Archive | Wasp Summer RSS feed for this section

Why Mitropa has taken so long

18 Jun

I was talking to a woman at a concert about the extraordinary American singer-songwriter, Neko Case. I said, her voice on record is my benchmark, the definition of bell-like precision with passion. The woman laughed and said, to her, Neko represents the ultimate raw, one-take beauty-in-imperfection voice. We laughed. Our visions of this artist, and her great gift to music, were so different.

This difference cuts to the very heart of why my second Wasp Summer record has taken 3 ½ years and counting. I’ve sat on the bass and drum tracks we recorded in February 2015, sporadically adding guitars, organs, sounds and harmonies, revising the production notes. Not including recovering from depression, breakups, financial issues and the dissolution of the band itself, the thing I have been stalling on was recording the vocals.

Wasp Summer Recording - 3 (1)

I have lived with this set of songs for so long. The oldest song, Lights On Eyes Open, dates to 2005, and the rest between 2010 and 2015. Perhaps surprisingly, they still thrill me. I feel I captured what I wanted to say on each track and that it’s a cohesive album.

It’s the responsibility of transmitting the soul of each song in the most direct, most emotionally available manner that has been the mental block for me. Unlike the ephemerality of live performance, the permanence of the album vocals became terrifying.

As I recorded at home, in my safest space, I loved the takes I got, but as I listened back, my fear kicked in. An unstoppable internal critic picked apart every phrase for pitching errors, inauthenticity, hollowness, inadequacy. The reference songs I used to guide the mood of each take (mainly Cocteau Twins, Pretenders, Motels, Fleetwood Mac, Mirah, Kate Bush, Linda Ronstadt, PJ Harvey, Triffids and Divinyls) became towering and inaccessible.

I tried editing together ‘perfect’ vocals from the various takes I recorded. Something I have tried twice before. The result is always the same, a dead-sounding vocal line. I rerecorded them over and over. I tried different microphones. I reminded myself to be kind. I left the songs alone for a year. Nothing made me comfortable with leaving these vocals to posterity. I stopped talking about the record. Despaired.

I feel ashamed of this fear and delay. I’m strong psychologically. I finish what I start. Don’t I? This is my novel, my movie, my creative heart. I’m a trained singer. I’ve been doing this for 27 years. They’re my damn songs. I don’t know if this is common. I’ve hear about a million different approaches, including the singer of a famous German band who happily plays to 20,000 people a night but needs everyone to leave the studio when he records vocals.

My heart says be one-take Neko. My head says be bell-like, perfect Neko, and a relentless perfectionist, and when will you ever get there?

Earlier this year, a friend, and the engineer who recorded the original bass and drum tracks, asked me what was happening with the record. I told him I was stalled on the vocals, and couldn’t get perspective on them. I said I needed to save some money, hire a nice mic or find a producer to help me get good takes and finish the record. I told him I wanted someone to tell me if it was good and honest, or if they thought I could dig a bit deeper. I just wanted some support. It’s hard work finishing a record alone.

He offered a lifeline. I help him with vocals and backing vocals on his record in exchange for him recording mine and acting as producer, talking me through the rest of the recording. So far, we’ve done two songs, and I’ve revised the entire album, replacing or adding guitars, sounds and keys.

I’m still excited by the songs, and although the urge to pick apart my vocals is still there, I like the energy of the takes we’ve done. We’ve found the microphone combination I’ll use for the whole record – a Neumann condenser and an AKG pencil mic. Check out those beauties!
Two vocal recording microphones - an AKG pencil mic and a Neumann condenser.We’re going for no more than three takes of each track, and I’m hoping the relaxed and supportive atmosphere will still my devilish urge to rip my own singing to shreds.

I feel confident that I’ll both actually finish this record this year and have the money to mix, master and release it. Finally. I’d really, really like to have my albums available on vinyl.

Would you buy vinyl through a pre-order campaign on bandcamp? Would you prefer a CD or download?

I’d really appreciate if readers who can support me could let me know which format they’re likely to choose. It takes some logistical planning and timing to put an album release together and deliver by the due date.

