Spring King… the interview

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Quite often, I have listened to people lambast the very thought of forming a band, exclaiming with enthusiasm every problematic influx of issues, involved with being in a band.

They negate every debate possible, focusing upon the people politics, quarrels, and in my experience, the horror of scouting for suitable members; especially with modern equipment allowing music to be created alone, at home, in a suitable, simple and leisurely environment.

Layout 1I guess, having fun, hanging out with your mates and physically clattering around on stage your hand crafted songs still attracts many a day dreamer, and add this to the attraction of playing in a band assisting in the scoring stakes with girls, which a very unique appeal of its own.

‘I’ve known Pete the guitarist, since I was 14 years old. We went to the same high school and have been making music together for over 10 years. Andy was someone I met when I was a little older, maybe 16 or 17 years old.’

Significantly, it still lays the ultimate platform, as far as I am concerned of projecting a voice through opinion and not to mention the dreams come true scenarios of basking in the glory of headlining tours, meeting idols, and inspiring countless along the way.

However, It takes a certain recipe and flavour to lure the public to taste your musical concoctions and it is no accident that Spring King, a very cool bunch of lads from Manchester; formed as a small-scale, art-pop-punk project by drummer and front man, Tarek Musa have caused quite a stir.

‘The last year has been a lot of fun. We’ve had ups and downs along the way but we’ve enjoyed every moment.’

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Little over a year ago, the band had been playing the rounds of UK and European venues attempting to make waves, releasing singles and extended plays until the celebratory evening, Zane Lowe played the charging 2015 release ‘City’, which got beamed into 100 countries last June, as the landmark first track played on Apple’s Beats 1 radio service. Follow up single, ‘Who Are You?’ was launched at the end of 2015 and announced as the ‘hottest record in the world’, on Radio 1 by Annie Mac. It was then A-listed on 6 Music and placed on the In New Music We Trust playlist on Radio 1.

“I’ve had a lot of emails and positive tweets from people who have never heard the band before,” Musa said

The Apple beats gig proved to be a huge break for the band, leading to worldwide press hype, a deal with Island and an appearance on BBC2’s Later… With Jools Holland alongside Elton John, who personally requested a copy of their debut record.

‘’Elton didn’t offer any advice, but he really enjoyed our performance so we gave him a copy of our album!’’

Recorded in Lincolnshire’s Chapel Studios as well as 27-year-old Musa’s house, ‘Tell me if you like it’ belays a deeper, richer sound than in previous releases and almightily armed with a set of songs screaming to be played loud and danced too, until sun rise.

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We wanted this debut to be a natural progression from where that EP left off. We wanted to explore identity even more and on the whole the album was intended to be a coming of age record.

Most recently, the band flourished on the NME/ BBC RADIO 1 stage displaying an unnerved, controlled and natural performance, providing a wide eyed and unpolished excitement fans desire from young buck, rock and rollers performing at a festival. The performance served everyone a glittering glimpse, into the bands future, as potential headliners, which only heightens the excitement brewing around them.

‘’The astonishing energy and speed was kept up throughout the set, and was so fast and furious that even an Olympic sprinter would’ve struggled to keep up with the pace.’’

Catching up with the band, prior to an upcoming UK tour, I hoped to experience what it must feel like to be in not only Manchester’s but one of the world’s most promising and prodigious bands, whom are certainly taking Manchester, into the future after many years under the clouds of multiple legendary legacies of past glories.

NE.  Spring King began as a solo project by Tarek. How did you discover other members?

I’ve known Pete the guitarist since I was 14 years old. We went to the same high school and have been making music together for over 10 years. Andy was someone I met when I was a little older, maybe 16 or 17 years old. He skated at the same park as me and we met over skateboarding and a common love of metal and punk music. He didn’t play an instrument at all, that came later. James our bass player was someone we met when Spring King had already been going for a while…we had numerous line-ups but musicians were constantly changing and eventually James joined as the bass player. He’s been with us ever since and we’re now a settled band.

NE.  How has Spring King evolved?

Spring King started as a solo project and now it is a full band. The sound has changed with what I have learned about mixing and producing music. I’ve always wanted to make sounds as best as I could, and the limitation was always my knowledge of production and engineering, but over the years this has evolved. We are still the same four guys we were last year. We are very active with our releases and make sure to be hands on with the photos, videos and artwork. I feel like even though we are on a major label now, we still stick to the DIY way of doing things, being part of the big decisions and making sure we do this the way we always have enjoyed doing it.

NE.  Who are your influences?

