Q&A With Clara Engel

Check out my interview with Clara Engel over at The Truth About Music. She's talks about her favorite artists, lyrical inspirations, early live gigs and why listening to Adele makes her want to smash things! Click HERE to read.

Q&A: Holy Ghost!

Ever since the release of their debut single "Hold On" four years ago, electro duo Holy Ghost!, made up of childhood friends Alex Frankel and Nick Milhiser have gone from strength to strength, releasing another memorable cut, "I Will Come Back," in 2009 and dropped the critically-acclaimed Static On The Wire EP last year.

Now with their self-titled debut, (which garnered the first 5 out of 5 review on this blog) topping iTunes' Electronic Charts and a U.S. tour with fellow dance-rockers Cut Copy, the band seems poised to become electro music's next big thing.

Holy Ghost! chatted with Indies And The Underground about their early musical incarnation as hip hop band Automato, remixing Michael Jackson and Fleetwood Mac, and how they lured in Michael McDonald to sing on the album.

While the name Holy Ghost! comes from a song by Bar Keys, did either of you grow up in a religious home? 

Not so much...I'm Jewish and Nick is not, but by virtue of the fact that we're both from the Upper West Side of NYC we're both basically Jewish. 

What were your early musical/songwriting influences?

The Talking Heads, New Order, Michael Jackson

You were in a hip hop band called Automato in your teen years. How is Holy Ghost! different from your previous band?

Actually, musically it's not all that different in its approach. We still think about sound in a similar way, but now it's more melody based and chord driven. But we still think about drums the same way really.

Both of you are classically trained musicians as well as DJs. How has that affected your approach to making music? 

We're not classically trained but we did take lessons growing up and taught ourselves a bunch of stuff. I don't what it would be like to make music without knowing how to play anything at all. Certainly people do it all the time with excellent results. And I imagine a lot of creativity comes from having no rules. But I guess I like to be able to sit at the piano when we're writing and kind of just go without thinking to much about what follows what...I guess a little bit of training helps allow yourself to just play and see what comes out instead of being stuck before you start. But I don't know. There's no right way. It certainly helps that Nick is a drummer for dance music.

Which mainstream hits would you love to remix?

Eeek, I'd rather not touch the things I really like. Having the stems to the Michael Jackson catalogue would be pretty sweet though...or Fleetwood Mac!


Holy Ghost! sounds like a modern take on the late 70's/early 80's new wave, R&B and disco sounds of bands like Chic, Duran Duran, Depeche Mode, Modern English, The Cars and Let's Dance-era David Bowie, as well as Prince and Michael Jackson. Did you have those or other artists in mind while recording the album?

I think everyone who enjoys life has those songs and artists in their minds.

How were you able to get Michael McDonald to guest on "Some Children?"

Strangely he just wanted a back rub. No, through a friend of a friend.

Although it's upbeat musically, lyrically the album sometimes touches on some pretty emotional territory, like "Jam For Jerry," a song about the death of your drummer, and songs like "Hold My Breath," "Wait and See" and "Static On The Walls." Was it a conscious decision to have the contrast with the sound and lyrics? 

Definitely on "Jam For Jerry" we had the idea. "What about a song that pays tribute to a somber subject lyrically but in an uplifting way musically."

You stated that you wanted to make an album that people would want to play both at a club and at

 home. Do you feel that's a barrier that  a lot of dance artists face?

Of course, and hurdle many stumble over. Hopefully we cleared it.


You guys, along with other bands like Cut Copy, Sleigh Bells and MGMT, blur the lines between electronic dance music, pop and rock music. Do you see yourselves as part of a movemnt or a creating a new style of pop music?

Hmm, I don't think we really think like that nor are we in a position to judge where we fit in. I do feel a certain sense of kinship with Cut Copy because they are good friends.

What can fans expect next from you? 

Not sure yet, but it'll probably have to do with more music.

Q&A: The Five One

Currently making waves with the hip pop jam "Closing Time," Virginia rap group The Five One have been playing the genre mashup game for a minute, reworking hit from a diverse group of artists ranging from Janet Jackson to Vampire Weekend. In a quick chat with Indies And The Underground, the group talks about how they got their name, the power of old-school Disney movies, and their favorite songs on the radio.

How did you come up with the name The Five One?

The name represents the area where we all are from as the 51st state.  its the part of Virginia thats right next to DC. DC suburbs.

What were your early musical/songwriting influences?

Early Disney movies like Robin Hood and Jungle Book, The Beatles, Michael Jackson, Bob Marley and the list goes on but if you day early influences I think it all starts with Disney for us and sat Morning Cartoons.

You guys have reworked songs by Daft Punk, Vampire Weekend, Janet Jackson and Semisonic for the new track "Closing Time." How do you approach remixing/remaking a song?

