Indie Music Women

Giving a voice to women in the indie-music business

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Featured Artist of the Day: KRISH

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Indie Music Women’s Featured Artist of the Day is…

KRISH (@heeykrish)⠀
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KRISH is a singer, songwriter, and producer based in Frankfurt, Germany.⠀
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When she joined a gospel choir as a teenager, she didn’t know that, ten years later, she would write, compose and produce her own songs. In 2015, she uploaded her first attempts to YouTube and SoundCloud. Now, five years later, she is far in excess of being an amateur-home-studio-musician who likes to make songs for her friends. She wants her voice to be heard by anyone who can relate.⠀
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Inspired by BANKS, Beyoncé, Kendrick Lamar, Nao, Morcheeba, Sinead Harnett, XXXTENTACION and the Red Hot Chili Peppers, KRISH blends Alternative Pop with contemporary R&B. Under the pseudonym SirenSounds, she also delivers her own type beats that can be purchased on the producer platform BeatStars. Additionally, KRISH writes and produces songs for her closest friend Anice who enjoyed a classical musical education and always encourages her to sing and to show the world that she sings.⠀
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Outside of the music industry, KRISH is a teacher with the objective of raising awareness of injustices and educating herself and others about racism and sexism.⠀
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KRISH shared with me what it means to her personally to be an indie music woman:⠀
“Being an indie music woman artist means to me that I have the freedom to choose how I want to express myself as an artist. I do not have to bow down to anybody’s sexist expectations or to sell my body or to play dumb in order to be “successful”. I feel successful already because I work hard on my music, not only writing heartfelt lyrics or melodies but also producing and mixing my beats in a business dominated by men. Just as the community is full of role models for me, I want to be both a respected and respecting role model for others, too. In order to achieve this, you have to respect yourself first.“⠀
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You can hear KRISH’s single, “Blind” on the Indie Music Women’s Spotify playlist.

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Interview with Producer, Rocker, DJ Ali Stone

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Ali Stone on her new song “Oculto”, her native country Columbia, and her future.

Patrick O’Heffernan

(Los Angeles) The classically-trained Colombian producer, multi-instrumentalist, singer/songwriter, and DJ Ali Stone, is constantly surprising and fascinating. She has released terrific albums and songs, entertained huge crowds at festivals like the Electric Daisy Carnival, composed movie soundtracks and remixed top artists.  She won a CDA award, opened for Justin Bieber’s Purpose World Tour, and her self-produced, engineered and mastered debut album “Sexto Sentido” reached #1 on the Electronic Chart. Now living in Los Angeles she is writing songs, touring, and working with the international campaign “Women Working for Women”, to promote gender equality on male-dominated jobs – especially music production. Her new song and video “Oculto” is both a continuation of her excellence in music and a different facet of who she is — and a hint of her future direction.

Patrick.  It is great to see you again, and thank you for having me in your studio and in your inner sanctum.

Ali. You are welcome.   Yes, my studio- all the music comes from here. All the songs are created here.

Patrick. Let’s talk about one of those songs and the video that goes with it. – the new song, “Oculto”.

Ali. Yes, “Oculto” is my new song.  It’s part of my new CD, En Mis Manos. It is a song inspired by Columbia culture and Columbian music.  I wanted to show those songs that are hidden in Columbian music.  I wanted to showcase the other sounds of Columbian music because people associate Columbian with just one kind of music and there are many kinds.  I am showcasing other sounds that are part of my identity. I mixed many different sounds with my electronic sound and my vocals so they say “show me what is hidden inside” and they basically show what is inside of me and Columbia.

Patrick. So there is more to Columbian music than cumbia?

Ali. Exactly! Much more.  If you drive an hour in Columbia you will experience new music, new food, new accents.  That is what I love about the Columbian people and Columbia itself. It is a very diverse country and I value that.

Patrick. “Oculto” the song is a precisely crafted dance song – something you are famous for.  It utilizes your voice in several different ways. the up close line in Spanish about the middle of the song, and then you are looped and accented by a violin. Are you just sort of playing with your voice?

Ali. I decided to use my voice is an instrument on this song.  I had that little break where I am talking intimately to the audience, and I had some vocals going on in the back and me playing piano, singing my own words – the piano and the vocals are the like the same,  and then looping.  It is that same concept of “show me your hidden inside”.  I feel like now, with Oculto” I really know how to use my voice, to make it an integrated element of the song.

Patrick.  To me, the result is it is both ominous and sensual.  Was that your intention?

Ali. Yes…I wanted to give that kind of vibe, like a darker side.  It has a duality. The audience can play around with it.  They can interpret it…they can play with their perception.  It is not what I am telling them, it is about their perception. 

Patrick. That has always been part of your music – open to interpretation. 

Ali. Yes. I always keep it that way. That is how I appreciate art, ever since I was little. With all kinds of music – pop, rock, even with painted art like the works of Monet or Van Gough. I love them.  You can have your own conclusions from their art.  No one has the absolute truth – in the end, the audience can complement the value of the music.

Patrick. I love the drumming, it really hits you in the gut. Is that your drumming on a loop?

Ali.  (Laughing) Yes. Absolutely.  In all my songs I play the drums.  I tend to play the drums and then overlay them on the songs. For example, for the snare, I have 5 snare sounds that I can overlap to make something else,  a new sound. I love to play the drums and I love to improvise, to let myself go with the vibe of what I am making. This happens with my guitar…I usually improvise solos and then it is like my soul is talking and I follow what my soul and heart are saying and make my brain learn what they are saying

Patrick. The video is really sensual – it is not an Ali stone I have seen before…sensual, sexy,  – far more than “Obsessions” or En Mis Manos. This is a high style, totally sexually out there and in control.  Is the new Ali stone, or has it always been there under the space suit?

Ali. It has always been there, but it is a new Ali Stone era, a powerful woman, fully embracing my inner power.  The power is already out, bringing my girl power into everything – my music, my image, my video.  I have always been there. I love superheroes.  I want to show that strength – I am powerful not with what I am wearing, but with who I am.

Patrick. You are credited with the music and the video.  You worked with Craig basket of raw Forest Media.  How did that come about?