Musical influences include The Clash, The Beach Boys, Ramones, Bruce Springsteen, Arcade Fire, Black Lips and TY Segall. Non-musical influences, I’m not sure, I like to read a lot…maybe the writings of Marcus Aurelius, Alan Watts and Noam Chomsky…

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NE.  How difficult is it singing behind the drums. Did anybody else attempt, or try out for the front man role?

We originally had a different drummer, but he had commitments to other projects. Playing the drums and singing was never intentional, it was something that happened due to not having a drummer and finding it difficult to find out quick enough. I used to actually play Bass and Guitar originally in Spring King! It can be difficult, especially when you’re al-ready tired before a show, but I always get a buzz and then I’m fine.

NE. You like to challenge yourselves, writing a song per day. What other musical challenges do you feel lay ahead?

The next challenge is writing more music and using whatever influences that inspire us in the future to create it. The next record we release will hopefully be different in its own way! The other main challenge musically is performing the album on tours, which I find very exciting!

NE.  ‘The Summer’ is your homage to Brian Wilson, why is he such an inspiration to you?

I didn’t really take a passion for song writing until I heard The Beach Boys. I’ve always written songs but never taken it seriously until around the age of 23 when I heard ‘Girl Don’t Tell Me’. After that, I kept listening to all their catalogue and slowly became obsessed. I realized on the surface a lot of the songs were about sunshine, parties and surf but dig deeper and there was a darkness behind Brian’s up-tempo ‘happy sounding’ productions. There was a moody undercurrent which swept me away and ever since, I feel like I’ve learned to understand his writing in much more detail. I’ve tried to take his energetic/up tempo approach to arrangements across into Spring King, along with the dark nature of some of his lyrics.

NE.  What challenges did you faced with ‘Tell me if you like to’?

We recorded ‘Tell Me If You Like To’ very much in the same way we’ve recorded our older songs. Luckily we received a grant from the PRS for Music Foundation who helped us gain funds to enter a recording studio. Apart from the small budget from the grant, we kept it simple, and I took the seat of engineer, producer and mixer on the album. We were in between two tours when the album was being recorded so didn’t have long to record it! The biggest challenge was making sure we got what we wanted out of those sessions but also learnt when to say enough was enough. For me this record was about capturing a moment in time as opposed to a perfect album that takes months upon months. That’s the way I’ve always approached recording our music. There’s a perception that maybe because we went into a studio we were perfecting things or over producing but it’s definitely not the case. I tried to challenge myself to record better than before and mix better than before, but it was an artistic desire to expand as a musician and engineer.

NE.  How has the recent UK tour gone down and are you looking forward to the album launch shows in Manchester and London?

Our last UK tour was incredible. In May we traveled to both familiar and unfamiliar cities and the turnout at every show was surprising! So many people came to our shows and gave us some great memories. The album launch shows will be a continuation of that tour, we have great fans and I know they’ll give us a great night!

NE.  This time last year you had no label, now signed to Island records, and embarking on headline tours, how does it feels?

The last year has been a lot of fun. We’ve had ups and downs along the way but we’ve enjoyed every moment. We have a lot of respect for Island who signed us without even hearing the album. They took a big step doing that, having the faith in what we do as a band and letting us do our thing how we want to. The single ‘City’ was a funny one be-cause that EP it was on (‘They’re Coming After You EP’) was only meant to have four songs on it but right at the last minute I wrote ‘City’ and put it on there! I’m really glad I did, because we’ve had so many positive messages from fans who enjoy the song.

photo-1NE.  The band is extremely DIY in many aspects. How important is this to the band?

We always have an active role in the creativity surrounding music videos, artwork, photos, and everything else. We are in every conversation, every email and always stay involved. We have always been like that and it’s not something we want to change. We’re also very lucky to have a label that are trust worthy, giving us our creative control. There’s a massive mutual respect. If you don’t stay involved with all aspects of the art then what is it that you’re presenting, and is it honest?

NE. What is the hardest part about being the producer for your band?

Learning when to be a producer and when to be a musician. In many ways the two over-lap and they have grown together since day one.

NE.  How did you decide upon signing for a major label like Island records?

We’ve had a lot of label offers in the past, from both independents and majors. Island were very honest with us and basically said they wanted us to do our thing. Surprisingly they wanted us to keep things the way we wanted more than the others that were interested in the album. What I liked about them was they had faith in us. They didn’t hear the album until it was ready to be mastered, which I felt showed their trust in us to deliver something we as a band were happy with first and foremost. If it wasn’t for them we wouldn’t be releasing this album perhaps right now, who knows. They have a huge level of knowledge and always advise or suggest ideas to us…it’s great to have an extended family!