Things that we listen to will just speak to us and we find a song working a song just rework the concepts like a filmmakers do.

You're also one of the few live bands in rap. How do you feel that influences your music?

It brings an element of freedom which allows us to not think of genres and style 

What are your top 3 favorite songs on the radio right now ?

Wocka Flocka - Hard in the Paint , Wocka Flocka "No Hands," and if Rebecca Black - Friday is on the radio that's it.

Q&A: Chrissy Murderbot

A DJ since the age of 13, Chrissy Murderbot has been influenced by and been a part of the evolution of Chicago's dance music scene, with over 400 remixes for artists like Delorean, Warrior Queen, Johnny Moog and Waxmaster on his resume. Fresh from a string of performances at SXSW, Murderbot talked with Indies And The Underground about the meaning behind the title of his new album Women's Studies, set for release in May, the Windy City's musical legacy and why cooking fried chicken before a show is never a good idea.

How did you first get into deejaying/music?

It was like 1990/1991, I was 8 years old, house music and rave music were blowing up into the mainstream for the first time, and my 18-year-old big sis was bringing a lot of this music back to the house. That was my first experience with electronic dance music, and I fell in love on the spot. 5 years later I was a 13 year old rave kid DJing at parties in Kansas City, and it's all pretty much evolved from there. 

What other DJs/producers influenced your style? How did they influence you?

SO MUCH STUFF. Obviously I'm very influenced by juke music, and by classic chicago house (especially the SONGWRITERS like Jamie Principle, who crafted real pop tunes as opposed to just tracks). My production style, sound palette, and approach to rhythm are VERY heavily influenced by mid-90s jungle artists like DJ Krome & Mr. Time, DJ Dextrous, Remarc, 4Hero, etc. Finally, my songwriting and ideas about pop song structure are really informed by synthy Quebecois disco, UK Synth-Pop, New Jack Swing, and Dancehall: think Lime-meets-New Order-meets-Cutty Ranks-meets-Bell Biv Devoe.

What do you remember about your first DJ gig?

It was a NYE rave in Kansas City and I was 13 years old. Just the night before I had burnt the hell out of my hand in a failed attempt at making fried chicken, so that complicated things. I strolled into the club with my right hand all bandaged up like a wild animal had gotten hold of it, and the promoter was like "are you gonna be ok to play?". My set was early in the night so not many people were there yet, but I imagine that the ones who were there all thought "WHO is this underage kid, and what's the deal with his gimpy hand?" I managed somehow, though...

How would you describe the sound/vibe of Chicago juke and footwork to someone?

Juke is basically just a raw, uptempo form of house music, with a lot of big booming bass and a fair amount of dirty lyrics for the dancefloor. Juke is what you play at the dance party to get all the girls and guys dancing on each other. Footwork is kind of a sub-genre of juke: it's the stuff that is a little faster, without as much of the four-on-the-floor thump-thump-thump-thump bass drum like you'd hear in house music--the rhythms are a little more sideways. Footwork music is more specifically for footwork dancers dancing at footwork battles. Obviously there's a huge overlap between what you can play at the juke party and at the footwork battle, but then there are a lot of tracks that work in one setting but wouldn't work in the other. 

How do you think the city of Chicago influenced you as a musician, producer etc.?

Chicago is the whole reason I'm doing this. Chicago is the whole reason ANYBODY's doing this, in fact. This is the city where electronic dance music as we know it was invented; this entire industry wouldn't even exist if people like Frankie, Jamie, Farley, Ron Hardy, Steve Silk Hurley, etc. hadn't paved the way. Furthermore, it's really inspiring to work with today's Chicago talents: people like DJ Spinn, Gant-Man, DJ Rashad, etc. I'm always drawing inspiration from Chicago artists, and doing my best to put new ideas back into that system.

How would you compare the music scene/musical climate of Chicago to other cities?

Chicago is a lot like London--a million things going on at once, and almost all of them are paving the way for everybody else. Chicago and London are really unparalleled in that way--nowhere else (save maybe Berlin or Bristol) manages to put out as much new music, or to change the rules of the game as often.

You've done tons of remixes for acts like Delorean, Lemonade and Warrior Queen. What's your typical process of remixing another person's track?

They send me the track, I listen to it a LOT for a few days, then go around town humming it. Usually the song in my head kinda just morphs in my mind into something new until I have a firm, structured idea in my head for a new song based on the source material., I go home, put that song together, work out all the kinks, and there's the remix!

Which current mainstream hits would you love to remix?

Whatever George Michael's about to release.

In what ways does creating an original song differ from doing a remix?