Ali. We met last year at a show and I showed him my music and he said let me know when you have something we can work on together.  When I created  “Oculto” I felt this was the song we could join forces on.  We worked on it together…we saw we could play around with our creative mind and make something like a fashion film, a video.  In the end, it was about the meaning of Oculto.  It gave us a lot of space to play around with the audio-visual stuff and to allow a lot of interpretation because it is such a minimal song. He and his team were amazing;  everyone, the team,  the models and the crew.  The dancers were the perfect people for what Craig had envisioned. The choreography was very precise. We shot it in New York and it was a lot of fun.

Patrick. Does “Oculto” represent a different direction for you?

Ali. I would say it is like a different facet like the EP I just released, En Mis Manus, which has a little bit of darkness to it. But it also shows my Columbian identity.   I am very proud of my Columbia heritage and I can show people that these are also Columbian sounds.  In the end, it is part of who I am and the sounds I have in my head and I get to play with them in.

Patrick. Why are you in Los Angeles instead of Columbia?

Ali. Because of my work as a producer and songwriter.  In that, there is more work here in LA…there are more artists to collaborate with.  And unfortunately, Columbians can be very sexist.  When I  was in Columbian, a lot of people told me that I shouldn’t be producing and that no one wanted to see a woman who could do everything…they were intimidated. That was so weird…a man actually asked me to prove I was a producer.  I had to leave that to reach my full potential.  In LA people are open to a woman doing everything – writing, playing engineering, mastering – everything…it is the place for me to use all my different skills.  Women will come into their own – people will realize what women can do.  There are so few woman producers, but it will change.

Patrick. You spent time at the first all-women Nashville songwriting camp produced by She Is The Music.  Can you tell us about it and how it influences your work?

Ali.  It was amazing.  She Is The Music is amazing too.  I got to work with so many amazing women songwriters…we did R&B rock and hip hop and country for a week. It was really nice to explore a little of Nashville – a very musical city.  I did write a country song for  The Sisterhood Band  People said it was strange seeing a Columbian doing a country song, but it was fun and it worked well.  It’s for their new album…you will be able to hear it on their new album.

Patrick. You work with organizations that try to make more space for women in music.  Tell us about them and what you do..

Ali. Women Working for Women began in Mexico with a campaign of having different women talk about their power in society.  Then it extended into other countries and into other things besides music.  It has been super cool to be exposed to these women as the organization expands into more and more things. I love to let other people more aware of what is happening with women in music.

Patrick. So what is next for you….you will be promoting “Oculto” and the other songs?

Ali. “Oculto” is another facet of who I am because I don’t like to stay in the same lane…I like to do the unexpected.  It is more dynamic and fun.  I like to play around with many sounds and put them into music that is me.  I have many tools, guitars and producing and drums…I want to give people so many things but in the end, it sounds like me.

Patrick. Thank you so much, and thank you for the studio tour.

Ali. Always a pleasure, Patrick

Patrick O’Heffernan Host, MusicFridayLive! 

Ali Stone: http://alistonemusic.com/

Full Interview with Ali Stone at her studio:

Private Tour of Ali’s LA Studio:

Discover Award-Winning Songwriter/Composer Lisa Brigantino

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Lisa Brigantino
Lisa Brigantino / Photo Credit: Trudy Gonzalez

Singer-songwriter Lisa Brigantino is an award-winning artist and a music business veteran who very successfully manages to execute dual roles as both an accomplished independent musician and businesswoman. Lisa holds a Master of Music degree in music composition and music theory from SUNY Fredonia and composes for film, TV, theatre, dance, advertising, and new media, as well as being a multi-instrumentalist and producer. She also is one-half of “The  Vickie & Nickie Show”, a music-comedy act she performs with her sister.

As a former original member of Lez Zeppelin, the world’s first all-female Led Zeppelin tribute band, Lisa toured the world for 6 years with them playing bass, keys, mandolin, and performing back-up vocals. She co-wrote two of the original songs on the band’s 2007 self-titled debut CD which was produced and recorded by the legendary Eddie Kramer. During her time with Lez Zeppelin, the band received many rave reviews and played at many top venues and festivals internationally, including headlining The Bonnaroo Music Festival in 2008. Lisa left the band in 2009 to pursue her own original music.

Lisa has spent over 25 years on the business side of the music industry working in music supervision, talent acquisition, branding, and rights clearance. She provides these services through her own company called Hidden Pond Productions, Inc. to many different clients including brands, corporations, filmmakers, broadcasters, and ad agencies. In addition, Lisa consults with composers, songwriters, and musicians.

Her latest album, I’ll Waltz Before I Go, released in October 2018, was co-produced and arranged by Lisa and her husband, Thomas Millioto, who also recorded and mixed it. The 13-track album is comprised of her eclectic original songs that cover a variety of genres including Folk, Americana, Country, Pop, Roots, Old-time, and Rock. Lisa showcases her skills playing the majority of the instruments on the album from guitars, bass, keyboards, accordion, and mandolin among others.

Lisa is currently working on getting her music placed in film, television, as well as continuing to write. She is also touring with her sister Lori to support I’ll Waltz Before I Go.  Visit http://lisabrigantino.com/upcoming-shows/ for more information.

I recently interviewed Lisa in-depth about her latest album, her production process, managing being an independent artist and a businesswoman, her experience in Lez Zepplin, the Vickie & Nickie show, Hidden Pond Productions, her musical influences, and so much more.

Congratulations on your third solo album I’ll Waltz Before I Go. What is the theme or concept? What inspired it?  

It’s been my trademark to release albums of my original songs in a wide variety of genres and arrangements.  The songs on my new album span many years, too.  I wrote some of the tunes back when I was in college and others were written more recently. A few years ago, I wrote a song called “I’ll Waltz Before I Go” after I had gone through a period of time where I lost several people close to me.  The loss of these people got me to thinking about my own mortality.  There aren’t many upbeat, positive songs about death, so I decided I’d write a joyful song with gratitude to life and acceptance about making that final transition. After I finished assembling all the songs I wanted to put on the album, “I’ll Waltz Before I Go” just naturally rose to the surface as the title track and it ended up being the perfect way to tie all the songs of the album together.

What do you want listeners to come away with after hearing it?   

