Sound Music Reviews

Hi, Clara and Jasmin here! We are two students from the inaugural cohort of Sound Thinking NYC! We decided to come together to create this column to share some of our favorite pieces of music to all of our readers in hopes of expanding your palate. With our reviews of production, sound and background information, we hope to help you discover new music and artists that you normally wouldn’t listen to. Music is a very large area of opportunities and we hope through this monthly column, we could make it a little easier to get to know some great artists to watch out for! Thank you for reading!  – J & C.

Review By: Jasmin Bota

waitress_500This month the album I’d like to focus on is the soundtrack to the popular musical, Waitress. Originally a famous movie back in 2007, composer and pop singer Sara Bareilles brings this movie to the stage with her raw emotion, and beautiful interpretation of this heart-wrenching journey. The show is a self-discovery story about a woman named Jenna who is married to an abusive husband. After one drunk night, Jenna finds herself pregnant and must decide whether or not to leave him for good after she gives birth. To cope, Jenna finds baking to be a sense of comfort and uses it as her creative outlet—throughout the show she uses baking to help her figure out her problems. As Jenna’s pregnancy progresses and Jenna’s pregnancy journey continues, Jenna begins to fall in love with her OBGYN and the two start an affair that will change her life. This emotional rollercoaster of self-doubt and re-discovery creates a story that has listeners on the edge of their seats from start to finish. 

Waitress is an award-winning musical and is the first Broadway show to have an all-female creative team. Waitress has also set the record for the most money earned in previews for a play showing at the Brooks Atkinson Theatre. This album includes powerful ballads by Broadway actress, Jessie Mueller, who plays Jenna and is mostly known for her role as Carole King, as well as appearances by Kimiko Glenn, Keala Settle, Drew Gehling, and many more. The heartfelt lyrics and emotion within this album makes Waitress a story to remember and with a band of very few, this music is as raw as its story. I would rate this soundtrack a 7/10 because of its storyline and plot as well as vocal richness. The only reason I will not give it a 10 is because Broadway shows are simply better in person. The magic of live theater is one that is well underestimated! 

Although streaming this album is a gift on its own, seeing the show with it creates an experience I’m sure every music lover would kill to get their hands on. 

Rating: 7/10
Album: Waitress the Musical
Composer: Sara Bareilles


Review By: Clara O’Connell

marmozetsmainimageIn late 2015 and early 2016, the vocalist of the British band Marmozets, Becca Macintyre, endured two intensive procedures on both of her knees, immobilizing her for months after the operation. Those months spent in solidarity launched Macintyre into a depressive spiral to the point where she considered quitting the band, something she had been working on since she was fifteen years old. But she felt as though the stage was where she belonged, and she could never give that up. Little by little she began to get back on her feet and find her place again. And so Marmozets, comprised of Macintyre’s brothers Sam and Josh on guitar and drums, respectively, and brothers Will (bass) and Jack (guitar) Bottomley, began recording for their second album Knowing What You Know Now later that year, 2016.

The album features dance-y songs like “Meant to Be,” big rock songs like “Habits” and “Suffocation,” and slower, more somber songs like “Me & You”. The sonic diversity of the record was a deliberate choice; “That’s the beauty of art; you can go in so many different directions,” says Macintyre to Rock Sound magazine. Macintyre’s vocal performance is incredible and impressive—switching from angsty rock sounds in songs like “Major System Error” to a strong, deep voice in songs like “Insomnia”.

Despite the variety in sound throughout the album, Knowing What You Know Now has a common idea running through it. It’s “about going through all the trials and the crap that life does bring… It’s about realizing and getting some sort of method to fall in place for you to be able to deal with those situations, when they come back around,” is how Macintyre describes it to AltPress magazine back in January 2018. In a sentence, this record is for anyone looking for an honest British rock album with a strong vocal lead and energetic band to back it up.

Song: Run With The Rhythm
Rating: 4/5
Album: Knowing What You Know Now (Roadrunner Records)
Artist: Marmozets

The Artistic Life of Chris T.

In honor of National Arts Education Week, we asked our Senior Leadership Team to talk about their artistic lives, aside from their work here at CAT – and here’s what Chris Tokar, our Director of Resource Development, had to say…

Chris-Tokar


I serve as the Director of Resource Development here at CAT.

My job is all about bringing resources – typically money – into the agency, via fundraising and winning and managing contracts for our services.

But the personal resources I use to get the job done grew out of my personal development in the arts.

I was always an artsy kid, and my first job at age 12 was trading my labor as an assistant for art classes at a local museum.  Helping the younger students get their paints and watching the magic of red and yellow making orange never got old.  Then I could pick up my own brush in the afternoon and dig into trying, once again, to get the still life right.  I loved the cool ground floor studios, the smell of old paint and the shelves full of plaster models.  I felt like an important part of the professional art world!

