(10960,1,'2014-10-15 12:50:55','2014-10-15 04:50:55','<img class=\"alignleft size-medium wp-image-10915\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"300\" height=\"233\" />While few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the vision and the music, and on a more practical level, the label/artist and the director/producer.\r\n\r\n<a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\">Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.\r\n<h5>I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\nIt varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\nFor the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.\r\n\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.\r\n<h5>I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\nI don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.\r\n<h5>How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\nThe music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…\r\n\r\nI don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\nThe pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-15 12:50:55','2014-10-15 04:50:55','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10961,1,'2014-10-15 13:00:11','2014-10-15 05:00:11',' ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”',' ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”','','inherit','closed','closed','','iasip_ninjas','','','2014-10-15 13:00:11','2014-10-15 05:00:11','',10907,'http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas.jpg',0,'attachment','image/jpeg',0),(10962,1,'2014-10-15 13:03:26','2014-10-15 05:03:26','<img class=\"alignleft size-medium wp-image-10915\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"300\" height=\"233\" />While few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the vision and the music, and on a more practical level, the label/artist and the director/producer.\r\n\r\n<a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\">Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.\r\n<h5>I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\nIt varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\n<img class=\"alignleft size-medium wp-image-10961\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas-300x199.jpg\" alt=\" ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”\" width=\"300\" height=\"199\" />For the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.\r\n\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.\r\n<h5>I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\nI don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.\r\n<h5>How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\nThe music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…\r\n\r\nI don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\nThe pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-15 13:03:26','2014-10-15 05:03:26','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10963,1,'2014-10-15 13:04:05','2014-10-15 05:04:05','<img class=\"alignleft size-medium wp-image-10915\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"300\" height=\"233\" />While few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the vision and the music, and on a more practical level, the label/artist and the director/producer.\r\n\r\n<a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\">Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.\r\n<h5>I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\nIt varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\n<img class=\"alignright wp-image-10961 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas-300x199.jpg\" alt=\" ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”\" width=\"300\" height=\"199\" />For the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.\r\n\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.\r\n<h5>I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\nI don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.\r\n<h5>How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\nThe music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…\r\n\r\nI don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\nThe pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-15 13:04:05','2014-10-15 05:04:05','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10964,1,'2014-10-15 14:18:17','2014-10-15 06:18:17','<img class=\"alignleft  wp-image-10915\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"274\" height=\"213\" />While few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the vision and the music, and on a more practical level, the label/artist and the director/producer.\r\n\r\n<a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\">Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.\r\n<h5>I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\nIt varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\n<img class=\"alignright wp-image-10961 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas-300x199.jpg\" alt=\" ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”\" width=\"300\" height=\"199\" />For the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.\r\n\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.\r\n<h5>I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\nI don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.\r\n<h5>How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\nThe music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…\r\n\r\nI don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\nThe pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-15 14:18:17','2014-10-15 06:18:17','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10965,1,'2014-10-15 14:18:41','2014-10-15 06:18:41','While few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the vision and the music, and on a more practical level, the label/artist and the director/producer.\r\n\r\n<a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\"><img class=\"alignleft  wp-image-10915\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"274\" height=\"213\" />Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.\r\n<h5>I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\nIt varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\n<img class=\"alignright wp-image-10961 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas-300x199.jpg\" alt=\" ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”\" width=\"300\" height=\"199\" />For the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.\r\n\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.\r\n<h5>I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\nI don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.\r\n<h5>How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\nThe music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…\r\n\r\nI don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\nThe pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-15 14:18:41','2014-10-15 06:18:41','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10966,1,'2014-10-15 14:19:35','2014-10-15 06:19:35','While few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the <img class=\"alignleft  wp-image-10915\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"274\" height=\"213\" />vision and the music, and on a more practical level, the label/artist and the director/producer.\r\n\r\n<a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\">Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.\r\n<h5>I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\nIt varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\n<img class=\"alignright wp-image-10961 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas-300x199.jpg\" alt=\" ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”\" width=\"300\" height=\"199\" />For the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.\r\n\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.\r\n<h5>I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\nI don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.\r\n<h5>How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\nThe music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…\r\n\r\nI don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\nThe pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-15 14:19:35','2014-10-15 06:19:35','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10967,1,'2014-10-15 14:20:03','2014-10-15 06:20:03','While few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the <img class=\"alignright wp-image-10915\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"274\" height=\"213\" />vision and the music, and on a more practical level, the label/artist and the director/producer.\r\n\r\n<a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\">Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.\r\n<h5>I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\nIt varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\n<img class=\"alignright wp-image-10961 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas-300x199.jpg\" alt=\" ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”\" width=\"300\" height=\"199\" />For the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.\r\n\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.\r\n<h5>I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\nI don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.\r\n<h5>How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\nThe music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…\r\n\r\nI don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\nThe pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-15 14:20:03','2014-10-15 06:20:03','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10968,1,'2014-10-15 14:20:34','2014-10-15 06:20:34','While few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the <img class=\"alignleft wp-image-10915\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"274\" height=\"213\" />vision and the music, and on a more practical level, the label/artist and the director/producer.\r\n\r\n<a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\">Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.\r\n<h5>I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\nIt varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\n<img class=\"alignright wp-image-10961 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas-300x199.jpg\" alt=\" ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”\" width=\"300\" height=\"199\" />For the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.\r\n\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.\r\n<h5>I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\nI don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.\r\n<h5>How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\nThe music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…\r\n\r\nI don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\nThe pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-15 14:20:34','2014-10-15 06:20:34','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10969,1,'2014-10-15 14:20:53','2014-10-15 06:20:53','<img class=\"alignleft wp-image-10915\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"274\" height=\"213\" />While few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the vision and the music, and on a more practical level, the label/artist and the director/producer.\r\n\r\n<a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\">Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.\r\n<h5>I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\nIt varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\n<img class=\"alignright wp-image-10961 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas-300x199.jpg\" alt=\" ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”\" width=\"300\" height=\"199\" />For the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.\r\n\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.\r\n<h5>I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\nI don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.\r\n<h5>How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\nThe music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…\r\n\r\nI don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\nThe pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-15 14:20:53','2014-10-15 06:20:53','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10970,1,'2014-10-15 14:21:24','2014-10-15 06:21:24','<img class=\"alignleft wp-image-10915\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"282\" height=\"219\" />While few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the vision and the music, and on a more practical level, the label/artist and the director/producer.\r\n\r\n<a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\">Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.\r\n<h5>I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\nIt varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\n<img class=\"alignright wp-image-10961 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas-300x199.jpg\" alt=\" ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”\" width=\"300\" height=\"199\" />For the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.\r\n\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.\r\n<h5>I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\nI don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.\r\n<h5>How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\nThe music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…\r\n\r\nI don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\nThe pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-15 14:21:24','2014-10-15 06:21:24','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10973,1,'2014-10-15 14:23:12','2014-10-15 06:23:12','<img class=\"alignleft wp-image-10915\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"256\" height=\"199\" />\r\n\r\nWhile few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the vision and the music, and on a more practical level, the label/artist and the director/producer.\r\n\r\n<a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\">Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.\r\n<h5>I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\nIt varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\n<img class=\"alignright wp-image-10961 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas-300x199.jpg\" alt=\" ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”\" width=\"300\" height=\"199\" />For the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.\r\n\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.\r\n<h5>I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\nI don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.\r\n<h5>How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\nThe music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…\r\n\r\nI don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\nThe pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-15 14:23:12','2014-10-15 06:23:12','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10971,1,'2014-10-15 14:21:56','2014-10-15 06:21:56','[caption id=\"attachment_10915\" align=\"alignleft\" width=\"282\"]<img class=\"wp-image-10915\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"282\" height=\"219\" /> Steve Griffen[/caption]\r\n\r\nWhile few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the vision and the music, and on a more practical level, the label/artist and the director/producer.\r\n\r\n<a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\">Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.\r\n<h5>I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\nIt varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\n<img class=\"alignright wp-image-10961 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas-300x199.jpg\" alt=\" ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”\" width=\"300\" height=\"199\" />For the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.\r\n\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.\r\n<h5>I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\nI don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.\r\n<h5>How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\nThe music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…\r\n\r\nI don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\nThe pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-15 14:21:56','2014-10-15 06:21:56','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10972,1,'2014-10-15 14:22:50','2014-10-15 06:22:50','[caption id=\"attachment_10915\" align=\"alignleft\" width=\"256\"]<img class=\"wp-image-10915\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"256\" height=\"199\" /> Steve Griffen[/caption]\r\n\r\nWhile few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the vision and the music, and on a more practical level, the label/artist and the director/producer.\r\n\r\n<a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\">Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.\r\n<h5>I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\nIt varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\n<img class=\"alignright wp-image-10961 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas-300x199.jpg\" alt=\" ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”\" width=\"300\" height=\"199\" />For the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.\r\n\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.\r\n<h5>I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\nI don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.\r\n<h5>How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\nThe music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…\r\n\r\nI don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\nThe pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-15 14:22:50','2014-10-15 06:22:50','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10975,1,'2014-10-15 14:24:46','2014-10-15 06:24:46','<img class=\"alignleft wp-image-10915 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"300\" height=\"233\" />While few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the vision and the music, and on a more practical level, the label/artist and the director/producer.\r\n\r\n<a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\">Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.\r\n<h5>I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\nIt varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\n<img class=\"alignright wp-image-10961 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas-300x199.jpg\" alt=\" ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”\" width=\"300\" height=\"199\" />For the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.\r\n\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.\r\n<h5>I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\nI don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.\r\n<h5>How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\nThe music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…\r\n\r\nI don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\nThe pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-15 14:24:46','2014-10-15 06:24:46','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10974,1,'2014-10-15 14:23:40','2014-10-15 06:23:40','<img class=\"alignleft wp-image-10915 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"300\" height=\"233\" />\r\n\r\nWhile few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the vision and the music, and on a more practical level, the label/artist and the director/producer.