Interview: Ian Moore talks psychedelic rock, the magic after midnight and decades of touring

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Photography by Daniel Work. Imagery provided by Western Publicity. 

Presently, Ian Moore is touring the Northeast of the U.S. and sharing his music to promote the release of his new album Toronto. A month prior, Moore cruised through Austin, Texas in Aug. 2018 to celebrate his 50th birthday at the iconic Antone’s. Moore is originally from Austin and he’s got a lot of Texas soul within his music. His birthday celebration deep-in-the-heart-of-Texas lasted two nights. Eric Tessmer was the opening act each night. These two artists are both deeply talented at playing guitar, songwriting and vocals. At times, their music, energy and style felt electric and transcendental, which is one of the many reasons why they call it psychedelic rock. 

Before the ATX birthday shows that were filled to brim with many of Moore and Tessmer’s beloved fans, friends and family inside Antone’s: I interviewed Ian Moore over the phone. Another Rank & Revue (R&R) writer interviewed him years ago, but this time it was my turn to interview him. At random, my editor sent over a pitch to me from his publicist at Western Publicity to see if I wanted to conduct the interview. Once I read Moore’s bio, even though I had not heard of him before: I knew I wanted to book it. Clearly, the man has talent to venture on national tours with the Rolling Stones, ZZ Top and Bob Dylan. 

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Photography: Nicolette Mallow

“Ian Moore, the Seattle-based, Austin, TX-born guitar player, singer and songwriter makes the proverbial renaissance man look lazy. Coming on the heels of Strange Days, his most successful record since his eponymous debut. Despite a never-ending cycle of touring, Moore offers a new record of bright, blazing rock-n-roll that combines his legendary guitar prowess with radio-friendly songs that showcase his elastic, soul-inflected vocals. As always, Ian has his eyes on the challenges faced by musicians of every stripe, having experienced the spectrum of artist successes and tribulations over a nearly 30-year career. “It’s a very different climate right now. When we hit a city, it doesn’t matter that I have 14 records, radio hits, etc. The only thing that matters is if we can really show up and leave the people feeling they saw something amazing. Its keeps me hungry, and I like the challenge,” says Moore… You might have been surprised to hear Moore’s songs popping up on major network shows on prime time television this past year; several selections were prominently being featured as performances on both American Idol and The Voice (“Satisfied” and “Blue Sky”). He also founded the artist’s healthcare alliance SMASH (Seattle Musicians Access to Sustainable Healthcare) and has joined the board of NARAS for the Pacific Northwest as governor and head of the advocacy committee. Moore’s story is often told and probably familiar to most critics; his initial record on Capricorn propelled him to national tours with the Rolling Stones, ZZ Top and Bob Dylan, acting in the acclaimed indie feature “Sling Blade,” and having Ice Cube direct the video for his track “Harlem.” Moore deviated from his initial blues-oriented guitar sound on subsequent records, touching on graceful pop songs and the psychedelic as well as British pub rock and deep Americana. The Toronto record and its 6 tracks represents those influences in such a way that they have informed his songwriting, but is likely more recognizable as a strong collection of the kind of guitar rock his core fan base would respond to immediately”. 

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In advance to the interview, I was reading the information Ian Moore’s publicist sent me and researching other interviews of the past. I Google’d him to read about his older albums like Capricorn. Within the photos from then and now, I noticed that Moore had super long brunette hair in the 90’s and looked like a total rock star. Even though time has passed, he’s still strikingly handsome and very talented. I enjoyed listening to his musical style change from Capricorn to Toronto. I read a lot of lyrics. Watching his SXSW 2017 performance at Continental Club last spring in ATX: I could see Moore is in love with the guitar and the music. Texans are often known for being passionate and intense, especially the artists and athletes. 

As I read more and more, I realized that I was out of the loop, especially since I am an Austinite. Ian Moore has been around for three decades and I was shocked I’d never seen one of his shows. As a Texas girl and artista, I consider myself familiar with the local art scene. Obviously I was not up to track. Like many people, it seems the more I know, the less I know. There’s simply no way to keep track of all the great talent out there, and that’s sort of a beautiful thing: always discovering new artists and new music. I didn’t really know what angle to take the story. All of the music was new to me—I enjoyed many different songs from different albums—and I didn’t have much time to prepare for this last minute interview. Even though the story wouldn’t run on R&R until September. So, I figured since every other media outlet was going to be asking about Toronto and Antone’s—I decided to just get to know the artist, like any other stranger, and sort of assess what we called at SCAD, a character profile, a mini version of the artists career.

On the dot, all the way from Texas, I called Ian Moore on the number his publicist provided me with. Moore was sanding an old tour vehicle outdoors in Seattle. 

Nicolette Mallow: Growing up in Austin, did you always have a childhood fondness for music? I read you switched from guitar to violin. 

Ian Moore: Yes! One of the first times I kicked in the womb was at Vulcan Gas Company. Even though neither of my parents were musicians, they were both music enthusiasts. I started playing violin as a child and switched to guitar as a teenager. When I was 16 years old, unfortunately, I cut some tendons. Still makes me a little sad to think about because that ended my violin career… When I first started playing music in Austin, I had a real hard time starting a band. My peers were into other music. They were more into the punk rock culture, but I didn’t care much for it. I was more into soul music, blues and psychedelic rock – garage rock – 50’s music. Then I found a drummer from high school and we started making music. We were the first band to ever play at Black Cat Lounge. This was a biker bar and we brought in youth and kids from all walks of life to a new scene. It was cool because this was before Emo’s and there were limited music venue’s at this time. By ages 19-20, I started touring. But yeah, it’s my 50th Birthday and Austin is my hometown. My history is as deep as any musician there. Guitar lessons. Stages. Memories. Riding bikes to Antone’s on Guadalupe. I had to celebrate in Austin. 

NM: Your album Capricorn launched tours with Rolling Stones, ZZ Top & Bob Dylan. That’s really impressive! How long after the release of your first record did these tours come about. And do you recall the names of the tours?

IM: Capricorn. At the time, being a blues-influence guitar player was kind of unknown territory. There was no cool roots, rock scene. I had a difficult time finding people to put the record out. It was very hard to find a placement. The label who signed this deal had managed Otis Redding. Before that, one deal after another fell a part and took a while to find a place to put my record(s). After Capricorn was released, the radio success and decent tour numbers got past the agents. Once the agents caught notice, I began touring. I think, but am not certain, the tour name with Rolling Stones was The Blue Lounge Tour and I think with ZZ Top it was the Recycler Tour. But I’m not certain, it’s sort of a blur… My band was the biggest band of our generation in ATX for a good 10 years, 2000-3000 people a night at our shows. 

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Imagery from IanMoore.com. 

NM: In regard to your newly release album Toronto, I read the lyrics for the songs “Satellite” and “Rock n Roll”. Tell me about the bright side and the dangers of living your life in the magic of midnight.

IM: The magic of midnight and the brutal reality of harsh dawn; we are all eternal dreamers. We are prone to think the next place, town, song or etc.—we think it’s gonna be the next thing to connect us. We can continue to dream and be dreamers, but it’s intense and a lot of people cannot sustain it. A lot of people lose themselves. I’ve been doing KXP radio and I talked about pitfalls of touring and how to survive. Being focused on the music helps. You can tell where the motivation is. If you want to party—and you’re focused on the physical attention—you will wear yourself out. It’s crucial to focus on the music to sustain sanity. It’s very rewarding and spiritually fulfilling. Just gotta keep focused on the prize. Don’t lose yourself in the illusion of midnight, thinking that something greater is right around the corner… My music has been a continued manifestation of what I wanted to do. When I was young, learning how to play and sing, I did a lot of wandering. Leaving scenes and drifting into the ether, a wanderer with temporary companions. It’s been an interesting journey. Even though my most successful record (thus far) was my 1st album: I think I’ve gotten quite a bit better and become more interesting. I never chased the fame. However, I’ve become an underground artist.