Thanks for reading. I’d love to hear from you.

– Samantha, Berlin.

Crucial albums #3: Faith No More’s The Real Thing

31 May Faith No More's The Real Thing

Inspired by that facebook game where you list 10 important albums, I realised that many of my favourite albums are not the ones that shaped my music or songwriting directly.

I want to explore the albums that changed how I thought about my practice as a singer and songwriter, and that are direct influences on Mitropa, the Wasp Summer album I’m currently making.

Number 3 must be Faith No More’s eclectic hard rock masterpiece ‘The Real Thing’.

 

1990, Year 10, and the final year of the acceptably ugly school uniform. Fashion inspirations: Stevie Nicks, Chrissy Amphlett, Wendy James, Permanent Vacation-era Steve Tyler checking out new band night at the Whisky a Go Go.

Faith No More’s The Real Thing quite literally changed my life. Before this album came out, my two big musical loves were INXS and Guns ‘n’ Roses, who, around that time, inspired me to fashion a primitive vapouriser from a coke can and fill it with Mum’s best Ceylon in order to experiment with the ‘smoking tea’ they spoke of in their cover of Aerosmith’s mighty Mama Kin. No buzz. But I digress.

I think I may have Shane N. to thank for my first tape of this album. At least, I associate it with going Trick or Treating with him around Highland Park, a newish housing estate, and coming home to my Dad telling me he kept a little black book of all my misdemeanours and had spies all over Nerang who would tell him if I got up to mischief. Mum assures me that was just Dad’s sense of humour.

The second single off this record, Epic, went round our school like a particularly explosive dose of salts. I have a vivid memory of discussing the video in awe with Brett N. one Monday morning outside the science block. We’d obviously all seen it on Rage over the weekend. They’d never play it on our local radio station. Until it spent 18 weeks on the charts, Australia giving them their first international #1.

But it wasn’t Epic that really blew my mind. Like pop kids who discovered The Smiths or The Cure, this took all my love of hard rock and added weirdness, eclecticism and intelligence. I desperately wanted to be in a band, and eventually my mate Craig Rickard invited me to create ‘Decadence’, our glam-rock covers band.

I loved the pop-triple-punch opening of From Out of Nowhere, Epic and Falling To Pieces, but the later three song run of The Real Thing, Underwater Love and The Morning After, and especially the title track itself, changed for me what was possible with music. It gave me the idea that songs could have power, texture, mystery and space.

The music is precise, brutal and, yes, spacious. There are repeating lyrical threads through the album that are philosophical, questioning and complex, not merely hedonistic. There’s also a huge whack of absurdist humour.

I had my first taste of cool as a school authority on this album. Two popular girls came around to ask if i could dub them copies. I had an old pink Sanyo deck that dubbed in real-time, and as we listened to the piano ending to Epic, they were visibly disturbed at the weirdly classical turn the album was taking. “What is this shit?” they asked. “It’s excellent. Do you want it or not?”

Patton’s vocals go from roaring and stentorian to seductive, almost pleading. I have never forgotten his harmony sixths, and the way he sings “you leave me writhing on the floor” definitely “makes me feeeeeeeeel this way”…

And they finished the album with the consumately creepy lounge-pervert swing ballad End of The World. It was my Enlightenment.

Check out my crucial album #1: Cocteau Twins ‘Heaven or Las Vegas’
Check out my crucial album #2: Talk Talk’s Laughing Stock

Crucial albums #2: Talk Talk’s Laughing Stock

12 May Crucial album #2: Talk Talk's Laughing Stock

Inspired by that facebook game where you list 10 important albums, I realised that many of my favourite albums are not the ones that shaped my music or songwriting directly.

I want to explore the albums that changed how I thought about my practice as a singer and songwriter, and that are direct influences on Mitropa, the Wasp Summer album I’m currently making.

Number 2 must be Talk Talk’s avant-jazz-rock masterpiece ‘Laughing Stock’.

Talk Talk’s final album Laughing Stock is an entirely appropriate album to come after the Cocteau Twins. Another record that nails the balance between melodic beauty and noise, sung in glossolalia and with the most amazing sense of space.

