IN SPIN pt II | Q-Burns Abstract Message

“The Music = The Message”

I’ve been in distant observation/conversation with Michael Donaldson, a.k.a Q-Burns Abstract Message for a few years now, and to include him in this list of notable DJ/Producers creates breadth, passion and excitement to the form.

Between zany and abstract song titles, and carefully involved rhythms, I can’t say I’ve actually ever ‘gotten the message.’ There’s a logical conversation that happens from song to song, and yet an entire album could reverberate with a single sentiment or theme – or not. Oh, but don’t get me wrong – there’s a definitive method to his process.

For me, there’s a type of mental preparation that needs to happen before delving into Michael’s songs. It’s a beautiful balance of futuristic melody, and edgy feelings of unease. It’s deconstructive music at its finest.

It’s always refreshing to have artists reach out and acknowledge supporters and journalists; and I was very encouraged to have Michael generously share his side of things. He openly speaks about this year’s Winter Music Conference, the music industry, as well as his own music and processes.

I’ve posted the Q&A below – and I think you’ll learn quite a bit from the man behind the message.

I hope you enjoy it!

For more information visit:
www.q-burnsabstractmessage.com and www.myspace.com/qburnsabstractmessage

INTERVIEW WITH MICHAEL DONALDSON

Staffeen Thompson: How was your recent experience at the Winter Music Conference in Miami?
Michael Donaldson: I have to admit I was a bit disappointed. But, this was my 13th consecutive year attending so I’ve been through a lot of the ups and downs of the WMC. I may even be teetering on the edge of jaded! WMC has always had a bit of a “Dance Music Spring Break” quality but there was also a lot of business to be done. WMC in the past was a great chance to meet overseas label heads, license tracks, get remix work, line up gigs, and so on. I used to set up my schedule for the next six months every year in Miami. I didn’t really see much of that going on this year … just a lot of partying, which is great if that’s what you’re into. I’m not sure if the change is really a reflection on the industry, though. I feel the shift of all industry to Internet communication has made the business aspect of WMC less of a necessity. Now we’re meeting each other online and doing international deals via instant messenger. Though WMC is not exactly in sync with what I’m about these days I don’t mind that it’s become a big party. I’m just glad there’s a big dance music party going on somewhere.

ST: Is there something in particular you feel is ultimately missing from these events?
MD: There are a lot of magical parties every year in Miami. But I’d say a good amount of the events thrown now are done so with the intention to impress ’someone.’ There’s a lot of ‘Look at me, I’ve started a label, and I’m throwing a WMC party,’ going on. The motivation of celebrating the past year’s accomplishments and showcasing what’s coming in the next has become a minority impetus. So, I guess, simply, the celebration of it all is what’s missing from a lot of events.

ST: What’s with the name, “Q-Burns Abstract Message?” Where did it originate?
MD: From a tiny town in central Louisiana that you’ve never heard of. It also originated at about 4 A.M. on a radio station in Orlando. A dash of Public Enemy, New Order, My Bloody Valentine, The Minutemen, 80’s era Butthole Surfers, and Derrick May helped out a bit. Also in the backroom of an acid jazz/hip hop club night that started in Orlando around 1993 and is still going on. There’s also the radio term of ‘cue burn,’ referring to scratchy vinyl on the air, which is now unfortunately archaic.

ST: I’m dying to know: “What is the message?”
MD: It changes all of the time and also doesn’t really mean anything which I guess is actually pretty ‘abstract’ … I could say that at the moment it was “Support Barak Obama” but that’s a bit succinct, not abstract at all.

ST: Your sound/style is very unique, how would you describe your musical evolution?
MD: I grew up in Louisiana, which is a bit of a ‘mutt’ of a state. It’s made up of so many disparate elements and cultures. Louisiana is so varied from region to region that different cities can have their own distinctive accents within the state. So with this you have a lot of meshing of cultures to create something new. This totally happens with music in Louisiana as seen in its history in jazz and zydeco. I didn’t realize the effect of this environment on my mindset until I left the state, but I’ve always been a bit obsessed with the idea of the cultural mash-up. I love the idea of putting two things together that shouldn’t logically go together in order to create a whole new thing that didn’t exist before. I find the notion quite exciting. Jon Hassell (frequent Brian Eno collaborator) coined the term “fourth world” to tag new music sounds derived from the merging of ethnic musics. As for me, the process can involve picking two or more samples from sources that don’t seem to work together thematically, rhythmically, tonally, etc. By finding a way to make them work I end up coming up with new musical ideas that I would never have thought of otherwise. It’s a lot of fun to work this way, too. So, basically, my musical evolution involves escaping Louisiana but somehow having it follow me home.

