American neo-classical composer Sharon Fendrich captures the essence of emotions in her music written for piano, violin, cello, voice, flute, orchestra, and ambient sounds. Whether grief, sorrow, hope or love, the music is a place of peace and safety where listeners are invited to walk the pathways of their own experiences, dreams and memories. Along the way she welcomes the manifestation of grief processing, self-acceptance, tranquility, resolution and inspiration.
Fendrich released her self-produced debut album, Red Sky Prairie, on August 1, 2019. Grounded in Classical and inspired by New Age, the 11 tracks are full of lush, passionate melodies that immediately captivate the listener’s heart. Within the music one can hear the influences of Enya, Secret Garden, Ludovico Einaudi, Chopin and Debussy.
The inspiration for the album came from a daydream Fendrich had about a place where a palpable red-orange sky covered a prairie after the passing of a storm. A profound sensation of acceptance and peace permeated this scene inspired the creation of Red Sky Prairie
Fendrich traveled to the Netherlands to record and mix Red Sky Prairie at Kerani Music Studio, the home of award winning neo-classical artist Kerani. Solo musicians featured on the album are frequent principal players and have toured with the André Rieu Orchestra. Mastering was done by engineer Stephen Marsh, known for his work with some of Hollywood’s greatest composers.
In Fendrich’s compositional process, she relies on her fingers and ears to guide her into crafting a complete solo piano work. Then, as she begins to add layers of sound through improvisation, counter-melodies emerge and contribute to a full harmonic palette and tempos full of breathing room. The result is a sonically magical world in which the listener is comfortably immersed.
Click here to read the interview with Sharon Fendrich
This time around CEV's Q & A has a go at Renée Blanche, host of an ambient music radio show called Night Tides. Night Tides is an eclectic blend of contemplative instrumental & electronic music that combines upbeat grooves and dubs with soothing melodies that whisper softly to the soul. Host Renée Blanche is a native of Detroit, Michigan. She stumbled into radio after ending her military career in El Paso, Texas. Her skills as a volunteer announcer
were honed at community radio station KXCR during a three-year stay. Commercial radio was the next stop as a weekend announcer for adult contemporary stations K-LITE and B-94 FM. Renée moved to Kansas City in 1993 and was hired as the midday announcer for KCUR and as a traffic reporter for Metro Traffic Control. Her role as host of the Night Tides program began in September 1994.
Click here to read the entire interview with Renée Blanche
What it is, and how to generate it
by Bobby Borg
Musician, author, educator, and music industry consultant Bobby Borg talks to Freddy Nager, a former label executive, professor at USC, and owner of Atomic Tango to talk about word-of-mouth marketing and how to leverage it to boost your music career.
Excerpted from the video, “How to Create a Massive Buzz About your Music!”
Bobby Borg: Before we get started, I’m going to put things into perspective and refer to a book called The Tipping Point by Malcolm Gladwell. It’s been out for a while, but it’s still very relevant, and the way Gladwell defines word-of-mouth marketing is, “the process of stimulating natural conversation or buzz about your products or services.”
In a crowded marketplace like the music market, it’s not enough just to push out messages and hope they’re successful — you have to get people to talk about and enthusiastically recommend your products. Some ways to do this are through influencers, by sparking controversy, and through “mystery and intrigue.” So let’s talk about identifying influencers.
Freddy, can you define what influencers are and then describe how we can get them to talk about our products and services?
The Girl Who Stayed Lost in the Woods
Lily first unleashed her voice on a wider audience with her independent debut “Running from the Sky”. Described by fans as “a somber fairy tale” the ethereal vocals and dark lyrics quickly earned a cult following resulting in the street singer selling over 20,000 copies as an unsigned artist. After graduating from Emerson, Lily moved to Los Angeles where she continued to busk on the third street promenade in Santa Monical. With her steady
street buzz she was a natural choice for the film, “Playing for Change”-a rockumentary highlighting the lives of 16 street musicians across the country. The film struck a chord with audiences and was added into rotation on the Sundance Channel, the Independent Film Channel and Comcast On Demand. It also secured Lily her first record deal with BackPorch/Virgin and she released her second album “Everything Was Beautiful and Nothing Hurt.”
Click here to read the entire interview with LilyHolbrook
by Milana Zilnik
Cutting Edge Voices Spotlight Review
Abracadabra by Milana Zilnik CEV Spotlight Review
The cool breezes have already started to blow in the northeastern U.S. and the leaves are starting to let go their grip on the limbs they have clung to since the spring and slowly drift to the ground in ever increasing numbers. As we enter October, we know that come the 31st is a holiday that many of us look forward to every year but this year there’s another reason to look forward to October 31st and that’s the release of Abracadabra by Milana Zilnik. As
you might remember we reviewedMilana’s last album called Notte here on AV back in May of 2019. We are pleased to see that she will soon be releasing another an enchanting album and what more appropriate time to release an album called Abracadabra than on Halloween 2020.