The track Ascension Day is actually super important to the writing that went towards the next Wasp Summer album, and I have Chris Chapple to thank for the introduction. I can still see the scene, bathed in beeswax-yellow light, in his old St. Kilda living room as The Mime Set gathered for a rehearsal/writing session for our second album.

It may have been the same night I cried behind the door as we ran an early version of Honey O, and Andrew gently asked if I wanted my lyrics to be that nakedly honest. Yes, I do. Always.

That’s the thing about this album. It’s achingly truthful. I can make out words here an there, but even through abstractly-sung text, the emotional through-line of this album is pure and true.

Even though the album was painstakingly assembled collage-style from over 7 months of improvised recordings, this album is honest and brutal and true.

Released on the Verve jazz label, it’s more akin to jazz than the glossy, clever pop they made before, but also lays the foundation for post rock, a territory, along with dream pop, that I spent a good part of my 20s travelling.

To make music where “The record was “only complete” when the band’s Mark Hollis felt each guest musician had “expressed their character and refined their contribution to the purest, most truthful essence,” is the dream, isn’t it?

Check out my crucial album #1: Cocteau Twins ‘Heaven or Las Vegas’

Crucial albums #1: Cocteau Twins ‘Heaven or Las Vegas’

21 Apr The Cocteau Twins' Heaven or Las Vegas

Inspired by that facebook game where you list 10 important albums, I realised that many of my favourite albums are not the ones that shaped my music or songwriting directly.

I want to explore the albums that changed how I thought about my practice as a singer and songwriter, and that are direct influences on Mitropa, the Wasp Summer album I’m currently making.

Number 1 must be the Cocteau Twins masterpiece ‘Heaven or Las Vegas’.

Oh, this album, beginning to end, blows my mind. In 1994, I escaped an increasingly dangerous relationship and was relieved to move into a sharehouse in Lismore with 4 other women, located above a veterinary surgery. Collectively and consciously, we explored ritual paganism, argued theology with the Mormons that came each week to save us, and smoked more weed than was strictly necessary. I saw some weird shit.

I started off living behind a makeshift curtain in the kitchen until a room became available. Then I moved into the least psychedelically-wallpapered of the rooms, affectionately known as the Triffid Room.

A lot of music that is important to me (Pink Floyd, PJ Harvey, the Clouds) came out of this room and this year, as did my first attempts at songwriting. Rachel the Cone Queen stole this record from her sister, but it lived for the entire year in my room where I attempted to rationalise its immense harmony while drifting off into its etheric spheres.

This album remains an act of divinity to me. The Cocteaus’ perfect pop moment. The post-punk textures they had been developing all the way along, Liz Fraser’s astonishing vocal style, the pulsing bass and drum machines, liquified into a weird, dreamy and pleasurable set of songs that blew open my expectations of what I could do, what the human voice could do, what guitars could sound like.

It was the precursor chemical to so much of the music that made my music sound the way it does. At least, most of what I did with The Mime Set and Wasp Summer was me aiming for this kind of freedom.

Upon reflection, Annie Lennox and Liz Fraser are largely responsible for the beautiful oddness of my sense of harmony.

 

Under The Influence

28 Apr

Apart from buying us drinks, music is the best way to know musicians, so here are some albums that are important to us as musicians and people.

To make it easy to share, we’ve posted these lists on YouTube and Spotify. If you’d prefer these lists in another format, or on another service, just leave us a message below, and we’ll try to arrange it.

Simon and I each have a story about an album that was crucial to us starting our first bands.

Simon’s Influences
YouTube Playlist
Spotify Playlist
I met a friend of mine and started a band because I was the only person in the area with a Black Flag LP. I can remember our first gig when we were just 15; the local gang grabbed the lead singer and told him ‘If you guys suck, we’re gunna punch the shit out of ya!’ We knew three songs. We played them three times. Nobody seemed to mind. We didn’t get beaten up. The kids at that party were throwing flagstones at the cops as we loaded out into my Mum’s car. At the next gig, someone turned up the RHCP’s ‘BloodSugarSexMagic’ record to try and drown us out. Then they started throwing stones at us.

