Andrea Dawn

facebook.com/andreadawnmusic

youtube.com/andreadawnmusic

reverbnation.com/andreadawnmusic

What is the history of your place? What is your favorite element of the space?
The building was constructed around 1860, back in the time when a lot of business owners would
work downstairs and live upstairs. We haven’t been able to track down exactly what it used
to be, but we are pretty sure it was always an office downstairs and an apartment up here. My
favorite element of the space is the windows. I remember when we first walked in I was totally
overwhelmed by the beauty of the space, the 12ft ceilings, and the three huge loft windows. I’ve
also done a lot of painting and decorating here that has really made it feel like home.

You recently put out a new album with the help of many supporters on Kickstarter and went on tour to support it. What was your favorite part of making the album and being on tour?
My favorite part of making the album was the mixing. Maybe it’s laziness because that part was
easy for me! But I think mostly it was the feeling that I could breathe and let go a little. I knew the
album was in great hands with Brian Zieske (Gallery of Carpet Studio), and it was just amazing to
finally hear all the pieces come together, pieces we had been working on for almost a year and
a half. During the mixing process I took off work (my day job as a bridal consultant) and got to
spend a week just doing what I love, and doing the best part of it: sitting and listening, editing,
eating, drinking, laughing, going a little stir crazy… it’s such a good time.

My favorite part of being on tour was seeing so many different landscapes in such a short amount
of time. In one day we drove from Austin, TX to San Diego, CA, and it was amazing to watch the
scenery change. I have to mention that my favorite place to stop, however, was Brattleboro, VT.
I have a very dear friend who lives there. We stayed with him and his boyfriend for a few days,
and it was pretty amazing. We swam in rivers, and went to odd little record shops. The houses
and landscapes there seem like they are out of a painting or a movie. Paul, my Brattleboro friend,
even convinced me to go to church Sunday morning, which I hadn’t been to in about 2 years, and
it was really a place full of love and acceptance.

You recorded most of your new album here, but also recorded parts in a studio. How did the two different spaces affect the outcome of your album?
That’s a tough question. I think the multiple spaces served us in exactly the way we needed them
to. The parts we did in the studio we had down pat; we basically knew exactly what we needed
to do for drums, piano, and vocals. Everything else was a little bit up in the air. All the other
parts were done at the apartment, or in odd spaces around town. We demoed, listened to, and
reworked a lot of the parts we did here at home. It really gave us the time and freedom to play.
The downside, however, is that we didn’t back up our hard drive like we should have, and in one
devastating crash, lost 6 months of work. That doesn’t normally happen when you do everything
at a studio. But we recovered, and even ended up liking some of the re-recorded parts better. I
think for me, being able to sit alone in my own space, where I’m comfortable and record parts
before anyone could analyze or criticize them, was vital. I needed the freedom to experiment with
parts that may sound totally insane to other people. Some of those parts made the album, and
some really did sound ridiculous.

If you could play another instrument, what would you want it to be?
I would love to be able to play cello. It’s such a beautiful and soothing instrument. Plus I hear a
lot of cello in my music and it would be nice to be able to lay down those parts myself.

What book character do you most identify with, and why? (question asked by Annie)
Ok, here is my confession that I don’t read nearly as much as I should. And here is my totally
girly, stereotypical answer to that question: Elizabeth Bennet from Pride and Prejudice. I guess I
could say that she is the character that I would most like to be. I can tend to be a very stubborn girl, dead set on being self-sufficient. My car had a flat tire one day and I just loathed that I had to
call my husband for help. I tried for 30 minutes to do it myself first and couldn’t. I think Elizabeth
would have done the same. But at the end, she ends up being love sick like the rest of the girls.
That’s pretty much me. But she’s smart and funny and different. I hope that could be me.

What would be an interesting question to ask the next person/band to be on By Measure?
What music do you think people would be surprised to know you listen to?



