By Daniel Parker
Reprinted
with permission from NewsWire
The world is familiar with the celebrity musical icons of
the day, so much in fact that they don’t even need to be named here. Even
a five-year-old Indonesian girl living in nipa hut on a remote island can tell
you exactly who is dating who and trivial information such as what their last
relationship fallout was all about. The difference between the musical
icons of today, and those of twenty years or so ago, is the reason for
their celebrity status, which does not necessarily have to do with songwriting
ability or musicianship. Back in the day, a popular artist would write
songs, record albums, perform in front of thousands of fans and, of course,
host notorious backstage parties that sometimes leaked to the tabloids. But
they also had private lives and were able to take vacations away from the
public eye. Although the paparazzi have existed since the birth of
Hollywood, the power of the media has grown exponentially with the advent of
the Internet, social media, smart phones and entertainment programs that cater
to people’s vicarious instincts. The result is that the lives of these
‘artists’ are often continuously on display for the public to see, observe and
judge. Yet, aside from technological advances, there is a darker reason for
this trend.
However, before we go there, there is another phenomenon
worth examining: The average age of music performers has dropped considerably
over the past few decades. No doubt, record companies have found it far easier
to exploit young performers in the 15 – 21 age group. And why not? They have
not lived long enough to cultivate a strong artistic drive, experiential base
or standard of reference for what constitutes a healthy adult life. That also
explains why most popular performers behave like such oddballs in their private
life. They react similar to toddlers who do things that they know are wrong,
blatantly in front of their parents, in order to test their boundaries.
They want to be free from the confines of people’s expectations of what they
should do and, as a result, they behave recklessly. Up until now, the
public has remained plugged into to the lives of music celebrities much like
one would follow their favorite soap opera or sports team. Furthermore,
it appears that the people were more interested in news regarding club
altercations or DUI’s rather than the actual music, a telling acknowledgement
that the person lacked any lasting artisitc merits worth discussing.
Now, let’s get to the heart of the matter. There are a
growing number of people who recognize that something is missing from the
modern music performer. Most people are now aware of the hidden assembly
behind a commercial singer, including songwriters, artist & repertoire
staff (A&R), producers, engineers, marketers and others who work together
to create the commercial product. Independent songwriters write the
songs, A&R managers find those songs by posting notices in industry trades,
the producers pick the best ones (often out of thousands) and together with an
engineer, record the singer’s version. If the instrumentation of a song is out
of date, they throw in some slick new electronic sounds and make sure the vocal
tracks are pitch-corrected to perfection. Many commercial artists refuse to
allow anyone except the engineer in their recording sessions. It’s little
wonder why. The whole machinery depends upon the illusion that this ‘artist’
somehow lived the experiences, passionately wrote about them, sat with a piano
or guitar to compose the song and then sang it. The precise opposite is now
true. Some unknown songwriter out there lived the experience, wrote about it,
composed the music and even sang it first. But that unknown songwriter, daunted
by the risk of failure and the overt corruption of the industry, decided they
were too unattractive, too poor a singer, too obese, too remote, too something
to ever be liked by people. So they sold their song and their life experiences
to someone they had never met in exchange for rent money.
The modern record company originated in the 1970’s as middle
men between real artists and the public. In that era, before modern recording
technology, the integrity and musicianship of these artists was self-evident.
While the companies brought some business acumen to the table, the artist’s
vision was, for the most part, respected and protected. In the decades that
ensued, as profit became the main objective, corporations mistakenly began to
think of themselves as the creative ‘tastemakers’ of modern music. In reality,
they scrambled to chase down and capitalize on each musical trend, becoming
little more than glorified banks, They muscled in on artists’ careers and
demanded an ever-increasing percentage of returns. By the turn of the
century, they had completely seized control of the production process from
start to finish and the product quality began to suffer noticeably. Real
songwriting and musicianship has all but vanished from commercial music.
Judging by the decline in music sales and the declining interest in commercial
radio, the pendulum is now beginning to swing back. People are taking back
their music, realizing that corporations were never, and never will be,
well-suited to creating art.
An increasing number of people are shunning the roster of
corporate artists in favor of high-quality, independent artists who write,
produce and perform their own music. Though the number of these
musician/songwriters has shrunk, thanks to nearly two decades of artistic
decline, they do still exist. And they are uniquely positioned after years of
songwriting and musical training to give people what they now seek- great songs
played with live instruments. Fans of these songs are not interested in
perfection - they are merely asking for something real.
We caught up with Stryker, one such songwriter/musician from
the group Millennium to get his thoughts:
Tell us a little about yourself and Millennium.
We’re a four-person band (bass, keyboards, guitar and drums).
Our music is pop rock with both acoustic and electronic influences.
Let’s get right to it. Do you have a bone of
contention with some of today’s pop artists?
Well, I wouldn’t say that. I’m just not personally
interested in listening to music that doesn’t come directly from the artist. I
think that connection is everything in music. The Japanese have a word for
everything else. Karaoke.
What do you do differently from the other artists?
Nowadays, it seems like everything we do is different. For
starters, we write, sing, record and produce all of our own songs. I can’t name
a single major label artist that does that. Also, we’ve never sold our songs to
major label artists, even though we’ve had some offers.
But you do admit to using electronic software to
enhance the sound of your music?
Absolutely. There have been some great advances in sound and
recording technology. We love rock, but none of us are interested in recreating
the rock era exactly as we remember it. We’ve changed and the world has changed
too. Rock is coming back, but it’s not going to look and sound the same as we
all remember it.
Is that what made you and Sapphire shift from the wireless
mic’s and dancing to picking up instruments?
Oh, you’re gonna call us out like that! (laughing) Well,
we’re both classically trained musicians. Sapphire played piano and I grew up
playing piano, cello and bass. As Millennium, we explored the electronic pop
element out of genuine artistic curiosity. But because we produce our own
music, we had the freedom to shift gears when that approach was no longer
hitting the mark in terms of our desired sound. Lately, with me returning to
bass and Sapphire returning to piano, it just feels better musically.
Who are the other members of Millennium?
We’re fortunate to work with two other very talented and
hard working musicians, drummer Brad Dawson and guitarist Gaku Murata. Brad is
the sort of drummer every group wants- impeccable timing and an impressive
command of different musical styles. Gaku is a quiet guy who let’s his guitar
do the talking and he can solo forever. Both of these musicians have the
type of raw talent and technical ability that sets a high bar for all of us.
Damn them (laughing).
How can we get a taste of how you might sound live and
completely acoustic?
That’s easy. We just released a video of us performing our
new single ‘When We Walk In The Place’ live. Considering we recorded one live
take (and a second pass for vocal harmonies only), I’m surprised it sounded
half-decent. This is the simplest song on the album, as it is built around a
single concept or feeling. Interestingly, when we translated it live with fewer
instruments, it achieved more sonic complexity than the dance version. There’s
something to that.
What do you think is the future of modern music?
I can’t say for sure. I just know that music is something we
do purely for the love of it. I’m sure modern music will continue to change and
evolve and, hopefully, we’ll continue to evolve with it. If we’re lucky, what
we’re working on will resonate with people at the time. If not, I’m okay with
that too. I’m not interested in fame for its own sake. I just want to be able
to look in the mirror at night before I go to bed and know that I’m being true
to myself.