The guitar player, Paul Dempsey, went on to found (successful Australian rock band) Something For Kate. People don’t throw stones at him anymore. Except me. I chuck a good sized rock at that lanky motherfucker every chance I get. Just to remind him of his roots and that good rock and roll never comes easy.

Samantha’s Influences
Youtube Playlist
Spotify Playlist
The albums that made me want to be in a band were Transvision Vamp’s Pop Art and Faith No More’s The Real Thing. At my school, there were two types of popular girl: surfer’s girlfriends and rough netballers. Two of the latter knocked on my door one afternoon. I was worried. “We heard you got that Faith No More album.” “Er… The Real Thing. Yes.” I was confused.

“Make us a copy?” one said, handing me a blank cassette. Before this, being a music nerd had only won me insults and my circle of metalhead friends. I could do this and might not get beaten up either. I’d been into the band for a year, but then in mid-1990, ‘Epic’ was number 1 in Australia. As I only had a simple cassette deck, we listened to the whole album as I dubbed it, with me pointing out the cool bits. “What’s this classical shit?” Weirdly, they’d never noticed the piano outro at the end of ‘Epic’. They nearly left. “Nah,” I corrected, “It’s where the goldfish is dying at the end of the video.” “Oh, alright,” they said, and stayed patiently until their cassette was finished.

If you sign up for our newsletter, Simon and I will tell you about our first attempts at songwriting. Sign up for the newsletter here: http://eepurl.com/rO3db

Bis gleich,
Samantha and Simon
Wasp Summer

Busking Stories

14 Apr

I’ve been paid in insults, drugs and sometimes even money.

Busking Stories
Concerts

Busking Stories
He passed Lena to stand directly in front of me. He leaned down into my face, hissed “Schhhhlamppppe!’, then firmly poked his tongue out at me and stomped away.

Lena, my jazz singer friend, and I were busking at Hallesches Tor. I slowly turned to Lena, “He just called me a smurf and stuck his tongue out!”
“Oh no, honey,” she said, “He didn’t call you a smurf. That’s ‘Schlumpf’. He called you a slut.” Our howling laughter ricocheted around the tunnel.

Lena Tjäder and Sam WareingHallesches Tor, a Berlin U-Bahn station, has a long tunnel connecting the U1 and U6. Buskers with station permits prefer stations where lines cross because the long tunnels have great acoustics. People hear you long before they see you which makes you money.

It’s fascinating people-watching: old Berliners, hipsters, immigrant families, punks, street people, kids, yuppies and tourists. A cheerful psychedelic man squatted next to us. “Mädels! Sounds great! I got no money, but I want you to have these…,” and dropped two tabs of acid next to the coins in our guitar case. I’ve also been “paid” with hash, booze, joints, promises of work and business cards with private numbers.

At Stadtmitte, an old man wanted our spot. His busking tactic was to jig next to us, blowing on a harmonica and holding out his dirty hat to reveal a seeping head wound under old bandages. He won.

We busked for a year in the U-Bahn, 4-6 hours at a time. That’s how I learned guitar in public. We found friends, gigs and fans, and sold CDs. We featured in the children’s magazine Geolino Extra, and played live on Radio Eins promoting a photography exhibition on street musicians. It always paid for coffee and hot meals and showed us a lot of Berlin life.

Concerts
You can find any upcoming concerts on our Facebook page here. If you don’t have facebook, you can check the Concerts page here on our website here or go to our feed on Twitter.

Cheers,
Samantha Wasp Summer

Wasp Summer Australian Tour Gallery Part 2

23 Jan

Hallo Dearhearts,

Here is part 2 of Wasp Summer’s Australian Tour gallery, spanning Melbourne to Brisbane to Meredith Music Festival. In these photos, I had a magic time with the following amazing people: Damian, SJ, Ari, Cam, Tams, Sally, Chez, Naz, Phil, Nicho, Bek, Patrick and Lisa. x

Wasp Summer Australian Shows 2014

9 Oct Wasp Summer tour poster 2014. Coming to a club near you!

Earlier this year, I got an email out of the blue from Geoff, the Editor of Going Down Swinging, the long-running and innovative Australian journal of poetry, writing, graphic novels and art.