Andrea's Playlist:
(stream this playlist here)
1. Fiona Apple - On the Bound
2. Rufus Wainwright - Foolish Love
3. Jon Brion - Ruin My Day
4. Nina Simone - I Want a Little Sugar In My Bowl
5. Regina Spektor - Samson
6. Harry Nilsson - The Puppy Song
7. Feist - Let It Die
8. Rachael Yamagata - Horizon

Coppice (Noé Cuéllar & Joseph Kramer)

Coppice

The creation of your sound is very specific-- prepared bellows and reeds altered and elaborated by custom electronics. How did you discover and hone your aesthetic?

We talked about wanting to collaborate on something that sounded good, so we collected things we were interested in. Most of it got thrown out, but through a reductive process, the tiny portion that we were excited about continues to reveal itself as much larger. That's what we keep finding. 

Your work also encompasses visual elements as well as sound. What is your process for working in both areas? Do you typically start with one or the other?

Anything that has a visual element gets it to support a more aural objective. 

You've traveled a lot to present your work. Did you find that your music or installations received different reactions depending on where you've performed?

More important that different places we play for different audiences, and in many different contexts. Those contexts are what affects their reactions, and we enjoy the variety of reactions we've received.  Everywhere we've been people have reacted quite inquisitively, with many questions. 

How long have you been in your current studio/practice space? What do you like most about it?

Our studio space varies depending on the project. We're currently working at our Pilsen location because it's where most of our materials are. It's important to have a good level of quiet, and bright natural light. 

Do you have any unusual rituals that you do while writing music or before a performance?  (question asked by Renée)

We take cellphone photos through holes. We browse dictionaries, hold empty vessels up to our ears, and blow air onto the edges of things almost impulsively. It's a major feature to go to the bathroom before a show.

You recently worked with an instrument maker on a new instrument. How much input did you have on the construction and design of it?

Andrew Furse designed and hand-crafted the Apiary specifically for Coppice. He checked in a few times during its design process and was open to suggestions. The instrument is a reaction to the extended techniques we found from instruments that were designed to achieve other effects. The Apiary makes those techniques more ready to our touch, and we think it comes from Andrew's observation of our process. 

Andrew has just designed the Vinculum Specimen Edition for Coppice. They're five boxes that not only are instruments derived from our sound palette, but also holders of the current output of the Vinculum sonic archive. 

How do you notate your pieces?

Some pieces have arrived in spontaneous, complex forms, and it can take us a long time to identify their components with words, but we're able to successfully perform them by shared memory and shared effect. We have scored while composing before, but usually we let scoring be a transcription process, once the piece's effect has solidified in performance and in our experience as a duo. Our instruments can be quite brittle and temperamental (and us as well), so we try to avoid being reductive and let the pieces be in process first.

Technically speaking, we depart from what we need of standard notation, then include prose, custom symbols, and layout structures based on what the piece calls for. A lot of the core elements of our music are locked within experiential discernment and an intuitive understanding for a shared desire for specific effects – all that is very difficult to convey on score and with words.

Do you have any hidden talents?

Determination to bring about thick condensation into long plastic tubing. Endurance at lightheadedness.  

What would be an interesting question to ask the next person/band to be on By Measure?

What's your favorite natural phenomena?

Coppice's Playlist:

(stream this playlist here)

To Be Small in a Small Place - Jason Zeh

You and I in the Formidable Fire - Quarry House 

Outside Ones - Gangi

Roundel - John Kannenberg

Untitled 3 - Giuseppe Ielasi

Trio - Stephen Cornford

nome - MKR

Just My Imagination - Jeff Kolar

Utopia Semi-Waltz - Jono El Grande

I'm a Lonesome Cowboy - Berglind Tómasdóttir

Overture from Heath ("All Weather Adheasion") - Andrew Furse

Renée Serritella, multi-instrumentalist

Logan Square New Music Ensemble

Rego

Caitriona site coming soon...

 

What musical projects are you working on these days?