Basically my approach to a remix is that I am making a new track based on elements of the original. The song you're remixing is the initial seed that your ideas develop from, whereas with an original song that seed is a melody in your head or a rhythm you come up with or something like that. The actual process is pretty similar--I guess it's just a matter of where the beginning concept comes from.

The video for "Bussin Down" is hilarious with the Super Nintendo and Street Fighter II references. How'd you come with the concept?

I was trying to come up with a way to showcase footwork outside of the camcorder-at-a-footwork-battle style vids that you see on YouTube...something that took the idea and put it in a new context without making it "fake" or "diluted" or anything. Video games just jumped out at me as a really perfect fit.

Do video games influence your sound the way they do other dance genres (i.e chiptune, 8 bit)? 

Not as much as those genres, but I guess anybody who grew up in the 80s and 90s and likes electronic music is influenced by video games whether they consciously recognize it or not. I sampled Yoshi from Super Mario World in a track in 2009, but other than that and this video I don't have a lot of overt video-gamey material incorporated into my work.

Does the album's title Women's Studies have any specific meaning?

The album is all about women, and it contains a lot of pretty heavily objectifying booty music tropes...a lot of "get on the floor and shake your big booty" kind of music. I think it's very clever and self-aware though--sexually objectifying (towards women and men alike) without ever being mean-spirited or misogynistic. Just hyper-sexual juvenile party music. I wanted the title of the album to reflect that: this album is filthy and objectifying and sophomoric, but it's in on the joke. Hence Women's Studies.

What can people expect from the album?

AWESOMENESS.

What can fans expect from you next?

EVEN MORE AWESOMENESS PROBABLY.

Q&A: Ringside

California rockers Ringside have shown a knack for crafting tracks that mix the best elements of dance and rock. The band-- made up of core members Scott Thomas and beatmaker/producer/actor Balthazar Getty, as well as other musicians like guitarist Kirk Hellie, live drummer Sandy Chila and live keyboardist Max Allyn-- combine fuzzy guitars, shimmering synth lines, as well as musical curve balls like a symphonic chorus, to create a unique spin on the dance-rock genre.

In a Q&A with Indies and the Underground, frontman Scott Thomas (pictured right) talks about the group's early days, the inspiration behind their latest release Lost Days, dream collaborations and upcoming projects.

How did you get the name Ringside?

Balt and I were on the road in Los Angeles, just driving. We were talking about how cool it was to have "Spanishfaster (AKA: Tired of Being Sorry)" being played in the clubs without any record label. We had just been making these recordings in my garage on an entrance level protools setup and had given it out to a few friends. It just kind of ballooned, locally. We hadn't even thought about making a real record and putting it out, so there was never a name for it. Eventually, though, we decided that naming it might be a good thing. He had this little boxing glove hanging from his rearview mirror that had a RINGSIDE logo on it. It was the first thing that came to mind and we thought it best to keep it that way, since our recordings were so of the cuff.

You were a fashion designer before deciding to start the band. Has your previous career helped you navigate the music business in any way?

I was not a fashion designer, intentionally. I was working as a stylists assistant to get by. Other bands that we were dressing, started asking me  if they could wear my clothes, off my back. I was pretty broke back then, so without hesitation, I always obliged. Things just took off from there, but I also learned that trying to get paid designing for retail is just as difficult as making a living making music. So, I signed out by making my last design, called "Black Valentine", a leather jacket for Sean Penn. I felt that was a good way to go out. I still like making my own shit, though. But, I decided that I would return, again,  to making music, exclusively. Something I had done since I was 5 years old. No more dressing other bands that were making music all day long. I wanted in.

You also sold everything to dedicate all your time to the band. Were the any low points or times you felt like giving up?

There were many low points along the way. Still are. LIke I said before somewhere, it's a struggle. Right? There's no room for giving up. I'm not interested in that game. Better to die, trying.

At what point did you feel the band was coming together, or could be something successful?

We always thought what we were doing was fun. Something that we would listen to. So it makes sense that we made some fans along the way. We are still fairly unknown to the masses, though. We're still swinging fists, you know? All in  though, I guess I feel 'successful' just in knowing that I spend everyday writing, recording, and releasing. I probably feel best playing live. Big stage, screaming girlies, all that ego shit.

Some of your influences include The Stooges, Depeche Mode and The Clash. What about them inspires you?

The music, the clothes, the spirit, the blood. Stuff that is so good that it stays with you forever. Like a lover. Someone that you could never get close enough too. 

What influences do you have that may surprise people?