I’d like listeners to take a musical journey through the tracks which lyrically and musically reflect on life’s ups and downs – and arrive at the end of the album and title track with a sense of peace and thankfulness for having lived a full life.

The album contains original songs in genres ranging from Folk, Roots, Americana, Old-Time, Country, Pop, and Rock. Why not write songs in one of the genres? How do they complement each other? What draws you to each of them for your songwriting?  

I love many genres and styles of music.  From a writing perspective, sometimes certain lyrics feel like they’ll get their point across better if they’re in a particular genre.  I also play a number of different instruments and some of those may speak to one genre over another.   I’m not someone that listens to one genre of music – and I don’t think most people are, either.  So, why should I only write songs in one genre?   I’m an indie artist – self-produced and distributed – so I don’t have a record company telling me I can only do a Folk album or only do a Rock album.   I think the diversity of the genres I work in complement each other and provide variety to my albums.  The through-line through my songs is my voice, musicianship and production value.

 I give my listeners a good deal of credit and believe them to be much more sophisticated than the music industry would tell them they are – and trust that they are able to handle hearing a Folk song followed by a Rock song followed by a Gypsy-Jazz tune. 

Explain your production process.    

My husband Thomas Millioto is my co-producer and engineer.  He’s a wonderful musician and went through the sound recording program at SUNY Fredonia and has a Doctorate in classical guitar performance from SUNY Stonybrook.  He’s also a fantastic electric guitar player.  Many of my songs start out as acoustic guitar or piano-based songs.  They’re initially arranged so I can perform them on my own or with my sister when gigging. When preparing to record these songs, Tom and I do pre-production.  We decide what is going to serve each song best beyond how they already exist as more sparse arrangements – what kind instrumentation and orchestration to use, what kinds of sounds we want, what kind of mics and amps to utilize.

Our arranging and production process is very collaborative.  We do basic tracks first, usually with a scratch vocal, and build from there.  I play most of the instruments on my albums, but we also bring in guest musicians, too. For instance, Tom played electric guitar on the new album, my sister Lori Brigantino did additional vocals and played ukulele and foot tambourine, my friend Susan Haefner did additional vocals, and Gus Morgan, my old Lez Zeppelin bandmate (drums) did hand percussion on the opening track “Watching the Ducks.”

Congratulations on your song, “I’ll Waltz Before I Go” being chosen for the 2019 Singer Songwriter Cape May music conference compilation CD. Can you tell us more about the conference, the CD, and how the songs are chosen for it? 

Singer-Songwriter Cape May is a music conference for songwriters with industry workshops during the day and then performance showcases at night throughout the town of Cape May, NJ.  I was selected to showcase at the conference and my sister Lori joined me.  Lori is a vocalist and multi-instrumentalist and often performs with me.  As part of being one of the songwriters that were selected to showcase at the conference, all the writers were given the option of submitting a song to appear on the conference compilation CD that would then go to industry people, showcase attendees, radio stations, etc.  I decided to submit.  Out of 250 entries, “I’ll Waltz Before I Go” was one of 18 songs that ended up on the compilation.

Your song “I Gotta Find Me Somethin’” was used in the opening sequence of the romantic comedy “For the Love of George” which won the Audience Choice Award and Top Female Filmmaker Award at the Chicago Comedy Film Festival. Tell us more about how that opportunity came about.    

I don’t remember how I initially connected with Nadia Jordan, the writer, producer, and star of the film, but I’d heard she was looking for music for her film. I reached out and submitted to her and “I Gotta Find Me Somethin’,” a fun, old-timey song with three-part vocal harmonies (with my sister Lori and friend Susan Haefner on additional vocals) was selected for the opening sequence, which is a hallowed spot when you’re trying to get music placements in films.  “For the Love of George” is now out on VOD and the soundtrack is available on iTunes. There were a lot of women on the production team for the film, so I was really honored to be a part of the project.

You have over 25 years in the music business along with having a successful music career. How do you manage to be both an independent musician and a businesswoman? Which career came first and how did you get interested in it? What are the advantages and/or disadvantages of having both careers?

First and foremost – I have developed really great time management skills. Plus, I’m a Gemini, so I like to think there are two of me!   I’ve been making music since I’m a child and studied music in college.  I have a Bachelor of Arts and Master of Music degree in music composition and music theory from SUNY Fredonia.  After I got my Masters, I moved to New York City to pursue writing and performing.  I needed a support job and decided I wanted to do something related to the music business and took a position at a rights clearance company where I learned all about rights and permissions for the use of music, talent, film clips, photos – just about anything that’s copyrighted or otherwise protected – in all kinds of productions including film, television, advertising, corporate usage.

Balancing both careers was much harder early on because I was working full time for other people and squeezing in making music at night and on the weekends.  Now that I have my own business, I have much more flexibility with my time and can decide when I want to work on my business and when I want to practice, compose or take a few days to go on the road and play shows.  I don’t have to ask anyone’s permission to leave town, and it’s the best feeling. 

The wonderful thing about being involved in both the creative and business side of the industry is that each one informs and benefits the other.

 For instance, my background in the business has only made me wiser to my rights as a songwriter and musician and has given me the opportunity to pass that knowledge on to others.  My skills as a songwriter, composer, and a musician have helped make me a better music supervisor and also allows me to provide custom music scoring services to my clients.

Tell us about the genesis at Hidden Pond Productions. Was there a specific event that prompted its formation, or just a general interest of yours?How did you develop the business acumen to enable its success? How did you manage to onboard your first few clients?  

I had been working for a number of years at a rights clearance/music supervision company that I co-founded (this was after my first job in the business).  While I was doing this, I was crazy enough to join Lez Zeppelin in 2003.  By 2005, we were doing more and more out of town shows and it became clear that I couldn’t continue to work full-time and also be involved with the band.  I basically decided to run away and join the circus!  Leaving my full- time job was scary, but it was one of the best decisions I ever made.  I went on the road with the band but also started doing music supervision, licensing and rights clearance on my own.  As long as I had my computer and cell phone with me, I could do the work from anywhere.  I’d be on tour with the band in Europe and still be able to service my clients.  I had some clients that followed me when I left my job in 2005 and little by little, I started to gain new clients, too.  In 2011, I incorporated my company Hidden Pond Productions, Inc. (Hidden Pond was the name of the pond behind our home where I grew up in Katonah, NY). Not only does Hidden Pond Productions supply music supervision, licensing, rights clearance services to filmmakers, broadcasters, ad agencies and producers of all kinds, as well as music business consulting for songwriters, composers and musicians – we also custom score music for film, television, advertising, etc.