\r\n\r\n<a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\">Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.\r\n<h5>I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\nIt varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\n<img class=\"alignright wp-image-10961 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas-300x199.jpg\" alt=\" ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”\" width=\"300\" height=\"199\" />For the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.\r\n\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.\r\n<h5>I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\nI don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.\r\n<h5>How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\nThe music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…\r\n\r\nI don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\nThe pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-15 14:23:40','2014-10-15 06:23:40','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10976,1,'2014-10-15 14:25:46','2014-10-15 06:25:46','<img class=\"alignleft wp-image-10915 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"285\" height=\"221\" />While few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the vision and the music, and on a more practical level, the label/artist and the director/producer.\r\n\r\n<a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\">Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.\r\n<h5>I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\nIt varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\n<img class=\"alignright wp-image-10961 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas-300x199.jpg\" alt=\" ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”\" width=\"300\" height=\"199\" />For the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.\r\n\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.\r\n<h5>I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\nI don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.\r\n<h5>How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\nThe music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…\r\n\r\nI don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\nThe pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-15 14:25:46','2014-10-15 06:25:46','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10977,1,'2014-10-15 14:27:26','2014-10-15 06:27:26','Craig Robinson','Craig Robinson','','inherit','closed','closed','','premiere-of-columbia-pictures-this-is-the-end-arrivals','','','2014-10-15 14:27:26','2014-10-15 06:27:26','',10907,'http://www.hiddenshoal.com/wp-content/uploads/2014/10/mr-robinson-series.jpg',0,'attachment','image/jpeg',0),(10978,1,'2014-10-15 14:32:03','2014-10-15 06:32:03','','Craig Robinson','','inherit','closed','closed','','craig-robinson','','','2014-10-15 14:32:03','2014-10-15 06:32:03','',10907,'http://www.hiddenshoal.com/wp-content/uploads/2014/10/Craig-Robinson.jpg',0,'attachment','image/jpeg',0),(10980,1,'2014-10-15 14:33:05','2014-10-15 06:33:05','<img class=\"alignleft wp-image-10915 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"285\" height=\"221\" />While few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the vision and the music, and on a more practical level, the label/artist and the director/producer.\r\n\r\n<a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\">Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.\r\n<h5>I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\nIt varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\n<img class=\"alignright wp-image-10961 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas-300x199.jpg\" alt=\" ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”\" width=\"300\" height=\"199\" />For the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.\r\n\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.\r\n<h5>I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\nI don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.\r\n<h5>How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\nThe music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…\r\n\r\nI don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\nThe pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s <img class=\"alignleft  wp-image-10978\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Craig-Robinson-300x200.jpg\" alt=\"Craig Robinson\" width=\"209\" height=\"139\" />based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-15 14:33:05','2014-10-15 06:33:05','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10979,1,'2014-10-15 14:32:23','2014-10-15 06:32:23','<img class=\"alignleft wp-image-10915 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"285\" height=\"221\" />While few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the vision and the music, and on a more practical level, the label/artist and the director/producer.\r\n\r\n<a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\">Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.\r\n<h5>I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\nIt varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\n<img class=\"alignright wp-image-10961 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas-300x199.jpg\" alt=\" ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”\" width=\"300\" height=\"199\" />For the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.\r\n\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.\r\n<h5>I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\nI don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.\r\n<h5>How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\nThe music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…\r\n\r\nI don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\n<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Craig-Robinson.jpg\"><img class=\"alignleft  wp-image-10978\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Craig-Robinson-300x200.jpg\" alt=\"Craig Robinson\" width=\"209\" height=\"139\" /></a>The pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-15 14:32:23','2014-10-15 06:32:23','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10981,1,'2014-10-15 14:33:58','2014-10-15 06:33:58','<img class=\"alignleft wp-image-10915 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"285\" height=\"221\" />While few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the vision and the music, and on a more practical level, the label/artist and the director/producer.\r\n\r\n<a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\">Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.\r\n<h5>I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\nIt varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\n<img class=\"alignright wp-image-10961 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas-300x199.jpg\" alt=\" ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”\" width=\"300\" height=\"199\" />For the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.\r\n\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.\r\n<h5>I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\nI don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.\r\n<h5>How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\nThe music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…\r\n\r\nI don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\n<img class=\"alignleft  wp-image-10978\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Craig-Robinson-300x200.jpg\" alt=\"Craig Robinson\" width=\"209\" height=\"139\" />The pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-15 14:33:58','2014-10-15 06:33:58','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10982,1,'2014-10-15 14:35:51','2014-10-15 06:35:51','<img class=\"alignleft wp-image-10915 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"285\" height=\"221\" />While few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the vision and the music, and on a more practical level, the label/artist and the director/producer.\r\n\r\n<a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\">Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.\r\n<h5>I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\nIt varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\n<img class=\"alignright wp-image-10961 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas-300x199.jpg\" alt=\" ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”\" width=\"300\" height=\"199\" />For the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.\r\n\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.\r\n<h5>I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\nI don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.\r\n<h5>How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\nThe music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…\r\n\r\nI don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\n<img class=\"alignright wp-image-10978\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Craig-Robinson-300x200.jpg\" alt=\"Craig Robinson\" width=\"209\" height=\"139\" />The pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-15 14:35:51','2014-10-15 06:35:51','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10983,1,'2014-10-15 14:36:46','2014-10-15 06:36:46','<p style=\"text-align: justify;\"><img class=\"alignleft wp-image-10915 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"285\" height=\"221\" />While few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the vision and the music, and on a more practical level, the label/artist and the director/producer.</p>\r\n<p style=\"text-align: justify;\"><a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\">Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:</p>\r\n\r\n<h5 style=\"text-align: justify;\">How did you get into music supervision?</h5>\r\n<p style=\"text-align: justify;\">It was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.</p>\r\n\r\n<h5 style=\"text-align: justify;\">What’s a day in the life of a music supervisor like?</h5>\r\n<p style=\"text-align: justify;\">The day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.</p>\r\n\r\n<h5 style=\"text-align: justify;\">I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\n<p style=\"text-align: justify;\">It varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.</p>\r\n\r\n<h5 style=\"text-align: justify;\">What’s been your favourite music placement and why?</h5>\r\n<p style=\"text-align: justify;\"><img class=\"alignright wp-image-10961 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas-300x199.jpg\" alt=\" ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”\" width=\"300\" height=\"199\" />For the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.</p>\r\n\r\n<h5 style=\"text-align: justify;\">Without telling tales out of school, what was your hardest sync?</h5>\r\n<p style=\"text-align: justify;\">I’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.</p>\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5 style=\"text-align: justify;\">Do you ever have to argue the value of a particular song to a director?</h5>\r\n<p style=\"text-align: justify;\">Constantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.</p>\r\n\r\n<h5 style=\"text-align: justify;\">I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\n<p style=\"text-align: justify;\">I don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.</p>\r\n\r\n<h5 style=\"text-align: justify;\">How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\n<p style=\"text-align: justify;\">The music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…</p>\r\n<p style=\"text-align: justify;\">I don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.</p>\r\n\r\n<h5 style=\"text-align: justify;\">Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\n<p style=\"text-align: justify;\"><img class=\"alignright wp-image-10978\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Craig-Robinson-300x200.jpg\" alt=\"Craig Robinson\" width=\"209\" height=\"139\" />The pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.</p>\r\n\r\n<h5 style=\"text-align: justify;\">What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\n<p style=\"text-align: justify;\">Literally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.</p>','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-15 14:36:46','2014-10-15 06:36:46','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10984,1,'2014-10-15 14:37:41','2014-10-15 06:37:41','<p style=\"text-align: justify;\"><img class=\"alignleft wp-image-10915 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"285\" height=\"221\" />While few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the vision and the music, and on a more practical level, the label/artist and the director/producer.</p>\r\n<p style=\"text-align: justify;\"><a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\">Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:</p>\r\n\r\n<h5 style=\"text-align: justify;\">How did you get into music supervision?</h5>\r\n<p style=\"text-align: justify;\">It was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.</p>\r\n\r\n<h5 style=\"text-align: justify;\">What’s a day in the life of a music supervisor like?</h5>\r\n<p style=\"text-align: justify;\">The day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.</p>\r\n\r\n<h5 style=\"text-align: justify;\">I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\n<p style=\"text-align: justify;\">It varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.</p>\r\n\r\n<h5 style=\"text-align: justify;\">What’s been your favourite music placement and why?</h5>\r\n<p style=\"text-align: justify;\"><img class=\"alignright wp-image-10961 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas-300x199.jpg\" alt=\" ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”\" width=\"300\" height=\"199\" />For the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.</p>\r\n\r\n<h5 style=\"text-align: justify;\">Without telling tales out of school, what was your hardest sync?</h5>\r\n<p style=\"text-align: justify;\">I’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.</p>\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5 style=\"text-align: justify;\">Do you ever have to argue the value of a particular song to a director?</h5>\r\n<p style=\"text-align: justify;\">Constantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.</p>\r\n\r\n<h5 style=\"text-align: justify;\">I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\n<p style=\"text-align: justify;\">I don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.</p>\r\n\r\n<h5 style=\"text-align: justify;\">How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\n<p style=\"text-align: justify;\">The music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…</p>\r\n<p style=\"text-align: justify;\">I don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.</p>\r\n\r\n<h5 style=\"text-align: justify;\">Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\n<p style=\"text-align: justify;\"><img class=\"alignleft wp-image-10978\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Craig-Robinson-300x200.jpg\" alt=\"Craig Robinson\" width=\"209\" height=\"139\" />The pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.</p>\r\n\r\n<h5 style=\"text-align: justify;\">What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\n<p style=\"text-align: justify;\">Literally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.</p>','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-15 14:37:41','2014-10-15 06:37:41','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10985,1,'2014-10-15 14:41:28','2014-10-15 06:41:28','Markus Mehr - \"Binary Rooms\"','Markus Mehr - \"Binary Rooms\"','','inherit','closed','closed','','markus-mehr-binary-rooms-cover-300px','','','2014-10-15 14:41:28','2014-10-15 06:41:28','',8417,'http://www.hiddenshoal.com/wp-content/uploads/2014/10/Markus-Mehr-Binary-Rooms-Cover-300px.jpg',0,'attachment','image/jpeg',0),(10987,1,'2014-10-15 22:26:08','2014-10-15 14:26:08','','iasip_ninjas','','inherit','closed','closed','','iasip_ninjas-2','','','2014-10-15 22:26:08','2014-10-15 14:26:08','',0,'http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas1.jpg',0,'attachment','image/jpeg',0),(10988,1,'2014-10-16 12:03:17','2014-10-16 04:03:17','<p style=\"text-align: left;\"><a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><img class=\"alignleft  wp-image-9250\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Brother-Earth-Bio-Shot1-300x188.jpg\" alt=\"Brother Earth\" width=\"250\" height=\"157\" />Brother Earth</a>\'s \'Out Like a Lion\' from their recent album <a title=\"Positive Haywires\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><em>Positive Haywires</em></a> is as arresting as it almost not even there. As if breathed into existence by a group of slacker ghosts, the song lilts and turns, crashing into furniture but never losing focus on some hidden goal. The incantatory vocal, the tugging nylon guitar and the insistent percussion are reminiscent of <a title=\"Pram - \'Dorothy\'\" href=\"https://www.youtube.com/watch?v=g9jX3cZi0d0\" target=\"_blank\">Pram</a> at the height of their craft, yet this song is something else again and very much it\'s own strange and wonderful beast. If this doesn\'t soundtrack an episode of <a title=\"True Detective\" href=\"http://www.imdb.com/title/tt2356777/\" target=\"_blank\"><em>True Detective</em></a> there is no justice in the world.</p>\r\n<p style=\"text-align: left;\">It was a no brainer that a collaboration between Robert Pollard collaborator and GBV producer Todd Tobias and Steve Five of The Library Is On Fire would produce something new and wonderful but <em>Positive Haywires</em> exceeded even my own extremely high expectations. Dig it!