The boys from the land of Wampas and Tauntauns have dropped a new lyric video for their single, I IS THE LIE. Check it out:
All posts by Throckmorton Gildersleeve
New Lyric Video: A New Home
Metal band The Antarctican released a new single today, and a music video to accompany it.
Check out “A New Home”:
Bonus points if you can guess what classic literary work inspired the lyrics!
Interview: Alex Roumanidakis
Alex Roumanidakis, new vocalist for The Antarctican, took a few minutes to sit down with Quadrivalent Records and discuss music and his role in the band. The freshest addition to the QRV lineup, the band has crafted a positive reputation in their local scene, stomping stages in New York’s capital region since February 2021. The addition of Alex’s versatile vocal technique and charismatic stage persona positions them to undertake a bright future.
QRV: You have joined The Antarctican, a band from the capital region of New York with only a single released so far. What sort of potential are you hoping to reap with the group and individually?
AR: Well I’d say on an individual level, my main goal right now is to fine-tune a voice that I can stand behind that fits the style of the band, and to get back into the swing of performing live. I’d like to really get comfortable with the material to the point that I can put more focus into stage presence and audience engagement. As a group, I’d say I’d like to see us work towards more collaboration, build up our internal chemistry more as I see a lot of potential there, and to really leverage all the talent and sound we’ve got to make some truly original tracks moving forward.
QRV: The Antarctican‘s bio compares the project to “a primordial cross-section of unfathomable extra-terrestrial sophistication, mutagenic radioactive reptile droppings, and limitless volcanoes of molten mental magma”. Is this what listeners have to look forward to, and did your addition address this in some way?
AR: I mean, regardless of The Antarctican‘s activities I think we can all look forward to this collection of calamitous conceits. Lyrically I’ve lately been on more of a ‘focus on interpersonal, or societal commentary’ kick. That said, I like to make it not as cringey by burying the lead usually by framing it with a science fiction tie-in or vague apocalyptic mumbo-jumbo. So in not as many words, yeah you can expect more radioactive alien volcanos.
QRV: Looks like The Antarctican has a few shows lined up this year, including supporting some well-respected acts. You have been with the group only a few months; are you having to fast-track your composition process to be ready in time?
AR: No, not really, thankfully have been able to work at a comfortable pace. I always have a lot of projects burning so I’m used to working with a tight schedule. I’m doing my best to pace myself and to make sure I give each song the time and effort it deserves. Usually writing the melody/lyrics requires 3-5 one hour sessions. So I can usually turn around a song in a week or two. A few songs have required a couple rounds of revisions to get right, and I’ve been trying my best to encourage and incorporate feedback from the rest of the group to make sure my contributions fit nicely with the vibe. Thankfully I have some well-produced instrumentals to work with, and that makes finding inspiration for lyrics and melodies a lot easier.
QRV: Let’s talk about your personal musicianship. What artists are your most prominent influences as a singer, performer, and lyricist? Are any of them informing your work with The Antarctican more?
AR: There are a lot, I listen to a wide variety of musical styles so a lot of it blends together. I’d say vocally, and those informing work with The Antarctican is a shorter list. Definitely a lot of Russell Allen (Symphony X), his gritty cleans are a big inspiration. Devin Townsend has inspired a lot of my musicianship, but vocally I’d say I spent a lot of time trying to find pitched harshes based on his work. Daniel Gildenlow (Pain of Salvation) inspires my approach to dynamics, I like how he handles softer sections and his deliberate use of vibrato/scoops. As a lyricist I’d say I’m more inspired by singer songwriters lately, Danny Schmidt, Elliot Smith, Phoebe Bridgers as examples. I like lyrics that tell a story, bury the lead, and creatively employ metaphor. I still think that aspect is my weakest in terms of vocal skills, but I put a lot of time into working on it.
QRV: You have said that in your musical work, you try to “serve the song”. What do you think is the best way to apply this philosophy when working in an ensemble?
AR: To generally leave ego at the door (something I’ve had to work on quite a bit) and be honest with yourself about what a song really needs to work. Being willing to be the person to question stuff that distracts or detracts from the song as well, and to do it in a genuinely curious way. Ultimately a song is not about any one element, and the best ones tend to highlight the different members of the ensemble at different timestamps. From a singer’s perspective, this comes down to sensing good times to rest and allow an instrumental passage, or how to structure a melody to take advantage of big moments in the song. Also writing your melody so it spends as much time as possible in the sweet spot of your range and limiting high notes so they have more impact. Writing lyrics that fit a vibe, or that imply or match a consistent theme also helps out with serving the song.