NM: I read your quote about the challenge of keeping the crowd enticed and how the music culture has changed. How do you sustain such energy while touring, so that you can always give the crowd the experience they’re seeking?

IM: This is the hardest time to survive with music, it’s so challenging. But I have a deep passion for music. I do it all, simply because I love music. Music is most deeply motivated for me, the actual music, not the attention and the success, that is peripheral for me. No matter what, I always want to get better and write a better song and feel like if I could just concentrate harder, it will manifest… When I am all beat up and tired and miss my family: the music keeps me going. That’s the thing, I can be completely exhausted and always dig in to find that passion. 

NM: The transition to Seattle from ATX, over the decades, based upon your observations—what changed most within the local scene between the two cities? 

IM: A lot of what I do is between Austin and Seattle. I live in both towns. We had nothing here (in Washington) when I arrived awhile back. There’s been a lot more drastic changes in Seattle. Obviously, all cities are enduring major changes right now, any cool city with artists. They’re all being priced out. However, Austin is one of the best for artists, right now. At least in ATX you have some people working for you and trying to make it better. ATX is weathering the storm best.

NM: Do you have any favorite or newfound cities in Europe that you look forward to touring this year?

IM: Europe: I love Spain and Italy. Amsterdam. Denmark. London… I’d like to play in Portugal. It’s so cool playing in different places, but what’s cooler is playing well in the places you play.

To view upcoming tour dates, listen to music and read about Moore’s songwriting workshop in Canyon Lake, Texas: please visit his website at www.IanMoore.com

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Note: This article was originally published on Rank & Revue

Dale Watson sets the record straight

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Photography provided for the Press by DaleWatson.com.

Rumors flew around Austin like a wildfire in high winds the last few weeks about Dale Watson leaving ATX for Memphis. And Watson is adamant to set the record straight after a recent interview gone askew. When I read his quote on social media to clarify the truth: I was relieved to read that Dale Watson will still be in Austin, Texas and Memphis, traveling the country, and the world, touring and playing music with His Lone Stars. So, rest easy, Texas, we haven’t lost one of most beloved musicians.

Dale Watson is a very well-known name in Texas, Tennessee and various parts of the world. Born in Alabama and raised in Pasadena, Texas — Watson moved to Austin in the early 1990’s and has made it his home ever since. Personally I’ve known of his name and heard about his music long before I ever saw him perform seeing as I’ve lived in ATX off-and-on since the 90’s. My Latina mother (and Texan) once told me that she had a crush on him back in the day and enjoys dancing to his country music. Even the legendary Willie Nelson spoke highly of Dale Watson and stated “I’m one of Dale’s biggest fans”.

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Watson has performed all over the world and is currently touring in Europe. However, in the near future he will be spending a little more time in Memphis and a little less time in Texas. Two homes, two cities he loves and still focused on sharing his music with his treasured fans around the world.

“O.K. friends , let me set the record straight, if you don’t mind. I love Austin. Austin is my home. I love Texas and will ALWAYS live in Texas. That said, I bought a house in Memphis as an investment and in the process fell in love with the town. It reminds me of Austin of the 80’s, the good and the bad. I play over 300 shows a year, meaning Austin and on the road world wide. To afford to live in Austin, I literally have to tour. As one guy posted I’m old and should retire, but I love what I do and quite honestly can’t afford retirement either. What musician can? These things are facts I’m volunteering now but I recently granted an interview locally. They had seen an article about my moving Ameripolitan Awards to Memphis and buying a house there. The interview was heavily edited. This happens often but the things left out were important to me. Things like, my love of Austin. My roots are in Texas and the fact that, at some point I will have to sell my house in Austin and move to the outskirts, but I will always have a house in Texas. I will hang on to being an Austinite as long as I can. Monday’s at the Continental Club, a Friday or Saturday at the Broken Spoke, and Chicken $#!+ Bingo at C’Boys on Sunday’s. As for the media, they suck. If any media repeats this post, then print the whole thing, because you suck at editing and paraphrasing. So, after all is said and done, I hope I see ya at my regular gigs in Austin friends. I hope you come to my AirBnb and recording studio in Memphis. And I hope you all vote when it comes to your mayor and city council. Peace.”    – Dale Watson

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Secretly when I read the media coverage Watson is referring to, it seemed to me that pieces were missing to the interview. To play thousands of shows in Texas, you must really love the city of Austin and The Lone Star State, therefore it struck me as odd to read a short story that Dale Watson was just going to up and leave TX without going into more details. True, the city is growing overcrowded and is becoming more expensive as the love for the almighty dollar bulldozes the love for local artists. But, thankfully the rumors weren’t true and we can look forward to many more Dale Watson shows. Also, I’ve visited Memphis a few times and I can definitely see the appeal. Memphis gives Texas a run for its money in regards to BBQ, live music and the beauty of the hill country.

Over the past 20 years, Austin has become attached to Dale Watson and His Lone Stars. I am certain many Texans all over the state will also be relieved to hear Watson is here for the long haul, even if we must share him with the city of Memphis, too. Stay tuned to his website and social media to find local shows in your area to support local artists and keep the art scene alive and well in ATX!

Screen-Shot-2018-03-11-at-7.59.45-PM-2 For more information please visit www.dalewatson.com.

Dale Watson, keeper of the true country music flame, this Austin-based honky-tonker carries on in the tradition of Johnny Cash, Waylon Jennings and Willie Nelson with his “Ameripolitan” brand of American roots music. Dubbed “the silver pompadoured, baritone beltin’, Lone Star beer drinkin’, honky-tonk hellraiser” by The Austin Chronicle, Watson sat in with Jimmy Kimmel’s house band as a guest on Jimmy Kimmel Live (ABC) from SXSW 2015. He also emceed the first ever SXSW “Ameripolitan” showcase featuring the best of Honky-tonk, Outlaw Country, Rockabilly and Texas Swing music. Since the release of El Rancho Azul in 2013, Watson’s profile has risen considerably via appearances on The Late Show with David Letterman (CBS), Austin City Limits and The Sun Sessions(PBS) and as a guest on NPR’s Wait Wait… Don’t Tell Me. A veteran touring artist and consummate entertainer, he is on the road more than 300 days a year. He also put his money where his heart is and took over ownership of two struggling Texas honky-tonks, the Little Longhorn Saloon in Austin (home of Chicken $#!+ Bingo) and The Big T Roadhouse in St. Hedwigs (outside San Antonio).  If not on the road, he and His Lone Stars perform at one of them each Sunday. Dale has flown the flag for classic honky-tonk for over two decades. He’s christened his brand of American roots “Ameripolitan” to differentiate it from current crop of Nashville-based pop country. The Alabama-born, Texas-raised Watson may be the hardest working entertainer today and is rapidly approaching legendary status.  He is a country music maverick, a true outlaw who stands alongside Waylon Jennings, Willie Nelson, and George Strait as one of the finest country singers and songwriters from the Lone Star State.”     http://www.dalewatson.com

Note: This story was originally published on Rank & Revue, SXSW 2018 issue

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Photography provided for the Press by DaleWatson.com.

The magic of Euphoria Music Festival lingers

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The 2017 Euphoria Music Festival came to an end and yet the magical feeling of experiencing music with over 50,000 people in Austin, Texas lingers vividly in memory. I can still hear the crowd chanting at Chromeo, and I can relive the hypnotizing light show alongside Moby’s DJ set in my mind. Perhaps this is one of Euphoria’s most lovable and endearing traits: the music festival exerts a natural high of happiness and contentment that stays with you in silence even after it’s all over. For a few hours, everyone that passed the gates entered an intimate and intense world of music, dance, art installations and light shows. There were three stages on the map: Euphoria, Elements and the Dragonfly. The first two stages are the larger set-ups, but the Dragonfly stage is a beauty, waterfront to the Colorado River. A map of the grounds can be found on the official Euphoria app that was released in April. 