</p>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/160808880&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Featured Track - Brother Earth \'Out Like a Lion\'','','publish','closed','closed','','featured-track-brother-earth-out-like-a-lion','','','2016-06-20 10:42:01','2016-06-20 02:42:01','',0,'http://www.hiddenshoal.com/?p=10988',0,'post','',0),(10989,1,'2014-10-16 10:54:43','2014-10-16 02:54:43','','Featured Track - ','','inherit','closed','closed','','10988-revision-v1','','','2014-10-16 10:54:43','2014-10-16 02:54:43','',10988,'http://www.hiddenshoal.com/10988-revision-v1/',0,'revision','',0),(10992,1,'2014-10-16 11:30:17','2014-10-16 03:30:17','[et_pb_section fullwidth=\"off\" specialty=\"off\" background_color=\"#000000\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_row][et_pb_column type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"dark\" text_orientation=\"left\"]<h1>Featured Releases</h1>[/et_pb_text][/et_pb_column][/et_pb_row][et_pb_row][et_pb_column type=\"1_4\"][et_pb_text admin_label=\"Text\" background_layout=\"dark\" text_orientation=\"left\"]<h4 style=\"text-align: center;\"><iframe style=\"border: 0; width: 200px; height: 200px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3445084080/size=large/bgcol=333333/linkcol=ffffff/minimal=true/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://markusmehr.bandcamp.com/album/binary-rooms\">Binary Rooms by Markus Mehr</a></iframe><br /> <em>Binary Rooms</em><br /> by <a title=\"Markus Mehr\" href=\"http://www.hiddenshoal.com/project/markus-mehr/\">Markus Mehr</a></h4>[/et_pb_text][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_text admin_label=\"Text\" background_layout=\"dark\" text_orientation=\"left\"]<h4 style=\"text-align: center;\"><iframe style=\"border: 0; width: 220px; height: 220px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2503571384/size=large/bgcol=333333/linkcol=ffffff/minimal=true/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://hiddenshoal.bandcamp.com/album/deconstruction-manual\">Deconstruction Manual by Hidden Shoal</a></iframe><br /> <em>Deconstruction Manual</em><br /> by <a title=\"Deconstruction Manual\" href=\"http://www.hiddenshoal.com/deconstruction-manual-hidden-shoal-remix-ep-featuring-antonymes-and-slow-dancing-society/\">Various Artists</a></h4>[/et_pb_text][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_text admin_label=\"Text\" background_layout=\"dark\" text_orientation=\"left\"]<h4 style=\"text-align: center;\"><iframe style=\"border: 0; width: 220px; height: 220px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3024572785/size=large/bgcol=333333/linkcol=ffffff/minimal=true/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://kryshe.bandcamp.com/album/in-between\">In Between by Kryshe</a></iframe><em><br /> In Between</em><br /> by <a title=\"Kryshe\" href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a></h4>[/et_pb_text][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_text admin_label=\"Text\" background_layout=\"dark\" text_orientation=\"left\"]<h4 style=\"text-align: center;\"><iframe style=\"border: 0; width: 220px; height: 220px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=393710886/size=large/bgcol=333333/linkcol=ffffff/minimal=true/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://involved.bandcamp.com/album/revolving-maze\">REVOLVING MAZE by Involved</a></iframe><br /> <em>Revolving Maze</em><br /> by <a title=\"Involved\" href=\"http://www.hiddenshoal.com/project/involved/\">Involved</a></h4>[/et_pb_text][/et_pb_column][/et_pb_row][et_pb_row][et_pb_column type=\"4_4\"][et_pb_divider admin_label=\"Divider\" color=\"#f4f4f4\" show_divider=\"on\" /][et_pb_text admin_label=\"Latest News Title\" background_layout=\"dark\" text_orientation=\"left\"]<h1>Latest News &amp; Features</h1>[/et_pb_text][et_pb_blog admin_label=\"Latest News\" fullwidth=\"off\" posts_number=\"6\" include_categories=\"2126,5\" meta_date=\"M j, Y\" show_thumbnail=\"off\" show_content=\"off\" show_author=\"off\" show_date=\"on\" show_categories=\"off\" show_pagination=\"off\" background_layout=\"dark\" module_id=\"blogfront\" /][et_pb_cta admin_label=\"More News Button\" use_background_color=\"off\" background_color=\"#2EA3F2\" background_layout=\"dark\" text_orientation=\"center\" button_url=\"http://www.hiddenshoal.com/news/\" button_text=\"More News\" /][et_pb_divider admin_label=\"Divider\" color=\"#f4f4f4\" show_divider=\"on\" /][et_pb_text admin_label=\"Featured Videos Title\" background_layout=\"dark\" text_orientation=\"left\"]<h1>Featured Videos</h1>[/et_pb_text][et_pb_blog admin_label=\"Featured Videos\" fullwidth=\"off\" posts_number=\"3\" include_categories=\"2134\" meta_date=\"M j, Y\" show_thumbnail=\"off\" show_content=\"off\" show_author=\"off\" show_date=\"off\" show_categories=\"off\" show_pagination=\"off\" background_layout=\"dark\" /][et_pb_cta admin_label=\"More Videos Button\" use_background_color=\"off\" background_color=\"#2EA3F2\" background_layout=\"dark\" text_orientation=\"center\" button_url=\"http://www.hiddenshoal.com/hsr-tv/\" button_text=\"More Videos\" /][/et_pb_column][/et_pb_row][/et_pb_section]','Hidden Shoal','','inherit','closed','closed','','7982-revision-v1','','','2014-10-16 11:30:17','2014-10-16 03:30:17','',7982,'http://www.hiddenshoal.com/7982-revision-v1/',0,'revision','',0),(10991,1,'2014-10-16 11:27:01','2014-10-16 03:27:01','[et_pb_section fullwidth=\"off\" specialty=\"off\" background_color=\"#000000\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_row][et_pb_column type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"dark\" text_orientation=\"left\"]\r\n<h1>Featured Releases</h1>\r\n[/et_pb_text][/et_pb_column][/et_pb_row][et_pb_row][et_pb_column type=\"1_4\"][et_pb_text admin_label=\"Text\" background_layout=\"dark\" text_orientation=\"left\"]<h4 style=\"text-align: center;\"><iframe style=\"border: 0; width: 200px; height: 200px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3445084080/size=large/bgcol=333333/linkcol=ffffff/minimal=true/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://markusmehr.bandcamp.com/album/binary-rooms\">Binary Rooms by Markus Mehr</a></iframe> <br /><em>Binary Rooms<br /></em>by <a title=\"Markus Mehr\" href=\"http://www.hiddenshoal.com/project/markus-mehr/\">Markus Mehr</a></h4>[/et_pb_text][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_text admin_label=\"Text\" background_layout=\"dark\" text_orientation=\"left\"]<br />\r\n<h4 style=\"text-align: center;\"><iframe style=\"border: 0; width: 220px; height: 220px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2503571384/size=large/bgcol=333333/linkcol=ffffff/minimal=true/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://hiddenshoal.bandcamp.com/album/deconstruction-manual\">Deconstruction Manual by Hidden Shoal</a></iframe><br /> <em>Deconstruction Manual</em><br /> by <a title=\"Deconstruction Manual\" href=\"http://www.hiddenshoal.com/deconstruction-manual-hidden-shoal-remix-ep-featuring-antonymes-and-slow-dancing-society/\">Various Artists</a></h4>\r\n[/et_pb_text][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_text admin_label=\"Text\" background_layout=\"dark\" text_orientation=\"left\"]<br />\r\n<h4 style=\"text-align: center;\"><iframe style=\"border: 0; width: 220px; height: 220px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3024572785/size=large/bgcol=333333/linkcol=ffffff/minimal=true/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://kryshe.bandcamp.com/album/in-between\">In Between by Kryshe</a></iframe><em><br /> In Between</em><br /> by <a title=\"Kryshe\" href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a></h4>\r\n[/et_pb_text][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_text admin_label=\"Text\" background_layout=\"dark\" text_orientation=\"left\"]\r\n<h4 style=\"text-align: center;\"><iframe style=\"border: 0; width: 220px; height: 220px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=393710886/size=large/bgcol=333333/linkcol=ffffff/minimal=true/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://involved.bandcamp.com/album/revolving-maze\">REVOLVING MAZE by Involved</a></iframe><br /> <em>Revolving Maze</em><br /> by <a title=\"Involved\" href=\"http://www.hiddenshoal.com/project/involved/\">Involved</a></h4>\r\n[/et_pb_text][/et_pb_column][/et_pb_row][et_pb_row][et_pb_column type=\"4_4\"][et_pb_divider admin_label=\"Divider\" color=\"#f4f4f4\" show_divider=\"on\" /][et_pb_text admin_label=\"Latest News Title\" background_layout=\"dark\" text_orientation=\"left\"]\r\n<h1>Latest News &amp; Features</h1>\r\n[/et_pb_text][et_pb_blog admin_label=\"Latest News\" fullwidth=\"off\" posts_number=\"6\" include_categories=\"2126,5\" meta_date=\"M j, Y\" show_thumbnail=\"off\" show_content=\"off\" show_author=\"off\" show_date=\"on\" show_categories=\"off\" show_pagination=\"off\" background_layout=\"dark\" module_id=\"blogfront\" /][et_pb_cta admin_label=\"More News Button\" use_background_color=\"off\" background_color=\"#2EA3F2\" background_layout=\"dark\" text_orientation=\"center\" button_url=\"http://www.hiddenshoal.com/news/\" button_text=\"More News\" /][et_pb_divider admin_label=\"Divider\" color=\"#f4f4f4\" show_divider=\"on\" /][et_pb_text admin_label=\"Featured Videos Title\" background_layout=\"dark\" text_orientation=\"left\"]\r\n<h1>Featured Videos</h1>\r\n[/et_pb_text][et_pb_blog admin_label=\"Featured Videos\" fullwidth=\"off\" posts_number=\"3\" include_categories=\"2134\" meta_date=\"M j, Y\" show_thumbnail=\"off\" show_content=\"off\" show_author=\"off\" show_date=\"off\" show_categories=\"off\" show_pagination=\"off\" background_layout=\"dark\" /][et_pb_cta admin_label=\"More Videos Button\" use_background_color=\"off\" background_color=\"#2EA3F2\" background_layout=\"dark\" text_orientation=\"center\" button_url=\"http://www.hiddenshoal.com/hsr-tv/\" button_text=\"More Videos\" /][/et_pb_column][/et_pb_row][/et_pb_section]','Hidden Shoal','','inherit','closed','closed','','7982-revision-v1','','','2014-10-16 11:27:01','2014-10-16 03:27:01','',7982,'http://www.hiddenshoal.com/7982-revision-v1/',0,'revision','',0),(10993,1,'2014-10-16 11:48:08','2014-10-16 03:48:08','[et_pb_section fullwidth=\"off\" specialty=\"off\" background_color=\"#000000\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_row][et_pb_column type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"dark\" text_orientation=\"left\"]<br />\r\n<h1>Featured Releases</h1>\r\n[/et_pb_text][/et_pb_column][/et_pb_row][et_pb_row][et_pb_column type=\"1_4\"][et_pb_text admin_label=\"Text\" background_layout=\"dark\" text_orientation=\"left\"]<h4 style=\"text-align: center;\"><iframe style=\"border: 0; width: 220px; height: 220px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3445084080/size=large/bgcol=333333/linkcol=ffffff/minimal=true/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://markusmehr.bandcamp.com/album/binary-rooms\">Binary Rooms by Markus Mehr</a></iframe><br /> <em>Binary Rooms<br /></em>by <a title=\"Markus Mehr\" href=\"http://www.hiddenshoal.com/project/markus-mehr/\">Markus Mehr</a></h4>[/et_pb_text][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_text admin_label=\"Text\" background_layout=\"dark\" text_orientation=\"left\"]<br />\r\n<h4 style=\"text-align: center;\"><iframe style=\"border: 0; width: 220px; height: 220px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2503571384/size=large/bgcol=333333/linkcol=ffffff/minimal=true/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://hiddenshoal.bandcamp.com/album/deconstruction-manual\">Deconstruction Manual by Hidden Shoal</a></iframe><br /> <em>Deconstruction Manual</em><br /> by <a title=\"Deconstruction Manual\" href=\"http://www.hiddenshoal.com/deconstruction-manual-hidden-shoal-remix-ep-featuring-antonymes-and-slow-dancing-society/\">Various Artists</a></h4>\r\n[/et_pb_text][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_text admin_label=\"Text\" background_layout=\"dark\" text_orientation=\"left\"]<h4 style=\"text-align: center;\"><iframe style=\"border: 0; width: 220px; height: 220px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3024572785/size=large/bgcol=333333/linkcol=ffffff/minimal=true/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://kryshe.bandcamp.com/album/in-between\">In Between by Kryshe</a></iframe><em><br /> In Between</em><br /> by <a title=\"Kryshe\" href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a></h4>[/et_pb_text][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_text admin_label=\"Text\" background_layout=\"dark\" text_orientation=\"left\"]<h4 style=\"text-align: center;\"><iframe style=\"border: 0; width: 220px; height: 220px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=393710886/size=large/bgcol=333333/linkcol=ffffff/minimal=true/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://involved.bandcamp.com/album/revolving-maze\">REVOLVING MAZE by Involved</a></iframe><br /> <em>Revolving Maze</em><br /> by <a title=\"Involved\" href=\"http://www.hiddenshoal.com/project/involved/\">Involved</a></h4>[/et_pb_text][/et_pb_column][/et_pb_row][et_pb_row][et_pb_column type=\"4_4\"][et_pb_divider admin_label=\"Divider\" color=\"#f4f4f4\" show_divider=\"on\" /][et_pb_text admin_label=\"Latest News Title\" background_layout=\"dark\" text_orientation=\"left\"]<br />\r\n<h1>Latest News &amp; Features</h1>\r\n[/et_pb_text][et_pb_blog admin_label=\"Latest News\" fullwidth=\"off\" posts_number=\"6\" include_categories=\"2126,5\" meta_date=\"M j, Y\" show_thumbnail=\"off\" show_content=\"off\" show_author=\"off\" show_date=\"on\" show_categories=\"off\" show_pagination=\"off\" background_layout=\"dark\" module_id=\"blogfront\" /][et_pb_cta admin_label=\"More News Button\" use_background_color=\"off\" background_color=\"#2EA3F2\" background_layout=\"dark\" text_orientation=\"center\" button_url=\"http://www.hiddenshoal.com/news/\" button_text=\"More News\" /][et_pb_divider admin_label=\"Divider\" color=\"#f4f4f4\" show_divider=\"on\" /][et_pb_text admin_label=\"Featured Videos Title\" background_layout=\"dark\" text_orientation=\"left\"]<br />\r\n<h1>Featured Videos</h1>\r\n[/et_pb_text][et_pb_blog admin_label=\"Featured Videos\" fullwidth=\"off\" posts_number=\"3\" include_categories=\"2134\" meta_date=\"M j, Y\" show_thumbnail=\"off\" show_content=\"off\" show_author=\"off\" show_date=\"off\" show_categories=\"off\" show_pagination=\"off\" background_layout=\"dark\" /][et_pb_cta admin_label=\"More Videos Button\" use_background_color=\"off\" background_color=\"#2EA3F2\" background_layout=\"dark\" text_orientation=\"center\" button_url=\"http://www.hiddenshoal.com/hsr-tv/\" button_text=\"More Videos\" /][/et_pb_column][/et_pb_row][/et_pb_section]','Hidden Shoal','','inherit','closed','closed','','7982-revision-v1','','','2014-10-16 11:48:08','2014-10-16 03:48:08','',7982,'http://www.hiddenshoal.com/7982-revision-v1/',0,'revision','',0),(10994,1,'2014-10-16 11:54:17','2014-10-16 03:54:17','<a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><img class=\"alignleft size-thumbnail wp-image-9250\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Brother-Earth-Bio-Shot1-150x150.jpg\" alt=\"Brother Earth\" width=\"150\" height=\"150\" />Brother Earth</a>\'s \'Out Like a Lion\' from their recent album <a title=\"Positive Haywires\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><em>Positive Haywires</em></a> is as arresting as it almost not even there. As if breathed into existence by a group of slacker ghosts, the song lilts and turns, crashing into furniture but never losing focus on some hidden goal. The incantatory vocal, the tugging nylon guitar and the insistent percussion are reminiscent of <a title=\"Pram - \'Dorothy\'\" href=\"https://www.youtube.com/watch?v=g9jX3cZi0d0\" target=\"_blank\">Pram</a> at the height of their craft, yet this song is something else again and very much it\'s own strange and wonderful beast. If this doesn\'t soundtrack an episode of <a title=\"True Detective\" href=\"http://www.imdb.com/title/tt2356777/\" target=\"_blank\"><em>True Detective</em></a> there is no justice in the world. It was a no brainer that a collaboration between Robert Pollard collaborator and GBV producer Todd Tobias and Steve Five of The Library Is On Fire would produce something new and wonderful but <em>Positive Haywires</em> exceeded even my own extremely high expectations.\r\n\r\nDig it!\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/160808880&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Featured Track - Brother Earth \'Out Like a Lion\'','','inherit','closed','closed','','10988-revision-v1','','','2014-10-16 11:54:17','2014-10-16 03:54:17','',10988,'http://www.hiddenshoal.com/10988-revision-v1/',0,'revision','',0),(10995,1,'2014-10-16 11:55:12','2014-10-16 03:55:12','<a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><img class=\"alignleft size-thumbnail wp-image-9250\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Brother-Earth-Bio-Shot1-150x150.jpg\" alt=\"Brother Earth\" width=\"150\" height=\"150\" />Brother Earth</a>\'s \'Out Like a Lion\' from their recent album <a title=\"Positive Haywires\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><em>Positive Haywires</em></a> is as arresting as it almost not even there. As if breathed into existence by a group of slacker ghosts, the song lilts and turns, crashing into furniture but never losing focus on some hidden goal. The incantatory vocal, the tugging nylon guitar and the insistent percussion are reminiscent of <a title=\"Pram - \'Dorothy\'\" href=\"https://www.youtube.com/watch?v=g9jX3cZi0d0\" target=\"_blank\">Pram</a> at the height of their craft, yet this song is something else again and very much it\'s own strange and wonderful beast. If this doesn\'t soundtrack an episode of <a title=\"True Detective\" href=\"http://www.imdb.com/title/tt2356777/\" target=\"_blank\"><em>True Detective</em></a> there is no justice in the world. It was a no brainer that a collaboration between Robert Pollard collaborator and GBV producer Todd Tobias and Steve Five of The Library Is On Fire would produce something new and wonderful but <em>Positive Haywires</em> exceeded even my own extremely high expectations. Dig it!\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/160808880&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Featured Track - Brother Earth \'Out Like a Lion\'','','inherit','closed','closed','','10988-revision-v1','','','2014-10-16 11:55:12','2014-10-16 03:55:12','',10988,'http://www.hiddenshoal.com/10988-revision-v1/',0,'revision','',0),(10996,1,'2014-10-16 11:55:45','2014-10-16 03:55:45','<a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><img class=\"alignleft  wp-image-9250\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Brother-Earth-Bio-Shot1-300x188.jpg\" alt=\"Brother Earth\" width=\"233\" height=\"146\" />Brother Earth</a>\'s \'Out Like a Lion\' from their recent album <a title=\"Positive Haywires\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><em>Positive Haywires</em></a> is as arresting as it almost not even there. As if breathed into existence by a group of slacker ghosts, the song lilts and turns, crashing into furniture but never losing focus on some hidden goal. The incantatory vocal, the tugging nylon guitar and the insistent percussion are reminiscent of <a title=\"Pram - \'Dorothy\'\" href=\"https://www.youtube.com/watch?v=g9jX3cZi0d0\" target=\"_blank\">Pram</a> at the height of their craft, yet this song is something else again and very much it\'s own strange and wonderful beast. If this doesn\'t soundtrack an episode of <a title=\"True Detective\" href=\"http://www.imdb.com/title/tt2356777/\" target=\"_blank\"><em>True Detective</em></a> there is no justice in the world. It was a no brainer that a collaboration between Robert Pollard collaborator and GBV producer Todd Tobias and Steve Five of The Library Is On Fire would produce something new and wonderful but <em>Positive Haywires</em> exceeded even my own extremely high expectations. Dig it!