ST: Which artists have inspired your sound?
MD: The Velvet Underground. King Tubby. The Art Of Noise (when Trevor Horn was involved). New Order. Pre-90s Butthole Surfers. Cabaret Voltaire. My Bloody Valentine. The Minutemen. The Feelies’, “Good Earth” album. Krautrock in general. Oh, and the first two albums I was ever given as a child: Beach Boys, “Pet Sounds” and The Platters, “Greatest Hits.” I also think Neil Diamond influenced my love of catchy vocal hooks as he was the only thing played during my early years … Neil was my mom’s housecleaning soundtrack.

ST: Is there a specific process you have for naming your songs, they seem very literal at times. (Ie. Brainwormed)
MD: Not really. I just like the sound of certain phrases and words … if I hear something catchy I write it down and maybe use it someday. But often a phrase will come to mind while working on a track, or a current event or something happening around me will inspire things. That said, all of the songs I’ve down with outside vocalists (such as Lisa Shaw) were named by the singer.

ST: How has technology, (ie. Social networking sites like Myspace and Facebook) impacted the business of your music?
MD: I don’t have to hire a publicist so that’s nice. It’s a bit taxing to do all of this on my own when I should be working on tunes but, at the same time, it’s quite liberating that I can do it all on my own. I personally feel this is the best time in history to be an independent musician. Until recently all music releases had to follow the same path for distribution, publicity, performance, and commerce. Most of the time the bands that succeeded were the ones that had the most label money behind them. Now it seems that success follows the musicians who are the most creative and that’s totally exciting. It’d be much better to sit around and think of wild and creative ways to get one’s music out there than going over another label marketing plan.

ST: Has technology affected the way you create music?
MD: Well, technology got me into creating music. I always wanted to be a producer in the electronic realm ever since I became aware of that role. I believe that was when I was first exposed to Trevor Horn (Art Of Noise, Frankie Goes To Hollywood producer) when I was like 15. I just wanted to be him. So, yes. But, that said, I remain very instinctual in the studio and try to not let the gear dominate. I come from the school of exploiting limitation. I think my most creative recordings were made when I only had a four track cassette recorder, a microphone, a reverb box, and a drum machine. I also like the idea of getting to know a piece of gear intimately over time rather than constantly buying new toys. My main keyboard is still the Roland Juno-106 that I bought with my lawn-mowing money in the mid-80’s. I know that thing as well as I know my right arm.

ST: Who would you like to work with professionally?
MD: I’m a terrible collaborator. I get real antsy in the studio working with other people because I like to get in these weird creative zones … other people sort of distract that from happening. I can’t really imagine working with any musical person I really admire as I’d probably just be intimidated and would hold back. But, that said, I was just in Aberdeen, Scotland and started a promising cut with Funky Transport … we’re going to each finish versions separately. I’m also supposed to get together with Jack from Meat Beat Manifesto in a couple weeks to play around with some modular synths, but I think that’s just going to be for fun. But who knows.

ST: What’s the one piece of advice you’d like to offer your audience?
MD: Comfortable shoes and an open mind are great assets on the dance floor.

ST: Describe a Q-Burns fan.
MD: A funny story I like to tell is of when I was in my early 20’s and playing guitar in a popular regional shoegazer band. Like most young guitarists I was optimistic that my band membership would lead to a long line of female groupies. But after each show the only people who would approach me would be geeky guys with glasses who wanted to ask me about my guitar pedals. The fanbase now is a bit more varied, maybe because of the absence of said pedals. I’m happy to say I’ve noticed no one type of Q-Burns Abstract Message fan. I’ve also been told on more than one occasion that I’m sort of a “DJ for those who hate DJs.” That’s kind of nice though I don’t know why anyone would hate DJs.

ST: What’s in your iPod now?
MD: I generally use my iPod only when traveling, and actually mainly listen to talk-oriented podcasts. I guess I just need a beak from music sometimes. My favorite podcasts at the moment are Radio Lab (http://www.wnyc.org/shows/radiolab/), the always trusty This American Life (http://www.thisamericanlife.org/), and The Sound Of Young America (http://www.maximumfun.org/). I also like the Canada-based science podcast Quirks and Quarks (http://www.cbc.ca/quirks/). It’s no secret: I’m a bit of a science nerd.