Lately, I have been put most of my energy into my solo work, Caitriona.  I have played in many groups over the years but I've had a growing desire to create something of my own.  It has been challenging, certainly, but I'm determined to see it through.  I'm heavily influenced by 50s/60s dramatic French-pop (Jacques Brel, Serge Gainsbourg, Edith Piaf), modern confessional storytelling crooners (Fiona Apple and Glen Hansard) and the jangly guitar styles of Johnny Marr. I think each of their artistic presences are woven into the early stages of this album.  

You've been in many bands in the past. Do you prefer working with other people or focusing on your own material?

There certainly is an undeniable, addictive energy when working with other passionate musicians.  At this time, however, I'm definitely spending most of my time working alone.  I need solitude to find and edit the words to express what I'm trying to convey in the songs.  Each week, I bring in my songs (at various stages of development) to my songwriting mentor, Matthew.  We dissect lyrics, song structures, rhythm, etc. and he challenges me to approach the songs in ways that ultimately make them more expressive and cohesive.  He really is an incredible musician, coach and friend whom I trust completely to guide me in my work. I gain so much from our interactions and I find the exchanges invaluable in my development as a songwriter.  Eventually, when I feel the songs are ready, I will seek out other musicians to perform the songs live. 

What is your favorite and least favorite thing about your space?

My favorite part of my writing space is that I have everything I need to record an idea, inspire a sound, or to study another artist.  Having my cats nearby is comforting, also.  My least favorite thing about working in my space is that I do my best thinking while in motion.  So, I frequently have to take breaks and leave my space to go for walks and to take in some sunshine.  Then, I come back in and test out ideas on my keyboard.

Do you ever suffer from performance anxiety? How do you get through it?

Yes, I used to get anxious when performing other people's work.  To combat this, I started memorizing pieces to the point where I was in complete control of the music.  Sometimes before a show, I will sing along to pop music to calm my nerves and to remind myself to have fun up there.  I need a lot of energy to stay focused so I usually don't like to socialize with friends until after the performance is finished. 

What was the most memorable performance you've been a part of?

Wow, that's a tough one.  There have been some really great moments over the years.  I'd have to say that playing Wendy in Purple Rain Live was probably the most memorable because Prince's music is just so much damn fun to play.  Plus, I got to act out a scene where I tell Prince's character (The Kid) off.  The scene was all of about a minute long but I studied with acting coach Jodi Wonio Kingsley for about three hours to prep for my second performance and it helped immensely!  The entire cast and crew were such a joy to work with on that project.  

R. Kelly claims to write his songs in the nude. Have you ever tried to perform in your space nude? Do you think it might bring you closer to the space and assist your creative process? Or no? (question asked by The Cell Phones).

Sorry to disappoint, Cell Phones!  As I mentioned, I switch frequently between writing indoors and outdoors so that really isn't a good option for me. Nature inspires me and since I live in the city, I chose to fill my space with plants, light, a fountain, scenic pictures, different textures and splashes of color.  I feel comfortable in my space and that's important since I spend a lot of time working and creating in there.  

What would be a good question to ask the next person/band to be on By Measure?

Do you have any unusual rituals that you do while writing music or before performing a show?  

Renée's favorite songs 
(stream these at 8tracks.com/bymeasure)
1. for getting through a tough day at work: The Frames- Fitzcarraldo

2. that I was part of the recording: Reel Jem- Answer to My Prayers (piano, songwriting, co-arranged strings)

3. from before 1970: Nina Simone- Feeling Good

4. best heard in live performance: Elsinore- Chemicals

5. by an mostly or all-female band: Rego- This Part

6. from a Chicago artist: Chaperone- Thomas

7. sung in a foreign language: Jacques Brel - Vesoul  

8. for riding bike: Edith Piaf- La Vie, L'amour

The Cell Phones

www.cellphonesband.com

Your space is very customized. Did you have a certain idea in mind when you put it all together?