Upon entrance to Carson Creek Ranch, the eyes are filled with bold and bright colors, canopies, giant tents, kites, butterflies, swing sets, hammocks, bubbles and an artisans alley. The festival even has a volleyball court, wedding chapel and a giant Tree of Life. There is a sign below the Tree of Life that reads: Write down wishes, hopes, dreams, etc. and set ’em Free. It was very moving to see the thousands of notes left on the tree. Watching the festival with digital eyes that changed moods and colors as the sky shifted from day to night — at the Elements stage there was a steep, tall fox (or wolf) overlooking the crowd. Several times I got lost staring into its round eyes as the music played. 

Founded by Mitch Morales, the 2017 festival included headliners like Chromeo, Knife Party, Moby (DJ set), Oliver Heldens, Post Malone, The Disco Biscuits, Wiz Khalifa, Zeds Dead and many other artists; bringing the sum total of the line-up to 70. As the region’s largest independent music festival, Euphoria attracts over 50,000 fans each year, all while maintaining the qualities that land it on many annual Top 10 lists. Conveniently located just minutes from Downtown Austin, the multi-stage music and camping festival returned to Carson Creek Ranch on the banks of the Colorado River and offered world-class visuals, unique stage designs, artist workshops, interactive experiential installations, enhanced camping options and much more.”

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Euphoria showcases the professionalism, style and acute qualities equal to a global event like Austin City Limits, Burning Man or Lollapalooza. Festival goers can see the time, love and energy invested into the decoration and preparation for the festival. However, unlike the ACL Music Festival that draws 450,000 people—Euphoria is much smaller in attendance and exposure. This independent festival deep in the heart of Texas provides a more intimate experience. Using the power of music to bring everyone together, Euphoria is a festival made for the community. The Euphoria Music Festival feels personalized and charming. The size of Euphoria provides a natural, easy going way of drawing people together. Even if you are attending alone as a member of the Press, like me. That is one of the nice aspects of a festival is various walks of life coming together for the love of music. 

Ultimately, the magic of Euphoria re-awakened my love for music festivals. It brought back the fun and joy of a festival that I used to feel when I was younger. As a local Austinite, I’ve been blessed to attend live shows and music festivals since before I could drive a car. I was one of the lucky people from Austin to experience the live music scene before it morphed into what it’s become today. (True, the music scene has improved with better venues, more esteemed artists and a boost in the economy, but it also came at a cost for the locals.) Years ago I was so sentimental about live music, I saved all of my ticket stubs that are now in a box. Honestly I don’t know how many times I wore a costume or got dolled up for a live show, like the night when I was the absinthe fairy covered in metallic glitter with green wings for Galactic’s Halloween show at Stubb’s. Countless days and nights, my friends and I would gather in masses to rock out, dance and let loose. Alas, after too many festivals and concerts for my stamina-—after one too many expensive tickets, late nights that lead to hangovers and dating too many musicians—the magic began to fade out. Secretly I started to become a little jaded: been there, done that and bought many, many t-shirts. The thrill of live music had begun to alter from love to stress. My heart no longer felt that spark like it once did when I was younger and I really only attend concerts these days at specific venues and no more festivals. Fortunately, Euphoria brought that nostalgic, familiar adrenaline rush back into my heart and it reminded me why I used to love festivals so much. Euphoria made my heart feel lighter and made me feel younger. Frankly I did not know what to expect at Euphoria. And to much delight, Euphoria Music Festival captured the intimacy of the art scene that used to be in ATX. I hope as the festival grows more and more each year that Euphoria will never lose its unique charm.  

I highly encourage music enthusiasts to mark Euphoria Music Festival on their bucket list. A strong indicator as to whether or not a musical event was a success is greatly determined by if the audience transcended time. Meaning, while the band is playing, the DJ is spinning or the musicians are on stage, those in attendance lose track of time. We forget our worries, stresses and anxieties for a while. We are present in the moment and feeling alive in the rhythm of the music. Euphoria Music Festival can and will take you to a transcendental place. 

To view the 2017 recap videos or purchase official merchandise of Euphoria Music Festival please visit www.euphoriafest.com. #FindYourEuphoria

West Coast artist Raven Felix will perform at 2017 Euphoria Music Festival in Texas

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Raven Felix. Photography provided by 740 Project. 

Born in The Valley of Los Angeles, Raven Felix is an artist best known for her music and this year she will be performing at the 2017 Euphoria Music Festival held at Carson Creek Ranch in Austin, Texas. A Latina from the West Coast, she began her exciting music career at a young age after being signed-on by Snoop Dogg at 18. Raven was discovered after posting music videos on World Star hip hop and that’s when Snoop Dogg took notice of her talent while he was in Amsterdam. Raven Felix is also a member of the entertainment company, Taylor Gang, as is Wiz Khalifa, and the two artists will both be performing (separately) at Euphoria Music Festival in Texas. Even more exciting for us all, even though this isn’t Raven’s first rodeo in the spotlight or on stage—it will be her first time to showcase her music in Texas. Ravens’s performance at Euphoria on Friday, April 7, 2017 marks Raven’s first ever show or festival held in Austin, Texas. 

Prior to my phone interview with Raven, I did not get to meet her in person. But through the photographs and music videos on social media: I noticed her strong voice, her dark brown hair that resembles silk, luminous skin, big brown eyes and how she always seems to have a chic manicure. Raven Felix is facing a successful future and a vivacious career in music, and she’s off to a great start. She is not only talented at rap and hip hop, modeling and music videos—Raven is also a writer and you can find some of her poetry online. Writing is something she has been doing since she was a child and holds very dear to her heart. 

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Photo of Raven Felix’s hands from her music video “6 in the Morning” feat. Snoog Dogg.

Nicolette Mallow: Here in Texas we have an area called The Valley near the border and it’s much different than LA. I heard on a radio interview with Power 106 that part of what motivates and inspires you to excel in your career is to pave the way and make a lane for younger girls, especially the young Latinas back home in The Valley… Giving back to the community is important and I am also a Latina. So I am curious to hear about The Valley and I was wondering if you’d tell me more about life in the valley for young girls?

Raven Felix: Everyone in The Valley is super close and it’s a tight-knit community. It also encompasses a large portion of the Hispanic/Latino population in LA. There is a lot of backyard parties and a lot of shows. It’s a really interesting place to be and I certainly grew up partying, too. A huge part of the culture in The Valley is community, art and entertainment. 

Nicolette: The music video for “Hit The Gas” with Snoop Dogg and Nef the Pharaoh looked like it was a lot of fun for the cast and crew to film… I also saw the video “6 In The Morning” … Will you tell me about how  you came to sign and work directly with Snoop Dogg after he found you on World Star at the age of 18?

Raven: It all happened fairly quick. I think I started putting out videos on World Star when I was 17. And when I was 18, he was in Amsterdam and saw me online and thought my tracks were dope and wanted to be involved. So, he found me and my people, and I feel very lucky. After that, all of a sudden we are making music a month or two later.

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Nicolette: What was it like touring with  with Snoop Dogg and Wiz Khalifa during “The High Road” tour in 2016?

Raven: I think for me it’s just a blessing to even have these huge artists that are insanely talented as my friends and colleagues. They are monsters of artists with amazing careers and to be involved with me. It’s definitely cool. And we all bring different songs and styles to the mix. Tour was amazing in general. 

Nicolette: I read one of your poems on Instagram. And I liked your line in the track “Me” when you say “Tell ‘em kiss it like I was your Bible”… How long have you been writing?