ST: When are you coming to Toronto?
MD: As soon as someone books me up there. Know anyone? I’d love to make it back up again.

ST: Thank you for your time!
MD: Thank you!

IN SPIN pt I | Andy Caldwell

“Warrior, show me the way…
show me how you got to be so strong…”

If you’ve been around me for the past while, you’d know I’m absolutely smitten with the song ‘Warrior’ by Andy Caldwell, with Lisa Shaw. It’s a beautiful song on so many levels. Musically, there’s an incredible balance between the edgy and melodic, and lyrically I believe it symbolizes what we all should be.

Surprisingly when I spoke to Caldwell, I learned that this too was a result of tragic circumstance, and is one that also speaks to him on many levels. Dark and mysterious, it offers an open-ended explanation about life – as do most of his songs.

But I can’t honestly admit to fully understanding Caldwell’s work. I almost wanted him to “show me the way,” and expand on all the mini-truths he was alluding to. But perhaps that was the flaw in my method. Most of his songs, and especially those on Universal Truth, tend to fall to extremes and trying to demystify and abstract meaning, well, sometimes one just needs to leave ones songs alone. The song is the meaning.

His new album, to be released either in Fall 2008 or Spring 2009 will be an expansion of the vibe of ‘Warrior,’ with the same sensibility to the song-writing.

I don’t know what you’re doing, but whatever it is, Andy, it’s working.

Visit: www.myspace.com/djandycaldwell

lisa shaw | a conversation…

LOUD & CLEAR

“Pulling my love around, my mind says aloud…
but loud & clear’s unheard, guilty pleasures you’d say…”

This wouldn’t be a ‘soulful series’ without the presence of Lisa Shaw. Hers is the voice that revives the clubs, yet softens the scene. Her music, timeless. Her voice, haunting. Her song ‘Matter of Time’ still reveals nuances to me each time I listen to it, and continues to inspire me. Her unique sound draws from diverse range of styles, from Depeche Mode to Prince, but is truly unmistakable and becoming more and more refined. Her repertoire of songs is dynamic and fluid, passionate and introspective.

The last time I interviewed Shaw was after the release of her debut album Cherry, in 2005. Since then she’s been on tour for the album, on tour with Miguel Migs for his album Those Things, and is featured on Andy Caldwell’s album Universal Truth. Originally from Toronto, Shaw’s talent has graced us for years but like many things great, they are gradually recognized by the masses. I had a few simple ‘I wonder…’ questions for Shaw and was able to catch up with her amidst her hectic schedule.

Introducing Lisa Shaw…

Staffeen Thompson: How has the success of your album ‘Cherry’, and touring for yours and Miguel Migs’ album ‘Those Things’, inspired your work?
Lisa Shaw: The response to both pieces of work has been really wonderful. It’s inspiring enough to go back into the studio and write more.

ST: You’ve collaborated with many creative DJ/producers, and are featured on many of their albums, how does the creative process work? Do you specify the tracks or do you both ‘go with the flow’?
LS: In most cases the producer will send me a track (or tracks), and I’ll listen and vibe them out. I usually can hear an idea/melody or concept right away and then we take it from there. I have a writing partner Dave Warrin who is the producer of my next album. We also write together for other producer albums.

ST: Which DJ/producers would you still like to work with?
LS: There are a few producers who I would love to work with. I really like LCD Sound System. I’ve been a fan of theirs for a while and love their new album.

ST: I recall a couple of years ago you mentioned Eric Stamile’s CD, and his band 5RW. I have 3 of his tracks, remixes including Aya’s, Gaelle’s and yours, are you planning to work with him also?
LS: He’s working on it and YES! I am going to work with him. Actually trying to do a track with him for my next album and talking about doing a whole project with him. I think he is so talented!

ST: The music landscape seems to be constantly changing, and it seems as though musicians/singers are almost required to adapt to new technology/promotional tools, do you think you’ve adapted well?
LS: It’s not so much adapting for me as keeping up with it. With Myspace which has basically taken the place of my website, I can spend hours on the computer answering emails, updating pics and music. If I miss a week or two it’s hard to catch up!

ST: Also, with technology often influencing how Artists make music, have you found it has changed your creative process?
LS: No, actually it’s become easier to get my musical ideas down. I’ve always been a little bit of tech nerd and had my own setup at home. There are a few programs out there that are user-friendly like Protools LE. I can get my ideas down while I’m traveling which is great!!