CTphoto

Chris, working on a painting in high school

High school and college ceramics taught me that the process is as important as the product.  If you only pay attention to the final product, you miss out on a lot of the benefits of practicing the craft: the mesmerizing spinning of the wheel; the enjoyment of literally getting your hands dirty; the blurring of the lines between the creator and the creation.  Plus, if you are only thinking about that mug you want to make for Christmas, and ignore the opportunity to be deeply invested in each step of the process, your final product will probably be flawed. Paying attention to how you do something and being fully engaged in it makes life richer, and makes for better work. It also gives you the freedom to be proud of what you produce, because you have invested your best intentions and efforts into making it.

But perhaps the most important thing that all of these muddy, friendly, communal art spaces taught me is resilience. When your pieces blow up in the kiln, when the shape and color aren’t quite right, when you know that you haven’t really put the spout on a teapot correctly so you throw your masterpiece into the slip bucket and start again: these are all difficult things to face, but easier in a supportive community. To try again and again builds tremendous skill and ultimately teaches you how to get consistent, desired results in almost anything. And the act of trying again and again, with a bit of a ruthless standard, can also give you unexpected gifts. You know – and you act on it – that you can do better. You understand that mistakes are more common than successes. You make mistakes that are more beautiful than your initial idea, and you learn to use these mutations and errors on purpose to build your repertoire of skills and outcomes. Nothing beats that kind of educational experience. Especially when you don’t even realize it is an educational experience.

When I talk about these experiences with my colleagues, they are mirrored in every discipline – drama, music, and dance. There is a wealth of resources that children can tap into when they are given the opportunity to engage in the arts. I love the fact that my work at CAT helps provide opportunities for thousands of NYC students each year to open the door to their potential, to develop their abilities, and to start building their own resources.

Sound Advice

by Paola Messina

What is compression and why is it important in music production?

soundadvice

Compression is used to even out the dynamic range of an audio signal.  

 Our voices have dynamic range and thankfully so! It’s only natural for the volume of the speaking and singing voice to fluctuate. In fact, it’s a powerful source of expression. The same can be said about instruments and variations in how loudly/quietly we play them.

When it comes to recordings, however, listeners shouldn’t be reaching for the volume knob constantly to make adjustments. This is where the compressor does its magic, insuring that both the quietest and loudest parts of your mix aren’t too low or too high to hear properly. Lower audio signals are boosted and louder ones are attenuated, creating balance between the two extremities.

Compressors can be applied to individual tracks, but are also a common addition to the final mix, shaping the dynamics of the track as a whole for extra power, punch and energy!

Before you compress:

  • Record a clean take! Wait until you’re editing and mixing to add compression.
  • Experiment with different settings and make sure you’re familiar with the meaning behind each of the parameters (Attack, Release, Ratio, Threshold) as you make your adjustments
  • Less is more – over-compressing may bring noise and unwanted sounds to the forefront!
  • A/B’ing: Listen to the track with the compressor engaged and with it bypassed so you can compare and contrast as you go.

To sum up this first edition of Sound Advice… Listen closely to compress, no stress!


For more on compression and techniques, check out these resources:

A Beginner’s Guide to Compression – Sweetwater

A Guide to Compression with Examples– Tutsplus

How Does Dynamic Range Compression Change Audio? – How-To Geek

HAVE A QUESTION OR THEME SUGGESTIONS? E-MAIL PAOLA

IN SOUND THINKING: On Listening / We Are Music

by Keith Johnston 

I believe we are all born with gifts, talents and abilities.  On our journey, we engage in the great unifier, “music”, but the question is, are we listening to the ebb and flow of what this life is offering? Regardless of race, gender, culture or nationality, music is central to the human condition. We are sound personified, vibrating at specific frequencies that define who we are as living breathing instruments.

Music is all about listening, affecting and being affected, feeling and experiencing the power of orchestrated sound. Whether we are aware of it or not, we listen with all five senses and then some. At the heart of all music is listening. Whether we are playing music, or even unconsciously exposed, we are transformed by the sound in some way. It doesn’t matter how good of a musician we are as much as how well we listen and respond.

Life is all about making music. In our everyday activities, walking, talking, eating or dancing, we exercise the three elements of music; rhythm, melody and harmony. Take notice of how nature has its own orchestration with a plethora of instrumentation through all life forms. Even when listening to people speak—the tone, rhythm and melodies of their native language create a unique musical exchange, a conversation grounded in rituals that are foundational to their identity.