\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/160808880&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Featured Track - Brother Earth \'Out Like a Lion\'','','inherit','closed','closed','','10988-revision-v1','','','2014-10-16 11:55:45','2014-10-16 03:55:45','',10988,'http://www.hiddenshoal.com/10988-revision-v1/',0,'revision','',0),(10997,1,'2014-10-16 11:57:41','2014-10-16 03:57:41','<p style=\"text-align: justify;\"><a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><img class=\"alignleft  wp-image-9250\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Brother-Earth-Bio-Shot1-300x188.jpg\" alt=\"Brother Earth\" width=\"233\" height=\"146\" />Brother Earth</a>\'s \'Out Like a Lion\' from their recent album <a title=\"Positive Haywires\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><em>Positive Haywires</em></a> is as arresting as it almost not even there. As if breathed into existence by a group of slacker ghosts, the song lilts and turns, crashing into furniture but never losing focus on some hidden goal. The incantatory vocal, the tugging nylon guitar and the insistent percussion are reminiscent of <a title=\"Pram - \'Dorothy\'\" href=\"https://www.youtube.com/watch?v=g9jX3cZi0d0\" target=\"_blank\">Pram</a> at the height of their craft, yet this song is something else again and very much it\'s own strange and wonderful beast. If this doesn\'t soundtrack an episode of <a title=\"True Detective\" href=\"http://www.imdb.com/title/tt2356777/\" target=\"_blank\"><em>True Detective</em></a> there is no justice in the world. It was a no brainer that a collaboration between Robert Pollard collaborator and GBV producer Todd Tobias and Steve Five of The Library Is On Fire would produce something new and wonderful but <em>Positive Haywires</em> exceeded even my own extremely high expectations. Dig it!</p>\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/160808880&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Featured Track - Brother Earth \'Out Like a Lion\'','','inherit','closed','closed','','10988-revision-v1','','','2014-10-16 11:57:41','2014-10-16 03:57:41','',10988,'http://www.hiddenshoal.com/10988-revision-v1/',0,'revision','',0),(10998,1,'2014-10-16 11:59:15','2014-10-16 03:59:15','<p style=\"text-align: left;\"><a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><img class=\"alignleft  wp-image-9250\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Brother-Earth-Bio-Shot1-300x188.jpg\" alt=\"Brother Earth\" width=\"233\" height=\"146\" />Brother Earth</a>\'s \'Out Like a Lion\' from their recent album <a title=\"Positive Haywires\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><em>Positive Haywires</em></a> is as arresting as it almost not even there. As if breathed into existence by a group of slacker ghosts, the song lilts and turns, crashing into furniture but never losing focus on some hidden goal. The incantatory vocal, the tugging nylon guitar and the insistent percussion are reminiscent of <a title=\"Pram - \'Dorothy\'\" href=\"https://www.youtube.com/watch?v=g9jX3cZi0d0\" target=\"_blank\">Pram</a> at the height of their craft, yet this song is something else again and very much it\'s own strange and wonderful beast. If this doesn\'t soundtrack an episode of <a title=\"True Detective\" href=\"http://www.imdb.com/title/tt2356777/\" target=\"_blank\"><em>True Detective</em></a> there is no justice in the world. It was a no brainer that a collaboration between Robert Pollard collaborator and GBV producer Todd Tobias and Steve Five of The Library Is On Fire would produce something new and wonderful but <em>Positive Haywires</em> exceeded even my own extremely high expectations. Dig it!</p>\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/160808880&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Featured Track - Brother Earth \'Out Like a Lion\'','','inherit','closed','closed','','10988-revision-v1','','','2014-10-16 11:59:15','2014-10-16 03:59:15','',10988,'http://www.hiddenshoal.com/10988-revision-v1/',0,'revision','',0),(10999,1,'2014-10-16 11:59:54','2014-10-16 03:59:54','<p style=\"text-align: left;\"><a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><img class=\"alignleft  wp-image-9250\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Brother-Earth-Bio-Shot1-300x188.jpg\" alt=\"Brother Earth\" width=\"233\" height=\"146\" />Brother Earth</a>\'s \'Out Like a Lion\' from their recent album <a title=\"Positive Haywires\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><em>Positive Haywires</em></a> is as arresting as it almost not even there. As if breathed into existence by a group of slacker ghosts, the song lilts and turns, crashing into furniture but never losing focus on some hidden goal. The incantatory vocal, the tugging nylon guitar and the insistent percussion are reminiscent of <a title=\"Pram - \'Dorothy\'\" href=\"https://www.youtube.com/watch?v=g9jX3cZi0d0\" target=\"_blank\">Pram</a> at the height of their craft, yet this song is something else again and very much it\'s own strange and wonderful beast. If this doesn\'t soundtrack an episode of <a title=\"True Detective\" href=\"http://www.imdb.com/title/tt2356777/\" target=\"_blank\"><em>True Detective</em></a> there is no justice in the world.</p>\r\n<p style=\"text-align: left;\">It was a no brainer that a collaboration between Robert Pollard collaborator and GBV producer Todd Tobias and Steve Five of The Library Is On Fire would produce something new and wonderful but <em>Positive Haywires</em> exceeded even my own extremely high expectations. Dig it!</p>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/160808880&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Featured Track - Brother Earth \'Out Like a Lion\'','','inherit','closed','closed','','10988-revision-v1','','','2014-10-16 11:59:54','2014-10-16 03:59:54','',10988,'http://www.hiddenshoal.com/10988-revision-v1/',0,'revision','',0),(11000,1,'2014-10-16 12:02:23','2014-10-16 04:02:23','<p style=\"text-align: left;\"><a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><img class=\"alignleft  wp-image-9250\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Brother-Earth-Bio-Shot1-300x188.jpg\" alt=\"Brother Earth\" width=\"241\" height=\"151\" />Brother Earth</a>\'s \'Out Like a Lion\' from their recent album <a title=\"Positive Haywires\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><em>Positive Haywires</em></a> is as arresting as it almost not even there. As if breathed into existence by a group of slacker ghosts, the song lilts and turns, crashing into furniture but never losing focus on some hidden goal. The incantatory vocal, the tugging nylon guitar and the insistent percussion are reminiscent of <a title=\"Pram - \'Dorothy\'\" href=\"https://www.youtube.com/watch?v=g9jX3cZi0d0\" target=\"_blank\">Pram</a> at the height of their craft, yet this song is something else again and very much it\'s own strange and wonderful beast. If this doesn\'t soundtrack an episode of <a title=\"True Detective\" href=\"http://www.imdb.com/title/tt2356777/\" target=\"_blank\"><em>True Detective</em></a> there is no justice in the world.</p>\r\n<p style=\"text-align: left;\">It was a no brainer that a collaboration between Robert Pollard collaborator and GBV producer Todd Tobias and Steve Five of The Library Is On Fire would produce something new and wonderful but <em>Positive Haywires</em> exceeded even my own extremely high expectations. Dig it!</p>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/160808880&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Featured Track - Brother Earth \'Out Like a Lion\'','','inherit','closed','closed','','10988-revision-v1','','','2014-10-16 12:02:23','2014-10-16 04:02:23','',10988,'http://www.hiddenshoal.com/10988-revision-v1/',0,'revision','',0),(11001,1,'2014-10-16 12:02:36','2014-10-16 04:02:36','<p style=\"text-align: left;\"><a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><img class=\"alignleft  wp-image-9250\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Brother-Earth-Bio-Shot1-300x188.jpg\" alt=\"Brother Earth\" width=\"255\" height=\"160\" />Brother Earth</a>\'s \'Out Like a Lion\' from their recent album <a title=\"Positive Haywires\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><em>Positive Haywires</em></a> is as arresting as it almost not even there. As if breathed into existence by a group of slacker ghosts, the song lilts and turns, crashing into furniture but never losing focus on some hidden goal. The incantatory vocal, the tugging nylon guitar and the insistent percussion are reminiscent of <a title=\"Pram - \'Dorothy\'\" href=\"https://www.youtube.com/watch?v=g9jX3cZi0d0\" target=\"_blank\">Pram</a> at the height of their craft, yet this song is something else again and very much it\'s own strange and wonderful beast. If this doesn\'t soundtrack an episode of <a title=\"True Detective\" href=\"http://www.imdb.com/title/tt2356777/\" target=\"_blank\"><em>True Detective</em></a> there is no justice in the world.</p>\r\n<p style=\"text-align: left;\">It was a no brainer that a collaboration between Robert Pollard collaborator and GBV producer Todd Tobias and Steve Five of The Library Is On Fire would produce something new and wonderful but <em>Positive Haywires</em> exceeded even my own extremely high expectations. Dig it!</p>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/160808880&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Featured Track - Brother Earth \'Out Like a Lion\'','','inherit','closed','closed','','10988-revision-v1','','','2014-10-16 12:02:36','2014-10-16 04:02:36','',10988,'http://www.hiddenshoal.com/10988-revision-v1/',0,'revision','',0),(11002,1,'2014-10-16 12:02:49','2014-10-16 04:02:49','<p style=\"text-align: left;\"><a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><img class=\"alignleft  wp-image-9250\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Brother-Earth-Bio-Shot1-300x188.jpg\" alt=\"Brother Earth\" width=\"252\" height=\"158\" />Brother Earth</a>\'s \'Out Like a Lion\' from their recent album <a title=\"Positive Haywires\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><em>Positive Haywires</em></a> is as arresting as it almost not even there. As if breathed into existence by a group of slacker ghosts, the song lilts and turns, crashing into furniture but never losing focus on some hidden goal. The incantatory vocal, the tugging nylon guitar and the insistent percussion are reminiscent of <a title=\"Pram - \'Dorothy\'\" href=\"https://www.youtube.com/watch?v=g9jX3cZi0d0\" target=\"_blank\">Pram</a> at the height of their craft, yet this song is something else again and very much it\'s own strange and wonderful beast. If this doesn\'t soundtrack an episode of <a title=\"True Detective\" href=\"http://www.imdb.com/title/tt2356777/\" target=\"_blank\"><em>True Detective</em></a> there is no justice in the world.</p>\r\n<p style=\"text-align: left;\">It was a no brainer that a collaboration between Robert Pollard collaborator and GBV producer Todd Tobias and Steve Five of The Library Is On Fire would produce something new and wonderful but <em>Positive Haywires</em> exceeded even my own extremely high expectations. Dig it!</p>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/160808880&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Featured Track - Brother Earth \'Out Like a Lion\'','','inherit','closed','closed','','10988-revision-v1','','','2014-10-16 12:02:49','2014-10-16 04:02:49','',10988,'http://www.hiddenshoal.com/10988-revision-v1/',0,'revision','',0),(11003,1,'2014-10-16 12:03:02','2014-10-16 04:03:02','<p style=\"text-align: left;\"><a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><img class=\"alignleft  wp-image-9250\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Brother-Earth-Bio-Shot1-300x188.jpg\" alt=\"Brother Earth\" width=\"250\" height=\"157\" />Brother Earth</a>\'s \'Out Like a Lion\' from their recent album <a title=\"Positive Haywires\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><em>Positive Haywires</em></a> is as arresting as it almost not even there. As if breathed into existence by a group of slacker ghosts, the song lilts and turns, crashing into furniture but never losing focus on some hidden goal. The incantatory vocal, the tugging nylon guitar and the insistent percussion are reminiscent of <a title=\"Pram - \'Dorothy\'\" href=\"https://www.youtube.com/watch?v=g9jX3cZi0d0\" target=\"_blank\">Pram</a> at the height of their craft, yet this song is something else again and very much it\'s own strange and wonderful beast. If this doesn\'t soundtrack an episode of <a title=\"True Detective\" href=\"http://www.imdb.com/title/tt2356777/\" target=\"_blank\"><em>True Detective</em></a> there is no justice in the world.</p>\r\n<p style=\"text-align: left;\">It was a no brainer that a collaboration between Robert Pollard collaborator and GBV producer Todd Tobias and Steve Five of The Library Is On Fire would produce something new and wonderful but <em>Positive Haywires</em> exceeded even my own extremely high expectations. Dig it!</p>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/160808880&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Featured Track - Brother Earth \'Out Like a Lion\'','','inherit','closed','closed','','10988-revision-v1','','','2014-10-16 12:03:02','2014-10-16 04:03:02','',10988,'http://www.hiddenshoal.com/10988-revision-v1/',0,'revision','',0),(11114,1,'2014-10-24 16:30:11','2014-10-24 08:30:11','\"There are words and there is music and those two things combined make songs. Those songs can be further combined into albums that, if the sun shines favourably, seem more than the sum of their parts. Chloë March’s album “Nights Bright Day” – now re-released on the Hidden Shoals label – is a work of intellectual shadows yet the light of the new day always makes it through her dark clouds in a manner that transcends any potential depression.\r\n\r\nMuch is made of repetition in the music that provides the platform for the introspection that appears to motivate Ms March. An artistic choice is an artistic choice, however, and the effectiveness of that choice is illustrated in the simple piano figures that cause “Eucalyptus Night” to sway as if sighing as the world described in the lyrics spins to a sudden stop. The simplicity of “Winter Deep” provides a further example and, as if driven to describe the ethereal, Ms. March uses her musical witchcraft to cast a spell that turns all that would be wistful into something hypnotic.\r\n\r\nMaintaining a particularly steady pace, and “Nights Bright Day” is nothing if not consistent in that respect, can often cause the mind to wander for, as we all know, variety is the spice of life. The overall effect here, however, is not stuporific but instead curiously uplifting as if the mesmerising effect were a mystical salve for the troubled spirit.\r\n\r\nBeauty is in the ears of the beholder and these ears behold beauty.\"\r\n\r\n- <a title=\"BluesBunny\" href=\"http://www.bluesbunny.com/Reviews/ReviewID/2393/xmps/11123\" target=\"_blank\"><strong>BluesBunny</strong></a>','Chloe March \"Nights Bright Days\" Reviewed at BluesBunny','','publish','closed','closed','','chloe-march-nights-bright-days-reviewed-at-bluesbunny','','','2014-10-24 16:30:11','2014-10-24 08:30:11','',0,'http://www.hiddenshoal.com/?p=11114',0,'post','',0),(11006,1,'2014-10-16 16:41:25','2014-10-16 08:41:25','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Makee</h1>\r\n<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-11009\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile-300x300.jpg\" alt=\"makee\" width=\"171\" height=\"171\" /></a>Makee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische. The EP follows on from Makee\'s first foray through Hidden Shoal, the wonderful remix of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>’s ‘Hold On To The Road’. \r\n<a title=\"SoundCloud\" href=\"https://soundcloud.com/makee\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>   <a href=\"https://itunes.apple.com/au/artist/makee/id941509393?at=11lRii\" target=\"itunes_store\"><img src=\"https://linkmaker.itunes.apple.com/htmlResources/assets//images/web/linkmaker/badge_itunes-sm.png\" alt=\"iTunes\" style=\"border:0;\"/></a><br>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<h4>Makee</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 307px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2377940152/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://makee.bandcamp.com/album/makee\">makee by makee</a></iframe>\r\nNovember 2014\r\n\r\nMakee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, stretches luxuriously across seemingly disparate genres. The fog-laden disco of ‘Bail’ is shot through with a beatific vibe; ‘Stez’ surges relentlessly on motorik rhythms; ‘Tone’ burns with ecstatic, sun-blind intensity; ‘Wake’ is infused with Caribou-esque psychedelia; and finale ‘Bord’ takes a leap into the void with the fervour of prime kosmische that’s been mollified by shoegaze.\r\n<div></div>\r\n<div></div>\r\n<h4>[The] Caseworker - \'Hold On To The Road (Makee Remix)\'</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=877417942/size=large/bgcol=333333/linkcol=ffffff/tracklist=false/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://hiddenshoal.bandcamp.com/album/hold-on-to-the-road-makee-remix\">Hold On To The Road (Makee Remix) by [The] Caseworker</a></iframe>\r\nNovember 2012\r\n<div></div>\r\nMakee (Perth artist Daniel Cavalli) has taken the hesitant shuffle of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>\'s ‘Hold On To The Road’ and re-imagined it as an infectious driving groove. The wonderful sense of space evident in [The] Caseworker’s music is still present, but it’s beautifully aligned with Makee’s propulsive beatwork.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nMakee is Perth-based musician Daniel Cavalli, whose musical life began playing drums and guitar. As drummers were rarer than guitarists, and because he was a shy team player rather than a guitar hero, Cavalli most often hit the skins when jamming with friends. It wasn’t long before Cavalli figured that the best way to mesh his love of stringed things with drums and other instruments was to try his hand at production. Thus began a rather long and protracted musical journey littered with four tracks, samplers, sequencers and reel-to-reel tape, culminating in the purchase of a computer and some dodgy sequencing software. Even though he was immersed in a sea of ’90s atmospheric drum ’n’ bass at the time, he slowly but surely began to navigate back to his roots in guitar-based music, started playing bass, and even plucked up the courage to sing now and again.\r\n\r\n&nbsp;\r\n\r\nThen disaster struck: hard drive failure and no back-up. With all but a few of his scratched demo CDs lost, he began to rebuild his compositions. This was timely, as Hidden Shoal’s Cam Merton showed interested in doing something more, following on from Cavalli’s remix of [The] Caseworker’s ‘Hold On To The Road’. Makee then re-acquainted himself with an old mate called Hooch and got to work finishing his debut self-titled EP.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=makee-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h3>Reviews</h3>\r\n[catlist name=makee-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title]\r\n[/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\n<a title=\"Makee EP Press Release\" href=\"http://www.hiddenshoal.com/publicity/makee/Makee-EP-Press-Release.pdf\"><em>Makee</em> EP Press Release</a>\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery columns=\"2\" ids=\"11020,11021,11022,11024\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\n<iframe src=\"//www.youtube.com/embed/WucocllpuO0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nMakee\'s music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.