Creative

Live @ Rehearsal Video Concert – November 1st, 2016

November 3, 2016 by krisis

[Patreon-Nov16-Post-Bug][/Patreon-Nov16-Post-Bug]After a month of piloting Facebook Live lunch rehearsal concerts to my network of friends, this week I unveiled them on my Facebook page!

Setlist: Shake It Of w/Shake Your Body Down (to the ground), A Few Bars of Goodbye, Saving Grace, a totally off-the-cuff and unrehearsed cover of Lady Gaga’s Million Reasons, Bucket Seat, Saving Grace, and a special encore duet with EV on We Are The Crystal Gems (the theme from Steven Universe)

Performance Notes:

With my first solo performance in a LONG time under my belt two weekends ago, I’m starting to get a feel for my solo repertoire again.

For me the standout here is “Status Quo.” I invoked it in this year’s anniversary post, and this is one of the strongest versions of it I’ve performed. It has all sorts of extra ornamentation I’ve never done before. Definitely wish I had that one in studio quality!

“Shake It Off” was a decent rendition, and I’m starting to get the muscle back to pull off three whole minutes of those hammers (seriously, it’s a workout).

I was really focused on keeping “A Few Bars of Goodbye” on the slower side since I tend to gain speed on songs in 3, but the tempo focus distracted me from some of the lyrics. That said, it’s great to hear it at the right speed (and I got the final chord right)!

“Million Reasons” was a bit of a train-wreck, but that’s the fun of doing this live and not as some big studio project where such things would never sneak through. Early Trios featured plenty of beautiful wrecks. I need to take the key slightly up from there to get to a better place in my range for sustained notes – you can hear how much trouble I’m having with breath management. It’s a statement to how damn good the song is that the quality still shows through my shaky performance.

As for the pair of Arcati Crisis songs, “Saving Grace” and “Bucket Seat,” I’ll simply say the transition to doing that material sans the incomparable Zina on drums hasn’t been the easiest.

FB Live presented an interesting technical challenge, because FB offers nary a means of broadcasting video from a desktop device. I tried for a few weeks by using my phone, but discovered that the cap on its WiFi upstreaming capabilities meant that live music just didn’t sound great.

After a bit of research, I found a magnificent walkthrough on JoelComm.com that explained desktop-based streaming and even included an applet to generate your streaming key! Once I installed the excellent open-source software OBS I was ready to stream (the next best solution is hundreds of dollars).

The next hurdle is achieving studio-quality sound. The sheer volume of me clips any standard cellphone or laptop mic, plus those mics aren’t great with dealing with reflections and echo and can make even the most pitch-conscious singer (which I am not) seem out of tune. Unfortunately, OBS doesn’t play very nicely with my studio setup, or else this would already be a solved problem. It’s a work in progress.

Cover songs or originals – which are easier to play?

July 17, 2016 by krisis

We held an unusual rehearsal in our dining room today – three hours of running through the Smash Fantastic cover song repertoire, but as fronted by my Arcati Crisis co-writer and BFF Gina.

An incredibly rare, one-of-a-kind shot of the first time Gina and I performed music together on stage (also the first time I sang solo in public!) This was in 1997 at Masterman, peforming “Sharks Can’t Sleep” by Tracy Bonham. From left to right: me, Joanna, Lucy, and Gina.

The strange arrangement is the result of being asked to play a big benefit show during a week where Ashley will be on vacation. It’s a fun show and we love donating our time to it, so Ashley gave her blessing for us to play it with a fill-in vocalist.

Despite you all knowing Gina primarily for her amazing songwriting and intuitive harmony vocals, she is an awesome interpreter and karaoke veteran. It helps that the rest of the band – Jake, Zina, and I – is the same for both Smash Fantastic and Arcati Crisis.

It was a rollicking rehearsal full of surprises – for example, after over 20 years of friendship I found out that Gina loves “Because The Night” as much as I do, but she does not quite know how to sing Queen’s “Somebody To Love.” We also played a rare pair of our own “Holy Grail” and “Better” with Gina on vocals but not on guitars!