About a year and half ago Milana bought a Hang drum and started to work with it to get a feel for how it would fit into the overall flow of her musical compositions. At first Milana was going to do a whole album based around the Hang drum but at a suggestion of her husband they decided instead to build the new compositions around the Hang drum, Milana’s piano playing, vocals and a cello and thus was Abracadabra born. I must say that the combination
of these particular instruments creates a unique sound palette that shifts and swirls around you as the compositions beckon you to let go of your mundane surroundings for the remainder of the album and find the magic within yourself.
Somehow, as the most psychologically daunting year of our lives refuses to loosen its grip, Taylor Swift continues to create with abandon, relentlessly surprising a fan base that hangs on her every tweet and emoji.
Somehow, the pop monolith has done it almost entirely in isolation, sharing heaps of digital files with her latest songwriting soulmate, The National’s Aaron Dessner (as well as long-favored collaborator Jack Antonoff), and remotely patching together some three-dozen fully realized tracks from a makeshift home studio.
Somehow, she’s polished off two career-redefining projects in five months. And somehow, despite the mastery and universal acclaim of July’s Folklore, its new sister album, Friday’s Evermore, is even stronger.
Logic1000 debuted in 2018 with an undoubtedly excellent self-titled EP, packed with tracks that tip between techno, IDM, and garage. The record put her firmly on the map as a producer to watch, and dance heavyweights—most notably Four Tet—championed Logic1000 consistently. But while the EP was a strong introduction to Logic1000 as an artist, she herself has admitted that the production was scattered.
Recently, Logic1000 has been curating her own musical identity through remixes; her work for Låpsley, Christine and the Queens, and Caribou has allowed her to find a throughline in her own sound through the additions of her signature clean garage beats and hook-bolstering harmonies. These act as a strong introduction to her latest EP You’ve Got the Whole Night to Go and give a taste of Logic1000 as a producer with a keen ear for melding the underground with pop-worthy hooks. Though just four songs, it shows Logic1000 flexing her stamina and spinning ideas more consistently across the EP.
Released in October 2020, On My Own is a perfect sonic blend of Lera Lynn’s previous records. It has the darkness of Resistor with its heavy yet warm atmosphere and its poetic verses and choruses, but it also has the confessional element of The Avenues. It’s as though there is an invisible thread you can trace throughout Lynn’s discography, with all words and melodies leading to On My Own.
Lynn was born in Texas but raised in Georgia, where she studied Anthropology, and she has lived in Nashville for over a decade. Lynn has released seven albums and EPs independently, and has had a hand in co-writing the music for the second season of True Detective – where she also made an appearance as the mysterious shadowy bar singer.
Welcome to a brand new feature here on Cutting Edge Voices and also welcome a new contributing writer to these pages as well. Dr. Kenneth Love will be joining us on a regular basis to share his wisdom about the music industry with anyone who is looking to give their own music careers a shot in the arm. Practical advice from years of experience in the music business is what this new column will offer you and we here at Cutting Edge Voices hope that it will
benefit you and
that you will stop back on a regular basis to catch the latest edition of Kenneth's column. To read the current article in the MuBiz With Dr. Kenneth Love column called
"Today’s False Ideologies of Both Major & Indie Artists"
please follow this link.
Other articles in the MuBiz with Dr. Kenneth Love Series
Lindsey Jordan recently walked into her high school principal’s office to request a few weeks off. She was itching to get out of her suburban hometown of Ellicott City, Maryland and play some shows with her three-piece rock band, Snail Mail. Jordan had secured permission-granting signatures from her mother and teachers—but she needed one more. “The principal sat me down and he was like, ‘So why should I sign this form? What is this going to do for your character?’”
the 17-year-old senior, gleefully jamming her sentences into one exalted breath. “I was like, ‘Well, I don’t know if you should sign the form… but I’d really like you to!’” Jordan relays this story one Saturday night in January, before Snail Mail open for D.C. firebrands Priests at a packed show in Brooklyn; the principal signed the form.
Snail Mail is Jordan’s first band. Though she took up the guitar at age 5 and has been playing ever since, it wasn’t until the spring of 2015—moved by the complementary forces of a devastating Grouper drone set and an insurrectionary Downtown Boys rock baptism—that she endeavored to form a group of her own. Two weeks after their first practice, Snail Mail played their debut gig at a Maryland festival alongside punk bands Sheer Mag, Priests, and Screaming
Females. It was
an inspired beginning that helped Jordan persist through subsequent shows that were marred by sexism. “I’ve gotten catcalled onstage,” she tells me. “It’s disgusting.”