Seeing as the space is Ryan and my apartment, we customized our music area to make it easy to set up during practice time, and easily movable, like those work-out machines that you can fit under beds. As for the set up itself, it's basically this way because we're all SO LOUD and we can hear each other better this way. Also, we like facing each other when we play, mostly to give each other weird faces when someone messes up.

Since you live and practice in the same space, do you feel that you are able to be more productive than if you lived separately and your practice space was elsewhere?

Yes and no. Granted, it's AWESOME because it's easier to plan a time to practice, cheaper than having to rent, Ryan can record whenever he wants (we recorded both Hospital Spaceship and the Halloween album in the apartment), but it's sometimes hard to be productive when your practice space is only about 10 steps from your bed...or from alcohol!

We live in a golden age of music, where most of the traditional barriers to releasing or performing music have been lowered or removed. The downside, of course, is that standing out means rising above millions instead of thousands. Does standing out matter to you? If it does, how do you plan to do it? (question asked by Brian)
I think the whole reason we made The Cell Phones was because we recognized in each other something weird and wonderful, and together, we were something even more so! A lot of the band was built around that. And yeah, it's important to stand out, but it's got to be by being your-weird-ass-self, and by playing music that excites you. And that's what will make a band stand out. And people will either like that or they won't.

Even in this day and age, there still aren't a lot of women playing in loud rock bands. Do you ever find that being female makes being in a band either easier or more difficult?
I LOVE being a woman in a band, but I don't know if I can say it's easy...there's still, sometimes, judgement to battle. When ladies get on a stage, sometimes people just assume you'll be 'a girl' or whatever, and that you're probably just there because you're dating the bass player...AND I AM, SHUT UP, but assumptions like that just make me more excited to get my makeup on, dress crazy, and TEAR SHIT UP. The easy part is that I have the best band mates. They like the womanliness. Most of the time.

If you had to give each person in the Cell Phones a nickname based on their personality in the band, what would they be? 
I would most certainly be called 'Diva' or 'Drama Queen' because it's in my BLOOD, Justin would be Knees n' Elbows, because that's all you see when he's drumming (don't actually call him that, he sounds like he hates that nickname). Either that or something regarding his amazing ability to put back any and all whiskeys. Ryan thinks he likes the ring of 'Old Shoe-Hands Szeszycki', which is a nickname he got during our music video for "Tuesday" (watch it!). And somehow, it really speaks to his unique kind of personality. 

What should I ask the next person/band to be interviewed for By Measure?
Ask them, "R. Kelly claims to write his songs in the nude. Have you ever tried to perform in your space nude? Do you think it might bring you closer to the space and assist your creative process? Or no?"

The Cell Phones' favorite songs:

(stream these over at 8tracks.com)

1. Song we always hear in bars and MUST head-bang when we hear it: Angel of Death, by Slayer

2. Our current newest cover that we love: I Am A Cliche, by X-Ray Spex

3. Lindsey's pre-show psych-up song: Black Tongue, by Yeah Yeah Yeahs

4. Song that Justin and Ryan can totally GIRL OUT to: Crush On You, by Nero

5. Best song to listen to while riding public transportation: Bind Torture Kill, by Suffocation

6. Ryan and Justin's chess song: Jigsaw, by Discordance Axis

7. Good girl-group song we make out with ladies to: There's No Other Like My Baby, by The Crystals

8. Ryan's sleepytime song: An Eagle In Your Mind, by Boards Of Canada

Jesse Giallombardo, bassist, guitarist, MC

thepaver.bandcamp.com

killerwhaleparty.bandcamp.com
thepromiseofeast.bandcamp.com

You've been in many bands over the years. What are some of your favorite memories?
My fondest memories are of the time spent in the van, winding down from the gig when we reconvene as individuals and share our perceptions of the show.  Often my band-mates and I experience the show differently, so it's interesting to see how we come together to find a collective understanding of what happened.  Booking, promoting and performing each show is a big challenge, and the van ride afterwards feels like my time and place to celebrate our ability to overcome that challenge.  It's nice to observe our conversation shifting from music back to everyday life as we drive; I think it's those moments that makes us band-mates instead of just performers.  Friendships cultivated by a shared music making experience.  In many ways riding in the van is my favorite part of being in a band - it's a shame we don't get to do it more. 