The most interesting part for me was the conversation while we packed up. As we were coiling wires, Gina mentioned off-handedly that she found getting the cover songs right to be much more challenging than playing in an original band.

That took me by surprise! Gina is a confident, experienced singer – I would never expect she would be stressed by cover songs. In fact, I invited her to fill in because I thought she’d find singing two hours of covers a relief in comparison to the stress of shredding through our own songs. However, her reasoning resonated: when you’re covering a song, there’s an existing standard to be held to. As great an interpreter as you may be, you’ve got to get the lyrics right and hit the expected high notes before people will even begin to consider if your performance is any good.

I know that’s the reality, but I’ve never considered it that way. For me, cover songs are a fun vacation from the intense challenge of playing original music.

With cover songs, you simply have to capture the spirit of a song people know well. While Jake tends to hew closely to the real basslines of songs, Zina and I approximate their drum fills and guitar riffs. It’s about verisimilitude. If you give a crowd a hint of the real thing, they don’t notice all the elements you leave out.

That works in our favor on songs for which we can’t quite assemble all the elements of a recording, but it also works in our favor – our covers of “Bang Bang” and “Uptown Funk” dress up the more bare originals considerably with additional passing chords, while even on a classic like “The Way You Make Me Feel” Jake has installed a more propulsive bassline that is only implied in the original.

The first time Gina and I played guitar together in front of people! This was in 1998 at Masterman, playing U2’s “With Or Without You” for the departing senior class. Psychedelic water damage courtesy of my Sophomore year apartment.

By contrast, playing originals is terrifying! The only context the audience has are the notes coming from the stage. There is no earned good will or existing song that will put a smile on their face. And, even when you’re in top shape with a set of good songs, it’s impossible to know when they’re good enough.

It’s like doing yoga – you can always challenge yourself to sink deeper into a pose. I have songs that are nearly 20 years old that I still haven’t mastered playing; I found extra harmony on one just a few weeks ago that makes it sound more like itself than it ever has before.

Gina doesn’t have that anxiety. To her, an original song is something entirely under her control not only to interpret, but to shape and transform. The entire point of the thing is that it belongs to you and it might continue to evolve. That’s nothing to be afraid of – it’s a joy.

I was so intrigued that as best-friends and co-writers Gina and I could differ on this point, but it explains a lot about our relative comfort over the years as performers. There’s no disputing that I’m more vivid and energetically myself on stage in Smash Fantastic, just as Gina is obviously transfixing in Arcati Crisis when she settles into playing an original like “Song for Mrs. Schroeder.”

It will be an interesting eight weeks of getting 30 songs ready for this cover gig, but I think I’m even more intrigued by what Gina and I will know about ourselves afterward when we turn our attention back to originals for the first time in three years.

Gigging the Smash Fantastic

January 2, 2013 by krisis

When I started my musical journey half a lifetime ago if you had asked me if I would ever play “Eldery Woman Standing Behind the Counter in a Small Town” to a packed bar at a post-Christmas party in DelCo, my answer would have been, “Hell no.”

I mean, there are few things I enjoy less in life than 90s Pearl Jam, the fickle music tastes of bar crowds, and Christmas. Also, half a lifetime ago I was straightedge. (I’ve always thought Delaware County is pretty decent, though.)

Yet, half-my-age Peter would have been entirely incorrect in his judgmental utterance, because that is just what I found myself doing on the day after Christmas as Ashley and I played our first legit headline appearance as Smash Fantastic.

And you know what? I liked it.

Smash Fantastic mid-song, as shot by Tara B.

All last year Ashley and worked on our repertoire of cover songs as our non-work project together (the teamwork of which made us an even more killer pairing in the office). What started out as a sparse 30 minute set in June has now blossomed into more than three-hours of a mega-pop acoustic jam in which you will quite certainly recognize nearly every song.

This presented a dilemma. Ashley is a Clarkson-level trooper when it comes to wailing through the tricky vocals in our set, but not even The Original Idol herself can rock for that long uninterrupted without getting a little hoarse. Thus, when we scored our DelCo bar gig, it was left to me to quickly add some solo covers to our repertoire to give Ashley an occasional mid-set breather.