QRV: If only everyone could match that energy. You perform harsh vocals, cleans, and a range between with intentional nuance. How do you tackle the physical challenge of performing the wide range your vocals demand?
AR: I’d say you pegged me there, I do it with quite a bit of intention. My range is on the higher end of the baritone range (baritenor might be a good description), and so the higher mix or rock falsetto vocals of metal can be a bit demanding from a stamina perspective. Generally, it always starts with my diet on performance days. I try to limit caffeine, sugar, and food/drink that is very hot or cold. All of those tend to hurt your voice a bit. I was fortunate enough to take singing lessons for a couple years and learned to properly plan breath, vowel choice, and throat/mouth configuration to minimize exertion. Finally, to build stamina I sing a bit every day and look for opportunities to improve my technique. 90% of that work happens before I hit the stage. While singing I try to always pay attention to tension, minimize anxiety, and always have a backup plan for difficult passages.
QRV: Tell us about the eponymous material you’ve released in recent years. Do pieces like “Magic Vertigo”, “Circles”, and “Control” represent a culmination of your musical journey so far, or are they more experimental?
AR: I’d say they’re more on the experimental side. These tracks are more of a chance to focus on songwriting, production, mixing, and style. Most of my previous projects I put all of my effort into attempted-virtuosity on guitar, trying to write something big and impressive (and usually above my skill level). And ultimately, the fundamentals suffered as a result. These are more a purposeful step back to try and focus on those fundamentals. I have a batch of songs written from a few years back that I’m moving onto now that was, at the time, ambitious and above my skill level. These I consider to be a ‘final exam’ for this period of releases. After that, I think I’ll have a strong enough workflow to be ready to push a bit further.
QRV: For every goal reached, another pops up. Speaking of lofty goals, you composed a musical, is that right?
AR: I did, I cowrote Fireside with my friend Bill Hennings. It had two limited runs a couple years back. Main concept was a group of friends from high school returning to a fire every year after they moved away, and the audience watched their relationships fracture as they became different people. Might have been one of the most challenging creative projects I’ve worked on, just a lot of details that all had to come together at once. Might one day do additional runs, or record improved recordings of the soundtrack, but right now no plans are in the works.
QRV: How did it feel to apply the chops and creative tools you built as a musician oriented around playing with bands to that format? What would you say to other musicians interested in undertaking that same kind of transition?
AR: It was a lot of fun, as said before though I underestimated how many additional skills were needed to make that transition work. I was also acting in the show, which if I had to give advice I’d say to not do that (as fun as that was, just was too much to juggle). We were also very lucky to have a committed cast who stuck with us for months as we got it off the ground, make sure you have some great people in your corner before taking the plunge. I’d also say do a lot of revisions and really take the time to storyboard it. Don’t schedule a show until you’ve got everything figured out, really be conservative about it. We were able to pull it together but it was down to the wire, and I would have enjoyed it more if that stress wasn’t as big a part of the process.
QRV: On the subject of creative stress, the pandemic had a dramatic and often negative effect on music scenes everywhere. What was the worst of it for you, and did you find a way to use it to any positive ends?
AR: The worst of it had to be not playing with other people. As an introvert, it feels weird to say, but jamming with others really makes you a better player (And well, it’s fun too). You try to pick up riffs in the room, you push yourself more, and you have to cling to life (can’t just pause a jam track or recording when it gets dicey like you can at home). I used that extra time to practice, write, and record a lot more. I learned a lot of technical bits and really became comfortable with production and mixing.
QRV: What are you and the other Antarcticans focusing on right now? Any goals on the horizon?
AR: Right now we’re getting into ship shape for our slate of summer shows. Big goals I’d say are to get fully up to speed on the backlog, start recording some new singles, and to get some new promotions together. I think we’re in a pretty good place and looking forward to our next show July 8th.
QRV: Where can listeners find your other work?