Raven: Well I’ve been writing since I was a kid, really ever since I could write. I wrote. But I think middle school is when I really started being interested. I had notebooks in drawers and boxes of handwritten notes. I still really very much want to branch out into writing novels, poetry, screenplays and scripts. Poetry, for me, is something that is a completely different outlet than my music. I keep it separate and I think its something that relaxes me. If I am having a road block. I think poetry can be my outlet. Writing is important to me and I seek to become a multifaceted artist as I move forward in my career. I can do much more than rap and sing on stage, which is dope. Writing is just one of many things like modeling, acting and other art forms I would love to explore in the future. 

Nicolette: I read the interview with VIBE that stated your top female artists are Eve, Missy Elliot and Nicki Minaj.. I recall listening to “Love is Blind” a lot as a teenager, dancing to Missy Elliot in college and playing Nicki’s track “I Lied” a lot while I lived in Ireland… Will you share a little about how these artists inspired you and your musical craft?

Raven: Nicki Minaj is the biggest inspiration to me out of all three women. I am 21 and so when I was in high school. I think I was in 9th grade. I had a mixed tape of hers and it was so hard and so dope. I fell in love with her then because I had never really heard an artist like her during my era, growing up. I heard a lot of rock and alternative stuff as a child because of my mother. So when people turned me onto Nicki and opened up doors for me to discover others like Eve and Missy Elliot, it’s amazing to hear all these talented women.

Nicolette: I read Southern Comfort was your first drink. What’s your poison (choice of alcoholic beverage) these days?

Raven: I usually switch back and forth between Bombay and Hennessy. Wiz and them from Taylor gang really like gin. At first I hated gin, but like now I really enjoy it. 

Nicolette: So when you aren’t touring or traveling for work, which sounds like a lot of fun. What do you do for fun and leisure with such a lively schedule?

Raven: I love being able to travel and do all this stuff for work. But I was just in London for Christmas for leisure. Just for me. Just for fun. So yeah, I love to be on the road and being on tour, but when I get to be home. I spend a lot of time with my mom and it centers me and keeps me grounded. She is my best friend and spending time with her is important; being near my mother relaxes me. I also like to keep in touch and be around my west coast friends that I grew up with in The Valley. The ones that cared about me from the start. Because, often we got lost and lose track of time out on the road. Coming home, back to your roots, it’s important for my friends to know that I’m still the same person they always knew and loved—and they’re just as important to me as always. 

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To purchase tickets to the 2017 Euphoria Music Festival to hear Raven Felix and 70 other artists in Austin, Texas please visit www.euphoriafest.com

Příliš hlučná samota: Production crew raises funds for film about Czech writer Bohumil Hrabal’s novel “Too Loud A Solitude”

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“My education has been so unwitting I can’t quite tell which of my thoughts come from me and which from my books, but that’s how I’ve stayed attuned to myself and the world around me for the past thirty-five years. Because when I read, I don’t really read; I pop a beautiful sentence into my mouth and suck it like a fruit drop, or I sip it like a liqueur until the thought dissolves in me like alcohol, infusing brain and heart and coursing on through the veins to the root of each blood vessel.” – Bohumil Hrabal

An imaginative production crew seeks to fundraise resources to launch a full-length feature film about Czech writer Bohumil Hrabal’s novel, Too Loud a Solitude.  Directed by Genevieve Anderson and starring Paul Giamatti as the voice of Hanta, Too Loud A Solitude (Příliš hlučná samota) is a feature adaptation of Bohumil Hrabal’s beloved book made with live action puppets, animated sequences and visual effects.

This globally famous novel is about a book crusher, Hanta. Watching the trailer of Too Loud A Solitude is like entering a magic portal to another dimension where Bohumil Hrabal’s book takes place in a world of puppetry.  An intimate, sneak peek to Hanta’s daily life and his private love affair with the books and their stories. A mirror reflection of Hrabal’s writing voice and how each book he created almost seems to be a personal letter written to each individual reader as opposed to the masses. As the camera soars in over the skyline of the town and we see gears grinding, scraps of papers tossed about and a city that seems to be very cold and quiet. Characters bundled up in many layers, speaking to each other without speaking as they go about daily life. The music is hypnotic and dreamy with its romantic yet haunting tune of a melancholy violin. 

Too Loud a Solitude is the story of a waste compactor, Hanta, who was charged with destroying his country’s great literature in his humble press, and who fell so in love with the beautiful ideas contained within the books that he began secretly rescuing them – hiding them whole inside the bales, taking them home in his briefcase, and lining the walls of his basement with them. It became one of the defining books in Czechoslovakia’s history for its unsentimental, humorous, painfully relevant portrayal of humankind’s resilience. The story of Hanta’s quest to save the world of books and literature from destruction is often cited as the most beloved of Hrabal’s books. Too Loud a Solitude has a global fan base and an active community of support has emerged for our feature film project. The book has been translated into 37 languages and sold over 70,000 copies of Michael Henry Heim’s English translation alone. Bohumil Hrabal wrote the novella as an unsentimental account of what happened to him during the Russian occupation of Czechoslovakia during the 40’s and 50’s. Many of Hrabal’s books were banned by the Russian regime and other great books by many authors were physically destroyed, an act Hrabal characterizes in Too Loud a Solitude as ‘crimes against humanity’… Our team has been committed to bringing Czech writer Bohumil Hrabal’s beloved novella Too Loud a Solitude to the screen since 2004. With the assistance of The Rockefeller Media Arts Foundation (now the Tribeca Film Institute), Heather Henson and Handmade Puppet Dreams, and The Jim Henson Foundation, we completed a 17 minute sample of the film in 2007. The film has been playing nationally and internationally in the Handmade Puppet Dreams program, and in 2009 was awarded an UNIMA-USA citation of excellence. We are currently working on financing the feature project, first through a Kickstarter start-up funds campaign and then through partnership with other financing and production entities. Our intention is to enlist the support of the book’s global fan base and expand its already impressive audience. We’re down to two weeks left in our Kickstarter fundraising campaign and are continuing to do outreach work to drum up more support for our project. We seek to raise $35,000 to cover the costs of puppet design, armature creation, motion exploration, character development, costume design, and visual effects.”

For more information about the film, please visit www.tooloudasolitude.com.screen-shot-2016-10-19-at-8-16-58-pm “For thirty-five years now I’ve been in wastepaper, and it’s my love story…I am a jug filled with water both magic and plain; I have only to lean over and a stream of beautiful thoughts flows out of me.”screen-shot-2016-10-19-at-8-16-25-pm

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“I felt beautiful and holy for having the courage to hold on to my sanity after all I’d seen and had been through, body and soul, in too loud a solitude.”

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Darren Fung is one of Canada’s most accomplished music composers

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Darren Fung. Photography provided by CW3PR Inc.

Based in Los Angeles, Darren Fung is a talented, award-winning music composer. Born in Canada with strong Chinese roots, Mr. Fung’s music is a medley of the East and the West. His love of music began at the age of three and lead him to become an accomplished composer. After a lifetime of living in Canada, Darren Fung moved to the United States to create music for film and TV in a new location. 