Except, Ashley is singing my solo cover repertoire – all Madonna and rocker chicks! She’s doing my “Like a Prayer,” my “Bad Romance,” my “Since U Been Gone” … we even mashed up my formerly solo “Man in the Mirror” into a righteous duet in the original key.

That meant I had to learn to sing songs original performed BY OTHER BOYS. Ugh. Even worse, they couldn’t be a bunch of obscure Rufus Wainwright and Elliott Smith, because the whole point would be to keep the bar crowd interested while Ashley caught her breath.

Thus the Pearl Jam. Everyone knows it and, despite my enduring disdain for Mr. Vedder’s vocals, I can match him pretty effortlessly right down to the warble.

(Not as good as Wes does, though. I really need to record that for posterity at some point.)

After an opening salvo from Ashley, “Elderly Woman” was the first song I played solo. As I started the circular 5-4-1-4-1 chord progression I took a moment to reflect. This is the first time you are ever in a bar playing a song they want to hear, I mused. And they did. I think. It wasn’t the biggest crowd-pleaser of the day (which was surely “We Are Young” or “You & I / What’s Up,” and maybe my “Forget You”), but people nodded in recognition and kept on drinking.

No fleeing the room. No snide, very-audible remarks about my bad singing or theoretical sexual orientation. None of the stuff that I always hate about bar gigs.

At the end of three hours we closed with a killer “Like a Prayer” and encored with “Behind These Hazel Eyes” and a roaring “Rolling in the Deep” and I pronounced with great certainty that we had just played one of my favorite gigs of all time – yes, complete with Christmas and bar and Pearl Jam and all of it. It was 100% fun and 0% stress, and I got to hear three hours of music I love … it just so happened that I was also playing it with one of my friends.

In a weird and slightly twisted way, “Elderly Woman” was the highlight. I might write my own music and prefer to cover Gaga to any guy out there, but when it comes down to it I now have the performance chops and the confidence to hold down the mic on just about anything – whether I actually like the song or not.

As for our repertoire, next up from my most-loathed list is a little number by Jason Mraz.

Musical Fingerprints

November 2, 2012 by krisis

I often lament that there is no instruction manual to being a rock band, and one of the areas I most frequently wish Arcati Crisis had some sort of guide to is selecting songs when your band has multiple songwriters.

Ideally, this guide would be written by The Beatles, or maybe Fleetwood Mac. However, Gina would probably not read it if it was written by Wham!

(What is the grammatical rule for punctuating sentences that end with a name that includes punctuation? Like, I didn’t mean that sentence to be exclamatory. I certainly don’t want Gina to think I am shouting (again) about her not liking Wham!)

(There it goes again. Damn you, Wham!)

Lately Gina and I have been on a new-song-selecting kick. It is interesting to pick multiple songs at the same time because we always choose one song from each of us at a time, but there is a huge disparity in the pool of selections. I write a lot of songs – anywhere from 6 to 20 every year – in many different styles. Pop, folk, rock, country ballads. I’m all over the place. Gina writes relatively few songs. There have been years when I have only heard one or two finished ones, even if she has many others lying in wait. Yet, Gina’s songs are much more thematically consistent.

Thus, the selection process is a bit madcap. A few weeks ago, I played twenty-five songs for Gina to select a mere two. I had my preferences, but I have long since learned that it doesn’t do any good to try to force Gina’s hand into a pick. The resulting song will suck. Gina has to hear a space for herself inside of it.

In the midst of reading the monstrous New York cover story on Grizzly Bear, I discovered they utilize nearly the same process.

Ask them who they’re thinking of when they write, and it’s not an end listener—it’s the other members of the band, who might dislike what’s been written, or lack anything to contribute to it, at which point it’ll be tabled. “Everyone has to have a fingerprint on every song,” says Droste. The whole thing sounds like passing major legislation through Congress.

