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Ocean Dust (Belgium) – Interview – Thanks for Asking!

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Ocean Dust

Ocean Dust (Belgium) – Interview – Thanks for Asking! – by Liam Sweeny.

RRX: Like songs, every artist has a unique feeling about their first show. What was your first show like? Was it your best show? If not, what was your best show like?

OD: Our very first show was special… and challenging… Very challenging!

Let me explain: in the beginning, Ocean Dust was just our percussionist Bart and me (Rutger). We started to mess around with FL Studio and a couple of synths in our home studio (if you can call it that). So, there was no live band at all. We never even thought about it, at that point.

However, not far from our hometown, there was a festival. Bart knew their music programmer. Not thinking that his actions would have any consequences, he decided to send him our demo with our early compositions. Bart also told him that we had a full band, and bragged that we already had a lot of live experience.

Apparently, his ballsy approach had success, because it turned out that the music programmer loved our demo CD and believed Barts story about our so-called live experience. The result was that he gave us our first gig. Not in some crappy bar, but on an actual festival.

However, a problem occurred: we didn’t have a band and had only about two months to form one. We’ve managed to bring the right people on board in just a couple of weeks. And for one month, we’ve practiced our asses off. Before the gig, the stress was killing us, but we’ve pulled it off. The gig turned out to be a great experience, and no one in the audience ever realized that we had never been on a stage before. So, no guts, no glory, I guess!

RRX: Love is a big part of music. We’re talking first loves here. Lots of cool stories about first loves and the things we do for those loves. Can you (or, in the case of a band, one member) talk about your first love, especially if you did something cool to express that love? (No names needed.)

OD: We have a punk rock song with baroque influences, a little bit different than our other songs. When you listen to it, it’s like Blink-182 meets Vampire Weekend with some U2 sprinkled on top of it. I made it with Bart on a really hot summer day. We decided to write about a long-lost summer love. Bart once briefly dated a girl with a really big bum. After a couple of beers, that became the subject of the song. I won’t go into details, but when you read between the lines, the song is really cheeky and dirty. Bart never wanted to tell whether he made those things up or not. So, that will always remain a mystery in the band. Anyway, we’ve kept the lyrics, even though they’re a bit goofy, but they fit perfectly with the fresh, summery melodies. We’ve professionally recorded the song last year, and it will be published somewhere in 2025. So, stay tuned!

RRX: Playing out is tricky because you never know what’s going to happen when you get there. Sometimes everything goes wrong. What was your worst show like?

OD: Our worst, yet very memorable show was the result of a miscasting of our band. We were booked on an indie festival, or at least, so we thought. When we arrived, it turned out to be a hip-hop gig. The room was full of stoned, Snoop Dogg-like, dreaded guys. Don’t get us wrong, we love hip-hop, and Snoop, but, no one can rap in the band. So, we felt quite out of place there.

On top of that, the mics weren’t working properly, and because we already had a gig earlier in the same evening, our (female) singer had lost her voice. So, I (Rutger) took over, I kind of shouted the lyrics and we played our songs faster than ever before. The Sex Pistols would have been proud, I think. But the audience seemed to love it, and they went along with it. In the end, we gave a pretty decent and very rock and roll performance. And… we discovered that a hip-hop crowd can be pretty open-minded!

RRX: Our style comes from the extension of our influences. It’s like an evolution. We’re influenced, and it inspires us to influence. What can you say about your influences, and what you feel you’ve done with their influence as a musician or band? Have you extended their work?

OD: We make dance music with an indie vibe. It is up-tempo and often sounds happy and summerly. This stands in stark contrast with our metal, punk or rock background. If you listen to our music, you would probably not guess that. This, however, is not the case when you listen to our lyrics more carefully. We have ostensibly ‘happy’ songs with rather dark or socially critical lyrics that have more in common with rock than dance.

Although we have our difference in terms of music taste, we all share a big love for indie music from the 80s. We all love bands like The Smiths, The Stone Roses, Felt, Joy Division… What those bands have in common is their sense for amazing melodies. You’ll find that melodic aspect in our music as well.

Our songs often contain multiple melody lines that float together towards the end. Music nowadays is less melodic, in my opinion, and that’s a shame. In our latest song, I Will Always Wait, I add a guitar solo in the end, which is vintage Johnny Marr. A dance song with a Smiths-like guitar solo sounds really odd on paper, but it works, and I am really proud of that.

