This California performer produces a sound that puts her squarely in the folk/acoustic genre. That should satisfy people in the industry who have to categorize each and every artist as part of the marketing scheme. Logan puts a slight twist on the classic folk sound in such songs “Write You as a Song.” The production is solid, with a sharp drum track and a second line of instruments that doesn’t detract from her strong voice.
There have been comparisons to Jewel, which is fine with Logan, apparently. There is something softer about Logan, based on “Write You as a Song” and “Lovely.” In addition to being on a couple of nice compilation CDs, Logan sent her own collection, Wallflower, out into the world. She is reportedly working on a second CD, which is much anticipated by those who enjoy her strong and melodic voice. For the listeners who haven’t experienced Paulina Logan, expect some Norah Jones and Sarah McLachlan (good company indeed). Logan is unsigned and should hook up with a good mid-sized label soon (opinion only).
Check out this lady in a couple of California gigs in May, including one in Ukiah. She’ll calm the nerves with the above-mentioned songs and then probably pick things up considerably with the rocker “Shut the Door.” Good stuff, Paulina.
Tags: indie, paulina logan, music, indie music, independent music
Our featured video this week is from White Lies (a review of White Lies is coming up). White Lies is one of a number of talented independent music artists on Fiction Records. Fiction of course is best know for being home to The Cure for over 20 years.
This UK indie label was started by Chris Parry in 1978 and since its relaunch in 2003, sports a list of independent music artists including White Lies. One way to look for additional independent music is to check the indie labels of artists you like. We plan to have a listen to Fiction’s list.
Besides White Lies, Fiction Records is now home to Ian Brown, Snow Patrol, elbow, The Maccabees, Jacknife Lee, Stephen Fretwell, Delays, Kate Nash, Filthy Dukes and Yeah Yeah Yeahs.
Check out Fiction Records on MySpace
Tags: independent music, music, indie music, indie, fiction records, indie labels
Every year, there is a debate concerning government funding and the arts and here’s the question.
Is it the government’s responsibility to fund fine arts, especially music? The answer is no.
Many Americans don’t want to hear that at all but truth is truth. The government funds the arts when they have money left over from budgets. The arts are not a priority.
The governments’ mindset about a nation and how it should operate is in the U.S. Constitution. You will not find an article or amendment addressing the fine arts or welfare. Heck, they just barely have amendments in there that concern voting and civil rights.
The argument from artists is that Fine Arts programs enhance the spirit and the soul of people and music has an influence on all people. This is extremely true.
But the powers that be don’t spend their time listening to the radio. Some of these guys don’t know what a checkout counter is (see George Bush Sr). Their more concerned about running the country and charging you more taxes.
Stay tuned, there is a part two to this which examines why the government started funding Fine Arts programs.
The first area, of course, is money. Indie labels, like indie bands, will never and have never had a lot of cabbage. This means that they also generally lack clout within the promotional world, so any revenues must be generated solely through the work of the artists and whatever staff the label happens to have.
Another huge difference between an indie label and a big label is the type of music they put out. Now, it may seem like all the major labels are putting out the same type of music, but in fact what you mostly here are the more popular formats. In fact, major labels will have a variety of genres that include many artists, with some falling in importance according to the label’s definition of what is worth marketing at the time.
Indie labels, on the other hand, generally have the same type of artist. Not replicas, of course, but if you listen to a couple of the artists the label produces, then you have an idea of the kind of artist the label works with.
There isn’t a more complicated industry in the world than indie rock, a fact that is demonstrated by the way indie rock fans bristle when the movement is called an industry. The paradox represented within the world of indie music is beautifully apparent in the success of major player Matador Records. There is little doubt from any quarter that Matador at least began as an indie label. By the standards that define indie music, Matador continues to represent the movement in its practices: artists such as Liz Phair and The Jon Spencer Blues Explosion still retain control of their music, the label has little power within the commercial world, and is still relatively small. Unfortunately, when it comes to indie, relative is a death knell among some fans. The fact that Matador has 40 artists and a staff, as well as the fact that the more popular artists mentioned above have distribution deals with big labels, is enough for some indie fans to have declared the label passé, entirely dismissing its continued adherence to the unwritten rules of indie. The regards in which the label is now held pose the ultimate question for indie music, one that is as old as the movement itself: is a certain type of music or artist to be dismissed simply because it or they become "too" big? What is the point of making music just to be heard? Shouldn’t all music have some appeal? And why is it that if an artist or a label produce music that many find relevant they are dismissed by so many more within their original fan base? As noted in some other blogs, this essential conundrum is a facet which indie music fans must come to terms with if the indie scene is to survive.