\r\n\r\n[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Makee','','publish','closed','closed','','makee','','','2015-02-12 16:16:34','2015-02-12 08:16:34','',0,'http://www.hiddenshoal.com/?post_type=project&#038;p=11006',0,'project','',0),(11007,1,'2014-10-16 14:04:43','2014-10-16 06:04:43','','Makee','','inherit','closed','closed','','11006-revision-v1','','','2014-10-16 14:04:43','2014-10-16 06:04:43','',11006,'http://www.hiddenshoal.com/11006-revision-v1/',0,'revision','',0),(11025,1,'2014-10-16 16:20:49','2014-10-16 08:20:49','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Makee</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-11009\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile-300x300.jpg\" alt=\"makee\" width=\"171\" height=\"171\" /></a>Makee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische.</p><p><strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8764\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><p>Debut self-titled EP out November 19th, 2014, preceded by the single \'bail\' on 23rd October.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Makee is Perth-based musician Daniel Cavalli, whose musical life began playing drums and guitar. As drummers were rarer than guitarists, and because he was a shy team player rather than a guitar hero, Cavalli most often hit the skins when jamming with friends. It wasn’t long before Cavalli figured that the best way to mesh his love of stringed things with drums and other instruments was to try his hand at production. Thus began a rather long and protracted musical journey littered with four tracks, samplers, sequencers and reel-to-reel tape, culminating in the purchase of a computer and some dodgy sequencing software. Even though he was immersed in a sea of ’90s atmospheric drum ’n’ bass at the time, he slowly but surely began to navigate back to his roots in guitar-based music, started playing bass, and even plucked up the courage to sing now and again.</p><p> </p><p>Then disaster struck: hard drive failure and no back-up. With all but a few of his scratched demo CDs lost, he began to rebuild his compositions. This was timely, as Hidden Shoal’s Cam Merton showed interested in doing something more, following on from Cavalli’s remix of [The] Caseworker’s ‘Hold On To The Road’. Makee then re-acquainted himself with an old mate called Hooch and got to work finishing his debut self-titled EP.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3><p>[catlist name=makee-news content=yes pagination=no title_tag=h4 title_class=lcp_title]</p>[/et_pb_tab][et_pb_tab title=\"Reviews\"]<h2>Reviews</h2><p>[catlist name=makee-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title]</p>[/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p>No press releases yet, sorry!</p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p><p>[gallery columns=\"2\" ids=\"11020,11021,11022,11024\"]</p>[/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p> No video yet, sorry.</p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Makee\'s music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Makee','','inherit','closed','closed','','11006-revision-v1','','','2014-10-16 16:20:49','2014-10-16 08:20:49','',11006,'http://www.hiddenshoal.com/11006-revision-v1/',0,'revision','',0),(11026,1,'2014-10-16 16:34:20','2014-10-16 08:34:20','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Makee</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-11009\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile-300x300.jpg\" alt=\"makee\" width=\"171\" height=\"171\" /></a>Makee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische.</p><p><strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/makee\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><p>Debut self-titled EP out November 19th, 2014, preceded by the single \'bail\' on 23rd October.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Makee is Perth-based musician Daniel Cavalli, whose musical life began playing drums and guitar. As drummers were rarer than guitarists, and because he was a shy team player rather than a guitar hero, Cavalli most often hit the skins when jamming with friends. It wasn’t long before Cavalli figured that the best way to mesh his love of stringed things with drums and other instruments was to try his hand at production. Thus began a rather long and protracted musical journey littered with four tracks, samplers, sequencers and reel-to-reel tape, culminating in the purchase of a computer and some dodgy sequencing software. Even though he was immersed in a sea of ’90s atmospheric drum ’n’ bass at the time, he slowly but surely began to navigate back to his roots in guitar-based music, started playing bass, and even plucked up the courage to sing now and again.</p><p> </p><p>Then disaster struck: hard drive failure and no back-up. With all but a few of his scratched demo CDs lost, he began to rebuild his compositions. This was timely, as Hidden Shoal’s Cam Merton showed interested in doing something more, following on from Cavalli’s remix of [The] Caseworker’s ‘Hold On To The Road’. Makee then re-acquainted himself with an old mate called Hooch and got to work finishing his debut self-titled EP.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=makee-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<h2>Reviews</h2>[catlist name=makee-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p>No press releases yet, sorry!</p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery columns=\"2\" ids=\"11020,11021,11022,11024\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p> No video yet, sorry.</p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Makee\'s music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Makee','','inherit','closed','closed','','11006-revision-v1','','','2014-10-16 16:34:20','2014-10-16 08:34:20','',11006,'http://www.hiddenshoal.com/11006-revision-v1/',0,'revision','',0),(11010,1,'2014-10-16 14:12:47','2014-10-16 06:12:47','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Makee</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-11009\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile-300x300.jpg\" alt=\"makee\" width=\"214\" height=\"214\" /></a>Makee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische.</p><p><strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8764\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><div> </div><h4>We Don\'t Look Back For Very Long (with Slow Dancing Society)</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 274px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=4290771882/size=large/bgcol=333333/linkcol=ffffff/artwork=none/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/we-dont-look-back-for-very-long\">We Don\'t Look Back For Very Long by Antonymes meets Slow Dancing Society</a></iframe></p><div> </div><p><em>We Don’t Look Back For Very Long </em>sees Antonymes reworking a track from each of fellow Hidden Shoal artist Slow Dancing Society’s four albums, casting radiant new light on the stunning originals. Across almost 30 minutes, Antonymes marries SDS’s glistening atmospheres to his own trademark ambient neo-classical minimalism, creating a completely mesmerising hybrid.</p><div> </div><div> </div><h4>Lost In Waves of Light</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 200px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=3184595053/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/lost-in-waves-of-light\">Lost In Waves Of Light by Antonymes</a></iframe></p><div> </div><p>Created from elements lifted off Antonyme’s critically acclaimed album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span>, ‘Lost In Waves Of Light’ is a deftly crafted sonic and melodic patchwork. The track sits as a wonderful companion piece to the album, as recognised melodies unfurl, cloaked in new guises. As a work unto itself it once again places Antonymes at the height of his game, producing some of the most emotionally and sonically engaging work being released today. Antonymes new album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> has been met with universal acclaim since its release in April. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow.</p><div> </div><div> </div><h4>The Licence To Interpret Dreams</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 550px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=1679006704/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/the-licence-to-interpret-dreams\">The Licence To Interpret Dreams by Antonymes</a></iframe></p><div> </div><p><span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> is the Hidden Shoal debut release by neo-classical/minimal ambient artist Antonymes. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow. The album’s scope is immediately apparent on breathtaking opener ‘The Slow Beginnings of a ‘A Fragile Acceptance’, where faint piano notes are overwhelmed by an aching surge of cellos, and the timeless, lingering chord progression of ‘The Siren, Hopelessly Lost’. Single ‘Endlessly’ weaves traces of nature with unearthly, oscillating tones before giving way to a strident piano theme. On ‘Doubt’, Jan Van Den Broek delivers the words of Paul Morley, cradled against a bed of melancholic piano, violin and cello, leaving an indelible emotional mark. ‘A Light From The Heavens’ almost feels like a natural conclusion to the album, with its sense of reflective yearning, but it is followed by the devastating metaphysical breakdown of ‘On Arrival at the Strange Museum’, a cavernous piece that calls out like some giant magnetic spirit.[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Antonymes is designer, photographer, conceptualist and musician Ian M. Hazeldine, making music from the wilds of North Wales, a very strange, fantastic, ultimately unreal place of mountains, streams, woods, villages and obscure wilderness. To quote North Welsh poet R. S. Thomas, “to live in Wales is to be conscious at dusk of the spilled blood that went into the making of the wild sky, dyeing the wild rivers in all their courses.” His music begins at the piano, where notes, space and intention combine over time, until a shape appears. This shape is taken into the computer, where it is twisted, gently, and given more detail, until it is fully formed. Composition takes form through patience, probing, occasional accidents, spontaneity and a form of focused daydreaming. Debut mini-album <em>Beauty Becomes The Enemy of the Future</em> was released initially on David Newlyn’s Cathedral Transmissions label in December 2009, and as a self-published book in spring 2010. A second 2010 release, <em>31: Before The Light Fails</em>, was released as a digital download and as a special box, an edition of one, containing music and photography, representing Antonymes’ fear and suspicion of the herd mentality. The piece consisted of two tracks to be played simultaneously in separate rooms. Various pieces by Antonymes have appeared on compilations produced by labels Soundcolours, Dezordr, Cathedral Transmissions and Audio Gourmet. The album <em>The Licence To Interpet Dreams</em> was released by Hidden Shoal to widespread critical acclaim in early 2011. [/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=antonymes-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<h2>Reviews</h2>[catlist name=antonymes-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">Antonymes meets Slow Dancing Society – <em>We Don’t Look Back For Very Long</em> </a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">EP </a> <em><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Lost_In_Waves_Of_Light.pdf\">Lost In Waves Of Light</a></em> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\"><em>The Licence To Interpret Dreams</em> Album</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\">‘Endlessly’ Single</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_Signing.pdf\">Antonymes Signing</a> [/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery ids=\"8222,8221,8220,8219\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p><iframe src=\"//www.youtube.com/embed/U7tLhh8a1lo?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> <iframe src=\"//www.youtube.com/embed/4senhm9eiTY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> [/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Antonymes music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away. [/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Makee','','inherit','closed','closed','','11006-revision-v1','','','2014-10-16 14:12:47','2014-10-16 06:12:47','',11006,'http://www.hiddenshoal.com/11006-revision-v1/',0,'revision','',0),(11008,1,'2014-10-16 14:05:50','2014-10-16 06:05:50','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>Antonymes</h1>\r\n<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft wp-image-6978\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1-300x300.jpg\" alt=\"Antonymes\" width=\"250\" height=\"250\" /></a><em>“sound sketches of enormous, if fragile, beauty”</em> –<strong> The Silent Ballet </strong> The music of Antonymes emerges from the adjustments and erasures of ambient and the pace and persistence of minimalism; from the serenity and austerity of Morton Feldman and the profound prettiness of Harold Budd; from the relationship between continuity and repetition; from secrecy, quietness and pause; from thought, from emptiness; from where it is set and where it is setting off to. At the same time definite and a ghostly impression, Antonymes floats free of fixed points while anxiously staying in sight of genres, movements, scenes, connections, contexts and innovations that have piled up and broken down around it. <strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8764\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<h4>We Don\'t Look Back For Very Long (with Slow Dancing Society)</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 274px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=4290771882/size=large/bgcol=333333/linkcol=ffffff/artwork=none/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/we-dont-look-back-for-very-long\">We Don\'t Look Back For Very Long by Antonymes meets Slow Dancing Society</a></iframe>\r\n<div></div>\r\n<em>We Don’t Look Back For Very Long </em>sees Antonymes reworking a track from each of fellow Hidden Shoal artist Slow Dancing Society’s four albums, casting radiant new light on the stunning originals. Across almost 30 minutes, Antonymes marries SDS’s glistening atmospheres to his own trademark ambient neo-classical minimalism, creating a completely mesmerising hybrid.\r\n<div></div>\r\n<div></div>\r\n<h4>Lost In Waves of Light</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 200px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=3184595053/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/lost-in-waves-of-light\">Lost In Waves Of Light by Antonymes</a></iframe>\r\n<div></div>\r\nCreated from elements lifted off Antonyme’s critically acclaimed album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span>, ‘Lost In Waves Of Light’ is a deftly crafted sonic and melodic patchwork. The track sits as a wonderful companion piece to the album, as recognised melodies unfurl, cloaked in new guises. As a work unto itself it once again places Antonymes at the height of his game, producing some of the most emotionally and sonically engaging work being released today. Antonymes new album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> has been met with universal acclaim since its release in April. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow.\r\n<div></div>\r\n<div></div>\r\n<h4>The Licence To Interpret Dreams</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 550px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=1679006704/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/the-licence-to-interpret-dreams\">The Licence To Interpret Dreams by Antonymes</a></iframe>\r\n<div></div>\r\n<span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> is the Hidden Shoal debut release by neo-classical/minimal ambient artist Antonymes. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow. The album’s scope is immediately apparent on breathtaking opener ‘The Slow Beginnings of a ‘A Fragile Acceptance’, where faint piano notes are overwhelmed by an aching surge of cellos, and the timeless, lingering chord progression of ‘The Siren, Hopelessly Lost’. Single ‘Endlessly’ weaves traces of nature with unearthly, oscillating tones before giving way to a strident piano theme. On ‘Doubt’, Jan Van Den Broek delivers the words of Paul Morley, cradled against a bed of melancholic piano, violin and cello, leaving an indelible emotional mark. ‘A Light From The Heavens’ almost feels like a natural conclusion to the album, with its sense of reflective yearning, but it is followed by the devastating metaphysical breakdown of ‘On Arrival at the Strange Museum’, a cavernous piece that calls out like some giant magnetic spirit.[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nAntonymes is designer, photographer, conceptualist and musician Ian M. Hazeldine, making music from the wilds of North Wales, a very strange, fantastic, ultimately unreal place of mountains, streams, woods, villages and obscure wilderness. To quote North Welsh poet R. S. Thomas, “to live in Wales is to be conscious at dusk of the spilled blood that went into the making of the wild sky, dyeing the wild rivers in all their courses.” His music begins at the piano, where notes, space and intention combine over time, until a shape appears. This shape is taken into the computer, where it is twisted, gently, and given more detail, until it is fully formed. Composition takes form through patience, probing, occasional accidents, spontaneity and a form of focused daydreaming. Debut mini-album <em>Beauty Becomes The Enemy of the Future</em> was released initially on David Newlyn’s Cathedral Transmissions label in December 2009, and as a self-published book in spring 2010. A second 2010 release, <em>31: Before The Light Fails</em>, was released as a digital download and as a special box, an edition of one, containing music and photography, representing Antonymes’ fear and suspicion of the herd mentality. The piece consisted of two tracks to be played simultaneously in separate rooms. Various pieces by Antonymes have appeared on compilations produced by labels Soundcolours, Dezordr, Cathedral Transmissions and Audio Gourmet. The album <em>The Licence To Interpet Dreams</em> was released by Hidden Shoal to widespread critical acclaim in early 2011. [/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=antonymes-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=antonymes-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">Antonymes meets Slow Dancing Society – <em>We Don’t Look Back For Very Long</em> </a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">EP </a> <em><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Lost_In_Waves_Of_Light.pdf\">Lost In Waves Of Light</a></em> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\"><em>The Licence To Interpret Dreams</em> Album</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\">‘Endlessly’ Single</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_Signing.pdf\">Antonymes Signing</a> [/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery ids=\"8222,8221,8220,8219\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\n<iframe src=\"//www.youtube.com/embed/U7tLhh8a1lo?