He requested that, for one night, we reform Sean M. Whelan and The Mime Set, the 2005-2008 collaboration between my former post-rock band and one of Australia’s best spoken word performers. They had funding to fly me back to Melbourne from Berlin for the show. I actually cried.

So, Sean M. Whelan and The Mime Set will perform their One Night Wonder on Friday 28 November, 2014 at the Mission To Seafarers Chapel in Docklands, Melbourne. Click here for tickets. We’ve also picked up a Canberra show on Sunday 30 November, for the Bloody Lips night held at New Acton.

Sean M. Whelan & The Mime Set
Friday 28. November – Mission to Seafarers, Melbourne
Saturday 29. November – Bloody Lips @ New Acton, Canberra

And while I’m in the country, why not show people what Wasp Summer’s been working on in Berlin? So I’m organising solo Wasp Summer gigs in Victoria and Queensland. Here are the confirmed dates.

Wasp Summer
Thursday 20. November – The Old Bar, Fitzroy, Melbourne
Friday 21. November – The Eastern, Ballarat
Saturday 22. November – The Bridge, Castlemaine
Friday 5. December – Couplet @ Brisbane Square Library, Brisbane
Wednesday 10 December – Skukum Lounge, Brisbane

Aside

Album review by Slapped For The Very First Time

7 Oct

Slapped For The Very First Time posted an unexpected and really lovely and review of the first Wasp Summer record, Close As A Slow Dance. Thank you, Espen. “…there is a voice – both literally and musically – shining through that seems capable of winning you over with an even more distinct identity of its own come the next release.”

http://slappedfortheveryfirsttime.blogspot.no/2014/10/06102014-wasp-summer-close-as-slow-dance.html

Running Up That Hill

7 Feb

How is your Winter/Summer progressing? All is well in the Wasp Summer camp. We are working towards recording our second album, tentatively entitled Mitropa. I have to write a couple more songs but the ten we have are sounding really strong. You can hear four demos here.

Running Up That Hill compilation

Running Up That Hill; Kate Bush Covers for Reproductive Rights

compilation to fund reproductive rights organisations in the USA

Wasp Summer covered a Kate Bush B-side called Under The Ivy for a wonderful compilation called Running Up That Hill: Kate Bush Covers for Reproductive Rights that was launched on Bandcamp on February 4, 2014.

It is as it says on the box and sales support US-based pro-choice organisations, most located in politically conservative US states where women’s rights have been threatened. If you buy songs or the whole compilation from Bandcamp, you support the printing of download cards that are given free to the selected organisations who can then sell them to directly raise funds.

Artists including Nona Invie from Dark Dark Dark and Karl Blau have contributed tracks. Kate Bush (via her manager) has given her blessing.

Upcoming Gigs

We have a bunch of Berlin shows coming up over starting on February 20. Come along and hear the new songs. More news about European Summer tours, the single/album launch dates and other shows soon.

Wasp Summer
w/ Ryan O’Reilly (UK) + Redvers (UK)
Donnerstag 20. Februar
Marie Antoinette
Bogen 47, Holzmarktstr.15-18
10179 Berlin-Kreuzberg
20:00. 5€
Fb Event

Wasp Summer
w/ The Fever (US)
Freitag 21. März
Madam Claude
Lübbener Straße 19
10997 Berlin-Kreuzberg
21:00. 3-7€

Wasp Summer
Freitag 11. April
w/ guests
Tiefgrund
Laskerstraße 5
10245 Berlin-Friedrichshain
(nr. About.Blank/Ostbhf)
21:00. 3-7€

Wasp Summer (duo)
w/ Remarkable Shipwrecks + Eamon McGrath
Freitag 2. Mai
Ex-LG Security
Donaustr. 115
12043 Berlin-Neukölln
20:30. By donation.

Cheers,
Sam Wasp Summer