“Maybe it’s a lot,” says Bear, “that we’re asking ourselves to all be four democratic voices on everything. Maybe that’s not common.”

It is common, Grizzlies! See, this is why we need a guide.

(After reading, I was inspired to listen to Grizzly Bear’s new LP – Shields. It was very well-produced – transfixingly so. Yet, not a single melody was memorable. I felt pretty similarly about their last record.)

(I don’t think my votes would be very popular in their democracy).

By contrast, Gina played me a mere seven songs (a bumper crop, for her), of which I became immediately obsessed with six, so then she had to go back and choose four more of mine. One of hers was about zombies, another about Ben Franklin, a third particularly ingenious one about Daylight Savings Time. It helps that I am a massive fan of Gina’s sensibility in just about everything.

However, there was one I was not obsessed with. Gina also played it for me earlier this year, and at the time I said I thought it might not be done. I made the same argument a few weeks ago. “Maybe it needs more of a refrain,” I said, “or a slightly different chord change in that middle section.”

Now I realize – after Grizzly Bear so succinctly summed up the democracy of songwriting – that there is simply no room for my fingerprint on the song. It is distinctly Gina, with very little room left for my own devices. I am trying to convince her to change it to make room for my fingerprint, but it doesn’t really need it.

How is it that I have always understood that about Gina’s choices in my songs, but never about my choices of hers?

See: we really need an instruction manual.

Who are your people?

September 6, 2012 by krisis

With Jake exported to lovely Rochester, New York for little while, Gina and I have retooled our mid-week rehearsal into a sort of combo rehearsal, business meeting, new material audition, and general goofing-off night.

Which, honestly, is not so different than what it was when Jake was around for it, but now it’s been officially christened as such.

One of the things we talked about last night was something that came up over impromptu dinner with Matthew Ebel and Nan at #140Conf in June.

Matthew is an indie musician who is totally on the path of 1000 True Fans – and he makes it work spectacularly with steady touring and releases combined with a subscription service and webcasts. He was also the first ever musical director of the conference. I’ve wanted to sit down and chat with him ever since a brief run-in with him at the 2010 conference, so I was psyched to catch up with him about touring, songwriting, and our shared love of Amanda Palmer.

Eventually, conversation turned to my own motley collection of musical acts. Matthew set down his drink, stared me down across the table, and said, “Who are your fans?”

Now, I’m not so delusional as to think I have a massive fan base across all of my acts, but we’ve accumulating our steady listeners over the years. I began to stammer about them, but Matthew cut me off.

“Look, you’ve got friends who dig you. Fine. That’s not what I asked. I said, ‘who are your fans?’ Your people?”

This is the rabbit hole that Gina and I headed down last night. Matthew’s point to me over that dinner was that it’s all well and good to have fans here and listeners there, but it pays to know who your true demographic is. Twenty-something 70s nostalgics? Steam punk enthusiasts? X-Men fans?

It’s basic marketing, and I do it at work all the time at the start of a new project. We produce ad campaigns towards a specific audience, so why not do the same thing for our music?

I guess some musicians might shy away from this whole concept because it’s not artistic, or some frilly bullshit like that. Whatever. In the old, “find a label to be your patron” model of music, there was some marketing person and their intern out there scrambling to figure out your target audience so you could focus on being an ARTISTE.

Well, now your target audience is your patron, as it should be – and it’s your job to know who they are. Figuring out who they are doesn’t mean you have to write songs just for them or anything like that. It’s just a matter of fishing where the fish are. If all the Star Trek fans dig your music, then you better be playing it somewhere where Star Trek fans congregate. Matthew’s point was that putting together that thousand-plus fans is a little easier to do if they aren’t all one-off transactions.

So, who are our people? I don’t know. People in Philadelphia and People on Twitter are apparently categories too large, and People With an Endless Fascination With the End Times But Not In a Morbid Way might be a little too specific.

We’ll figure it out.

(Thanks to Mr. Ebel for a delightful dinner, and for hopefully being gracious about all of the misquoting of him I just did above. Be sure to check out his Lives of Dexter Peterson.)