I think labels still matter. Bands can do it on their own too, it just depends if you can find a way to release your music and get it out there in a way you are happy with. The good thing is there are just so many options in how to promote your music both via labels or DIY.

NE.  How long did you spend working on the record?

The album was recorded in 3 weeks. Some songs on the record such as ‘Rectifier’, ‘Tell Me If You Like To’ and ‘Take Me Away’ were also written in those 3 weeks whilst at Chapel Studios. We took it slow for some days, just soaking in the surroundings was inspiring enough to write new material whilst there!

NE.  Do you have any advice for young bands out there?

Make music that makes you happy whether its punk or pop or whatever you’re into and be proud of your art. Play as much as you can, both in the practice room and live. Take it slow and steady, give your self time to develop as a musician both as a songwriter and as a performer on stages.

NE.  What is the next step for Spring king?

We are going to tour as much as we can over the next few months, and keep writing more music. Lots more music basically.

 

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Culture, Lifestyle and Restaurants

Jared Stein_Cafe Front2

Through a Coffee Shop Window

By Jared Stein

_signature interview_Jared SteinThere is no reason I should be in a coffee shop on a Tuesday night at nine o’clock. But I suppose its less taboo than sitting in a bar alone. I should be in my bed, hidden away from this city for a few hours.

There is no real reason for to be here, but I come here anyway. I come with the habitual cravings of any wannabe artist – desires for an exotic meal and a quiet cafe that might offset the discomfort of having roommates in back alleys of Soho. At Café Krister food and quiet are guaranteed to me. It is where I go to in a search for solace, a place free of computers and televisions.

In place of TVs I stare out the window at the snowy rain. And outside in the snowy rain a dwarfish black woman sits on a bench, calling to the people who rush home in the rain. Her back is to me, but when she turns her head I can see her lit like an actress on a Broadway stage.  The ware on her skin is hidden in the accents of purple and red coming from a glowing pair of fluorescent eyeglasses, an advertisement in an across the street window. The soft yellow glow of the coffee shop light highlights her facial features and causes some of the misty snow rain on her face to twinkle. The moisture may also be tears. It may be both.

Trendy people on the street continue to pass her in the slush. I watch them pass from my seat in the coffee shop. Some people look down as they walk by. Others pretend to notice the giant eyeglasses. All of the people pretend not to hear the woman calling to them.

Like the people in the rain I also do not hear what the woman is saying. Her voice is muted by the glass which frames her like a television screen. She is a documentary on city life and her soundtrack is whatever classic rock is currently playing over the coffee shop speakers.

When no one passes her, the woman sits alone. She looks to the left and right as if she is expecting a friend to arrive. She sits with no one and I sit with no one. She is in the rain and I am in the coffee shop. The metallic odor of a cigarette she lights somehow passes through the window. he is a woman. A homeless woman. Another beggar on the street. And this person, she wipes some rain off her face, because that is what people do.

I had given her two dollars on my way in to make myself feel better. And I know that the woman, who I began to ruminate on as I watched her through the window, will be on that bench when I decide to leave. I could give her more money, but most likely will not. I will become another person who passes her in the rain on my way home. I think I will pretend to look at the fluorescent glasses as I pass.

On Sun, May 24, 2015 at 7:51 PM, Jared Stein <> wrote:
There is no reason I should be in a coffee shop on a Tuesday night at nine o’clock. I should be in my bed, hidden away from this city for a few hours. Maybe it’s because I’d feel bad sitting in a bar.

There is no real reason for to be here, but I come here anyway. I come with the habitual cravings of any wannabe artist – desires for an exotic meal and a quiet cafe that might offset the discomfort of having roommates in back alleys of Soho. At Café Krister food and quiet are guaranteed to me. It is where I go to in a search for solace, a place free of computers and televisions.

In place of TVs I stare out the window at the snowy rain. And outside in the snowy rain a dwarfish black woman sits on a bench, calling to the people who rush home in the rain. Her back is to me, but when she turns her head I can see her lit like an actress on a Broadway stage.  The ware on her skin is hidden in the accents of purple and red coming from a glowing pair of fluorescent eyeglasses, an advertisement in an across the street window. The soft yellow glow of the coffee shop light highlights her facial features and causes some of the misty snow rain on her face to twinkle. The moisture may also be tears. It may be both.