AR: The best option is to sign up for my mailing list. I announce all of my work and shows there as well as provide it prior to the release date. Second to that, my Bandcamp is the best place, as that has my full solo backlog. You can also search for my name on most streaming services. You can also find other projects I’m affiliated with, Seaspan (my previous prog metal band), or Shadow Crafter (a new lo-fi metal/hiphop project I am producing) on all major streaming platforms. I’m currently also wrapping up work on a global collaborative cover of Porcupine Tree’s album In Absentia. The release has yet to be announced, but search YouTube in the coming months to catch that. Finally, I’m going to be releasing my next solo album single by single over the next year or two. Look for the first track of that in the coming months.
QRV: Alex’s mailing list, Bandcamp, and other goodies can be found at AlexRoumanidakis.com.
Thanks for sharing with us, Alex!
AR: Thanks for having me.
Subscribe on the left to receive updates about The Antarctican including new releases and shows, as well as other QRV artists. Visit The Antarctican’s page at QRV for links to released material, social media, and more.
We Can’t Afford to Stoke Idle Hearts
From the beginning, Mother’s Mistakes sought urgently to exorcise demons–of whatever type–that chattered in the artists’ ears. “Elegy”, from the groups self-titled album, is a song about racing against time.
“You know that birds, they only fly away
It’s a matter of perspective indefinite
Time moves in a linear fashion
But the human condition moves infinite
You and I, we have but little time before it’s all over
And our stabilities are all abstract
We can’t afford to stoke idle hearts
And regret after the fact”
Watch the band’s music video debut:
Music Plagiarism and Taco Bell: Beefy 5-Layer Conundrum
Imagine being so confident in the pure, unmitigated originality of your art that when you hear a melody like yours in another song, you are certain they are trying to steal it from you.
Led Zeppelin, The Beatles, Nirvana, Radiohead, Madonna, Kiss, The Rolling Stones, and so many more famous artists have been involved in litigation concerning plagiarism. The more visibility the artist has, the higher the likelihood they’ll be targeted by an accuser who claims their work has been ripped off.
But what constitutes an actual theft? Surely there must be a line between the accidental and the overt cases, between the identical and the only vaguely similar cases, but where is it? So far, it doesn’t exist. If the accuser has a case compelling enough, or if the accused would just rather settle than fight, the matter can be decided in favor of the plaintiff without clear evidence.
And it doesn’t matter if the issue is rooted in the desire to uphold artistic integrity and give credit where it is due, as this process is meant to address, or if it’s just a money grab.
Take for instance the 2010 lawsuit of a music publishing company against Austrailian band Men At Work for the similarity of the flute line in “Down Under” to a 1932 nursery rhyme melody for which the company happened to own a copyright. The company won, and Men At Work were forced to pay a percentage of past and future proceeds on the work. After, the executive responsible for the work admitted that the impetus for the suit was financial.
I’m not saying the whole thing was illegitimate, but how does this serve the intent behind the creation of intellectual property rights?
I have been writing songs for thirty years, and I’d like to think that I’ve been prolific. I have several hundred completed songs in my catalog, and many additional partial compositions, some of which are featured on other artists’ work. In that time, I have noticed striking similarities in some of my pieces to other artists’ music multiple times. It happens, man. It’s pretty much unavoidable if you write much music.
In 1997, I eagerly picked up Megadeth’s newest album, Cryptic Writings. Imagine my dismay when I heard the song “Trust” for the first time ever, and found it to be a near clone of a song I’d written only three years prior. What could I do? I did have evidence of my song’s copyright prior to theirs, but…sue them? No, of course not. They weren’t copying me; they’d never even heard of me. The combination of chords, timing, and vocal melody were very similar but ultimately they were incidental. Even if somehow they hadn’t been, I’d have only been honored to be imitated by one of my favorite artists.
Plus, what a dick you’d have to be to sue a band, thinking that you’re entitled to the money they earned making, performing, and promoting their work. The sheer hubris!
As someone who has spent a lot of time working with the same ingredients as so many other artists, and who has turned out a lot of compositions, I understand how the elements of music lead us in similar directions and how overlap is an inevitability with a large enough population of composers.
It’s like Taco Bell. How many ways can they serve those same five ingredients? How many of those combinations will be any good at all, let alone tasty to customers and saleable across the country?
Musician and lawyer Damien Riehl did something interesting to address the vagaries of legality in musical plagiarism: he used a computer model to generate every possible melody that can be created with the 12 notes that exist, and released them to the public domain. There were over 68 billion of them.
Melody, of course, is only a piece of a composition. If a melody were truly evidence of a forged work, every single musician on the planet could be cited with plagiarism. The vast majority of songs are based on short, 2-4 chord melodies. They are reused constantly.