When I was a teenager and just fumbling for a sense of what it meant to have a feeling, an idea, an impulse—and to articulate it on paper—I was listening to Kathleen Hanna sing about that same process as the leader of the seminal Riot grrrl band Bikini Kill, and later, as the frontperson of Le Tigre. At fourteen, I was just starting to try to name what it felt like to be a girl, to be angry, and to tell a story that maybe someone else could relate to. Hanna
was articulating these same ideas and emotions at a time when I had yet to fully comprehend them.
Through my girlfriend—who is making a film about Hanna called The Punk Singer—I’ve gotten the opportunity to get to know Kathleen and to talk to her about the similarities and differences between our artistic processes.
Making something out of the everything inside you is hard. Sending that something out into the world is a whole other kind of hard. That, I’ve learned firsthand. Before our conversation, I suspected that Kathleen knew a lot more about it than I did, twenty years into a career that shows no sign of slowing. I was right. She knows a lot about the pain of making good work, the risks and rewards inherent in seeing something through to its truest form. And she
knows about the hell of online commenters, of Googling oneself, and how one hate letter can outweigh a hundred love letters on the wrong day. She also knows something about moving past all that. About how we might all do better to take some cues from Beyoncé.
Chvrches' Lauren Mayberry: 'I will not accept online misogyny'
I am in a band that was born on the internet.
Although Chvrches formed and began writing in October 2011, we made our first wobbly steps into the public realm by posting a song on Neon Gold music blog in May last year. Since then, the blogosphere and social networks have arguably been the key reasons anyone knows about us at all – labels, media and members of the public included. For that reason, it has always been important to us that we communicate directly with people who care about our band through
the social networking sites we run.
There are, however, downsides to being known on the internet. Last week, I posted a screengrab of one of the many inappropriate messages sent to the band's social networks every day. After making the post, I sat back and watched with an increasingly open mouth as more and more people commented on the statement. At the time of writing, Facebook stats tell me that the post had reached 581,376 people, over five times the number of people who subscribe to the
page itself, with almost 1,000 comments underneath the image. Comments range from the disgusted and supportive to the offensively vile.
Madonna Gets Real About Sexism And Misogyny In Emotional Billboard ‘Women In Music’ Speech
Madonna opened up about the struggles and obstacles she’s faced over the years in a touching, personal speech at a Billboard Women in Music event on Friday.
While accepting a Woman of the Year award, the pop icon got real about the sexism and misogyny she’s dealt with throughout her decades-long career.
“I stand before you as a doormat. Oh, I mean, as a female entertainer,” Madonna said, via Billboard. “Thank you for acknowledging my ability to continue my career for 34 years in the face of blatant sexism and misogyny and constant bullying and relentless abuse.”
Madonna Delivers Her Blunt Truth During Fiery, Teary Billboard Women In Music Speech
Madonna -- a global icon who extended her record as the highest-grossing female touring artist of all time in 2016 -- was honored as Woman of the Year at Billboard's Women In Music 2016 event on Friday (Dec. 9). And during her acceptance speech, she was fully ferocious, funny and brutally honest -- in other words, she was the Madonna we've known and adored since she debuted more than 30 years ago.
Madonna, unsurprisingly, stole the show the moment she took the stage. Her weapon? Something you can't contain, fake, reproduce or put a price on: Blunt, personal truth.
After opening with a joke -- "I always feel better with something hard between my legs" Madonna said, straddling the microphone stand -- she got candid very quickly.
"I stand before you as a doormat. Oh, I mean, as a female entertainer," Madonna said. "Thank you for acknowledging my ability to continue my career for 34 years in the face of blatant sexism and misogyny and constant bullying and relentless abuse."
How Women Are Smashing Misogyny in the Music Business
In October 2014, singer-songwriter Kesha filed a lawsuit against Sony and producer Dr. Luke (Lukasz Gottwald) for sexual, verbal, emotional and physical abuse. Though a judge dismissed parts of the lawsuit in April (and denied her request to be released from her contract with Sony), Kesha prevailed in other ways; celebrities and the masses championed her cause online and in social media with a "Free Kesha" hashtag campaign, a petition demanding
Sony release her and a crowdfunding effort to try to buy her out of her contract.
started IndieMusicCoach.com in an effort to provide
one-on-one consulting and coaching to indie musicians. She founded
GoGirlsMusic.com, the oldest and largest online community of indie
women musicians, with a vision of bringing together and empowering
musicians from around the country. Ten years later it has become a
welcome destination for women in music through networking and events.
Madalyn produces the GoGirlsMusicFest, Invasion of the GoGirls, Battle of the GoGirls