Fung has a colorful, diverse and nostalgic style of music that has a powerful, yet gentle affect on the viewer’s senses. “With over 100 composition credits to his name, Darren Fung is seminally gifted and a highly influential composer who is well-respected in the TV and Film scoring worlds. Fung is one of Canada’s most accomplished composers, thrice nominated for a Canadian Screen Award. Most recently, he scored the The Great Human Odyssey, a mini-series that explores the roots of human kind. The project opened to widespread critical acclaim in Canada, winning the 2016 Canadian Screen Award for Best Music and receiving a nomination from the International Film Music Critics Association. (The Great Human Odyssey premieres in the U.S. this fall on PBS.) Darren utilizes an epic, large-scale orchestra and choir to bring this special’s score to life, replete with memorable melodies and unique musical colors. His diverse credits also include a recreation of Canada’s second national anthem (the beloved Hockey Theme) for CTV and TSN and the theme music for CTV’s flagship morning news show Canada AM. Additionally, Darren scored Bell Canada’s Orchestra advertisement spot (for the 2010 Vancouver Olympics), which was voted as Canada’s top commercial by readers of The Globe and Mail. Darren’s feature and short film scores have been heard at prestigious film festivals around the world, including Toronto, Cannes, and Sundance. After Fung studied at McGill University and worked full-time as a composer in Montreal, he moved to Los Angeles and is represented by Maria Machado of Gorfaine/Schwartz Agency and CW3PR.”

In 2016,  Mr. Fung spoke with local Texas writer, Nicolette Mallow, to discuss the bird’s-eye view of his life lived in music and how he came to be in California with his wife and daughter after many years in Canada. 

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Darren Fung and orchestra. Photography provided by CW3PR Inc.

Nicolette Mallow: Will you please tell me a little about when your love for music began and when you learned to play an instrument? 

Darren Fung: I started playing piano when I was 3. Music has always been part of my life. After piano I dabbled a little in violin and then the saxophone. I loved trying new instruments and playing the music in my head. 

NM: Yes; I read in other interviews that you tend create music with a large scale orchestra. That makes sense given you learned to play so many instruments… What number of instruments (musicians) entails a large scale orchestra? 

DF: A large scale orchestra can be 40, 50, 60 people. Even 90-100. For me that means anything over 40. Over 40 is a pretty big orchestra…Now, do I prefer to work with a recording group? I also like the challenge of not having a large scale orchestra and doing other things that are not orchestral.

NM: Your online biography states that you “caught the composing bug at age 15” when you wrote a piece for Edmonton Symphony Orchestra’s Young Composer Project … Did you always know that music was your life calling? 

DF: Yes and no. I always loved music, but at the age of 15 is when I knew I wanted to be a composer… But it was hard for my family at first to accept that I am good at this, good enough to make a career of it. My mother is a Chinese tiger mom, and she wanted the best for me growing up and had a preset idea of what my future looked like. She wanted me to pursue something more secure than music. Music or a creative career was too risky. So, when I first began music school instead of pursuing a life as a lawyer… it was hard for her. Culturally there were some conflicts and it would’ve been easier and more accepted had I chosen to be a doctor, lawyer or engineer. My mother is very supportive now and she is very happy for me that I chose music. 

NM: I understand the family and cultural aspects of what you just said. My Latina mother was most displeased, if not furious, when I said I was going to Savannah College of Art & Design 12 years ago instead of Barnard or Stanford to be a psychologist or doctor. But she, too, is now very happy for me that I chased my artistic dreams.

DF: Yes it can be hard at first to choose your own path. 

NM: In regards to music composition, what are some of the most distinct differences between the Canada and US? 

DF:  The biggest diff between the two is that Canada is more comparable to the Indie film scenes—the budgets are not that big. The AFM call them low budget films because we are lucky if we got around $3 million budget. We are supposed to do more with less. However, since we are so close to the states we have a lot of similar musical influences.

NM: Reading about your career I saw the phrase “musical colors” mentioned in writing. Can you tell me a little about what musical colors means to you?

DF: Instruments or sounds are our palette. Composers (and musicians) can kind of make whatever we want out of it. Musical colors are why I think I love orchestra so much because there is so much available. So many colors and moods to portray. Not to say other genres of music don’t have that. But I am a classically trained musician, and to be able to take that stuff and play away. It’s endless and I never know what will happen and I love it. 

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Darren Fung and orchestra. Photography provided by CW3PR Inc.

NM: Were you nervous or excited to recreate the 2nd national anthem for Canada? 

DF: Both. When I recreated the 2nd national anthem for hockey night in Canada, we wanted to pay homage to the original, but with a whole bunch of orchestrations and differentiators. For the longest time it was a really iconic song in Canada. Everyone knows the song and it’s equivalent to Major League Baseball’s classic tune “Take Me Out to the Ballgame”…At the time I was working with CPC and they wanted to make it their own. I was 26 at the time and I didn’t want the country hating me as the guy who guy who f*cked up the hockey thing… However, I was thrilled to be part of the project. And at 26 I got to work with the Toronto Symphony Orchestra and specific members who the company hired to play. So to be given that budget and content for a major broadcast was amazing. 

NM: The Great Human Odyssey sounds amazing. What was it like writing for this TV show?

DF: It was 85 minutes of music in 7.5 weeks. There was material to score but we didn’t start writing till 7.5 weeks before we recorded… Niobe Thompson (Producer and Director of The Great Human Odyssey) sort of talked about bringing me on board as he was shooting. Almost two years before he started editing, I saw some raw footage. And I have to admit that when I first met up with Naobi, there was not a lot of money and I was not really sure the resources were available to create what he wanted with an orchestra and choir. But then he showed me the first warrior of this man jumping across ice flows. Drone shots across ice flows, and the backdrop was spectacular. The costumes, everything was visually stunning. And I realized we needed to get the music to match the greatness of the film… Fast forward in time and he then needed trailers. Then suddenly later on I am going to Prague so I can record a couple of cues to cut… Fast forward to the final count down where we are talking frame by frame, intentions, character and motivations; figuring out the music for each character and each scene.  

NM: Do you have any hobbies that you enjoy to keep you balanced outside work?

DF: Hockey and rowing are my two hobbies. Often I get up at stupid-o-clock in the morning around 5 A.M. to go rowing before work. What I love about hockey and rowing is that it’s two completely unrelated things to music. I meet people who aren’t in the business and it’s not a sedentary job. I get to move around and I get to blow off a lot of steam. I keep biz cards on me, just in case, but I like that it’s totally separate from work. Honestly I worry about the day where I might have to give one or both of them up… I find so much sanity and comic relief in hockey and rowing. Im horrible at both… but trying to get physical activity is necessary. And it’s fun to go have a beer with the guys sometimes. 

NM: Are there any genres in film or television that you would like to write for that you’ve yet to work on? 

DF: I’ve been lucky so far and enjoyed all my projects. But I would like to write for sci fi or opera. I haven’t yet had the chance to do either. Also, Animation is something else I am interested in. I like changing things up and I just finished up on an installation work for a gondola ride in Banff. So long as it’s a great project with great music: count me in! I am always looking for new projects and I came to LA to establish myself here.

For more information about Darren Fung please read his online bio. And to hear many songs or tracks from Fung’s music portfolio, please check out his SoundCloud page.

Composer Pieter Schlosser enriches television, film and video games with his musical vocabulary

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Pieter Schlosser. Photography provided by CW3PR.

Pieter Schlosser is an award-winning television, film and video game composer known most recently for scoring NBC’s hit show You, Me and the Apocalypse. Based in Los Angeles, Schlosser grew up traveling the world with his family, enriching his musical vocabulary with each new culture and each new country.

This summer Pieter Schlosser was interviewed by a writer in Texas, Nicolette Mallow, to discuss topics like how world traveling influenced his music, the differences between scoring for the UK versus the US, what lead him to study at Berklee College of Music in Boston and other miscellany.