Trendy people on the street continue to pass her in the slush. I watch them pass from my seat in the coffee shop. Some people look down as they walk by. Others pretend to notice the giant eyeglasses. All of the people pretend not to hear the woman calling to them.

Like the people in the rain I also do not hear what the woman is saying. Her voice is muted by the glass which frames her like a television screen. She is a documentary on city life and her soundtrack is whatever classic rock is currently playing over the coffee shop speakers.

When no one passes her, the woman sits alone. She looks to the left and right as if she is expecting a friend to arrive. She sits with no one and I sit with no one. She is in the rain and I am in the coffee shop. The metallic odor of a cigarette she lights somehow passes through the window. he is a woman. A homeless woman. Another beggar on the street. And this person, she wipes some rain off her face, because that is what people do.

I had given her two dollars on my way in to make myself feel better. And I know that the woman, who I began to ruminate on as I watched her through the window, will be on that bench when I decide to leave. I could give her more money, but most likely will not. I will become another person who passes her in the rain on my way home. I think I will pretend to look at the fluorescent glasses as I pass.

 

Fun on the streets of New York
Dance Parade: May !6th

New York dance parade

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Hispanic Society of America

Músico de Teatro from the Siglo de Oro
The Executive Director of the Hispanic Society of America
cordially invites you to the Concert Series featuring

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Our program will be comprised of Zarzuela, music from the Spanish theater during the period known as the Siglo de Oro, or Spanish Golden Age. Hispanic Society of America 613 W 155th St New York, NY (212) 926-2234

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World-Class Art in Denver

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Richard Schmid, water-lilies-15-x-16-oil

 

screen-shot-2016-09-23-at-11-11-35-amDenver’s Gallery 1261 could be described as “an artist’s gallery.” Unlike most galleries that typically set certain parameters for the artists and their work, Gallery 1261 gives their artists free reign to explore new subjects, break new ground with their media, and develop creatively through experimentation. As a result, says Connor Serr, the gallery’s manager, “clients have come to expect that kind of experimentation. They want to see something new each time they visit the gallery.”

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Richard Schmid, Nancy-and-friends-oil-16-x-24

Thus, in an environment devoted to showcasing artists’ creative evolution, it’s not surprising that the gallery jumped at the chance to host a retrospective of living master Richard Schmid’s work. Kristen Thies, Schmid’s representative at West Wind Fine Art, curated the exhibition—opening this Saturday—that features both newly created paintings and a selection of older artworks from private collections across the country, many of which have not been seen by the public for years. Like all retrospectives, the exhibition will reveal the artist’s changing interests over time. Commenting on the show, Serr says, “Richard Schmid is a living master—there’s no one better. It’s a really exciting opportunity to have this retrospective.”

Schmid, who studied the full range of classical painting techniques at the American Academy of Art in Chicago under William H. Mosby, is known for his lyrical, bravura brushwork and his alla prima method, which generally requires the artist to work from life in one continuous painting session. Throughout his career, Schmid has pursued what is known as the Grand Manner, which he defines as “a certain mingling of virtuosity and joy in art.” From still life to landscape to portraits and other figurative work, the artist’s work has been the subject of more than 50 one-man exhibitions, numerous articles, several books, and countless workshops.

gallery-1261-exteriorGallery 1261 opened in 2004 as a partnership between three owners—artist/illustrator David Uhl, artist Quang Ho, and gallerist Christine Serr, who also founded Abend Gallery in Denver back in 1990. The three of them shared a vision for a gallery space where artists could explore their creativity without the constraints of marketing and sales quotas, and to this day Ho serves as the gallery’s curator, choosing works of the highest quality. Most of the gallery’s artists create representational works with a contemporary edge, and many are oil painters, although visitors will certainly find a range of styles and media showing there. Hollis Dunlap, Aaron Westerberg, Mia Bergeron, Carolyn Anderson, and Daniel Sprick are just a handful of the many talented artists represented.

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Richard Schmid, Begonias-oil-16-x-20

 

“Richard Schmid: A Retrospective Exhibition,” which runs from September 24 through October 1, opens with a reception on Saturday, September 24, from 6 to 9 p.m. There will also be a book signing on Sunday, September 25, from 11 a.m to noon. For more information about Gallery 1261, additional upcoming exhibitions, and a complete listing of all of the gallery’s artists, visit gallery1261.com.

Jennifer King is a marketer, artist, writer, and entrepreneur. A long time student of art marketing and the fine art industry, she currently provides art marketing services and coaching to visual artists through her company, Connect Artist Marketing. Learn more at connectartistmarketing.com.

 

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