Tell us more about The Vickie & Nickie Show, a theatrical musical/comedy act you have with your sister Lori Brigantino. How did the idea originate? What do you want the audiences to experience? 

Some friends of ours were doing live versions of the old TV show “Three’s Company” at a place called Freddie’s Backroom in Brooklyn.  They want to have 15 minutes of live music from the 1970s to start the performances off and they asked my sister Lori and me if we’d be interested in doing some music.   Lori had the brilliant idea that we should perform the music as characters.  She wrote a page of dialogue, told me I was going to wear a wig, a gown and speak with an accent, and Vickie & Nickie were born.  We play suburban housewife sisters from Minnesota who are on the road making music.  People really responded favorably to our initial little 15-minute musical spot and we realized we had something special. Soon after, we began writing our own shows. The act is self-contained and we play about ten different instruments in our shows.The shows are filled with quirky pop song arrangements, wacky original songs, improv, and audience participation. It’s great fun and a whole different experience being on stage as a character. We’ve written over ten shows to date and have performed them in venues in New York City and regionally.  We’ve also made appearances at comedy and variety shows as well as private functions. Vickie & Nickie have a naiveté about them that allows the characters to bring up any number of topical and newsworthy issues, but they are able to get away with it with smiles on their faces and without being preachy.  We want our audiences to be entertained as well as informed.  Your readers will appreciate that the act is totally indie and DIY – from writing and performing the show to booking the gigs, doing PR, assembling costumes and props, etc.  You can find out more about the act by visiting  https://vickieandnickie.com/

Lisa Brigantino with Lez Zepplin at The Fillmore, NYC
You are a former original member of Lez Zeppelin, the first all-female Led Zeppelin tribute band, playing worldwide at A list venues and even headlining at Bonnaroo in 2008. Why did you leave the band after 6 years? What did you take away from the experience?

Being in Lez Zeppelin was an amazing experience and I’m forever grateful for my time in the band.  I was the “John Paul Jones” of the band and played bass, bass pedals, keyboards, and mandolin.  Learning to play the parts of John Paul Jones really honed my musical chops – at the same time, it was exciting to also make the parts my own.  It certainly kept me on my toes switching between instruments night after night.  Being in the band allowed me to travel around the world, too, which I loved.  It was gratifying for me to be an integral part of the project from day one – from the very first rehearsals and playing small local gigs in New York City to ultimately touring internationally, playing major music festivals like Bonnaroo and doing an album with the legendary engineer and producer, Eddie Kramer, at Electric Lady Studios. I was a songwriter and composer long before I joined Lez Zeppelin, but there wasn’t much time to work on any of my original music during the 6 years I was in the band.  In early 2009, it just felt like it was time to leave and prioritize my own music.

You performed with Terre Roche, a founding member of The Roches, at “If These Walls Could Talk” a Tribute to The Bottom Line (Schimmel Center, NYC). Describe the experience of performing some of The Roche’s classic songs with her.

Singing the music of The Roches with Terre Roche is one of the musical highlights of my life.  My sister and I have been listening to The Roches since we were in high school.  I’ve always been very influenced by their music and credit them with being songwriter “mentors” of mine – particularly Terre’s writing. For my sister, Lori and I to be asked by Terre to join her on stage was a tremendous honor. Getting to know Terre and call her a friend has been even better.  She’s one of the kindest and most generous people I know.  Since The Bottom Line tribute, we’ve all done some more performances together, and Terre will be making an appearance on my upcoming album release show at The Cutting Room in New York City on Saturday, May 18th.  On Friday nights in May and June, you can find us down at Battery Park City participating in the Sunset Singing Circle that Terre leads.  It’s a fun, free, sing-a-long that takes place as the sun goes down over New York Harbor.  I usually show up with my banjo!  Visit: https://bpcparks.org/event/sunset-singing-circle-5/2019-05-03/ for more info.

Explain your songwriting process. 

First of all, it really helps me to have a regular time set aside to work on songwriting and composing.  I schedule it in my calendar like any other important appointment.  In terms of my creative process, I take several different approaches to songwriting.  Sometimes I’ll get a lyric idea first and that will help to generate the rhythm of a melody. Sometimes I’ll start with a musical idea, melody or progression or rhythm and the lyric will come later. Sometimes I write with a harmonic instrument – either a guitar or keyboard – sometimes I’ll just sit down with some manuscript paper and write. I always have manuscript paper with me – even when I’m on the subway.  Yes, there are moments when some songs feel like they write themselves and they come very quickly, but to me, writing music is a craft.  It’s not about waiting for a lightning bolt of inspiration to hit. It’s about making the time and doing the work. Having to often compose, record and produce music on tight deadlines for my clients, I really don’t believe in writer’s block.

Who are some of your musical influences and in what ways specifically do they inspire your music?  

My musical influences are all over the board.  I’m influenced by and have learned from the counterpoint of Bach, the harmonic language of Beethoven, Gershwin, Chopin and Bartok, the clever songwriting and vocal harmonies of The Roches and then there’s Louis Armstrong, Joni Mitchell, The Beatles, Cole Porter, Bix Beiderbecke, Hank Williams, Mountain, Cream, The Dorsey Brothers, Elton John, Patti Smith, Ella Fitzgerald, Linda Ronstadt – the list goes on and on.   I’m going through a period now where I’m particularly fond of the 1920s and 1930s jazz and that definitely shows up in my original songs like “I Gotta Find Me Somethin’,” “Cookies & Whiskey,” and “Last One to Leave the Party.” 

Good music is good music – no matter the genre – and I try to absorb and learn as much as I can from the composers, songwriters, vocalists, and instrumentalists that speak to me.

Do you think there are too few women producers in the music industry? Why or why not? If yes, how can that be changed?  