I don't know. Philip Glas, Eric Satie. Choir music, Bulgarian woman's choir, the Cossack choir. I listen to a lot of world music. Japanese koto and shakuhachi, that kinda thing. Great stuff that came out on the Lyrichord  label. Sixties stuff. Serge Gainsbourg, Anton Jobim. A lot of Herbie Mann. Old school country, Merle Haggard, a lot of pickers. Folky stuff. There's some great modern stuff out there. The Delta Spirit, Fleet Foxes, Kings of Convenience. Everything from Leadbelly to Liberace. Who doesn't love a little Windham Hill? I love the 70's singer songwriter movement. A.M. Gold always feels like summer.

What was it like to collaborate with Ben Harper on "Lost Days"? What do you think he added to the track?

I have toured with Ben for a while, so we're close. We actually met in the nineties. We wre both getting our new records out, his  "Welcome to the Cruel World', and my lesser known "Shine Like You". He came in to try a few things together and really liked "Lost Days". He really put his stamp on it. Effortlessly. Started with singing along with me, then threw down some great lapsteel. His very honest spirit really shines through on that track. The kids choir seemed like a good fit, too.

What other singers/producers would you like to work with?  

I've worked with Dr. Dre a few times and he's up there.  I have always wanted to work with Brian Eno. I have been a big fan of his ever since I was a kid. Even before U2 worked with him, I was following him. Through Roxy Music, the magic collaboration with Bowie. His "Warm Jets" era, the ambient "Discreet Music", his work with Harold Budd, "Pavillion of Dreams".Awesome. I have a lot of  instrumental music that I've recorded over the years, that I will be releasing at some point that is very inspired by him, Satie, and Glas, among others. As far as me producing other artists, I guess today it would be Band of Horses, or maybe Rihanna. She does to me of when Stevie Nicks voice always did. Woman like that make it hard to fall for just anyone.

Do you draw inspiration from any books, pieces of art, photography or movies? Which ones and why?

Absolutely. Films like "Withnail and I", "How To Get Ahead in Advertising". "Love Serenade" is genius. ""the Castle". The Aussies make great films. Wim Wender's work. Gus Van Sant. There are too many to to list. I love vintage shit like, "Logan's Run" on a good hangover. Fine art and antiquities is a real passion is for me. My grandfather owned a gallery that specialized in European and Asian  works. So, I got the bug pretty early on. My place is a real mix of stuff. Navajo Carpets, Viennese wedding chests, and Danish Modern. There's some modern artists that I really like. Jorge Santos, Christian Vincent, Brad Noble, Shepherd Fairey and of course Tom Ford. I read as much as I can. I never tire of anything by F. Scott Fitzgerald, J.D. Salinger, Martin Amos. I love the Russian poets Lermontov, and Pushkin. "Confederacy of Dunces" by John Kennedy Toole is amazing. "Sin in the Second City", by Karen Abbott is a real page turner. I love period stuff, especially old Americana.

In what way is Lost Days different from your previous albums?

Well for starters, we spent the better part of five years making it in a very swank place provided to by a very generous patron of the arts. It was a dream after working for so long within the limitations of  small garage space, and a major record label. ( I had several solo records from before, "Shine Like You" on Mercury, "California" on Elektra). We were free finally, and  that was great, but we were going through some very dangerous days, personally at that time, as well. On the upside, we were playing stadiums overseas and coming home and tracking, so I think that comes across. I had broken my back in a speedboat accident, so I became somewhat dependent on opiates for a couples years and that was hell. Still there was a underlying theme of hope in "Lost Days". Like, "I am going to get through this, come hell or high water!" Gods, shamans, angels, and aliens. I reached out to them all for  divine intervention.

How does the songwriting/production process usually happen?

I usually start with a hook on guitar or piano. A melody comes instantly usually. I sing in tongue for a while until the words sort of form themselves,as though I am listening to something and taking notes. If I think about what is happening then I lose it. I just let it be. It comes. I always write a second or third song at the same time, probably because I'm so ADD, even when it comes to chasing the muse. I guess I'm always chasing more than one pretty girl at a time. The story unfolds. Something I'm going through, something or somebody I saw, a near death thing maybe, something about a lover or just a romance gone bad.

Is it challenging to combine organic and electronic elements together (for example, live drum and electronic drum beats)?

I really like both elements. I thought mixing the recorded loopy stuff, with live drums would be the right move with this record. I wanted to bring the live show back into the studio. Balt fought me every step of the way. I think he still is sore about it. I'm still a rock and roller, and I miss the flow of natural meter at times when I'm smoking the grid pipe. Balt felt like we would lose some of our fan base. I feel a different connection with our fans. I think it's deeper than just production value. Although, I must admit, I took the production of this record all the way and over the top at times. I don't know. The stuff I am doing right now has few tracks and a lot of open space. Sill, I am a fan of symphonic music. I think I had this idea that the record should reveal itself like it was coming out of an orchestra pit.