You make rock music, acoustic songs as well as hip-hop and rap. Do all of these different genres have a similar starting point when it comes to creating new material? 

No, not at all.  The starting point for a rock song is usually a couple bass lines that I've written and then assembled into some sort of song structure.  I may bring it to the band like that, or I may start to populate it with lyrics.  Sometimes I'll even go so far as to write out string or synth parts.  Occasionally I'll adapt something that I've written on piano or guitar and then bring that to the band.  In some cases other band members will be the starting point, and I will just write my part or learn the part that they had in mind and then expand on it.  With my acoustic songs I try to keep all pressures off when I begin writing, so I don't force the writing process and I don't force the song's style.  In fact, it doesn't even really feel like a process... I just get sad, sit down with the guitar, and if I'm sad enough eventually a song will materialize.  I'll build it one chord at a time and write lyrics and vocal melodies as I go.  I really dislike the singer/songwriter genre as a whole, so I tend to keep my lyrics personal and focus on them from the beginning so that the songs will still resonate with me throughout the process.  Most of my rap lyrics come to me early in the morning, before or during my commute to work.  I revise them in my head during the commute and then add them to my ongoing gmail draft of lyric ideas.  When I have amassed a good volume of potential lyrics I'll start piecing verses together into groups of 16 lines or so.  I'll make the beats and then see which verses suit them, and edit the lyrics as needed.  My rap lyrics are the musical outlet for my sense of humor, which makes it so much easier to do, plus the nature of the genre allows me to focus more on cleverness and embrace a certain lack of truth.

You are an amplifier aficionado. What advice do you have for the average person out there looking to buy an amp? 

The best advice I can think of is to play as many amps as you have the patience for.  New and vintage, cheap and expensive, big and small, tube and solid state.  Play amps your friends own.  Play every amp in every store.  Ignore brand names, follow your ears and the good ones will jump out at you. Buy one that meets your needs sonically, logistically and monetarily, with the understanding that you can always sell it later if you don't like it.  As you play it you may start to love it... or hate it... and then the journey will unfold accordingly.

What are five things your dream performance space would have? 

An engaged audience

Microphones that do not smell like sickness
Prompt and relatively early start times
A place to sit
Clean and private bathrooms

Do you have any advice for other DIY artists?My general advice for all artists would be to hold yourself to high standards.  Love your work as much as possible, because nobody will love it more than you do.  

Do you have a recurring earworm (a song that gets stuck in your head)?  If so, what is it?  (question asked by Eliza)

I am particularly susceptible to Bohemian Rhapsody, Rihanna's Only Girl (In The World), that awful new Britney Spears song and any of Katy Perry's singles, although it takes an accidental listening to plant earworms like those.  There's a reason that shit is so popular.  Sometimes I'll write a few lines of humorous rap lyrics that I'm so pleased with, in terms of the lyrics or delivery, that they constantly creep into my daily activities.  That gets pretty annoying... it's like dreaming that you're at work. 

What should I ask the next person? 

What sets you apart from other musicians in your field?

Jesse's favorite songs:

(stream this playlist over here)

1. from before 1970:  Connie Francis - Everybody's Somebody's Fool

2. by an mostly or all-female band:  Slant 6 - Baby Doll

3. sung in a foreign language:  Annie Philippe - J'Ai tant de Peine

4. from a lesser-known artist:  Esau - I Hate

5. to dance to:  The Smiths - This Charming Man

6. best heard in live performance:  Front 242 - Headhunter

7. in an odd time signature:  June of 44 - Anisette

8. to listen to at high volume:  Polvo - When Will You Die For The Last Time In My Dreams