Like any field that has been male-dominated since its inception, there are far fewer women than men working as producers and sound engineers. I know that more women are moving into those positions but we still have a long way to go.   One thing that can help change this is to get girls and young women interested in these types of career paths early on and educate them – which is why organizations like SoundGirls, which was started to empower women in audio, are so important. When you take a look at the timeline of the history of the world, we’re just at the beginning of women claiming their own space and pursuing the career paths that fulfill them, whatever those paths may be.  I’m optimistic that it can only get better.

How do you think women can be better supported for success in the indie music industry?  

I think organizations like SoundGirls, Female Entrepreneur Music and  Women in Music, Inc. really help.  I’m a past board member and currently serve on the advisory board of Women in Music, Inc. which helps to create a support system as well as educational and networking opportunities for women in all aspects of the music industry.  Indie artists and business people can learn a great deal by being a part of an organization like WIM.   The organization started in the 1980s with a handful of members and it’s now become an international organization with thousands of members in both the creative and business sides of the industry.   There are many other online groups and organizations now that support women in music, too.

What advice would you give women who are thinking about or actively pursuing a career in indie music?

If you’re thinking about a career in indie music or the music industry in general, I would suggest you do your research first. If you’re interested in the business side of things, find out about all the different types of career opportunities there are. Maybe you’re more geared towards working in music publishing. Maybe you’d be better off as a manager or a booking agent.  Maybe you really like the idea of putting music to picture and you’d like to pursue a career as a music supervisor.  Perhaps you want to pursue a career as a sound engineer or producer.  The Internet is chock full of information about what these different careers entail.  Talk to people that are already doing the career you may be interested in.  Get hands-on experience.  Intern, be a fly on the wall, learn by being submerged in the environment you want to focus on.

If you want to pursue a creative career as a musician, singer, songwriter, put in the time practicing, writing and honing your craft and skills to be the best you can be.  If you want to have your own business – look at the careers of successful entrepreneurs in indie music and learn from them.  Join organizations that provide educational and networking experiences within the industry. 

 Whatever you do, know this:  the music business is incredibly challenging, time-consuming and changes constantly. You have to have a passion for what you do and be in it because you love it, not because you’re looking for fame or a big paycheck.  It’s also important to surround yourself with people who support you and that you respect.

  I’m very fortunate to be able to work creatively with my husband and sister and other musicians that I’ve known for years who are close friends.

Lastly, don’t be a diva. Be on time for meetings and appointments. Show up to rehearsals with your music learned.  Be supportive of the musicians and industry people around you.  Be gracious, compassionate and joyful. And it may sound silly, but write hand-written thank you notes! 

Ultimately, the music business is a small business and word gets around quickly regarding how easy or difficult you are to work with. If you are impeccable with who you are, how you move through the world and how you treat people, you will continue to have work and long-standing relationships in this industry.

What projects are you working on for the rest of 2019?   

We’ll continue to do more shows in support of the new album.  I’d also like to release a single or two later in the year.  I’ve been focusing on getting my music placed in film, TV, etc., too.  Additionally, I’ve been doing more instrumental and choral composing lately.  I’m at the point in my life where I’m starting to think about what kind of legacy I want to leave behind.  I’m glad that the recordings of my songs will exist for posterity’s sake but I also want to create more music that people can perform when I’m not around any longer. 

Thank you, Lisa, for the opportunity to interview you.

Connect with Lisa:  Website |  Twitter  |  Facebook  |  YouTube  |  Hidden Pond Productions, Inc.  |  Vickie and Nickie

Buy/Download I’ll Waltz Before I Go on Lisa’s website, iTunes, andAmazon.Stream the album on Lisa’s Spotify page here.

Watch: “Cookies and Whiskey” from the album I’ll Waltz Before I Go.
Performed by Lisa and Lori Brigantino at Church Avenue Sessions, Brooklyn, NY.

The Motion Breaks Routine on Their Explorative Second Single, ‘Sleep Talk’

By

THE MOTION BREAKS ROUTINE ON
THEIR EXPLORATIVE SECOND SINGLE ‘SLEEP TALK’
LISTEN HERE NOW

(Photo by Barbora Mrazkova )

The Motion is the musical project of Non-Binary songwriter, engineer, and producer Penny Churchill. Originally from the Isle of Wight, the South London-based artist offers an emotionally driven, raw and dream-like presence to draw on deeply personal experiences.

New single ‘Sleep Talk’ follows The Motion ’s warmly-received debut ‘Hollow’, which picked up online praise as well as some air time on BBC Music Introducing Solent. Exploring themes of isolation and insomnia ‘Sleep Talk’ is a sonic representation of entrapment vs. freedom. Reflected in the weightiness of the verse’s eerie electronics and sharply delivered vocals, the comparatively airy chorus provides a fleeting moment of relief as washy guitars and carefully-crafted vocal melodies lighten the atmosphere.

The Motion explains: ”The track captures the mood of being stuck in a cyclical rut of routine. The verses are slow and sonically dark, whereas the chorus is directly contrasting with a warm, surreal feeling. This makes me feel as though, for a moment, I am elsewhere, somewhere with a more free and organic atmosphere in momentary bliss.”

** WATCH VIDEO HERE **

‘Sleep Talk’ arrives complete with a lyric video directed by Anxious Film Club, continuing the artist’s glitchy, DIY aesthetic.

“An emotion-strewn haze builds to a powerful swell of glitchy whirring hooks, creating a colourful slice of psychedelic electro-pop.” – Get In Her Ears

“If La Roux ever decided to go in a more industrial direction it would probably sound a little something like this.” – Rough Online

Live:

4th May – 229 The Venue | Great Portland Street, London
5th June – The Underbelly | Hoxton Square, London

Facebook | Soundcloud

For more info contact: Holly.majestypr@gmail.com

Getting to Know Award Winning Producer Lauren Deakin Davies

By

Lauren Deakin Davies aka DIDI
Lauren Deakin Davies

Music producer Lauren Deakin Davies has been in music and in bands since the age 10, beginning with a folk band made up of school friends and by 18, Lauren had become a music producer. She recently won NMG’s Producer of the Year Award in 2017.  At 22, Lauren is a studio owner with many production accomplishments that include 9 albums (6 as sole producer) of which 2 are award-winning, over 25+ EPs, and has produced or written 200+ commercially released tracks, to name a few. In March 2017, Lauren launched her project and campaign as a solo artist under the name DIDI (an abbreviation of Deakin Davies).