The power of listening is evident in the most remarkable displays of music; an African drummer’s ability to calculate a dancer’s next move in a split second, a jazz musician’s telepathy or the ability to spontaneously spit rhymes in complex rhythms and melodies is an example of this high science from the cosmos. If we are fearless enough to study, practice and observe we can reach new heights through the sound of music. This universal language is essential to our health and unifies people as nothing else can. It is also an effective way to enhance our academic facilities; math, science, literacy, etc.

Anything that breathes is music, shifting the atmosphere, making a statement or raising a question. Sound is the source of all life. As we venture on our personal path, interacting in various ways, we are making music. Our individual journey is orchestrated by choices, circumstance and relationships composing an original piece.

Music is sacred in whatever way each individual might define that term. So, as we create, let us strive to harmonize or at least find relevance in the dissonance in this improvisational jazzathon called life.

A Reflection on the “Play” Jam Session and Documentary

by Nia Blankson

Two Fridays ago, I had the pleasure of receiving an invitation to an event that I could only dream about prior to participating in Sound Thinking NYC. Whilst in the middle of my vacation, an email appeared in my inbox stating I, along with 6 other members of the cohort were selected to preview an unreleased documentary by Dave Grohl, as well as perform in an in-studio jam session, all in Downtown Music Publishing Studios. My immediate reaction, of course, was to re-read the email a few more times to make sure I read correctly, but I instantly started panicking, as I realized I’d never actually played piano with other people before. The extent of my playing up to that point was playing extremely rehearsed classical pieces alone on a stage in front of an audience in a performance hall. Regardless of how daunting that seems, I was feeling more overwhelmed by the fact that I would have to play unrehearsed, among other people, and having to add onto what they were doing on the spot.

STNYC-Play-piano

Finally, the day arrived, and unaware of what really to expect, I headed down to CAT, then to Downtown Music Publishing Studios to meet the other 6 chosen. When we arrived, we met Max, who was going to be the bassist of the group, and we found out that he was seventeen, plays other instruments as well as the bass, and has had quite a bit of experience working in studios. After our friendly introductions, we were seated in studio to preview Dave Grohl’s short documentary, “Play.” The first part of the documentary featured Grohl talking about music, and interviewing kids who are a part of a music program where they learn how to play instruments in private lessons, as well as come together in a band to play through the same program. This was quite interesting to see, as the music schools I have attended, as well as most others I’ve heard about, have all been centered around teaching children how to be solo musicians, unless you’re playing in an orchestra, or an occasional duet with your teacher. It was quite inspiring to watch the kids working things out by themselves (of course under the tutelage of their instructor,) and get a glimpse into their lives in music, plus being able to relate to them in several ways as well.

The second part of the documentary included the 23 minute instrumental completely composed and played by Dave Grohl himself, in which he plays multiple instruments edited together to create a lengthy masterpiece. We all listened and watched in awe as Grohl’s instrumental took many twists and turns, almost experimenting in various genres, showcasing his multifaceted skill-set and expertise of every instrument. When the documentary and the giant, high quality speakers in the studio went quiet, everyone in the room followed suit, and you could almost hear a pin drop. It remained completely silent for a few seconds, everyone exchanging glances, before we all burst into applause.

STNYC-Play-guitar

If I’m being completely honest, strangely enough, my favorite part of the documentary was just before it showed the final cut of the instrumental piece, and there were scenes of Dave Grohl making mistakes, doing parts of his instrumental over and over again until he got it perfect. He would either mess up a part, or simply want to give it another go as he knew for a fact he could perform much better than what he just played. These scenes highlighted my personal favorite section that stood out as it showed me that no one is perfect, and a huge part of music is trial and error. Even a professional like Dave Grohl needed multiple takes in order to get his piece to a standard that was acceptable for him.

STNYC-Play-drums

After the documentary ended, we ate lunch, and got ready to play in the recording studio. I personally have never been in a setting like this, and I hadn’t a clue as to how things would work. For the most part, I played the piano, occasionally switching between the synthesizer and the keyboard, but I wasn’t as comfortable with them. However, as we came up with our first melody, and began to add on to each other, although I was extremely nervous, I was becoming more comfortable with playing, and was able to figure out what to play, and how to fit in what I was playing into what everyone else was doing. The whole experience was extremely fun, and it challenged me to think quickly and collaborate with others live, but I also found it extremely helpful when Keith Johnston (CAT Program Director) was giving us some advice as we were playing that enabled us to try new things and think outside of the box.

The fact that the guest bassist, Max, that was playing with us was a male was of no real importance to me. In fact, I was quite excited that we were going to be working with someone who was already experienced working in music studios, and we all got along with him from the start. Everyone had the same goal, as at the end of the day, were just 7 musicians working together creating songs from scratch.