Pieter spent a great deal of his childhood traveling, living in Guatemala, Austria, Panama and Costa Rica. He attended Berklee College of Music in Boston before moving to Los Angeles to pursue a career in television, film and video game composing. A multi-instrumentalist and polyglot, Pieter has had his work featured in the music of Grammy-nominated world music group Editus. Last year, he worked with the Costa Rica National Symphony Orchestra, arranging a full orchestral performance of his original music. In 2014, he won the ASCAP award for Top Television Series for his work on Freeform’s The Lying Game. Pieter Schlosser also composed the music for Lifetime’s The Client List and provided additional music for ABC’s Resurrection and The Astronaut Wives Club. Pieter worked on Desperate Housewives and is credited with bringing the signature Latin musical styling to the show. Currently, he is composing the music for the highly anticipated IMAX film, In Saturn’s Rings. He is also scoring the major motion picture, What About Love, starring Sharon Stone and Andy Garcia, set for release in 2017. Pieter worked in Hans Zimmer’s Remote Control Productions studio for 5 years alongside many high profile composers on various projects, such as Friday The 13th and the Transformers film and video game franchise. In addition to Transformers: The Game, Pieter demonstrated his versatility by providing additional music for some of the most popular video games of this generation with Gears of War 2 & 3 and The Sims 3.”

Nicolette Mallow: Will you tell me about your childhood background in music and how growing up in so many countries influenced your career?

Pieter Schlosser: Music was always around when I was growing up and it was always playing in the house. My mom played piano, it was an old upright piano that ended up in our house. My dad was always a big fan of music, too. Dad loved to play jazz. Classical was favored by my mom. The love of music was inherited from my parents. When I was in Guatemala, I didn’t play an instrument. I just listened to music and sometimes I even stole my mom’s tapes and records. When we moved to Austria I was 8 and that’s when I began to start playing piano. There is a mecca of music in Austria. Everyone plays music. I wanted to join choir and that’s where it all really began. After spending three years in Austria, my family and I moved to Panama. I kept singing in the choir. It was a Swedish choir in Panama and we sang around Christmas time. There was one person who played saxophone and I thought it looked really cool and so I began lessons. Then we moved to Costa Rica and I made a friend with someone on the island and I joined band and played jazz. As I became obsessed with music, my grades began dipping… I loved moving around the world, even if my brother didn’t like it so much. My dad worked for BHL and that’s why we moved around the globe so much.

NM: Did you have a favorite place out of all the countries that you and your family resided? Was there one musical style or culture that inspired you the most, or did they all equally fulfill your musical talents?

PS: It’s hard to say because, as a kid it was pretty normal having all these different cultures and musical styles around me. I cant say or pinpoint one thing that influenced me most. Growing up in Guatemala, Austria, Panama and Costa Rica is like having a little book of musical notes and rhythms that I can use—and the combination of all these things is a nice balance that enriches my craft.

NM: What lead you to Berklee College of Music in Boston?

PS: While I was in Costa Rica, the Costa Rican-North American Cultural Center had a series of Universities do a Master class followed by a concert. Berklee College of Music in Boston was always there including many other amazing programs from Miami and Texas. At one point I called or wrote a letter “Hey can u send me a Berklee sticker with the logo?” And I put it on my saxophone case. Suddenly I decided that’s where I wanted to go. It was the only college I applied to and I sort of felt a calling to enroll. Austria was a back-up to study jazz, but I was set on Berklee. So I applied and sent in an audition tape to Admissions and eventually I was offered a partial scholarship to attend. I accepted.

NM: How did your professional career in film and television begin?

PS: After college I moved to LA. “The Record Plant” (a recording studio) in Hollywood was my first gig and I was a runner: food orders, trash, coffee and other office errands. During that time I met a scoring mixer who works with a ton of composers including Hans Zimmer. At the time he was working on the remake of “Italian Job”. Eventually we reconnected, and he hired me for little things in the studio. I got to attend a scoring session which was amazing. Ultimately, through him and my contacts with Berklee: I became an intern at Hans Zimmer. There’s no other place like working at Remote Control Productions. Anyway, that’s when I met Steve Jablonsky and later on Jablonsky hired me for “Transformers”. And then I started working on other film & TV projects.

NM: What is one of the biggest variations between scoring for television in the US versus music composition the UK?

PS: When we scored the UK version of “You Me and the Acopalypse” there are no commercial breaks. In the US version of the show, it’s 45 mins divided into 5 acts. Most shows in the US have commercials breaks excluding HBO or Netflix.

NM: Have you always liked video games?

PS: Yes, I like video games. When I was younger, I enjoyed watching my brother play video games much more than I liked to play myself. I am not entirely sure why I didn’t enjoy participating but I preferred to watch.

NM: In regards to the The Costa Rica National Symphony Orchestra, what original music of yours did they play? Is there a link or audio to hear this performance?

PS: The music community in Costa Rica is fairly small so everyone knows each other. I became friends with members of a band called ‘Editus’. In 1998 they were putting an album together which was titled ‘Calle Del Viento’ and released in 1999. I was just starting to write music then and I dared to pitch them the first piece of music I ever wrote.  They loved it and included it in their album! Fast forward 16 years to 2015 and I got an e-mail saying they would be putting on a concert over 3 nights of that very album but this time, playing with the Costa Rica National Symphony. They asked if I’d do an orchestral arrangement of the piece.  You can find the original recording of this piece called ‘El Sendero Menos Caminado’ (or ‘The Road Less Travelled’ which is a line in a Robert Frost poem called ’The Road Not Taken’). The orchestral piece recorded in 2015 I believe is currently being mastered and prepared for release. The song can be found on iTunes and Spotify.

NM: Now that you’ve obtained success and first-hand experience within the industry, do you have any advice or helpful insights for other aspiring composers?

PS: The best bet when it comes to writing music to picture, whether it’s film or television, the best route is to find some sort of mentorship with another composer so you can hopefully be getting paid while learning on the job. I wish there was a more solid answer. But I think its different for everyone and you have to figure it out as you move forward. It’s important to remember that there is not one way or one path to success in this field. Just remain passionate, and even stubborn to your craft, but keep a smile. It’s tough but hang in there and you’ll persevere

For more information about Pieter Schlosser, please visit his website at www.pieterschlosser.com. Schlosser also has a SoundCloud page that features various tracks of his music.

Roc Chen: Music Composer and Asian Creative brings cultures together around the world with the magical power of music

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Roc Chen. Photography provided by CW3PR.

Roc Chen is a Sichuan-born, award winning composer who has created music for film and gaming. Recognized within the U.S. and China, Chen’s music has the power and the beauty to bring cultures together form around the world, which is no easy task. His film roster includes “Chinese Zodiac” with Jackie Chan,  “Forbidden Kiss” and the Chinese adaptation of “Everybody’s Fine” (American adaptation ft. Robert DeNiro). Roc  also partnered with DreamWorks to create music for the film “Kung Fu Panda 3” and his music is present in the award winning, internationally broadcasted documentary TV series “A Bite of China”. Chen’s video game work even dabbles into “World of Warcraft” and “God of War” orchestrasas well as the “Might and Magic” series and his latest work underway with “Prince Adventures”. Recently partnering with Danny Elfman to bring music to Disney Shanghai’s newest ride, Alice’s Maze; Roc Chen’s music brilliantly celebrates the fusion of the American story line of Alice in Wonderland with Chinese culture native to the Shanghai location.

This summer Roc Chen was interviewed by Nicolette Mallow. The two discussed his background in music, technology, and the power of music and how it can feel like time traveling. Mallow also inquired about the challenges and rewards of merging Eastern and Western cultures for film, Disney, DreamWorks and much more. And Chen opened up about how his music can be like an invisible, magic mirror that reflects everything inside the listener’s heart. The written interview proceeded as follows.

Nicolette Mallow: Will you please tell me about your background in music? Did you always know that music composition was your life calling? When did you begin to play music and write music? As a child, what did music feel like?