I recently interviewed Lauren about her music, music production process, women producers, and much more.

 

Congratulations on winning NMG’s Producer of the Year Award!  In your statement about winning, you said that it validated your work because for so long you didn’t know if you were good enough (as a producer). Can you explain why you felt that way?  

I think as someone who never properly studied music production it’s easy to think that the people around you are better than you or that you don’t actually know what you are doing. I also think it slightly affected me being surrounded by men who were so confident in what they are doing, and it makes you doubt yourself if you are not matching their level of confidence. Also I had achieved quite a lot of things which seemed to impress people before I was even 20 and sometimes people make you feel bad for being young and getting on with your life and some people also made me feel like I was being naive for believing that I could do what I wanted, to follow my heart as it were, and for being so enthusiastic. But it was my blind naive enthusiasm that made me get as far as I did! I remember walking out of school (and never returning) the day that the teacher who was head of sixth form said to me ‘get your head out of the clouds and stop believing that you could ever have a career in music’.

Being encouraged by other people in my life, to not believe in boundaries or limitations has continued to propel me in my career in this field.

I love music production so much and I feel so happy that I get paid to do this on a daily basis. I love learning and know I’ve got a lot to learn still and nothing anyone can say would make me not want to continue pursuing it as a career.

 As I’ve got a little bit older I look back and have remembered people implying things, like I only got various achievements because I was a young ‘pretty’ woman, rather than because I actually had any skill and that is very hard to ignore and at a subliminal level makes you feel invalidated, because it means people are not taking you seriously. I think it’s important to reflect on that and acknowledge it. So many things have happened since then (although it still happens every now and again) and now I am really being validated for my hard work and skill in this field by winning awards or getting the radio plays for my work, as well for being asked to sit on various music industry panels and run workshops and lectures, and I am still as such early stages so it’s very exciting to see what happens next!

 

Why do you think women producers aren’t taken seriously in the studio?  And is this possibly why there are so few of them?

I think in reality they are taken seriously (in the studio) because if you’ve got to the point when you’re in the studio and you’re operating the desk then people will assume that you are the producer. But also there are just not that many of us, and when they have seen women in the studio before they are usually the tea girls or receptionists, so it just takes an adjustment of mindset, as it’s a change to see women in positions of authority which they are not historically associated with. The main problem I have had in the past (not so much now) is that people don’t assume that I’m very good if they have no context, ie when meeting me outside the studio or at a music-related event, but I do think that is more reflection on the fact that I’m young, although I don’t think a guy would be getting the same amount of flack that I did/still do? I find whenever I am talking about music production I have to validate myself in the first few seconds although no matter what happens if you have a conversation about music production with me, you will realize within a minute that I am very serious about it!

 

How do you think this attitude about women producers can be changed?

 Often people say that there are not many women going into music production because there are no role models which I think is an interesting concept because, in reality, it would make sense! Although the lack of role models was definitely not a factor for me as I went into it because I loved music tech, ‘nerdy things’ in general as well as writing songs so it seemed like a natural progression! It didn’t occur to me that there were not that many women in music production until I was about 18 (and got my first BBC Radio 2 play for a track I had produced) and people kept asking about it. I’ve had a couple of interesting situations happened recently, one of which was when a girl came up to me and asked ‘how scary is it to be a female producer?’ and that kind of upset me, because I do think that an image is being painted that you have to be hard as nails or have a superpower or something like that to go into music production as a woman, where in reality everyone’s pretty kind and chill and most people who are producers are introverts anyway! I think it’s a very friendly environment to be in but you’ll just have to deal with some levels of sexism which I’m pretty sure that almost everyone deals with on a daily basis in other careers anyway! You don’t have to be particularly fierce to be in this industry you just have to really like it and commit all your time to it, lol! So I think with more women coming through it will change people’s attitude just because they will probably know a female producer anyway!

 
How do you think more women can be encouraged/supported to become a producer? 

I would say it starts at a much younger age where a lot of STEM subjects sit, so often women are not encouraged to go into more techie engineering roles and when it comes to the breaking point where they making a decision over things like their GCSEs and A-level or equivalent they decide not go down the music production route because that’s not a ‘girl’ thing to do.

I think it is more subliminal than an active decision and that’s why I’m part of various programs to help educate young people in the variety of roles in the music industry!

So yes, I can already see that more women are getting into production and being encouraged and championed, especially with studio gear getting much cheaper and therefore being more accessible.

 

Can you tell us about your production process? Do you go by instinct? Do you experiment with sounds? Improvise?

I think like most people you start with limited equipment and do the best you can with it. At least that’s definitely what happened to me! I had very poor equipment to start with and was using Audacity with my laptop microphone! I came up with some really interesting sounds and messed around with various feedback loops, smashing sounds through compressors, making drum sounds with the various inanimate objects in my room etc. I think those sorts of things are integral to how my production style has developed now because I still use techniques that I used back when I had a very limited equipment to make some more interesting unique sounds! I do think music production came to me quite naturally partly because I was a musician and I have been in so many studios as a recording artist. By the time I was 16 I had recorded 2 EPs with the band I was in, and I recorded my first EP for someone else when I was 17 and it was then that I learnt so much about working with other people.

I think so much about being a good music producer is actually being able to deal with people and making them feel comfortable so you bring out the best in them and help them shine.

I massively improvise with so much of what I do, and back in the day I only had one microphone which meant experimenting with different panning techniques and I quickly learnt about phasing issues where I double up tracks! I’m a massive nerd so I always loved working things out to make the sounds I like, doing it on my own terms which is why I never really got taught how to do this, I would just try things out and then consult my other music producer friends to see if I was on roughly the right track and most the time I was right. But my oh my, when I learnt to sum my mixes to mono, it really changed a lot in my mix process aha!

 

I read that you “have the ability to draw the best from a song and relax the artist”. Can you explain that process?