What can fans expect next from you?

Man, I have no idea what will come. I guess I am trying to focus on film scores, and "Matson Tweed", my side project with Gary Louris of the Jayhawks, Madi Diaz, and Kristen Hall of Sugarland. I've also been working with the Cossack choir on some solo stuff that really excites me. I'm hoping to collaborate with Yuri Bashmet on an album.  Balt and I are in the studio today working on number three. Hopefully, RINGSIDE will get out and tour a bit, so we can play the new stuff out. In the meantime, let's see if we make it through another day. 

Q&A: Hafdis Huld

Icelandic songstress Hafdis Huld has been singing and performing since her teens, when she was a member of electro-pop ensemble Gus Gus. After leaving the band Huld broke out as a solo star with her 2006 debut, the critically-acclaimed Dirty Paper Cup, and toured all over Europe and the United Kingdom to bring her idiosyncratic brand of pop to the masses.

Now with her new album Synchronized Swimmers, set for a release later this year in America and Canada, it looks Huld will soon gain fans on this side of the ocean as well. In a short interview with Indies and the Underground, Huld talks about her new music, meeting Bjork, her songwriting inspirations and meeting goats in a cemetery.

You started touring with Gus Gus when you were 15. How did being on the road at such a young age affect you?

Well I joined the band at 15 but didn´t start touring untill I was 16. That sounds a bit better doesn't it ? I don´t think it affected me much to be honest, I was way to young to get into clubs or do anything rock´n roll. And obviously I always had a grown up looking after me. But it was great to be able to see so many different countries and it convinced me I wanted to do music when I grew up.

What's the craziest thing that's happened on tour?

Meeting some goats in a cemetery in Switzerland.

Was it difficult to make the transition from being in a group to being a solo artist?

No it was great not to have to run everything by 8 other people. I could finally make exactly the music I wanted to make and tell stories that meant something to me. I am much happier where I am today.

What's your earliest musical memory? 

Going with my mum to see Boney M when they came to play in Iceland when I was 5 years old. I remember that one of them came and picked me up and took me onto the stage where I proudly waved to my mum.

How is the sound/lyrical content of Synchronized Swimmers different or similar to Dirty Paper Cup?

Lyrically I think Synchronised Swimmers is brighter and happier and the production is fuller. Dirty Paper Cup was very lo fi and didn't even have a rhythm section.

Your songs often tell stories and contain a lot of sharp imagery and quirky characters. Who or what inspires your songs?

Life in general. Sometimes it is a personal experience, or a strange sentence I hear that makes my imagination go into overdrive. I also have a few songs written about my friends experiences, if all the things I sing about had happened to me I would be a robotic vampire climbing ski scrapers and eating ice cream. Well the ice cream is a personal experience I guess.

Which artists influenced you as a songwriter and singer?

I always feel like I should list lots of cool musicians when I get this question because that is what artists say in  interviews, but I am not a good liar and the truth is I am much more influenced by stories and people than I am by other music.

Which artist and producers would you like to collaborate with and why?

I am waiting for Dolly Parton to invite me to Dollywood to sing a duet with her.  Why.... because that would be brilliant.  

Have you ever met Bjork?

Yes I have met her a few times and she is exactly how you would expect from seeing her in interviews and on TV . Last time I met her was at the environmental karaoke marathon she hosted.. It is brilliant how she is fighting for the Icelandic nature and raising peoples awareness.

You've also acted in several indie films. Would you like to branch out into movies more in the future? In what way (i.e. scoring music for films, acting, directing etc.)

I would love to do some more acting, I always really enjoy that. And it would be great to get the opportunity to write a film score one day. That is proper grown up stuff.

What can fans expect from you next?

An album of Icelandic lullabies this spring and some gigs abroad in the spring and summer. And then hopefully a new album at the end of the year. And in between some video blogs about growing beet root and making jam and possibly some online gigs from my pink kitchen here in Iceland.

B. Slade: The Interview

Since breaking away from the gospel music industry a few years back, B. Slade has revamped his career with a new persona and a prolific output of fresh material. From the A Brilliant Catastrophe series to the Jack5on Magic Mixtape to his latest full lengths Stereotype and Gospop, the singer seems determined to carve out his own singular corner in music.

In a wide-ranging interview, B. Slade talks about everything--from  preparing to play late disco icon Sylvester and the enduring magic of the Jacksons to the slightly scary influence of David Bowie and Grace Jones. The singer also sounds off organized religion, closeted gospel artists, suicide among gay teens, being a role model and why Patti Labelle is "beyond beast." Here are few quotes from the interview:

On the Seventies-inspired sound of Stereotype:

"The Seventies to me was quite frankly the best music...there was something that was little bit more intrinsic about the Seventies. The chord structure, the changes, the heart, the lyrical content. You really had to have raw talent. You really had to have a perspective."

