously creep back into my latest creations. I am getting better at twisting things though now and turning them into new ideas. I am not sure if it is possible to be truly original, but I think you can use ideas and put a new twist on them. Doesn’t it feel like everything has been thought of? I do feel however that something like the album has not happened before. It’s like a puzzle with the pieces coming from so many different places.

MG: Most artists say they knew early in their lives they wanted to follow the musical pathway. When did you know music was the path you wanted to follow?

Sever: I knew music was the path for me when I picked up a computer and started making music on it in 1996. I was so hooked that I decided I had to go to a music program after high school. I was just dead-set on it. Oddly enough I hated institutionalized music. I used to play the trumpet in school, and after grade nine, when I no longer had to take music classes; I quit and swore I would never read another musical note again. By the time I had to go to college I was around 18 years old and I was addicted to Nine Inch Nails, Skinny Puppy, and various others from the genre. I was making music quite a bit, experimenting with distorting drum machines and keyboards, as well as screwing around with basic melodies and vocal techniques. I just kept at it and loved it. It was more powerful than any drug I had taken, although I never write under the influence. Everything is written sober.

MG: Studies say most mainstream bands don’t put a lot of emphasis, hardcore meaning, and emotions into their music. What is your opinion on this matter, have some bands gone astray whereas once they go mainstream, they cannot retrieve the heart and soul of the music?

Sever: You got to ask yourself if some of those bands that have gone so mainstream had any soul or heart in the first place. But hey, I think you have to love what you do, and at that level of the game it becomes a business to bands, they have so many people to support, so many responsibilities, and sometimes the art gets lost in all the pressures involved. People – like myself when I was younger – romanticize music and think on idealistic terms, but it doesn’t always work out that way. There’s a lot of hard work involved. I do however believe that there is a serious lack of creativity in the mainstream, and it’s sickening. I think it’s a symptom though. A big factor is the record label. Labels choose bands that are ‘safe’, bands they think will make them money. Labels don’t gamble nearly as much as they used to, nor do they stick with artists to develop their careers like they used to back in the day. Now this does leave a lot of room for independent musicians however. I think great music is there it’s just hidden, whether it’s on myspace or on internet radio, or wherever. As far as I am concerned at this stage of the game the life of a musician is quite lonely. You are on your own, fighting it out, and there’s not much support out there other than your fans. It’s very grass roots, which isn’t a bad thing I think. It’s simpler. ‘Power to the people and the bands’ I suppose.

MG: Would you consider your band even becoming mainstream material, and if so; how would you produce it differently?

Sever: I am not sure if we’re mainstream material, if I had a shot at a larger audience I think I would use it to say things not everyone would like, musically or not, so we’d probably be shunned to some degree. I’ve always thought there is so much left to be said, and if I knew there were more people listening I would like to think I’d take the opportunity to speak up. The new record touches on that. There’s a huge vacuum in music right now, there’s so much superficial garbage out there and nothing is being said that needs to be said. It’s sickening and I feel I have to have a backbone and say something musically. It’s just this intrinsic thing that has been haunting me for years. It’s freeing. I feel alive when I write something I think matters. After all, why am I doing this? It certainly isn’t for the money or for fame. It’s because I get my kicks writing a great song and seeing it spread like a virus. But it’s especially rewarding to me when the song has something to say.

In my dreams, the ideal use for one of my songs is a protest rally, where people are marching down a street trying to accomplish something and kicking ass. I would like to be their soundtrack, that’s all. Ideally of course. That was the motive behind the last record in a sense, and it will be clearer and more focused with the next record. As I get better at it and my skills improve and I learn more, I’ll expect more from myself too, and I don’t intend to back off. Becoming more popular would only energize me further and I’d use that to really try and say things that need to be said. Oddly enough, because labels are so safe nowadays, I don’t see us being heard on your local FM dial anytime soon. I believe, however, that you can be successful nowadays without having to go mainstream. It’s just a smaller scale. I’d like to see the world with the band. That’d be nice, but on my own terms. I’d like to be able to put food on my table using the music one day. I have come to believe that people knowing your music and recognizing you is an essential side-effect to becoming a professional musician. If you really want to be successful you have to get your music out there, and by getting it out there people will know who you are. Sort of a catch-22 situation.

MG: How do you arrange the times to practice?

Sever: Right now we rehearse once or twice a week, which is subject to change once the drummer steps in. It’s tough working around people’s schedules though. After all, people have to put food on their table and so they have jobs. I understand though, it’s not like this band can supply a roof over their heads right now.

MG: How do you prevent getting burned out with projects that you work on?

Sever: I have a strange writing style. I’d work on a song and then leave it for weeks or months at a time, then I’d go back to it almost by chance and edit or re-work material as I see fit, then repeat the process until I happen to finish the song. The time in between allows me to regenerate. Writing music can be quite draining so you need to pace yourself. Writing more doesn’t necessarily mean better quality either. Inspiration is the key, without it you might be better off sticking pins under your fingernails or something. Hey at least then the pain will give you an endorphin rush which in turn might inspire you to try something that works instead. I don’t recommend that route though. The hardest process for me is writing lyrics. I sit there and I’d listen to a verse or chorus for hours, sometimes literally banging my head against the wall until something comes out. When it comes to lyrics I have to force it out and really push hard for something that makes sense. It’s always such a terrible temptation to say nothing meaningful and leave it just because it’s catchy, and it does happen. I get lazy, what can I say…

MG: What advice do you have for people trying to become musicians?

Sever: That’s funny that you ask that question because I get a lot of artists approaching me through the myspace site asking for advice. If you really want to be successful in music nowadays you have to forget about record companies and demos. Work on the songs and make them the best that you can make them, let there be no doubt in your mind that your songs kick ass, and if you feel insecure about them you’re not ready yet. When you are ready with great music, start promoting it, do everything yourself, learn it all from the bottom-up. Create your own opportunities and be the master of your own destiny. Nobody is going to lift a finger to help you. If you sit there and expect people to come to you and make you some kind of rock star, stick to your day job. Remember that you choose what you do not change.

Release a record when people are actually starting to demand one. There’s nothing more disheartening than watching your life’s work sit there and gather dust, I went through that with the first album “The Awakening of the Animal” in 2002. Didn’t have a clue what I was doing, wanted to blow my head off rather than face the truth. I made 100 copies and ended up giving most of them away.

Invest in a home studio. That will save you loads of money later. Do all the production, recording, promotion yourself and only spend some money on mastering. Make sure you read plenty of books about the industry too. I am constantly reading and learning about what’s going on so as to stay informed, even so I feel like I still have so far to go. Make sure you know why you’re doing it. Make sure it’s for the right reasons; be wary of your ego, vanity and especially your self-esteem. In the end remember it is supposed to be fun and you’re only human, so you will make mistakes. Be honest and keep your integrity intact. It helps to listen to lots of motivational tapes too.

MG: What do you want to achieve on this musical journey?

Sever: I want to tell a story that is interesting, provocative and interactive. I want to be able to share my life’s work with people and have some understanding there. I want to develop a bond that we can converse over. I want to leave this world knowing I made a dent, a difference. And yes, I want to provide the soundtrack for at least one protest rally.

MG: How did you come up with your band’s name?

Sever: Through a grueling process of trial and error. In the end I decided on Tribal Machine because it most represented my point of view. I wanted it to say something. I can see it describing some sort of social construct now. It can mean many things and I am a big fan of multiple levels of thought, especially with words / lyrics.

Thank you kindly for the opportunity Hawk!