 Well, I think the first step is to make sure that you make the artist feel comfortable and make it a level playing field. I think some producers think they are more important than the artist and like to show it which is so damaging. I know so many artists who find it incredibly uncomfortable to be around an over domineering producer and ultimately they hate their recordings because they didn’t feel like they could give their opinion or that if they did it was going to get ignored anyway. I can’t tell you the amount of times that I have had specifically female artists come to my studio telling me about horrible experience that they had working with producers because they wouldn’t take them seriously. It’s like 8/10. It really angers me.

So I always try to ensure in the first moments that I show my respect towards an artist and they are the most important person in the room.

It’s done in lots of different ways but first off is just straight up listening to them and asking about their previous experiences. I will spend a large portion of the beginning of my first sessions simply talking to the artists I’m working with because although some people may seem like it’s wasting time, because you’re not recording, you save so much time in the future because you can make correct assumptions or decisions over the type of things that the artist likes. It’s also important because you know when to push someone or when to let something go because you know where their personal thresholds are and without that, you can’t get the best performance from someone. Also being in the studio as an artist means that you are incredibly vulnerable to other people’s opinions,  you are pouring your heart out in a performance and you need to make sure as the producer that you are creating a safe environment in which the artist is able to give the best performance they have ever given. And that might take a number of takes. And it’s vital that you don’t get impatient and show them that you are in this ‘til they are happy with the take. I think also it’s about having fun. I love my job and the people I work with so of course you’re going to have a great time when you spend time with each other! I’ve become such close friends with people I work with and you have to because it’s a very intense project, you might be spending a week with someone who is actually living with you (we offer basic accommodation and meals in our home for many female artists in particular), and before that week you might have only had ever met once and then you both have the best time ever!

 

You were drawn to the recording studio at a young age. What was it about the studio that was so exciting it made you want to become a producer?

I think, ultimately I am just a really nerdy person and engineering/gear/wires/buttons and effects make me really excited and happy, so it seemed quite natural to go into the engineering production side of things! I was also in studios from a really young age and was lucky to record at Universal Studios, Metropolis Studios and the local Cream Room Sound Productions studio as well as some others when I was 16 and that really firmed up for me that that is what I wanted to do! I wanted to be able to create songs and music and have a good skill of understanding of production!

 

What did you learn about producing when you built your own studio and started recording?

I tried lots of different techniques when I was working on my own studio, setting it up was a slow long process and even now I’m still always upgrading because I don’t think you ever really stop, especially if you’re a ‘gear head’ like me! When I started out I always made sure I immediately reinvested any money that I made back into my studio gear so the first EP I ever recorded I charged nothing so that I had something in my portfolio, then the next EP I recorded I charged £10 a song which meant that I had £50, with my own savings and bought a better microphone than from then I charged £20 a song and then £50 a song so on so forth until I’ve got to the point where I am now charging decent day rates (but with no additional studio hire charge as I have my own studio so that keeps me competitive price wise) but I always make sure my studio is running as efficiently and professionally as it can!

 

How did your session work for other people help you learn to produce? 

I think session work is a really good way to get experience because not only are you involved in other people’s recordings (so get to go to other studios you may not normally have the opportunity to go to) it also means that you get to see other engineers and producers workflow.

It also is a very strong discipline because you’re being hired to be professional with your instrument, you need to be very good at it and not mess up or mess around, it also teaches me how other people work so I can get in the headspace, which means that when you’re working with other people you have better people skills to communicate what you’re trying to get across and have a nice working flow. You also pick up new techniques and ideas all the time working with other people which is why I love doing it!

 

What led to you being hired at 17 as a lead producer on a project at Cream Room Sound Production? What did you gain from that experience?

This is one of those crazy situations and I’m so lucky to have met Martin Lumsden from the Cream Room. When I was about 15 I was busking with my friends on the street with our folk band and a random guy came up to us and said he really liked our sound and wanted to record our music. He then proceeded to write down his information on a napkin and hand it to us. I’d be lying if I said we weren’t a little skeptical but I’m so glad that we did try it out because after recording there for a while Martin really believed in what I was doing and asked me to work on Alexa Mullins’ first EP and I am so lucky to have had the opportunity!

 

Please tell us about your involvement with Red Bull Studios workshops that mentor women in music production. 

 Last July I was really lucky to be asked to present one of the engineering workshops at the Red Bull Normal Not Novelty sessions set up by Brandon Harding. Red Bull #normalnotnovelty are trying so hard to help women in music production and every month they put on workshops with three different classes on engineering, music production and DJing for women only, to help them improve at production and also give the opportunity to network with other amazing people within the scene in a safe non-patronizing environment. I felt really lucky to be asked to actually present one of these, bearing in mind 2 years before I had attended the event as a noob (still am lol!) and it genuinely changed my life because of the amazing producers there, such a Steph Marziano, who I had met at the one she was presenting 2 years before! I did not imagine that I would be asked to present so early in my career but am very grateful for the opportunity.

 

What do you see as the advantages of being both a producer and a musician? Are there any disadvantages or drawbacks?

I see almost only advantages because I have been a musician from the start I know what it’s like to be in the studio from that perspective, and how important it is to have validation and support from the producer. It also gives me an insight into how people are writing songs and also how you want to perform things. I definitely see myself as a producer in the sense that we create songs when we work together and obviously I’m engineering and having involvement in the arrangement as well, as that’s ultimately what you’re coming to the studio for, so that you can end up with something that you are in love with and you think it’s the best creation and output for the song that you have ever done. So I think being a musician I can get on the same wavelength with them and really try to make sure that that happens. The only potential disadvantage at the moment is the fact that doing music production does consume a lot of my time and obviously putting all of your energy to being a solo artist also takes up a lot of time so it’s hard work to find the balance – I’m always list creating and reprioritizing stuff everyday lol – but ultimately I think that being in both camps has contributed to my success so far by having the combination of the two avenues. And it’s insane the amount of people that I have met because of doing either of those activities which have directly helped the other.

 

What artists/bands would you like to produce in the future?

I don’t know if I can answer that question because I find it really cringe in case any of those artists see I have asked to work with them! Also, I kind of like it when it just comes towards me so I don’t have to feel self-conscious!

 

You launched an exciting solo project in March 2017. What inspired you to dive back into music as a solo artist?