On disco icon Sylvester:

"He was a nonconformist. And he was fabulous in everything he did."

On the Jac5son Magic Mixtape and Janet & Michael:

"Michael of course was the epicenter of that whole family earthquake, but the aftershock, literally was Janet. They've had a major influence. Certain songs were more for Mike. But my allegiance and my biggest artistic influence as an artist has been Janet Jackson. Hands down."

On whether other gospel artists will come out:

"There are not many cut out to do what I did. A lot of people's complete career is built off of a perception, or an illusion...it's not for everyone."

On the current state of the black church:

"People are starting to see that the leaders of these religions are just as fallible, if not more, than its subjects. Now because of current events, things keep popping up that are forcing the black church to deal with issues that have been very prominent all along. I'm really interested to see how this is all going to play out."

On being an openly gay artist in the music industry:

"I think the majority of the people in the industry respect truth. As maniacal as the music industry can be, they can't fuck with the truth."

Update: All of B. Slade's commercial releases--The Jack5on Magic Mixtape, Gospop and Stereotype--have been removed from the singer's bandcamp page. According to an official website statement:

"To welcome in 2011, B.Slade is currently in a MAJOR career transition and wishes to thank everyone for their support and interest. Summer of 2011 will reveal exciting news & informtation. As of now B.Slade is focusing on his acting career & international securities. STAY TUNED."

For those who need a hit of B. Slade before then, the singer has released a new single called "Kaleidoscope," which is available on his bandcamp page. Listen to all three parts of the interview below:

Q&A: Neon Hitch

Most stars find it tough to deal with touring. The instability of waking up in a new city everyday and the inevitable feelings of homesickness can break down even the biggest rock gods. Luckily dance-pop diva in training Neon Hitch will be well-prepared for such scenarios. The London-born singer grew up as part of caravan of street peformers, traveling all over the English countryside and lived in India for a few years before deciding on a singing career.

Since then she's racked up collaborations with Ke$ha and Weezer frontman Rivers Cuomo, opened for 50 Cent and created a Twitter sensation with her cover of Snoop Dogg's "Drop It Like It's Hot." Neon Hitch talks with Indies And The Underground about her favorite rappers, eating fire and swimming with crocodiles. And yes that is her real name.

How did growing up as a traveling street performer influence you as a person and as an artist/performer?

NH: It kind of taught me everything I need to know to be on stage now, so it just comes naturally.

Along with being a singer, you're also a trapeze artist, stilt walker and fire swinger. Will you be making use of these talents in live performances?

NH: Soon as I have the budget I will definitely be swinging off the roof and eating fire.

You also make your own clothes. Who and/or what influences your design ideas?

NH: My mum!


At 16 you ran off to India to "find your place in the world." How did your parents react?

NH: I was a rebel so it really didn't matter to me at the time what my parents thought. I'm sure they were worried and I'm very sorry now. But everything I've been through made me who I am.


What sorts of activities did you get involved in while you were in India?

NH: Making jewelry, riding elephants, [and] swimming with crocodiles. But the most fulfilling thing was getting to look after the young children out there.

How does living in New York stack up to your previous residences?

NH: It's the complete polar opposite of anything I've done before, but I finally feel at home so I can't complain.

Has living such a nomadic life put a damper on romantic relationships and friendships?


NH: Haha, yes. I like my freedom.


You've done covers of songs like "Cooler Than Me" and more surprisingly, "Drop It Like It's Hot. " What inspired you to remake Snoop's song?

NH: I'm a big fan of Snoop and I think when you do a cover, you should make it your own and not sound like the original artist. And although I'd love to, I don't sound so much like a west coast rapper.


You've also opened for 50 Cent a few years back. Do you have any other favorite rappers?

NH: Yeah that was amazing! I think Eminem is probably one of the best rappers alive. I like people who let you into their world instead of just rapping about cars and bitches.


What other artists have influenced you musically, visually etc.?

NH: Bjork, sia, micheal jackson, the beatles, madonna, erykah badu...

You've written songs for and worked with artists like Ke$ha, 3OH!3 and Bruno Mars. Is it hard letting other people sing your songs?

NH:  I love it! it's so surreal.

What was it like to work with Rivers Cuomo?

NH: He's definitely a character! He's such a legend and he really knows what he's talking about.

What is your creative process like when it comes to songwriting and working with producers?

NH: It's always different, but mostly I'll hear a basic beat and then start coming up with melodies and build around that. If you have a good melody, lyrics come easy.

What can we expect from Beg, Borrow and Steal, musically and lyrically?