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> <iframe src=\"//www.youtube.com/embed/4senhm9eiTY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> [/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nAntonymes music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away. [/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Makee','','inherit','closed','closed','','11006-revision-v1','','','2014-10-16 14:05:50','2014-10-16 06:05:50','',11006,'http://www.hiddenshoal.com/11006-revision-v1/',0,'revision','',0),(11009,1,'2014-10-16 14:11:29','2014-10-16 06:11:29','','makee','','inherit','closed','closed','','makee-profile','','','2014-10-16 14:11:29','2014-10-16 06:11:29','',11006,'http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile.jpg',0,'attachment','image/jpeg',0),(11012,1,'2014-10-16 15:19:54','2014-10-16 07:19:54','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>Makee</h1>\r\n<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-11009\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile-300x300.jpg\" alt=\"makee\" width=\"214\" height=\"214\" /></a>Makee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische.\r\n\r\n<strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8764\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>\r\n\r\n[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<h4>We Don\'t Look Back For Very Long (with Slow Dancing Society)</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 274px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=4290771882/size=large/bgcol=333333/linkcol=ffffff/artwork=none/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/we-dont-look-back-for-very-long\">We Don\'t Look Back For Very Long by Antonymes meets Slow Dancing Society</a></iframe>\r\n<div></div>\r\n<em>We Don’t Look Back For Very Long </em>sees Antonymes reworking a track from each of fellow Hidden Shoal artist Slow Dancing Society’s four albums, casting radiant new light on the stunning originals. Across almost 30 minutes, Antonymes marries SDS’s glistening atmospheres to his own trademark ambient neo-classical minimalism, creating a completely mesmerising hybrid.\r\n<div></div>\r\n<div></div>\r\n<h4>Lost In Waves of Light</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 200px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=3184595053/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/lost-in-waves-of-light\">Lost In Waves Of Light by Antonymes</a></iframe>\r\n<div></div>\r\nCreated from elements lifted off Antonyme’s critically acclaimed album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span>, ‘Lost In Waves Of Light’ is a deftly crafted sonic and melodic patchwork. The track sits as a wonderful companion piece to the album, as recognised melodies unfurl, cloaked in new guises. As a work unto itself it once again places Antonymes at the height of his game, producing some of the most emotionally and sonically engaging work being released today. Antonymes new album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> has been met with universal acclaim since its release in April. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow.\r\n<div></div>\r\n<div></div>\r\n<h4>The Licence To Interpret Dreams</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 550px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=1679006704/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/the-licence-to-interpret-dreams\">The Licence To Interpret Dreams by Antonymes</a></iframe>\r\n<div></div>\r\n<span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> is the Hidden Shoal debut release by neo-classical/minimal ambient artist Antonymes. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow. The album’s scope is immediately apparent on breathtaking opener ‘The Slow Beginnings of a ‘A Fragile Acceptance’, where faint piano notes are overwhelmed by an aching surge of cellos, and the timeless, lingering chord progression of ‘The Siren, Hopelessly Lost’. Single ‘Endlessly’ weaves traces of nature with unearthly, oscillating tones before giving way to a strident piano theme. On ‘Doubt’, Jan Van Den Broek delivers the words of Paul Morley, cradled against a bed of melancholic piano, violin and cello, leaving an indelible emotional mark. ‘A Light From The Heavens’ almost feels like a natural conclusion to the album, with its sense of reflective yearning, but it is followed by the devastating metaphysical breakdown of ‘On Arrival at the Strange Museum’, a cavernous piece that calls out like some giant magnetic spirit.[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nAntonymes is designer, photographer, conceptualist and musician Ian M. Hazeldine, making music from the wilds of North Wales, a very strange, fantastic, ultimately unreal place of mountains, streams, woods, villages and obscure wilderness. To quote North Welsh poet R. S. Thomas, “to live in Wales is to be conscious at dusk of the spilled blood that went into the making of the wild sky, dyeing the wild rivers in all their courses.” His music begins at the piano, where notes, space and intention combine over time, until a shape appears. This shape is taken into the computer, where it is twisted, gently, and given more detail, until it is fully formed. Composition takes form through patience, probing, occasional accidents, spontaneity and a form of focused daydreaming. Debut mini-album <em>Beauty Becomes The Enemy of the Future</em> was released initially on David Newlyn’s Cathedral Transmissions label in December 2009, and as a self-published book in spring 2010. A second 2010 release, <em>31: Before The Light Fails</em>, was released as a digital download and as a special box, an edition of one, containing music and photography, representing Antonymes’ fear and suspicion of the herd mentality. The piece consisted of two tracks to be played simultaneously in separate rooms. Various pieces by Antonymes have appeared on compilations produced by labels Soundcolours, Dezordr, Cathedral Transmissions and Audio Gourmet. The album <em>The Licence To Interpet Dreams</em> was released by Hidden Shoal to widespread critical acclaim in early 2011. [/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=antonymes-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=antonymes-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">Antonymes meets Slow Dancing Society – <em>We Don’t Look Back For Very Long</em> </a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">EP </a> <em><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Lost_In_Waves_Of_Light.pdf\">Lost In Waves Of Light</a></em> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\"><em>The Licence To Interpret Dreams</em> Album</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\">‘Endlessly’ Single</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_Signing.pdf\">Antonymes Signing</a> [/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery ids=\"8222,8221,8220,8219\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\n<iframe src=\"//www.youtube.com/embed/U7tLhh8a1lo?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> <iframe src=\"//www.youtube.com/embed/4senhm9eiTY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> [/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nAntonymes music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away. [/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Makee','','inherit','closed','closed','','11006-revision-v1','','','2014-10-16 15:19:54','2014-10-16 07:19:54','',11006,'http://www.hiddenshoal.com/11006-revision-v1/',0,'revision','',0),(11011,1,'2014-10-16 14:15:01','2014-10-16 06:15:01','<p>[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]</p><h1>Makee</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-11009\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile-300x300.jpg\" alt=\"makee\" width=\"214\" height=\"214\" /></a>Makee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische.</p><p><strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8764\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p><p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]</p><h3>Discography</h3><div> </div><div> </div><h4>We Don\'t Look Back For Very Long (with Slow Dancing Society)</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 274px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=4290771882/size=large/bgcol=333333/linkcol=ffffff/artwork=none/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/we-dont-look-back-for-very-long\">We Don\'t Look Back For Very Long by Antonymes meets Slow Dancing Society</a></iframe></p><div> </div><p><em>We Don’t Look Back For Very Long </em>sees Antonymes reworking a track from each of fellow Hidden Shoal artist Slow Dancing Society’s four albums, casting radiant new light on the stunning originals. Across almost 30 minutes, Antonymes marries SDS’s glistening atmospheres to his own trademark ambient neo-classical minimalism, creating a completely mesmerising hybrid.</p><div> </div><div> </div><h4>Lost In Waves of Light</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 200px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=3184595053/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/lost-in-waves-of-light\">Lost In Waves Of Light by Antonymes</a></iframe></p><div> </div><p>Created from elements lifted off Antonyme’s critically acclaimed album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span>, ‘Lost In Waves Of Light’ is a deftly crafted sonic and melodic patchwork. The track sits as a wonderful companion piece to the album, as recognised melodies unfurl, cloaked in new guises. As a work unto itself it once again places Antonymes at the height of his game, producing some of the most emotionally and sonically engaging work being released today. Antonymes new album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> has been met with universal acclaim since its release in April. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow.</p><div> </div><div> </div><h4>The Licence To Interpret Dreams</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 550px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=1679006704/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/the-licence-to-interpret-dreams\">The Licence To Interpret Dreams by Antonymes</a></iframe></p><div> </div><p><span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> is the Hidden Shoal debut release by neo-classical/minimal ambient artist Antonymes. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow. The album’s scope is immediately apparent on breathtaking opener ‘The Slow Beginnings of a ‘A Fragile Acceptance’, where faint piano notes are overwhelmed by an aching surge of cellos, and the timeless, lingering chord progression of ‘The Siren, Hopelessly Lost’. Single ‘Endlessly’ weaves traces of nature with unearthly, oscillating tones before giving way to a strident piano theme. On ‘Doubt’, Jan Van Den Broek delivers the words of Paul Morley, cradled against a bed of melancholic piano, violin and cello, leaving an indelible emotional mark. ‘A Light From The Heavens’ almost feels like a natural conclusion to the album, with its sense of reflective yearning, but it is followed by the devastating metaphysical breakdown of ‘On Arrival at the Strange Museum’, a cavernous piece that calls out like some giant magnetic spirit.[/et_pb_tab][et_pb_tab title=\"Bio\"]</p><h3>Biography</h3><p>Antonymes is designer, photographer, conceptualist and musician Ian M. Hazeldine, making music from the wilds of North Wales, a very strange, fantastic, ultimately unreal place of mountains, streams, woods, villages and obscure wilderness. To quote North Welsh poet R. S. Thomas, “to live in Wales is to be conscious at dusk of the spilled blood that went into the making of the wild sky, dyeing the wild rivers in all their courses.” His music begins at the piano, where notes, space and intention combine over time, until a shape appears. This shape is taken into the computer, where it is twisted, gently, and given more detail, until it is fully formed. Composition takes form through patience, probing, occasional accidents, spontaneity and a form of focused daydreaming. Debut mini-album <em>Beauty Becomes The Enemy of the Future</em> was released initially on David Newlyn’s Cathedral Transmissions label in December 2009, and as a self-published book in spring 2010. A second 2010 release, <em>31: Before The Light Fails</em>, was released as a digital download and as a special box, an edition of one, containing music and photography, representing Antonymes’ fear and suspicion of the herd mentality. The piece consisted of two tracks to be played simultaneously in separate rooms. Various pieces by Antonymes have appeared on compilations produced by labels Soundcolours, Dezordr, Cathedral Transmissions and Audio Gourmet. The album <em>The Licence To Interpet Dreams</em> was released by Hidden Shoal to widespread critical acclaim in early 2011. [/et_pb_tab][et_pb_tab title=\"News\"]</p><h3>News</h3><p>[catlist name=antonymes-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]</p><h2>Reviews</h2><p>[catlist name=antonymes-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]</p><h3>Press Releases</h3><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">Antonymes meets Slow Dancing Society – <em>We Don’t Look Back For Very Long</em> </a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">EP </a> <em><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Lost_In_Waves_Of_Light.pdf\">Lost In Waves Of Light</a></em> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\"><em>The Licence To Interpret Dreams</em> Album</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\">‘Endlessly’ Single</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_Signing.pdf\">Antonymes Signing</a> [/et_pb_tab][et_pb_tab title=\"Gallery\"]</p><h3>Artist Photos</h3><p> </p><div class=\"wpview-wrap wpview-type-gallery\" contenteditable=\"false\" data-wpview-text=\"%5Bgallery%20ids%3D%228222%2C8221%2C8220%2C8219%22%5D\" data-wpview-type=\"gallery\"><div class=\"toolbar\"> </div><div class=\"gallery gallery-columns-3\"><dl class=\"gallery-item\"><dt class=\"gallery-icon\"><img src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Antonymes_4-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" /></dt><dd class=\"wp-caption-text gallery-caption\"></dd></dl><dl class=\"gallery-item\"><dt class=\"gallery-icon\"><img src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Antonymes_3-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" /></dt><dd class=\"wp-caption-text gallery-caption\"></dd></dl><dl class=\"gallery-item\"><dt class=\"gallery-icon\"><img src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Antonymes_2-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" /></dt><dd class=\"wp-caption-text gallery-caption\"></dd></dl><br style=\"clear: both;\" /><dl class=\"gallery-item\"><dt class=\"gallery-icon\"><img src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Antonymes_1-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" /></dt><dd class=\"wp-caption-text gallery-caption\"></dd></dl></div><ins data-wpview-end=\"1\"></ins></div><p>[/et_pb_tab][et_pb_tab title=\"Video\"]</p><h3>Music Videos</h3><p><iframe src=\"//www.youtube.com/embed/U7tLhh8a1lo?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> <iframe src=\"//www.youtube.com/embed/4senhm9eiTY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> [/et_pb_tab][et_pb_tab title=\"Licensing\"]</p><h3>Licensing</h3><p>Antonymes music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away. [/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]</p>','Makee','','inherit','closed','closed','','11006-revision-v1','','','2014-10-16 14:15:01','2014-10-16 06:15:01','',11006,'http://www.hiddenshoal.com/11006-revision-v1/',0,'revision','',0),(11013,1,'2014-10-16 15:23:09','2014-10-16 07:23:09','[et_pb_section fullwidth=\"off\" specialty=\"off\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_row][et_pb_column type=\"3_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Music Licensing</h1><h1> </h1><h3>What We Do</h3><p>Hidden Shoal Publishing manages a growing catalogue of tracks, all available for your licensing needs. We provide a one-stop shop as we handle both master and sync rights worldwide and can turn clearance requests around as quickly as your project requires. We work with large and small clients alike from independent productions to big scale projects across film, tv, games, web and more.</p><h3>The Music</h3><p>This wonderful selection of music covers a broad spectrum of sounds and styles, from filmic neo-classical and expansive and emotive ambient instrumentals through to inventive indie and post-rock, electronica and all the spaces in-between. To give you an introductory feel for what we have to offer you can sample a small selection of sonic delights from the catalogue via our <a title=\"SoundCloud\" href=\"https://soundcloud.com/hidden_shoal\" target=\"_blank\">SoundCloud</a> playlist to the right or stream releases via our artist\'s profiles on this website. <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">Contact us</a> for further information or with any licensing enquiries.</p><hr /><h2>Licensing News</h2><p>[catlist name=licensing-news content=yes pagination=no title_tag=h4 title_class=lcp_title]</p><p style=\"text-align: right;\"><a title=\"Apricot Rail News\" href=\"http://www.hiddenshoal.com/category/news/apricot-rail-news/\"><strong>More Licensing News</strong></a></p><p><script src=\"//platform.twitter.com/oct.js\"></script><script>// <![CDATA[\r\ntwttr.conversion.trackPid(\'l504d\');\r\n// ]]></script></p><noscript>\r\n<img height=\"1\" width=\"1\" style=\"display:none;\" alt=\"\" src=\"https://analytics.twitter.com/i/adsct?txn_id=l504d&p_id=Twitter\" /><br />\r\n<img height=\"1\" width=\"1\" style=\"display:none;\" alt=\"\" src=\"//t.co/i/adsct?txn_id=l504d&p_id=Twitter\" /></noscript>[/et_pb_text][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<br />\r\n<h3>Licensing Showcase</h3>\r\n<p><iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/43771696&amp;color=000000&amp;auto_play=false&amp;hide_related=false&amp;show_comments=false&amp;show_user=false&amp;show_reposts=false\" width=\" 100% height=\" height=\"800\" frameborder=\"no\" scrolling=\"no\"></iframe></p>\r\n<p> <button>Pop Up Player</button><br /><script>// <![CDATA[\r\nfunction myFunction() {\r\n    var myWindow = window.open(\"http://www.hiddenshoal.com/wp-content/sc_licensing_player.html\", \"\", \"width=400, height=465\");\r\n}\r\n// ]]></script><br />[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Licensing','','inherit','closed','closed','','8181-revision-v1','','','2014-10-16 15:23:09','2014-10-16 07:23:09','',8181,'http://www.hiddenshoal.com/8181-revision-v1/',0,'revision','',0),(11015,1,'2014-10-16 15:37:38','2014-10-16 07:37:38','[et_pb_section fullwidth=\"off\" specialty=\"off\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_row][et_pb_column type=\"3_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]&nbsp;\r\n<h1>Music Licensing</h1>\r\n<h1></h1>\r\n<h3>What We Do</h3>\r\nHidden Shoal Publishing manages a growing catalogue of tracks, all available for your licensing needs. We provide a one-stop shop as we handle both master and sync rights worldwide and can turn clearance requests around as quickly as your project requires. We work with large and small clients alike from independent productions to big scale projects across film, tv, games, web and more.