I never intended to be a solo artist. I always loved playing with other people so it was a massive surprise to me when I did it! when I wrote the song that sparked it all off which was ‘Sorry’ .

DIDI by Howard Key 01
DIDI

I wrote and produced it with the intention of no one ever hearing it! But after I wrote and recorded it I decided that I didn’t completely hate it so I showed it to my mum and she said she didn’t hate it either and both of us just looked at each other, and we were like, ‘we need to work out what we’re going to do here’, so within a couple of days we had come up with the whole release plan and name and everything and then two weeks later from the moment I wrote that song I launched a whole project and campaign from that point. But honestly, I had not thought about anything before then. I think part of why the song worked was because it wasn’t intended for anyone to hear, it was purely for me and I think that kind of shows. At that stage, when I thought it was private, I was unselfconscious and I wasn’t worried what people thought of the song or the lyrics but now it’s out there, I definitely am now lol!

 

Your latest single ‘Back Off’ has a great in-your-face punk vibe to it. What was the inspiration behind it?

First off thank you! and there is a story behind it. I was on a late night train home from London on a Saturday and a drunk girl got on the train. She wasn’t really bothering anyone but she was talking quite loudly and she made friends with the girl next to her. Suddenly an older guy about three rows back decided to start screaming his head off at her telling her that she was talking too loudly, he then proceeded to start dissing her age, her ethnicity (his words not mine) and her education which really got me riled up! I was going to get involved to help the girl, but she had a sassy comeback for everything he said and it wasn’t necessary to get involved. I did ask her how she was afterward though and clearly had dealt with it before, which made me sad as well as angry. From that point I just desperately needed to pick up a guitar so as soon as I got home I wrote ‘Back Off’  and that’s how it came to be, but let’s put it this way, ‘Back Off’ is the radio edit name!

 

You have an impressive list of successful producing projects and now your own solo project. Do you love staying busy and how do you balance life/work?

Different type of work seems to come in waves and depending on the time of the year it does depend on how much production versus guitar session work/performing solo I end up doing. The summer is usually extremely busy for gigging because of festivals and the winter is solid with recording for everyone wanting to do their releases for the spring after which they will then be touring them. I can’t say that I’ve got my life work balance sorted because I don’t know if anyone really has! I seem to work 24/7, 7 days a week, but try to grab a few hours downtime when I can. I try to also prioritise time with my friends- I even give some groups affectionate names, and I love my girl gang, aka the ‘Blue tits 2k13’ (Long story).

I think it’s so important to make sure that you have got a supportive friend group and I try to factor in keeping in touch as part of my workday because it’s so important to have a network around you of people who understand you.

People who are in on what’s happening in your life so that if something bad happens they can completely understand. It’s easy to accidentally push people away because you’re too busy but you can really damage your friendships and yourself, but overall, yes I love staying busy cuz I love my job!

 

How do you see your producer/artist career evolving?

It’s so hard to ever truly predict what’s going to happen but I definitely do see both strands as something that go hand in hand and I would like to think that one doesn’t get brushed under the carpet because of the other! I feel like they are something that help each other, and I can see the potential for success! At this point I’m not seeing a limit, which might be to my detriment because it could end up being extremely difficult to make it work, but I like to think it’s all worth it in the end! I love doing music production and I think having a mix of both makes me so happy and keeps me on my toes, I see them evolving strongly together and I can’t believe how it happened in the past year so I’ve no idea what is going to happen in the next three years!

 

Do you have any interests you pursue outside of music?

Oh yes, do, but these days I definitely seem to be spread a little thin. I really love carpentry/woodwork and I’ve made my own ukulele in the past and half the furniture in the Den (my studio) are things that I have made anyway! I love making/engineering things, when I was younger I was really obsessed with robot wars and used to modify remote control cars with meccano sets and attack my dads ankles with them! I’m also quite into art and end up doing quite a bit of the artwork – logos, posters and EP art for example – for artists that I work with (as well as for my own DIDI aesthetic)! I also love extreme survival camping because you know that’s a normal thing to enjoy doing lol! (Bear Grylls has a lot to answer for!)

 

At 22, you’ve become a successful producer and artist. Would you consider yourself a role model for young women aspiring to do the same?

I think the expression role model gets used quite a lot and it’s progressively being used with reference to me which I find crazy! But also a complete honour! I think everyone is unique but if anyone can find something positive about what I’m doing and use that to encourage their own ambitions then that’s more than I could ever ask for. I have been asked to be a mentor for excellent London artist, MIRI’s School Ground Sounds project which I find very stimulating. To think that I could potentially be contributing to someone else’s success makes me happy beyond belief!

 

What advice would you give to women who are interested in becoming a producer and/or a solo artist or musician?

The genuine answer would be to have a business mind about it. You have to follow your heart about what you want to do but also be practical about thinking how you are actually going to achieve it.

Having a grand dream is amazing and you must use that for your motivation but you need to be aware of the stepping stones you have to use to get there, create a strategy, which can be adapted as needs dictate, and try not let that become too daunting and stop you from even trying!

You have to practice a lot too. Even the best people in the world whose music and production might appear to come to them naturally, are the people who do it all the time and keep on challenging themselves to improve.

If you want to get things done quickly, talk to lots of people, i.e. network. and tell them what you want to do and what you want to achieve (ie put it out there) but also be aware of what they want and find out how you could potentially benefit their lives or career. In this way you can create a really good synergy between people, generating a strong network which creates a safety net and also brings you more opportunities. Taking responsibility for your career also involves understanding what organizations like PRS, PPL, MPG, FAC, AIM, MPA, MMF … do, and how they can help you – all of which are under the umbrella of UK Music (if you’ve more than a three letter acronym you need not apply lol!) and of course, there’s so many more who support the emerging music scene. Getting involved with these organisations and putting yourself out there to get on their radar takes time and effort but leads you onto a path which can help you attract the right people to your team. You may not have a manager or a booking agent or a record label but if you know people that do all of the key elements that you can’t do, then you can create a team which is customised to play to your strengths and you’re going to be a lot stronger for it!

 

Thank you for the opportunity to interview you!

Thank you for asking me such in-depth questions, I feel very honored that you have asked me. I hope that I have answered the questions in a way that was somehow helpful!

 

© 2020, Indie Music Women