NH: A world where you're all welcome.

Q&A: And The Wiremen

New York-based band And The Wiremen may hail from the Big Apple, but their haunting sound--marked by jazzy horns and bluesy guitars--sounds like the result of many a night spent in New Orleans, barhopping through Canal Street. Indies and the Underground tracked the Wiremen, composed primarily of quintet John, Paul, Tony, Eric and front man/vocalist Lynn Wright, down to talk favorite authors, improvisation and the influence of the Big Easy.

Where did the name And The Wiremen come from?


ATW: And You Will Know Us by the Trail of Our Dead was taken.

What were your early musical influences?

ATW:There is about a 25 year age difference between the oldest and youngest member of the band, so one member’s early influences are in some cases other member’s early bands.


We were all at one point or another influenced by free jazz, blues, R&B, left-of-the-arena rock, dub, and, of course, Miles Davis – anything and everything – though the more recent influences of West African and Colombian music had as much or more of an impact on the album than anything we listened to early on.


Lynn: Paul and I were influenced by church hymns – the rich sound of the chords, the piano, and the almost overdriven organ – before we were even old enough to know what the words were or why people were singing them. I hear this in the vocal arrangements of “Lines” and “Pick Myself up Slowly”, but it wasn’t intentional.


Like a lot of songwriters and producers I know, I would have never written a song or made a record had I not heard Swordfish Trombones by Tom Waits.

Have any other forms of art (books, films, paintings, photography etc.) influenced you?

ATW: We have all been influenced by other art forms, primarily through collaboration with choreographers, dancers, filmmakers, and installation artists. Of course, there is a long list of people whose work has inspired us, and to avoid writing a very boring treatise on the interrelation of art forms in the 21st century, we'll just name a few.

When Lynn was writing the lyrics for the album he was reading a lot of Faulkner and Cortazar, which crept into the lyrics here and there. Surrealism with the exception of Dalí, Luis Buñuel, Robert Gober, Emmet Gowin, Kara Walker, Rothko, Antonioni, Flannery O'Connor, Faulkner, Quim Monzó… Mark Richard... Rachel Cohen, Douglas Henderson, Chris Becker.

Jon: I remember when Lynn and I met at the early Bee and Flower rehearsals (and before I realized that he was a guitarist that I already admired in his former band that I loved "James Hall"), we found that we shared an admiration for William Faulkner and a strong distaste for the music of Styx.

Q&A: Unicorn Kid

It's been a busy year for Unicorn Kid. The Scotland teen spent much of 2010 remixing tracks for the likes of Gorillaz and the Pet Shop Boys, and rocking out at festivals with his unique brand of dub step-influenced chiptune. Indies and The Underground managed to catch up with the Kid to talk unicorns, production techniques, the inspiration behind the "Dream Catcher" video and using Gameboys as instruments.

How did you come with the name Unicorn Kid?
I was 16 when I first came up with the name, I think I was just heavy into unicorns at the time, the name has totally lost all meaning to me now.
 
What were your early musical influences? 
Even since I was really young I've listened to so much music across a broad spectrum of genres, I don't really think any of it has ever directly influenced my music as such, I've always tried to stay focused on my own idea and separate it from my listening habits. Sometimes I go through week long phases of only listening to one type of music, my tastes vary so much that if I didn't keep that separate that from my own music then it would probably all come out a mess. That being said I do listen to a lot of early video game sound tracks and a lot of chip music, I get a lot of rhythmic and textural inspiration from there.
 
When did you begin producing/making beats? 
I first began messing around with electronic music when I was 14, I got hold of this Casio VL-1 keyboard and would spend hours layering different drum patterns and melodies to make songs. I then started to experiment with circuit bent toys and through researching that found out about the 8-bit/chip music scene. 

You done a couple of remixes for Pet Shop Boys and The Gorillaz. What other artists would you like to collaborate with? 
I've been working with a few artists to add vocals on some tracks, I'm thrilled with everybody I'm lucky enough to be working with, although I don't think I can say whom yet. 

The video for "Dream Catcher" is, for lack of a better word, very dreamlike. What was the visual inspiration for the video? 

I came across this guy called Alan Jensen on Vimeo, he's my age and had been making these beautiful rich videos for songs that he liked, I found his email and contacted him about working on a video for me. Alan is based in the US so a friend and I had to shoot some of the footage for the video down at the beach then send it over to him, from there Alan mixed it with footage of his own then edited and coloured it all. The idea behind the video was to create something abstract, like something found on a sun-damaged VHS tape. 