Roc Chen: When I was a kid, sometimes I woke up in the middle of the night humming the melody from “The Godfather”, and I thought to myself, “Maybe I should be a film composer when I grow up!” Like many kids I learned to play classical piano at the age of 4, but unlike many kids I loved to keep the sustain pedal down to create a bigger reverberation (just like in film scores). And of course my piano teacher would always get mad at me for doing that. I’ve always known music, especially film music – it’s my life calling. However I spent my college life in what is considered a Chinese Stanford (University of Science and Technology of China). We had a large and great orchestra band there and the conductor asked me to be the assistant conductor, so I’ve had the chance to learn from each and every different instrument – not from a book but from a real orchestra band. Later on I also obtained a Master Degree in Composition from the Conservatory of Music. I consider myself pretty lucky to have a background in both music and technology!

NM: Art has the power to take us places, particularly music. Music can take listeners back in time within seconds. Music can evoke feelings or fantasies within us and it’s almost like time traveling… What do you feel are the most powerful components of music that allow us to transcend time, space and imagination?

RC: All the components of music such as melody, harmony, counterpoints are powerful enough to allow us to transcend time, space and imaginationbut personally I think the most powerful one is the abstract part within the music. Pop songs take us into a specific world because the lyrics/words are quite specific and straight-forward. But instrumental music such as film scores without any lyrics or words are abstract, so it takes people to their own and unique places, to the different secret places deep within each person’s heart. This is also the beauty of scores. Film scores, though there are specific picture/scenes synced with it, can allow us to re-create those scenes and characters in our own way when we hear music outside of the cinema. It’s like everyone is a director and everyone directing his own version of that film in his brain. This is the beauty of film scoring. And of course, there are certain skills and ways to evoke those feelings or fantasies in the way of composition.

There’s a music piece of mine, “Deep in Their Hearts”, which is originally composed for the most renowned documentary in China called “A Bite of China Season 2”. It has moved nearly a billion people in China and around the world. I tried to tenderly and beautifully play the piano with a melancholy and nostalgic melody. It was performed by beautiful strings, woodwinds, with some abstract inside harmony, fine orchestration and counterpoint. The result is this music cue, which has moved lots of people and has surpassed pop songs to reach the top of the Chinese billboard. Thousands of fans came to my Chinese Twitter to express their feelings hearing this music to me and it’s actually quite interesting to read those comments. Some people say it reminds them of their childhood loneliness, some say it reminds them of some moving moments in that documentary, some people say it makes them cry with happiness and some people say the woodwinds in this cue are funny and playful. It’s all different and I feel like my music is like a mirror – each person saw and found their secret place deep in their heart by hearing this magical mirror.

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Roc Chen. Photography provided by CW3PR.

NM: What are some of the distinct differences between Eastern and Western styles of music pertaining to film?

RC: Well this is a little bit of a huge topic that I could talk for days and write a book about. The scale of notes and melodies are different between the eastern and western worlds but as for the relationship between music and film: I think one of the most distinct differences is the eastern style is more implicit while western style is more straight-forward and passionate. As I’ve been traveling between LA and Beijing a lot, I also found this difference within people’s behavior between the two countries. I guess one of the benefits of my goal as trying to be the most international composer is I can always get to know more about people from both worlds.

NM: Would you please share with me the challenges of integrating Eastern and Western music? Is it difficult to please both audiences?  

RC: A lot of Hollywood films with pure western music are also enjoyed by lots of eastern audiences, but most of this music hardly reaches their hearts. So sometimes with only a few elements from the East can really move the eastern audience and ironically enough it moves the western audience too! Also each film project is different and I’m always very careful with this challenge by always listening to the director’s ideas regarding the direction of the film. I always offer my suggestions and opinions on the direction of music but I would respect my director’s opinion because it is the film – a combination of many arts. It’s a whole project we’re going to present to the audience, not just music. There’s a project I did, “Heroes of Might and Magic VII”, the 7th game of the famous “Heroes of Might and Magic” video game franchise. I write some of the cues in a pure-western style and some cues have a little bit of East and West combined flavour, it all depends on the specific occasion.

NM: What lead you to working for Disney Shanghai?

RC: I guess people loved what I did for “Kung Fu Panda 3” as Chinese music consultant and then I got introduced to Disney by my friends at DreamWorks. But really, I think it’s because of my specialty of knowing both East and West which lead me to working for Disney Shanghai.

NM: In regards to Asian American crossroads within the entertainment industry – how did you begin to infuse the American story line of “Alice in Wonderland” with Chinese culture native to the Shanghai location of Disney?

RC: First of all, it’s always teamwork! It is done by Danny Elfman, myself and another beautiful lady from Disney Imagineer. We put Chinese lyrics such as the translation of “Alice Are You Lost” and other lyrics originally written by Danny into the melody and make sure it really sounds great in Chinese. A lot of times you’ll hear directly translated songs sounding very, very weird after translation. This requires a lot of experience of the Chinese culture and customs along with musical experience of the tone, pitch and rhythm of each note and its relationship between other notes. We tried many different ways to avoid a common phenomenon in the Chinese music which is called “Dao Zi”, meaning the pitch of the notes will not violate or conflict with the tone of the Chinese words. I also had my female choirs friends at Beijing singing the melody in Chinese beautifully while we remote-recorded them here in Los Angeles. We also did a lot of tweaks during the recording session.

NM: Do you have a favorite genre of music that you love to write? You are obviously talented at composing many forms of music. But do you have a favorite style?

RC: Well…. It’s really hard to pick one favorite style for me as I’ve worked in a lot of different styles and genres. But my favorite one is the one that best supports the film. As long as the form of music can really do a good job to support the camera and film – that’s my favorite!

NM: Your career is most impressive and I have watched many of these films. However, I must admit that I have a fondness for “Kung Fu Panda”… Was that your first time writing music for animation? What did you enjoy most about this DreamWorks project?

RC: With this film, Hans Zimmer is the music composer while I worked alongside him as the Chinese music consultant. I offered direction and guidance on the Chinese instruments, Chinese musicians, the articulations and specialty of Chinese instruments. I also consulted on how to combine the instruments with Western orchestra music to the DreamWorks music team. I enjoyed turning the song of the last scene of “Kung Fu Panda 3” into Chinese and recording 40 amazing pop choir singers from Shanghai so when the film released, everyone was able to hear the final product of “animal” singing in Chinese happily in the end scene!

NM: Do you have any upcoming projects you’d like to highlight?

RC: I just finished recording with an orchestra in Nashville for a new animation feature I scored, and I’m also going to score some new exciting feature films, animations and TV series but due to NDA reasons I’m sorry to say I can’t disclose them right now.

NM: Lastly, I grew up reading the book “Joy Luck Club” by Amy Tan about four Chinese American immigrant families living in San Francisco. It’s a bittersweet, tragic and beautiful story that I still enjoy reading in adulthood. Since I was a child, I’ve always been fascinated by the history of China and I hope to visit someday. And of course when the movie came out I really enjoyed the soundtrack. My point in mentioning “Joy Luck Club” is because for years I’ve always wanted to learn more about the roots of classical music in China. But I never know where to start… Is there a book you’d recommend or a certain time period to study for those who want to learn about the roots of music in China?

RC: This is a great question! But frankly, I personally think the best book of Chinese music history or Chinese musicology is not in English but in the language of Chinese. Just like if you wanted to learn the western musicology: you’ll have to read that greatest musicology book in English. When I was in the Conservatory of Music, there was a school book called “History of Chinese music” which nearly covers all different kinds of music from pre-Qin Dynasty times, to Tang Dynasty music, to Qing Dynasty and even modern music of China. It also covers the musicology of a lot of different areas of China such as the music from the north of China – which is so different from the south of China. Music from HeBei Province is also so different from the music from the ShanXi province or the ethnic Uygur group in Xin Jiang areas. I have this book in my Beijing studio and I’ve always wanted to purchase a English-translated version to keep in my Los Angeles studio. Without any luck, I Googled and searched Amazon and didn’t find this book or any book just as great. Maybe some book publisher could work with me to translate a classic book into a new one in English. For those who want to learn about the roots of music in China, most people will probably say the Tang Dynasty is the best time period to study as it is one of the most brilliant time for all kind of arts. But I would personally recommend the eras around the Qin Dynasty such as the Three-Kingdom era, Warring States period, etc. If you research it and dive deep enough, you’ll see music in those ages are clearly fundamental not only to Chinese music, but also to the music of the Eastern world.