RRX: With services like Spotify, streaming revenue can be pretty dismal. Without spilling secrets, do you have a promotional mindset or philosophy?

OD: We miss the days that we could just record a demo on a cassette or CD-R, and that was good enough to get you somewhere. Nowadays, because of Spotify, you already need a ready-made product, perfectly mixed and mastered. So, we absolutely miss the 90s and early 00s. But, it is impossible to ignore Spotify and all the other streaming channels. So, we try to compensate it by being extra creative.

For our previous song, “Two-Faced Girl” for instance we’ve made a videoclip with cosplayers. On the recording day we invited 20 cosplayers in the craziest costumes – ranging from manga girls to Star Wars dudes, and even one larger-than-life, crazy-ass robot.

The shoot was really cool. But the coolest thing was their stories. When the masks went off, we’ve talked to all of them, and they all had their reasons to do cosplay. For some it was a way to escape bullying, while for others it was a way to compensate for their dull and meaningless daily life. It gives them an opportunity to be someone else. We decided to film their stories. So, the video clip became an entire story-telling project, which is really nice. Those extra videos did very well on social media. So, we really liked that kind of marketing. Storytelling is something that we will re-use in future Ocean Dust projects.

RRX: Let’s talk about your next project, your next few. Just not the ones you’re working on now. The ones you have your eyes on for the future. What’s coming to us?

OD: We’ve (professionally) recorded and published six songs right now. We will keep on doing that in 2025. As I’ve mentioned in this interview, we have recorded a song with punk rock vibes, called ‘Sunkissed’. We have started a little side project called ‘Sirens Not Mermaids’, which will be more rock/guitar based. So, as it would not fit in with the other songs, we won’t publish ‘Sunkissed’ under the Ocean Dust moniker.

We will of course continue with Ocean Dust too. We’re working on two songs right now with the working titles ‘Tangled in Delight’ and ‘The Time is Right’. The first one is almost entirely recorded. It is about people’s penchant for superficial desires, so it is a socially critical song. The other one, ‘The Time is Right’, is about euthanasia. The lyrics were written by a friend and singer of ours. She is a doctor and wrote the lyrics after she had to perform euthanasia on a patient. Lyrically speaking, it is a very heavy song. So, after all, maybe our metal and punk backgrounds play a bigger role in the band than we thought. For both songs we have some crazy video ideas in mind…

And since we all love crazy, we’ll probably have a lot of work on our hands next year. But we’re happy to have some great opportunities ahead of us and we’re incredibly excited to find out what 2025 has in store for us!

Spotify: https://open.spotify.com/artist/6rB3CMcgdMadSYLyrIIzCC

Youtube: www.youtube.com/channel/UCHHD86iD1DjrCtWtQb-0Xww

 

More from Liam Sweeny…

Xtreme Wrestling Alliance, 11/23/2024

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The latest installment of our photographer Joshua Scarselli’s wrestling series took place at the Masonic Temple in Pittsfield, and featured the following matchups:

Super Fan John Austin vs. Brandon Smyth

Hardbody Harlow vs. Kayla Carrol

Beautiful Buddy Tomas vs. Lalo Martinez

Music Man vs. Firebird

Justin Rando, Doink, American Avenger vs. The Slamburglar & The Unleashed (Andy Bivians & Joe Lopez)

Photography by Joshua Scarselli.

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“The CPKC Holiday Train”

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Yes, it’s that time of the year. On November 25, the Canadian Holiday train paid its annual visit to Menands, on Menands Road. A two-sided affair, the performers leave quickly after the show. Both of this year’s performers were Canadian: the James Barker Band, and Clerel.

Photography by Timothy Reidy.

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Danu Coming to Troy Savings Bank Music Hall

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Danu

TROY, NEW YORK:     The Troy Savings Bank Music Hall is excited to announce Irish favorites Danú join us on Friday, March 7th!  Pre-sale for the show starts Wednesday, December 4th at 10am and tickets will go on-sale to the public on Friday, December 6th at 10am.  Learn more below about  Danú!
Hailing from historic County Waterford, Danú is one of the leading traditional Irish ensembles of today. Their standing room only concerts throughout Ireland are true events featuring high-energy performances and a glorious mix of ancient Irish music and new repertoire.