But they have been enough to snag a guilty verdict before, as in the case of “Down Under”. Perhaps Riehl’s melody database will turn up in future courtrooms. Hopefully, it and other innovations will lead to a future where musical artists are free to explore their artistic vision in the finite melodic universe we inhabit.
Tap here to check out Damien Riehl’s Ted Talk about his project.
Plans for a Pro Music Video Foiled
Noah and the Chilly Boys managed to acquire enough aluminum foil and LEDs to realize their dream of creating a music video that perfectly fits the tone of their debut single. As a team of five “adults”, it can be difficult to manage the hurdles that come along with time management, teamwork, and creative collaboration. It’s nice to see that they’re not afraid to poke fun at themselves and have a good time along the way.
Watch and giggle: “Abduction”
The Antarctican Joins QRV
Quadrivalent Records welcomes metal band The Antarctican to its humble roster!
The band hails from Ballston Lake, New York, where they compose groove/power metal, citing influences like Nevermore, Haken, Scar Symmetry, Gojira, Blind Guardian, and Control Denied.
Listen to “Abduction”:
The Antarctican – Abduction
Actively denying that pandemic boredom spawned a metal band, the members of The Antarctican indulge a fantasy that their project comes from the lethal desolation of that icy continent, a primordial cross-section of unfathomable extra-terrestrial sophistication, mutagenic radioactive reptile droppings, and limitless volcanoes of molten mental magma. What The Antarctican is not, they assure you, is five guys from upstate New York who argue about squirrels a lot.
You can check out the band at their page here at Quadrivalent, or visit them on social media:
Follow Quadrivalent for updates on The Antarctican and other great music!
Entombed by a Sweet Embrace
On this day in 1919, a 30-foot-high, 2.3 million gallon sugary tsunami of death unleashed its fury on the streets of Boston. 21 people died, and many more were injured.
This real-life molasses disaster is the subject of a song named after it, by metal band Outnumber the Living.
Listen on YouTube, Spotify, or Bandcamp (lyrics follow):
Outnumber the Living – The Molasses Massacre of 1919
Outnumber the Living – The Molasses Massacre of 1919
Our greed had gone too far
So by some act of fate
With a banshee’s groan
The tower collapsed and sweet death spilled forth
The slow rush of inevitable disaster
A crawling mass
Consuming and suffocating
Our strongest towers toppled
Overwhelming in a tidal wave of childhood dreams
Everything I had to give is now
Lost in the flood
The enchantment of being entombed
By a sweet embrace
Is too hard to resist
Caught up in rapture
None can turn away
Then it’s upon you
Now a writhing mass of syrup and the dying
A piece of cake, you’d say
Such a thing could be outrun
It keeps holding on
It keeps holding on
It keeps ahold
It’s everything we are
It has my legs
But it will never have
The love I share with you
Some alien presence
Has chosen its time
Everything I had to give is now
Lost in the flood
The enchantment of being entombed
By a sweet embrace
Is too hard to resist
It feeds on all our fears and passions
Frankly, About Music
Until now, the music of singer-songwriter Frank Schoonbeck’s solo career has been unavailable on the web. Today we launch the Bandcamp account of this frequent Quadrivalent collaborator, with unlimited free listens to all tracks of his three solo albums.
Frank’s contribution to the music scene in New York’s Capital Region for the last several decades has been well recognized by local musicians. He sat in with countless bands, participated in many recordings, and stood on numerous stages, entertaining and inspiring. His last record, Before Sunrise, was recorded and engineered at QRV’s own Biscuit Bend studio.
In addition to Before Sunrise, which has a minimalist, man-with-acoustic-guitar feel, rock ensemble albums KNew and Music in Voice are also available at Frank’s Bandcamp:
Later this year, music duo Mother’s Mistakes (of which Frank was half) will release two music videos. Subscribe to be notified!
How Do You Like the New Digs?
The label has finally found a home all its own. Welcome to the new webpage exclusively for Quadrivalent Records, a micro independent record label based in Upstate New York. To learn about the artists on the label and give them a listen, check the //Artists menu.
Unlike many well known labels, the genres represented by our roster vary widely. The //Artists page has a breakdown of styles for you to browse.
If this is your first visit here, have a look around. Consider subscribing to receive updates in your email (satisfying to delete!) or follow if you’re a WordPress user.