\r\n<h3>The Music</h3>\r\nThis wonderful selection of music covers a broad spectrum of sounds and styles, from filmic neo-classical and expansive and emotive ambient instrumentals through to inventive indie and post-rock, electronica and all the spaces in-between. To give you an introductory feel for what we have to offer you can sample a small selection of sonic delights from the catalogue via our <a title=\"SoundCloud\" href=\"https://soundcloud.com/hidden_shoal\" target=\"_blank\">SoundCloud</a> playlist to the right or stream releases via our artist\'s profiles on this website. <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">Contact us</a> for further information or with any licensing enquiries.\r\n\r\n<hr />\r\n\r\n<h2>Licensing News</h2>\r\n[catlist name=licensing-news pagination=no title_tag=h4 title_class=lcp_title]\r\n<p style=\"text-align: right;\"><a title=\"Apricot Rail News\" href=\"http://www.hiddenshoal.com/category/news/apricot-rail-news/\"><strong>More Licensing News</strong></a></p>[/et_pb_text][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h3>Licensing Showcase</h3>\r\n<p><iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/43771696&amp;color=000000&amp;auto_play=false&amp;hide_related=false&amp;show_comments=false&amp;show_user=false&amp;show_reposts=false\" width=\" 100% height=\" height=\"800\" frameborder=\"no\" scrolling=\"no\"></iframe></p>\r\n<p> <button>Pop Up Player</button><br /><script>// <![CDATA[\r\nfunction myFunction() {\r\n    var myWindow = window.open(\"http://www.hiddenshoal.com/wp-content/sc_licensing_player.html\", \"\", \"width=400, height=465\");\r\n}\r\n// ]]></script><br />[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Licensing','','inherit','closed','closed','','8181-revision-v1','','','2014-10-16 15:37:38','2014-10-16 07:37:38','',8181,'http://www.hiddenshoal.com/8181-revision-v1/',0,'revision','',0),(11014,1,'2014-10-16 15:30:05','2014-10-16 07:30:05','[et_pb_section fullwidth=\"off\" specialty=\"off\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_row][et_pb_column type=\"3_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]&nbsp;\r\n<h1>Music Licensing</h1>\r\n<h1></h1>\r\n<h3>What We Do</h3>\r\nHidden Shoal Publishing manages a growing catalogue of tracks, all available for your licensing needs. We provide a one-stop shop as we handle both master and sync rights worldwide and can turn clearance requests around as quickly as your project requires. We work with large and small clients alike from independent productions to big scale projects across film, tv, games, web and more.\r\n<h3>The Music</h3>\r\nThis wonderful selection of music covers a broad spectrum of sounds and styles, from filmic neo-classical and expansive and emotive ambient instrumentals through to inventive indie and post-rock, electronica and all the spaces in-between. To give you an introductory feel for what we have to offer you can sample a small selection of sonic delights from the catalogue via our <a title=\"SoundCloud\" href=\"https://soundcloud.com/hidden_shoal\" target=\"_blank\">SoundCloud</a> playlist to the right or stream releases via our artist\'s profiles on this website. <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">Contact us</a> for further information or with any licensing enquiries.\r\n\r\n<hr />\r\n\r\n<h2>Licensing News</h2>\r\n[catlist name=licensing-news content=yes pagination=no title_tag=h4 title_class=lcp_title excerpt=yes]\r\n<p style=\"text-align: right;\"><a title=\"Apricot Rail News\" href=\"http://www.hiddenshoal.com/category/news/apricot-rail-news/\"><strong>More Licensing News</strong></a></p>\r\n<script src=\"//platform.twitter.com/oct.js\"></script><script>// <![CDATA[\r\ntwttr.conversion.trackPid(\'l504d\');\r\n// ]]></script>\r\n\r\n<noscript>\r\n<img height=\"1\" width=\"1\" style=\"display:none;\" alt=\"\" src=\"https://analytics.twitter.com/i/adsct?txn_id=l504d&p_id=Twitter\" />\r\n<img height=\"1\" width=\"1\" style=\"display:none;\" alt=\"\" src=\"//t.co/i/adsct?txn_id=l504d&p_id=Twitter\" /></noscript>[/et_pb_text][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h3>Licensing Showcase</h3>\r\n<p><iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/43771696&amp;color=000000&amp;auto_play=false&amp;hide_related=false&amp;show_comments=false&amp;show_user=false&amp;show_reposts=false\" width=\" 100% height=\" height=\"800\" frameborder=\"no\" scrolling=\"no\"></iframe></p>\r\n<p> <button>Pop Up Player</button><br /><script>// <![CDATA[\r\nfunction myFunction() {\r\n    var myWindow = window.open(\"http://www.hiddenshoal.com/wp-content/sc_licensing_player.html\", \"\", \"width=400, height=465\");\r\n}\r\n// ]]></script><br />[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Licensing','','inherit','closed','closed','','8181-revision-v1','','','2014-10-16 15:30:05','2014-10-16 07:30:05','',8181,'http://www.hiddenshoal.com/8181-revision-v1/',0,'revision','',0),(11016,1,'2014-10-16 15:38:41','2014-10-16 07:38:41','[et_pb_section fullwidth=\"off\" specialty=\"off\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_row][et_pb_column type=\"3_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<p> </p><h1>Music Licensing</h1><h1> </h1><h3>What We Do</h3><p>Hidden Shoal Publishing manages a growing catalogue of tracks, all available for your licensing needs. We provide a one-stop shop as we handle both master and sync rights worldwide and can turn clearance requests around as quickly as your project requires. We work with large and small clients alike from independent productions to big scale projects across film, tv, games, web and more.</p><h3>The Music</h3><p>This wonderful selection of music covers a broad spectrum of sounds and styles, from filmic neo-classical and expansive and emotive ambient instrumentals through to inventive indie and post-rock, electronica and all the spaces in-between. To give you an introductory feel for what we have to offer you can sample a small selection of sonic delights from the catalogue via our <a title=\"SoundCloud\" href=\"https://soundcloud.com/hidden_shoal\" target=\"_blank\">SoundCloud</a> playlist to the right or stream releases via our artist\'s profiles on this website. <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">Contact us</a> for further information or with any licensing enquiries.</p><hr /><h2>Licensing News</h2><p>[catlist name=licensing-news excerpt=yes pagination=no title_tag=h4 title_class=lcp_title]</p><p style=\"text-align: right;\"><a title=\"Apricot Rail News\" href=\"http://www.hiddenshoal.com/category/news/apricot-rail-news/\"><strong>More Licensing News</strong></a></p>[/et_pb_text][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h3>Licensing Showcase</h3>\r\n<p><iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/43771696&amp;color=000000&amp;auto_play=false&amp;hide_related=false&amp;show_comments=false&amp;show_user=false&amp;show_reposts=false\" width=\" 100% height=\" height=\"800\" frameborder=\"no\" scrolling=\"no\"></iframe></p>\r\n<p> <button>Pop Up Player</button><br /><script>// <![CDATA[\r\nfunction myFunction() {\r\n    var myWindow = window.open(\"http://www.hiddenshoal.com/wp-content/sc_licensing_player.html\", \"\", \"width=400, height=465\");\r\n}\r\n// ]]></script><br />[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Licensing','','inherit','closed','closed','','8181-revision-v1','','','2014-10-16 15:38:41','2014-10-16 07:38:41','',8181,'http://www.hiddenshoal.com/8181-revision-v1/',0,'revision','',0),(11017,1,'2014-10-16 15:39:44','2014-10-16 07:39:44','[et_pb_section fullwidth=\"off\" specialty=\"off\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_row][et_pb_column type=\"3_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Music Licensing</h1><h1> </h1><h3>What We Do</h3><p>Hidden Shoal Publishing manages a growing catalogue of tracks, all available for your licensing needs. We provide a one-stop shop as we handle both master and sync rights worldwide and can turn clearance requests around as quickly as your project requires. We work with large and small clients alike from independent productions to big scale projects across film, tv, games, web and more.</p><h3>The Music</h3><p>This wonderful selection of music covers a broad spectrum of sounds and styles, from filmic neo-classical and expansive and emotive ambient instrumentals through to inventive indie and post-rock, electronica and all the spaces in-between. To give you an introductory feel for what we have to offer you can sample a small selection of sonic delights from the catalogue via our <a title=\"SoundCloud\" href=\"https://soundcloud.com/hidden_shoal\" target=\"_blank\">SoundCloud</a> playlist to the right or stream releases via our artist\'s profiles on this website. <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">Contact us</a> for further information or with any licensing enquiries.</p><hr /><h2><br />Licensing News</h2><p>[catlist name=licensing-news excerpt=yes pagination=no title_tag=h4 title_class=lcp_title]</p><p style=\"text-align: right;\"><a title=\"Apricot Rail News\" href=\"http://www.hiddenshoal.com/category/news/apricot-rail-news/\"><strong>More Licensing News</strong></a></p>[/et_pb_text][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h3>Licensing Showcase</h3>\r\n<p><iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/43771696&amp;color=000000&amp;auto_play=false&amp;hide_related=false&amp;show_comments=false&amp;show_user=false&amp;show_reposts=false\" width=\" 100% height=\" height=\"800\" frameborder=\"no\" scrolling=\"no\"></iframe></p>\r\n<p> <button>Pop Up Player</button><br /><script>// <![CDATA[\r\nfunction myFunction() {\r\n    var myWindow = window.open(\"http://www.hiddenshoal.com/wp-content/sc_licensing_player.html\", \"\", \"width=400, height=465\");\r\n}\r\n// ]]></script><br />[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Licensing','','inherit','closed','closed','','8181-revision-v1','','','2014-10-16 15:39:44','2014-10-16 07:39:44','',8181,'http://www.hiddenshoal.com/8181-revision-v1/',0,'revision','',0),(11019,1,'2014-10-16 15:43:13','2014-10-16 07:43:13','[et_pb_section fullwidth=\"off\" specialty=\"off\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_row][et_pb_column type=\"3_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Music Licensing</h1>\r\n<h1></h1>\r\n<h3>What We Do</h3>\r\nHidden Shoal Publishing manages a growing catalogue of tracks, all available for your licensing needs. We provide a one-stop shop as we handle both master and sync rights worldwide and can turn clearance requests around as quickly as your project requires. We work with large and small clients alike from independent productions to big scale projects across film, tv, games, web and more.\r\n<h3>The Music</h3>\r\nThis wonderful selection of music covers a broad spectrum of sounds and styles, from filmic neo-classical and expansive and emotive ambient instrumentals through to inventive indie and post-rock, electronica and all the spaces in-between. To give you an introductory feel for what we have to offer you can sample a small selection of sonic delights from the catalogue via our <a title=\"SoundCloud\" href=\"https://soundcloud.com/hidden_shoal\" target=\"_blank\">SoundCloud</a> playlist to the right or stream releases via our artist\'s profiles on this website. <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">Contact us</a> for further information or with any licensing enquiries.\r\n\r\n<hr />\r\n\r\n<p>&nbsp;</p>\r\n<h2>Licensing News</h2>\r\n[catlist name=licensing-news excerpt=yes pagination=no title_tag=h4 title_class=lcp_title]\r\n<p style=\"text-align: right;\"><a title=\"Apricot Rail News\" href=\"http://www.hiddenshoal.com/category/news/apricot-rail-news/\"><strong>More Licensing News</strong></a></p>[/et_pb_text][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h3>Licensing Showcase</h3>\r\n<p><iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/43771696&amp;color=000000&amp;auto_play=false&amp;hide_related=false&amp;show_comments=false&amp;show_user=false&amp;show_reposts=false\" width=\" 100% height=\" height=\"800\" frameborder=\"no\" scrolling=\"no\"></iframe></p>\r\n<p> <button>Pop Up Player</button><br /><script>// <![CDATA[\r\nfunction myFunction() {\r\n    var myWindow = window.open(\"http://www.hiddenshoal.com/wp-content/sc_licensing_player.html\", \"\", \"width=400, height=465\");\r\n}\r\n// ]]></script><br />[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Licensing','','inherit','closed','closed','','8181-revision-v1','','','2014-10-16 15:43:13','2014-10-16 07:43:13','',8181,'http://www.hiddenshoal.com/8181-revision-v1/',0,'revision','',0),(11018,1,'2014-10-16 15:40:38','2014-10-16 07:40:38','[et_pb_section fullwidth=\"off\" specialty=\"off\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_row][et_pb_column type=\"3_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]&nbsp;\r\n<h1>Music Licensing</h1>\r\n<h1></h1>\r\n<h3>What We Do</h3>\r\nHidden Shoal Publishing manages a growing catalogue of tracks, all available for your licensing needs. We provide a one-stop shop as we handle both master and sync rights worldwide and can turn clearance requests around as quickly as your project requires. We work with large and small clients alike from independent productions to big scale projects across film, tv, games, web and more.\r\n<h3>The Music</h3>\r\nThis wonderful selection of music covers a broad spectrum of sounds and styles, from filmic neo-classical and expansive and emotive ambient instrumentals through to inventive indie and post-rock, electronica and all the spaces in-between. To give you an introductory feel for what we have to offer you can sample a small selection of sonic delights from the catalogue via our <a title=\"SoundCloud\" href=\"https://soundcloud.com/hidden_shoal\" target=\"_blank\">SoundCloud</a> playlist to the right or stream releases via our artist\'s profiles on this website. <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">Contact us</a> for further information or with any licensing enquiries.\r\n\r\n<hr />\r\n<p> </p>\r\n<h2>Licensing News</h2>\r\n[catlist name=licensing-news excerpt=yes thumbnail=yes pagination=no title_tag=h4 title_class=lcp_title]\r\n<p style=\"text-align: right;\"><a title=\"Apricot Rail News\" href=\"http://www.hiddenshoal.com/category/news/apricot-rail-news/\"><strong>More Licensing News</strong></a></p>[/et_pb_text][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h3>Licensing Showcase</h3>\r\n<p><iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/43771696&amp;color=000000&amp;auto_play=false&amp;hide_related=false&amp;show_comments=false&amp;show_user=false&amp;show_reposts=false\" width=\" 100% height=\" height=\"800\" frameborder=\"no\" scrolling=\"no\"></iframe></p>\r\n<p> <button>Pop Up Player</button><br /><script>// <![CDATA[\r\nfunction myFunction() {\r\n    var myWindow = window.open(\"http://www.hiddenshoal.com/wp-content/sc_licensing_player.html\", \"\", \"width=400, height=465\");\r\n}\r\n// ]]></script><br />[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]','Licensing','','inherit','closed','closed','','8181-revision-v1','','','2014-10-16 15:40:38','2014-10-16 07:40:38','',8181,'http://www.hiddenshoal.com/8181-revision-v1/',0,'revision','',0),(11020,1,'2014-10-16 15:48:10','2014-10-16 07:48:10','','Makee','','inherit','closed','closed','','664386_276169982485569_553735576_o','','','2014-10-16 15:48:10','2014-10-16 07:48:10','',11006,'http://www.hiddenshoal.com/wp-content/uploads/2014/10/664386_276169982485569_553735576_o.jpg',0,'attachment','image/jpeg',0),(11021,1,'2014-10-16 15:48:17','2014-10-16 07:48:17','','Makee','','inherit','closed','closed','','gallery-1','','','2014-10-16 15:48:17','2014-10-16 07:48:17','',11006,'http://www.hiddenshoal.com/wp-content/uploads/2014/10/gallery-1.jpg',0,'attachment','image/jpeg',0),(11022,1,'2014-10-16 15:53:41','2014-10-16 07:53:41','','Makee','','inherit','closed','closed','','img_3026-2','','','2014-10-16 15:53:41','2014-10-16 07:53:41','',11006,'http://www.hiddenshoal.com/wp-content/uploads/2014/10/IMG_3026.jpg',0,'attachment','image/jpeg',0),(11023,1,'2014-10-16 15:54:16','2014-10-16 07:54:16','','IMG_3047 (1)','','inherit','closed','closed','','img_3047-1','','','2014-10-16 15:54:16','2014-10-16 07:54:16','',11006,'http://www.hiddenshoal.com/wp-content/uploads/2014/10/IMG_3047-1.jpg',0,'attachment','image/jpeg',0),(11024,1,'2014-10-16 15:54:36','2014-10-16 07:54:36','','Makee','','inherit','closed','closed','','makee-profile-2','','','2014-10-16 15:54:36','2014-10-16 07:54:36','',11006,'http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile1.jpg',0,'attachment','image/jpeg',0),(11027,1,'2014-10-16 16:41:25','2014-10-16 08:41:25','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Makee</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-11009\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile-300x300.jpg\" alt=\"makee\" width=\"171\" height=\"171\" /></a>Makee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische.</p><p><strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/makee\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><p>Debut self-titled EP out November 19th, 2014, preceded by the single \'bail\' on 23rd October.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Makee is Perth-based musician Daniel Cavalli, whose musical life began playing drums and guitar. As drummers were rarer than guitarists, and because he was a shy team player rather than a guitar hero, Cavalli most often hit the skins when jamming with friends. It wasn’t long before Cavalli figured that the best way to mesh his love of stringed things with drums and other instruments was to try his hand at production. Thus began a rather long and protracted musical journey littered with four tracks, samplers, sequencers and reel-to-reel tape, culminating in the purchase of a computer and some dodgy sequencing software. Even though he was immersed in a sea of ’90s atmospheric drum ’n’ bass at the time, he slowly but surely began to navigate back to his roots in guitar-based music, started playing bass, and even plucked up the courage to sing now and again.</p><p> </p><p>Then disaster struck: hard drive failure and no back-up. With all but a few of his scratched demo CDs lost, he began to rebuild his compositions. This was timely, as Hidden Shoal’s Cam Merton showed interested in doing something more, following on from Cavalli’s remix of [The] Caseworker’s ‘Hold On To The Road’. Makee then re-acquainted himself with an old mate called Hooch and got to work finishing his debut self-titled EP.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=makee-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<h3>Reviews</h3><p>[catlist name=makee-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title]</p>[/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p>No press releases yet, sorry.</p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery columns=\"2\" ids=\"11020,11021,11022,11024\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p> No video yet, sorry.</p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Makee\'s music is  available for licensing (master & sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Makee','','inherit','closed','closed','','11006-revision-v1','','','2014-10-16 16:41:25','2014-10-16 08:41:25','',11006,'http://www.hiddenshoal.com/11006-revision-v1/',0,'revision','',0),(11030,1,'2014-10-16 16:45:28','2014-10-16 08:45:28','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Makee</h1>\r\n<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-11009\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile-300x300.jpg\" alt=\"makee\" width=\"171\" height=\"171\" /></a>Makee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische. The EP follows on from Makee\'s first foray through Hidden Shoal, the wonderful remix of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>’s ‘Hold On To The Road’.