For over two decades, Danú’s virtuosi players on flute, tin whistle, fiddle, button accordion, bouzouki, and vocals (Irish and English), have performed around the globe and recorded seven critically acclaimed albums. Their live DVD, One Night Stand, was filmed at Vicar St. Dublin. Winners of numerous awards from the BBC and Irish Music Magazine, Danú has toured throughout Europe, the Middle East, and North America with stops at The Hollywood Bowl in Los Angeles, Symphony Space in New York City, and major concert engagements in the United Kingdom, India, Israel, and across Europe. Danú takes its audiences on a musical journey to their native Ireland, offering a moving and memorable concert experience. Danú’s popular recordings are available on the Shanachie label and live performances are often broadcast on NPR, the CBC, and the BBC.

Tickets are on sale at 10 am, December 4th to Troy Savings Bank Music Hall Members.  Anyone can become a member and gain access to the pre-sale.  Single tickets go on sale the general public Friday, December 6th at 10am via phone, (518) 273-0038, in person, or online at  TroyMusicHall.org.  More information on the Troy Savings Bank Music Hall and upcoming programs is also available on the website at www.troymusichall.org.

Brian Ritchie – an Xperience Interview

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Brian Ritchie

Brian Ritchie – an Xperience Interview – by Rachael Skinner.

Brian Ritchie is a skilled multi-instrumentalist and founding member/bassist of Milwaukee’s iconic punk/folk band, the Violent Femmes. Throughout his career, Ritchie has produced his own solo albums and participated in various musical projects. Among these pursuits is his passion for playing the shakuhachi, a traditional Japanese wooden flute. The shakuhachi serves not only as a musical instrument but also as a means of meditation and is considered to be a spiritual tool within Zen Buddhism.

RRX: What led you to your journey into Buddhism and meditation?

BR: I have been interested in Buddhism and meditation since my teen years. Meeting and marrying Varuni, who is a lifelong Buddhist from Sri Lanka, brought me closer to daily and cultural contact with it. Then, studying shakuhachi sealed the deal. I’m not religious about Buddhism but the practice is enough in itself.

RRX: Recently you told me that you had read about the shakuhachi in a book when you were practicing sitting meditation and that you figured it would be a suitable instrument for you to try out as a musician. How do you feel playing the shakuhachi has contributed to your breathing techniques during meditation? How do you incorporate it into your musical endeavors?

BR: I was not having too much fun with sitting meditation, so flute meditation seemed like a more appropriate practice for me and my restless mind. Some people do calligraphy, archery, flower arrangement, or other forms of meditation.

RRX: You also mentioned to me that you met composer James Nyoraku Schlefer at the International Flute Festival, which ultimately led you to receive shakuhachi lessons from him 30 years ago. How long did you take lessons with James, and what was the most valuable insight you received during your time together? How was it to receive lessons, being you are otherwise entirely self-taught?

BR: I studied with James for seven years. Shakuhachi is a very difficult instrument and I never would have learned it without his guidance. But it also seemed natural at the time. Only now do I realize how much was imparted. Then I went on my own and taught myself for about 15 or more years until I started studying with Genshin Sensei, who is the Kansu (head teacher) at Myoanji in Kyoto, which is like the Vatican for shakuhachi players. I have now completed studying the repertoire for that school and will go to Japan in May 2025 to receive my Kaiden certificate.

RRX: You have become incredibly skilled throughout the years practicing shakuhachi, which ultimately led you to receive a Jun Shihan (shakuhachi teaching license) from James Nyoraku Schlefer in 2003. What was that moment like for you, to receive your Jun Shihan from the very man who gave you lessons and guided you along the beginning of your journey?

BR: Jun Shihan means teaching master and it basically meant I was good enough to teach other people, which I sometimes do. However, I am not a full-time teacher due to my hectic touring schedule.

RRX: Upon receiving your Jun Shihan you also received the name “Tairaku.” How did you receive this name and what is its meaning/origins?

BR: Tairaku was a name chosen by James and Yodo Kurahashi, who is another of my teachers. It means big music and they picked it because I am big, make a big sound and play big hunks of bamboo.

RRX: What are your favorite pieces to perform while playing the shakuhachi? What is the most unique song you have played with the shakuhachi?

BR: I use shakuhachi for the traditional meditation pieces, which is still 90% of what I play. That’s not even considered music. It’s considered as chanting through a bamboo tube. However, I can also use it for music. I recorded the first shakuhachi version of John Cage’s “Ryoanji,” and perhaps that’s the most interesting piece outside the tradition I have played.