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www.rocchen.com

‘Unsolved Murders: True Crime Stories’: a podcast series launched by Parcast

max cutler

Photography provided by Parcast Network.

June 27, 2016— “Unsolved Murders: True Crime Stories” released a thrilling, new podcast episode this week titled “Lights, Camera, Murder”. “Unsolved Murders” is a recently launched podcast series Produced by Parcast and co-Founded by Max Cutler and Ron Cutler (son and father). Parcast created this multi-dimensional podcast network as a flagship series with an acute focus on cold case files. The first three episodes of “Unsolved Murders” pertain to “The Axeman”, a serial killer in New Orleans. And the second series of podcasts within most recent episodes revolve around “Hollywood’s First Murder”. Please bear in mind these episodes are not intended for children—the podcast contains a great deal of graphic and bloody details—therefore viewer discretion is strongly advised. Nonetheless, “Unsolved Murders” is an enticing and haunting mixture of a classic radio show, a theatrical script and a murder-mystery-book-on-tape that morphed into the form of a modern day podcast. Narrated by Carter Roy and Wenndy Mackenzie, “Unsolved Murders” combines the beauty of audio and sound design with the articulate eloquence of literature and storytelling. The professional sound effects, dialogue and delivery within each episode of the show are compelling—and the audio is very clear and precise to the ears. Listeners can almost hear the amount of time, heart and energy that Parcast’s talented crew of employees dedicated into this podcast just by the quality of presentation and sound.

Reminiscent of a riveting and spooky time machine, “Unsolved Murders: True Crime Stories” take us back, safely, to mysterious cold cases like The Axeman from the 20th century in New Orleans when his murderous and diabolical rampage in Louisiana began. Actors and a sound crew portray all the voices of the witnesses, the victims, the locals and the police. The footsteps in the dark and the screams in the night. The audience can feel the fright, and yet the lovely melodies from the jazz era that trickle in throughout the podcast add a sense of playfulness and lightness in the midst of a dark, heavy story. Listeners come to know the presence of The Axeman by the bone chilling audio of his weapon hacking into flesh and bone after carving his way in the back door with a blade. Even though the murderer is a mystery, the audience comes to learn about his obsession for jazz music and the fact he was a deranged man who believed he was inhuman. And by the end of “The Axeman” episodes, the narrators swap theories as to who they believed to be the violent serial killer.

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Max Cutler, Co-founder and President of Parcast, consented to a phone interview in June 2016 with Arts & Entertainment Writer for Examiner, Nicolette Mallow to discuss “Unsolved Murders: True Crime Stories”, the launch of Parcast and The Axeman of New Orleans.

Nicolette Mallow: Will you tell me about your love for radio and storytelling? How did this all begin from childhood to adulthood?

Max Cutler: I’ve always loved radio and I was born into it. But I remember when I was 4 to 5 years old that it really became part of me. My dad (Ron Cutler) worked in radio and operated 12 national radio shows when I was growing up called Cutler Productions. His company was also the #1 in comedy. However, my love for storytelling happened as I got older and then I grew an interest in true crime and mysteries. Looking back, my dad had a profound impact on my career. He was also a storyteller that wrote a novel titled “The Secret Scroll” … As an adult I wanted to start my own company and I wanted to pursue the entertainment business. Obviously I love radio for many reasons but what I hope to gain from “Unsolved Murders” is not only to share crime stories and top quality audio productions, but I want to bring people together and help take away the daily stress of life. People are very stressed out sometimes and to help lessen the stress of others in the form of radio and storytelling for 20 minutes, or an hour, is a very good thing. Its important to relax and unwind.

NM: Will Parcast and its podcasts networks focus solely on “Unsolved Murders” or do you and your team intend to cover and produce other topics of interest?

MC: “Unsolved Murders” is the first show but there will be five to seven new shows within the next year that cover other topics than cold cases, such as education or history. We started with this genre because I love mystery and true crime stories 100%. And there is also a large community that appreciates cold cases. So from a business standpoint it’s also a hot topic that has a market. “Unsolved Murders” is about my passions and entertaining the interests of others… Parcast came to be so that we could take audio and radio to the next level. There are many great, high quality podcasts out there that are up to par. But a large majority of the podcasts these days are lacking in sound quality and production with a lot of holes to be filled. Parcast has the most talented crew working with us and I am so grateful for my team that my father and I assembled. The whole company is very gifted and talented. We spent a lot of time searching and recruiting voice actors, writers, and we have a great digital engineer (Ron Shapiro) that brings the sound of the axe to life. It took about 3 to 4 months to get it right, but we are just very overwhelmed and excited about this start. “Unsolved Murders” already ranked #5 out of 300,000 podcasts. It’s just a really humbling experience and we all look forward to the future.

NM: “Unsolved Murders” begins with the story of “The Axeman” and all the podcast episodes about this cold case are so captivating. I didn’t want to stop listening to the audio. Although I admit I probably will not listen to the podcast right before bedtime. Anyway, the sound quality is amazing and I love the voice actors and the narrators. Y’all did a great job and I look forward to more episodes… How did you come to hear of The Axeman?

MC: Thank you. I am glad you enjoy it and I appreciate the compliments… The Axeman is ranked among the Top 10 serial killers to never be caught. Our podcast focuses on serial killers and cold case crimes that aren’t as well known as criminals like Jack The Ripper or The Zodiac Killer. We didn’t want to focus on the commercial cases the media already had a field day with. A lot of research lead me to the launch of this series about The Axeman. Another reason I chose this story is because it gets me upset when someone gets away with a crime and justice is not served, so this podcast is also a way to never forget the case. It’s just a very interesting and scary story about a clearly deranged criminal.

NM: Yes, he is very deranged. That episode entailing the letter written by The Axeman to himself and when its read aloud in that sinister voice on the podcast. The letter he wrote to the police. It was very creepy and disturbing how he claims that he is a demon, inhuman. And The Axeman even writes the return address as being from ‘hell’ just like the infamous Jack The Ripper… Did people really believe this guy was a demon? And was it ever made clear why he demanded people go to jazz halls and listen to jazz music in order to be spared from his axe?

MC: Actually, yes, many people did believe he was a demon. And many people even thought The Axeman was somehow Jack The Ripper manifesting in another continent at another time. You can’t make this up! We have to remember this is the early 20th century in New Orleans, a very superstitious place. When the newspaper in New Orleans published his letter in 1919, locals and immigrants were terrified and became very scared of this ‘inhuman’ criminal. Which is why most of the city went out that one Tuesday night to listen to jazz music at “12:15 earthly time” just as The Axeman demanded. However, there is a common theory that perhaps the The Axeman was actually a musician and needed to get paid. Regardless, The Axeman had a sense of control over this town and the fact he was never convicted only added to the stigma that he was supernatural. It was a huge topic all around Louisiana and a #1 hit jazz song about The Axeman was written about him.

For more information about “The Axeman” series, Parcast network and the podcast “Unsolved Murders: True Crime Stories” please visit their website, iTunes or SoundCloud. (The podcast is also available on Google play for those with Androids.) Stay tuned and subscribe to receive the latest information of new episodes and upcoming shows.

 Note: This article was originally published on Examiner.com in June 2016.   

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Letter from the Axeman written to The New Orleans Police Department. March 13, 1919.