ST: How do you feel about the current state of the music industry?
LS: It’s pretty bad right now! It’s nothing like it used to be, that’s for sure. There are so many distribution companies, labels and record stores closing that it makes it hard for not only the Indy label, but the majors too. The closing of Tower Records was a real loss for us because that was our biggest selling market. Rumor has it that the Virgin Mega store in union square is closing too. Everything is being sold on the now and there aren’t enough hard copy sales. I’m a big supporter of owning the hard copy of the CD. Besides the novelty of reading the liner notes and lyrics, the music sounds much better than the crappy Mp4’s that it’s converted too. Vinyl sounds the best really and lasts forever.

ST: Do you enjoy performing/touring in Canada and abroad, and how is it different from the U.S?
LS: I love playing in Canada! Besides playing in my hometown of Toronto, Vancouver is one of my favorites! I’m there about 2 to 3 times a year. There’s big support there for this style of music. It’s not that different from playing in the US. The only difference is that I am Canadian and it feels really good playing for my peeps.

ST: What’s the one thing you’d like to change about the way music is made, received and promoted?
LS: I wish people demanded and supported buying music from music stores. If they only really listened to the difference in quality of what they download, they would be amazed!!

ST: What project(s) are you currently working on, are you able to share?
LS: I am just finishing up my next album that which is to be released around May on Salted Records. I have some new singles coming out as well! One is called “All Night High” and the other is called “Here I Am” with Fred Everything on Om Records.

ST: How have you “mastered your craft” as a singer?
LS: Not as disciplined as I should be really, but we all tend to be a little hard on ourselves. I think as I’ve matured, so has my voice. I’ve become more comfortable with myself, and what my voice can do. I’ve taught myself how to be free and to let my voice go especially live. You’d be surprised what happens when you focus and let it go – and I mean that with anything not just singing.

ST: Are you planning any shows for Toronto?
LS: As for shows, I have no plans for Toronto yet but we’re working on it.

ST: What’s in your ipod now?
LS: I actually lost my iPod and just replaced it with the iPhone. I haven’t put anything on it except music from my upcoming album.

ST: I love the line, “guilty pleasures, you’d say…” from ‘Matter of Time’. What is your favourite guilty pleasure?
LS: Hmm!! Do I dare say? There’s a few actually, but let me be conservative and say I am a shoe H&*^%r!!

ST: Thank you so much for speaking with me…
LS: You’re welcome!

While continuing to sing with Miguel Migs, Shaw promises more singles and another album scheduled for release in May 2008. She’s also started a band called ‘Pedal Pusher’, and are planning a Canadian tour this year sometime.

Visit: www.myspace.com/lisashaw
and www.myspace.com/petalpushermusic

lisa shaw | the cherry on top

Published by Soul on Ice Spring 2006.

Hers is one of the most soulful voices in music today. For over a decade Lisa Shaw has been producing brilliant music, while still maintaining a subtle profile among the masses. She has gracefully assumed the role as ‘House Diva,’ moving audiences in nightclubs worldwide, with a body of songs that are rare as they are diverse. Working alongside some of the most poignant producers and mixers, like Jay Denes (Blue Six), Dave Warrin, Eric Stamile (Speakeasy) and Miguel Migs, her team that has established a continental niche for which she is most recognizable.

Shaw’s astounding portfolio of songs ranges, from pure jazz-inspired melodies to hot dance tracks. Her unmistakable sound is what continues to inspire producers to work with her – as her style is intense and versatile. But it was Invisible Airline by Q-BAM (Q-Burns Abstract Message), where I was introduced to Shaw’s talent as a songwriter as well as an amazing vocalist. The song “Innocent,” exposed her musical range and convinced me that there was indeed another scope of music being cultivated – a more eclectic, and slightly more esoteric sound – not a typical electronic/dance album. She has since received a Canadian Urban Music Award in 2003, for Best Electronic Recording for ‘Let it Ride,’ and has been in constant creative mode for her debut album ‘Cherry.’

Cherry was released in October 2005, and is in my opinion long overdue. This is Shaw at her best – reinforcing her signature style of smooth and enchanting vocals apparent in her first release “Always,” and others like “Matter of Time” and “When I” which are hauntingly personal. Shaw’s vocals both compel and seduce: whether it’s groovy and upbeat or a mellow mood-setter – her emotional honesty will absorb you, take you for a brief trip, and then leave you lingering long after the song has ended. It is safe to say, that with such a varied composition of songs – this album will not disappoint.

Learn more about Lisa Shaw at www.lisashaw.net.