RRX: You had played in a jazz trio called the Shakuhachi Club, and the universe aligned the paths of you and John Sparrow to perform together. Can you tell me how you guys went from jamming together in Shakuhachi Club to ultimately having him play cajon for the Violent Femmes when you decided to expand the line-up for the band?

BR: I had been playing with John on drums with jazz shakuhachi. I decided the Femmes needed some beefing up in the rhythm section. Cajon was an instrument I had been playing a lot of in NYC, so I taught John the basics. He has now gone much further than I could because of his more sophisticated percussion background. Then we brought the cajon into the shakuhachi music from there.

RRX: How did you meet Mike Kasprzak and have him become a part of the Horns of Dilemma?

BR: Mike was part of our crew, and we always break down the barrier between the crew and the band by using them in the Horns of Dilemma, sometimes even if they can’t play! But Mike can play. So he’s doing some of the cajon stuff John had been doing before he switched back to drums. It’s very organic around the VF rhythm section.

RRX: What inspired you to create Brian Ritchie and the Zen Gardeners with Mike and John?

BR: John and Mike are actual Zen gardeners. When they are not playing music, they design and build Zen rock gardens in Milwaukee. So I just called them that as a literal thing. It’s funny because people think it’s a band name. It describes their other job.

RRX: What is the most profound moment you can recall through practicing meditation?

BR: I was playing a traditional piece from Hiroshima near an artwork from Hiroshima at an art museum. While playing, an adjoining work of art was affected by the vibrations and came apart, crashing to the floor with some violence. That was a surprise to me, the audience, and the museum curators as well. So that was a winner!

 

 

More from Rachael Skinner…

Monkeys on the Lam – The Weird Side of the Internet

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Monkeys on the Lam

Monkeys on the Lam – The Weird Side of the Internet – by Liam Sweeny.

I am not an idealist. I want to be, and maybe the wish to be an idealist is itself idealism. But I’d like to say that I’m a realist, actually an optimist with an educated hope for the future.

We like to think that human nature will for ever doom us to an entropy no matter the future, but I think that we are nicer to each other now than we were. But we still have to do barbaric things, and one of them is use animals for medical research. I’m sure scientists would take any alternative, I don’t think that science is cruel, but animals get used for medical research until we can give experimental antacids to robots.

But when lab animals escape, aside from wondering what zombie virus they’re carrying, I kind of root for them. I hope that one will rise up like Spartacus, and somehow they got really smart in the labs. Not Planet of the Apes smart, but smart enough to make it interesting.

So 43 Macaque monkeys escaped a medical research lab in Savannah, Georgia. They got 24 back as of November 10th. The rest are just screwing with them on the outside of the fence. Someone didn’t lock the gate, but it would have been cool as hell if they had just learned to jimmy the locks themselves. They’re about 7 pounds, as big as a cat. If they were smart, they would go find circuses. There’s probably a law that if a monkey reaches a circus, it gets sanctuary. And a funnt hat. That ought to be a law.

See, when I said I was an optimist, I mean that in a handful of years, we’re going to have some synthetic biological lifeform to poke and prod, inject and cause to ingest, and we won’t need medical monkeys anymore. But then we’ll probably be asking ethical questions for creating living jelly just to sprinkle the latest blue pill on it.

Original article here.

 

 

More from Liam Sweeny…

Extra! Extra! The Xperience Monthly December Digital Edition is Here!

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We gather together to brace for the cold and the snow and cozy up to the fire, but the firewood isn’t the only thing that’s hot. Featuring part two of the Jason Bonham interview, plus Brian Ritchie of The Violent Femmes and Jonathan Kane of Doom Dogs.

Tommy V Live @ Van Slyck’s, 11/30/2024

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Photography by Lori McKone.

Laura Melnicoff performs “Nikolayev”@ The Linda, 11/17/2024

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Melnicoff and New York Folklore presented “Nikolayev,” Chassidic tunes written by the Charitonow family around the turn of the 20th century. The Linda was packed for this event.

Photography by Timothy Reidy.

More from Timothy Reidy …

Mikaela Davis / John Lee Shannon @ Ophelia’s, 11/19/2024

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Mikaela had a solo/duo concert with John Lee Shannon in Albany.

Photography by Timothy Reidy.

More from Timothy Reidy …