From watching Dave Grohl’s documentary to actually playing in the recording studio, I feel there needs to be more of an emphasis on music education. This experience had a positive impact on me, and I feel that more people could easily benefit from music education as a part of the core curriculum. Not only did both the documentary and the experience itself give me a deeper understanding into the music world, but they both highlighted the importance of collaboration, trial and error, and trying new things. Having to work with others to spontaneously produce a song, making mistakes, and attempting new things were all very prevalent in our jam session, and these are attributes that should be given more attention when it comes to music education.

I was fortunate enough to be able to be a part of this experience first-hand, and my wish is that more students who are passionate about music have the opportunity to go through something even similar to this. Through watching the documentary, and being able to participate in a jam session in a recording studio, I was able to understand how important it is to sometimes just set everything aside, focus, and simply play.

A Day at ‘Play’

by Annalise Jaffe

A few weeks ago, me and five other Sound Thinkers had the opportunity to go to Downtown Music Publishing, a legendary studio in Soho. Filled to the brim with equipment used to make groundbreaking records, we were asked to spend a few hours in this incredible setting to experiment with collaboration and improvisation.

STNYC-Play-group

How did we end up here? Dave Grohl, the highly talented musician and the lead in the Foo Fighters and former drummer for Nirvana, made a documentary about the process of learning to play an instruments as a young person. He wanted young musicians around the country to watch the documentary and then, inspired by the film, collaborate in making music.

As a singer songwriter, I often write songs alone in my room and rarely have a space where I am composing music with others. Jamming was difficult. I had to be attentive to other musicians, aware not to take up too much space. Everyone has their own genre that they play.  Collaborating with no set genre in mind let me practice a whole new style of singing. Through this experience I found new appreciation of getting out my comfort zone, abandoning my fear of making mistakes, and recognizing you kind of need to mess up, to find your sound.

STNYC-Play-vocals

 

Sound Music Reviews

Hi, Clara and Jasmin here! We are two students from the inaugural cohort of Sound Thinking NYC! We decided to come together to create this column to share some of our favorite pieces of music to all of our readers in hopes of expanding your palate. With our reviews of production, sound and background information, we hope to help you discover new music and artists that you normally wouldn’t listen to. Music is a very large area of opportunities and we hope through this monthly column, we could make it a little easier to get to know some great artists to watch out for! Thank you for reading!  – J & C.

Review By: Jasmin Bota

Sweetener, the fourth studio album by American pop singer Ariana Grande, is an album full of symbolism. When this album was in the works, Ariana Grande had found herself feeling “upside down” due to her rough circumstances as a result of the Manchester terrorist attacks that took place during her world tour in 2017. This event seemed to put Grande into a spiral of dangerous situations regarding mental health and a need for eliminating the toxicity within her life.

Through this album, Ariana Grande speaks on mental health, abusive relationships, important friendships, her new fiancé and her road to recovery. Songs like “Get Well Soon” carry out the symbolic theme through its length of time. At the end of this song, Grande decided to add 40 seconds of silence to match the date of these attacks. Grande uses lots of harmonies and whispery singing to give the feeling of self-discovery and healing. So many harmonies were added to the point where Grande has admitted to maxing out ProTools various times! Produced by Pharrell, this album is an album of truth and promise.

Rating: 4/5
Song: Get Well Soon
Artist: Ariana Grande


Review By: Clara O’Connell

Underworld, the fourth studio album by Australian rock band Tonight Alive, is a journey through the process of healing, both physically and spiritually. When the band went to Thailand to record, singer Jenna McDougall was suffering with chronic eczema, severe allergic reactions to food, and chronic fatigue and irritability. But she believed that these symptoms were physical manifestations of the emotional scars inside. The album addresses finding who you are, becoming that person, and loving that person.

In “Disappear,” featuring Lynn Gunn from PVRIS, McDougall sings of both being invisible and wanting to be invisible, a reflection of how the music industry treats women. “My Underworld,” a song with an amazing guest appearance from Slipknot’s Corey Taylor, is about coming to terms with your dark side; conversely “Looking for Heaven” is about finding a heaven within yourself. But each song on the record offers its own powerful message, whether it be about love of someone else or self-love, accepting your differences or being unapologetically you. Sonically, the album is a mixture between their earlier work and their 2016 release, Limitless. At the time of its creation, Limitless was the album that their previous label, Sony Music Australia, was wanting from them. It was a departure from the pop punk sound that Tonight Alive was known for; instead, it offered a more polished, poppier sound. Switching to Hopeless Records, the band had more control in the process, which allowed them to combine and change their sounds in a more comfortable way.

Underworld offers both the head-banging, yelling moments of their first two records, and the danceability of Limitless.

Rating: 4.5/5
Album: Underworld, Hopeless Records
Artist: Tonight Alive