You were enrolled in an art school in Edinburgh before deciding to pursue music full time. Have any artists or graphic designers had an influence on your visual style (i.e. album artwork, etc.)? 
Lately I've been taking a lot of inspiration from sports-based NES games like T&C Surf Designs and California Games, as well as 1980s teen movies like Thrashin' and Teen Witch. I've been basing all my current artwork around that nostalgic 1980s summer/beach aesthetic and displaying it in a pixel art/video game art context. I'm a big fan of artists such as Laura Brothers, Paul B Davis and Videogramo, I wouldn't say that there is any immediate influence there but I am fascinated by the raw digital nature of their work.

Being that your music is so digitized/electronic-based, is it hard to translate the sound into a live setting? 
I think people's concept of what constitutes 'live music' is changing and the live performance of solely electronic music is perhaps becoming more widely accepted. Playing between guitar-based acts can be awkward sometimes, but if I'm doing a headline show then the crowd know what they are in for and are generally up for it, I just try to create as energetic an atmosphere as possible. 

What kind of sound your fans expect from your full-length album? 
I have spent most of the past year at home now and the things I have released during that time are quite different from the tracks I am working on for my album. I've been working with a bunch of different vocalists, they're all artists that I'm a huge fan of and I'm excited to get some of the vocal material out there, it's quite 'pop' I guess, and still stays true to my sound but is a lot more refined and well thought out than anything I've produced before. I've been trying to keep the musical and visual side of the project coherent so I guess you could say the artwork reflects how 'sunny' some of the new music is. 

Do you plan on adding vocals or guitars, keyboards and other instruments? 
Yeah, there are vocals on around half the album tracks. The only real hardware I've used on the new material is a Game Boy, everything else is computer generated. 

What are your upcoming plans? 
I'm working on finishing the album and working it into a new live set for the spring. I'm also working on a pixel art zine to coincide with the release of my first single from the album, it will contain pixel art based on the album's imagery and aesthetic, following a loose plot line about a teen girl who has fallen in love with a skateboarder from The Valley. 

Making Of: "Shine" By David Crowder Band

Remember the Lite Brite goodness that was the David Crowder Band's video for their single "Shine?" Well now you can see how the band (and more than 80 friends) put the unique clip together. Watch the four-part making of documentary below:

Greenhorse: Q&A

Greenhorse have been sparking a buzz among fans and critics since the release of last year's Transcontinental EP. The duo, made up of high school friends Chris Hackman and Shawn Day, is currently writing songs for their follow-up to talk to about musical influences, dream collaborations and explaining what "post-pop" means.


How did you come up with the name Greenhorse?

In a way, it was inspired by the film Broken Flowers. We wanted to create an image that symbolizes rebirth and hard work. And we wanted something simple and clean.

What were your early musical influences?

Shawn: As early as 16 I loved the Smashing Pumpkins. When I moved out to London, the first band that inspired me was Arcade Fire. Hmm… We recently got referenced to the band "Suicide", and I thought that was pretty interesting.

Chris: I'd rather not tell you what I was listening to early on… Some of my influences from medium-on include Radiohead, Primus and The Crystal Method.

What was the first album you bought?

Shawn: Guns N Roses, Appetite for Destruction

Chris: Live, Throwing Copper - we recently recorded with the engineer from that album and it was an amazing experience to come full circle like that.

What artists/producer are you currently listening to, and which ones would you like to work with?

We really love the work that Bloodshy and Avant are doing right now; We love the last Mike Snow album. Ideally, we'd want Trent Reznor to produce our first full length album.

How does the songwriting and music production process work?

One of us will start an idea and bounce it over to the other. We'll kick it back and forth until it's listenable. Now that we've been writing for awhile, a lot of our songs are inspired by shared experiences. For example, we recently recorded several new songs inside a cave in Wyoming.

What kind of musical sound can fans expect from your upcoming EP?

Post-pop. It's a sound we've been carving out for the last year. It's got the emotional weight and musical depth of classic pop, but with greater immediacy. You're not going to know whether to dance or just stand back and listen.

Bubbling Underground: Murdocks

Indies and The Underground managed to catch up with Murdocks frontman Franklin Morris, currently busy promoting the band's latest release Distortionist, to talk about musical influences, live shows, songwriting, religion and taking over the world.

How did you come up with the name Murdocks and how did the band get its start?

One of my biggest regrets surrounding the name of this band is that there is no good explanation for it.  When we were brainstorming names, this seemed to be the one that everyone hated the least, so it stuck.  Isn't democracy grand?!

What were your musical influences growing up?

I imagine that would be different for each of us.  The first band I ever loved was REM.  I went out and bought all of their tapes (to show my age) and played them until they warped.  When the 90's rolled around, I got hooked on Nirvana and, by way of them, punk. [Bands like] old 80's American Stuff like Minor Threat, Black Flag, Misfits, and so on.