\r\n\r\n<strong><a title=\"SoundCloud\" href=\"https://soundcloud.com/makee\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>   </strong>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><p>Debut self-titled EP out November 19th, 2014, preceded by the single \'bail\' on 23rd October.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Makee is Perth-based musician Daniel Cavalli, whose musical life began playing drums and guitar. As drummers were rarer than guitarists, and because he was a shy team player rather than a guitar hero, Cavalli most often hit the skins when jamming with friends. It wasn’t long before Cavalli figured that the best way to mesh his love of stringed things with drums and other instruments was to try his hand at production. Thus began a rather long and protracted musical journey littered with four tracks, samplers, sequencers and reel-to-reel tape, culminating in the purchase of a computer and some dodgy sequencing software. Even though he was immersed in a sea of ’90s atmospheric drum ’n’ bass at the time, he slowly but surely began to navigate back to his roots in guitar-based music, started playing bass, and even plucked up the courage to sing now and again.</p><p> </p><p>Then disaster struck: hard drive failure and no back-up. With all but a few of his scratched demo CDs lost, he began to rebuild his compositions. This was timely, as Hidden Shoal’s Cam Merton showed interested in doing something more, following on from Cavalli’s remix of [The] Caseworker’s ‘Hold On To The Road’. Makee then re-acquainted himself with an old mate called Hooch and got to work finishing his debut self-titled EP.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=makee-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<h3>Reviews</h3>[catlist name=makee-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title]<br /> [/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p>No press releases yet, sorry.</p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery columns=\"2\" ids=\"11020,11021,11022,11024\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p> No video yet, sorry.</p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Makee\'s music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Makee','','inherit','closed','closed','','11006-revision-v1','','','2014-10-16 16:45:28','2014-10-16 08:45:28','',11006,'http://www.hiddenshoal.com/11006-revision-v1/',0,'revision','',0),(11028,1,'2014-10-16 16:43:53','2014-10-16 08:43:53','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Makee</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-11009\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile-300x300.jpg\" alt=\"makee\" width=\"171\" height=\"171\" /></a>Makee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische. The EP follows on from Makee\'s first foray through Hidden Shoal, the wonderful remix of [The] Caseworker’s ‘Hold On To The Road’.</p><p><strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/makee\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<br />\r\n<h3>Discography</h3>\r\n<div> </div>\r\n<p>Debut self-titled EP out November 19th, 2014, preceded by the single \'bail\' on 23rd October.</p>\r\n[/et_pb_tab][et_pb_tab title=\"Bio\"]<br />\r\n<h3>Biography</h3>\r\n<p>Makee is Perth-based musician Daniel Cavalli, whose musical life began playing drums and guitar. As drummers were rarer than guitarists, and because he was a shy team player rather than a guitar hero, Cavalli most often hit the skins when jamming with friends. It wasn’t long before Cavalli figured that the best way to mesh his love of stringed things with drums and other instruments was to try his hand at production. Thus began a rather long and protracted musical journey littered with four tracks, samplers, sequencers and reel-to-reel tape, culminating in the purchase of a computer and some dodgy sequencing software. Even though he was immersed in a sea of ’90s atmospheric drum ’n’ bass at the time, he slowly but surely began to navigate back to his roots in guitar-based music, started playing bass, and even plucked up the courage to sing now and again.</p>\r\n<p> </p>\r\n<p>Then disaster struck: hard drive failure and no back-up. With all but a few of his scratched demo CDs lost, he began to rebuild his compositions. This was timely, as Hidden Shoal’s Cam Merton showed interested in doing something more, following on from Cavalli’s remix of [The] Caseworker’s ‘Hold On To The Road’. Makee then re-acquainted himself with an old mate called Hooch and got to work finishing his debut self-titled EP.</p>\r\n[/et_pb_tab][et_pb_tab title=\"News\"]<br />\r\n<h3>News</h3>\r\n[catlist name=makee-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<br />\r\n<h3>Reviews</h3>\r\n[catlist name=makee-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title]\r\n[/et_pb_tab][et_pb_tab title=\"Press Releases\"]<br />\r\n<h3>Press Releases</h3>\r\n<p>No press releases yet, sorry.</p>\r\n[/et_pb_tab][et_pb_tab title=\"Gallery\"]<br />\r\n<h3>Artist Photos</h3>\r\n<p> </p>\r\n[gallery columns=\"2\" ids=\"11020,11021,11022,11024\"][/et_pb_tab][et_pb_tab title=\"Video\"]<br />\r\n<h3>Music Videos</h3>\r\n<p> No video yet, sorry.</p>\r\n[/et_pb_tab][et_pb_tab title=\"Licensing\"]<br />\r\n<h3>Licensing</h3>\r\n<p>Makee\'s music is  available for licensing (master &#038; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>\r\n[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Makee','','inherit','closed','closed','','11006-revision-v1','','','2014-10-16 16:43:53','2014-10-16 08:43:53','',11006,'http://www.hiddenshoal.com/11006-revision-v1/',0,'revision','',0),(11029,1,'2014-10-16 16:44:39','2014-10-16 08:44:39','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Makee</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-11009\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile-300x300.jpg\" alt=\"makee\" width=\"171\" height=\"171\" /></a>Makee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische. The EP follows on from Makee\'s first foray through Hidden Shoal, the wonderful remix of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>’s ‘Hold On To The Road’.</p><p><strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/makee\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><p>Debut self-titled EP out November 19th, 2014, preceded by the single \'bail\' on 23rd October.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Makee is Perth-based musician Daniel Cavalli, whose musical life began playing drums and guitar. As drummers were rarer than guitarists, and because he was a shy team player rather than a guitar hero, Cavalli most often hit the skins when jamming with friends. It wasn’t long before Cavalli figured that the best way to mesh his love of stringed things with drums and other instruments was to try his hand at production. Thus began a rather long and protracted musical journey littered with four tracks, samplers, sequencers and reel-to-reel tape, culminating in the purchase of a computer and some dodgy sequencing software. Even though he was immersed in a sea of ’90s atmospheric drum ’n’ bass at the time, he slowly but surely began to navigate back to his roots in guitar-based music, started playing bass, and even plucked up the courage to sing now and again.</p><p> </p><p>Then disaster struck: hard drive failure and no back-up. With all but a few of his scratched demo CDs lost, he began to rebuild his compositions. This was timely, as Hidden Shoal’s Cam Merton showed interested in doing something more, following on from Cavalli’s remix of [The] Caseworker’s ‘Hold On To The Road’. Makee then re-acquainted himself with an old mate called Hooch and got to work finishing his debut self-titled EP.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=makee-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<h3>Reviews</h3>[catlist name=makee-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title]<br /> [/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p>No press releases yet, sorry.</p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery columns=\"2\" ids=\"11020,11021,11022,11024\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p> No video yet, sorry.</p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Makee\'s music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Makee','','inherit','closed','closed','','11006-revision-v1','','','2014-10-16 16:44:39','2014-10-16 08:44:39','',11006,'http://www.hiddenshoal.com/11006-revision-v1/',0,'revision','',0),(11031,1,'2014-10-16 16:51:09','2014-10-16 08:51:09','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Makee</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-11009\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile-300x300.jpg\" alt=\"makee\" width=\"171\" height=\"171\" /></a>Makee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische. The EP follows on from Makee\'s first foray through Hidden Shoal, the wonderful remix of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>’s ‘Hold On To The Road’.</p><p><strong><a title=\"SoundCloud\" href=\"https://soundcloud.com/makee\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>   </strong>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><div> </div><h4>[The] Caseworker - \'Hold On To The Road (Makee Remix)\'</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=877417942/size=large/bgcol=333333/linkcol=ffffff/tracklist=false/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://hiddenshoal.bandcamp.com/album/hold-on-to-the-road-makee-remix\">Hold On To The Road (Makee Remix) by [The] Caseworker</a></iframe><br /> November 2012</p><div> </div><p>Makee (Perth artist Daniel Cavalli) has taken the hesitant shuffle of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>\'s ‘Hold On To The Road’ and re-imagined it as an infectious driving groove. The wonderful sense of space evident in [The] Caseworker’s music is still present, but it’s beautifully aligned with Makee’s propulsive beatwork.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Makee is Perth-based musician Daniel Cavalli, whose musical life began playing drums and guitar. As drummers were rarer than guitarists, and because he was a shy team player rather than a guitar hero, Cavalli most often hit the skins when jamming with friends. It wasn’t long before Cavalli figured that the best way to mesh his love of stringed things with drums and other instruments was to try his hand at production. Thus began a rather long and protracted musical journey littered with four tracks, samplers, sequencers and reel-to-reel tape, culminating in the purchase of a computer and some dodgy sequencing software. Even though he was immersed in a sea of ’90s atmospheric drum ’n’ bass at the time, he slowly but surely began to navigate back to his roots in guitar-based music, started playing bass, and even plucked up the courage to sing now and again.</p><p> </p><p>Then disaster struck: hard drive failure and no back-up. With all but a few of his scratched demo CDs lost, he began to rebuild his compositions. This was timely, as Hidden Shoal’s Cam Merton showed interested in doing something more, following on from Cavalli’s remix of [The] Caseworker’s ‘Hold On To The Road’. Makee then re-acquainted himself with an old mate called Hooch and got to work finishing his debut self-titled EP.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=makee-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<h3>Reviews</h3>[catlist name=makee-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title]<br /> [/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p>No press releases yet, sorry.</p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery columns=\"2\" ids=\"11020,11021,11022,11024\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p> No video yet, sorry.</p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Makee\'s music is  available for licensing (master & sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Makee','','inherit','closed','closed','','11006-revision-v1','','','2014-10-16 16:51:09','2014-10-16 08:51:09','',11006,'http://www.hiddenshoal.com/11006-revision-v1/',0,'revision','',0),(11032,1,'2014-10-16 22:51:02','2014-10-16 14:51:02','<img class=\"alignleft  wp-image-11033\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/IMG_1189-300x224.jpg\" alt=\"https://labelnetlabel.bandcamp.com/track/shebeen\" width=\"209\" height=\"156\" />We\'re excited to share the beautiful new single \'Shebeen\' from Italian ambient electronica artist <a title=\"Elisa Luu\" href=\"http://www.hiddenshoal.com/project/elisa-luu/\" target=\"_blank\">Elisa Luu</a>. The track is lifted from the forthcoming EP <em>Enchanting Gaze</em> which will be released through La bel netlabel in collaboration with Hidden Shoal on the 3rd of November. Grab the free download of \'Shebeen\' <a title=\"La bel Bandcamp\" href=\"https://labelnetlabel.bandcamp.com/track/shebeen\" target=\"_blank\">here</a>.\r\n\r\nOn <i>Enchanting Gaze</i>, Elisa Luu’s shimmering tones and deftly handled rhythms are manipulated into breathtaking new shapes. On tracks such as ‘Bro’, expansive synths paint wondrous starscapes, while the gritty ‘B.P.M.’ chases beats and growing drones through dark city streets. <i>Enchanting Gaze</i> manages to beautifully balance its cosmic/terrestrial duality throughout its six tracks, making it a wonderful progression in the Elisa Luu discography.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/171310666&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','New Elisa Luu Single & Forthcoming EP','','publish','closed','closed','','new-elisa-luu-single-forthcoming-ep','','','2016-02-03 15:34:58','2016-02-03 07:34:58','',0,'http://www.hiddenshoal.com/?p=11032',0,'post','',0),(11033,1,'2014-10-16 22:29:00','2014-10-16 14:29:00','','Elisa Luu','','inherit','closed','closed','','img_1189','','','2014-11-14 13:59:08','2014-11-14 05:59:08','',11032,'http://www.hiddenshoal.com/wp-content/uploads/2014/10/IMG_1189.jpg',0,'attachment','image/jpeg',0),(11034,1,'2014-10-16 22:33:04','2014-10-16 14:33:04','<img class=\"alignleft  wp-image-11033\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/IMG_1189-300x224.jpg\" alt=\"https://labelnetlabel.bandcamp.com/track/shebeen\" width=\"209\" height=\"156\" />We\'re excited to share the beautiful new single \'Shebeen\' from Italian ambient electronica artist <a title=\"Elisa Luu\" href=\"http://www.hiddenshoal.com/project/elisa-luu/\" target=\"_blank\">Elisa Luu</a>. The track is lifted from the forthcoming EP <em>Enchanting Gaze</em> which will be released through La bel netlabel in collaboration with Hidden Shoal on the 3rd of November. Grab the free download of \'Shebeen\' <a title=\"La bel Bandcamp\" href=\"https://labelnetlabel.bandcamp.com/track/shebeen\" target=\"_blank\">here</a>.\r\n\r\nOn <i>Enchanting Gaze</i>, Elisa Luu’s shimmering tones and deftly handled rhythms are manipulated into breathtaking new shapes. On tracks such as ‘Bro’, expansive synths paint wondrous starscapes, while the gritty ‘B.P.M.’ chases beats and growing drones through dark city streets. <i>Enchanting Gaze</i> manages to beautifully balance its cosmic/terrestrial duality throughout its six tracks, making it a wonderful progression in the Elisa Luu discography.\r\n\r\n&nbsp;\r\n<iframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/171310666&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\"></iframe>\r\n&nbsp;','New Elisa Luu Single & Forthcoming EP','','inherit','closed','closed','','11032-revision-v1','','','2014-10-16 22:33:04','2014-10-16 14:33:04','',11032,'http://www.hiddenshoal.com/11032-revision-v1/',0,'revision','',0),(11035,1,'2014-10-16 22:36:05','2014-10-16 14:36:05','<img class=\"alignleft  wp-image-11033\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/IMG_1189-300x224.jpg\" alt=\"https://labelnetlabel.bandcamp.com/track/shebeen\" width=\"209\" height=\"156\" />We\'re excited to share the beautiful new single \'Shebeen\' from Italian ambient electronica artist <a title=\"Elisa Luu\" href=\"http://www.hiddenshoal.com/project/elisa-luu/\" target=\"_blank\">Elisa Luu</a>. The track is lifted from the forthcoming EP <em>Enchanting Gaze</em> which will be released through La bel netlabel in collaboration with Hidden Shoal on the 3rd of November. Grab the free download of \'Shebeen\' <a title=\"La bel Bandcamp\" href=\"https://labelnetlabel.bandcamp.com/track/shebeen\" target=\"_blank\">here</a>.\r\n\r\nOn <i>Enchanting Gaze</i>, Elisa Luu’s shimmering tones and deftly handled rhythms are manipulated into breathtaking new shapes. On tracks such as ‘Bro’, expansive synths paint wondrous starscapes, while the gritty ‘B.P.M.’ chases beats and growing drones through dark city streets. <i>Enchanting Gaze</i> manages to beautifully balance its cosmic/terrestrial duality throughout its six tracks, making it a wonderful progression in the Elisa Luu discography.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/171310666&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','New Elisa Luu Single & Forthcoming EP','','inherit','closed','closed','','11032-revision-v1','','','2014-10-16 22:36:05','2014-10-16 14:36:05','',11032,'http://www.hiddenshoal.com/11032-revision-v1/',0,'revision','',0),(11036,1,'2014-10-17 09:32:57','2014-10-17 01:32:57','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Elisa Luu</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft wp-image-8820 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Elisabetta_in_Stockholm-300x225.jpg\" alt=\"Elisa Luu\" width=\"300\" height=\"225\" /></a><em>“an astonishingly talented artist, crafting immersive and emotive soundfields with ease”</em> <strong>- Luna Kafe</strong></p><p>Though digitally crafted, Elisa Luu’s music is warm, inviting and uniquely human, betraying a vulnerability and sensitivity that is rarely found in the male-dominated sphere of electronica. With its sighing, lilting qualities, Elisa Luu’s music reawakens a sense of childlike wonder and adventure with every sprawliong and sparkling track.</p><p><a title=\"Website\" href=\"http://www.elisaluu.com/home.html\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><div> </div><h4>Shebeen (Single)</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=1993796865/size=large/bgcol=333333/linkcol=ffffff/tracklist=false/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://labelnetlabel.bandcamp.com/track/shebeen\">Shebeen by Elisa Luu</a></iframe><br /> October 2014</p><div> </div><p><em>\'</em>Shebeen\' is lifted from the forthcoming Elisa Luu mini-album <em>Enchanting Gaze</em> (3rd November 2014). On this new album, Elisa Luu\'s shimmering tones and deftly handled rhythms are manipulated into new and beautiful shapes. <em>Enchanting Gaze</em> manages to perfectly balance its cosmic/terrestrial duality throughout its six tracks, making it another wonderful progression in the Elisa Luu discography.</p><div> </div><div> </div><h4>Un Giorno Sospeso</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 405px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=2149015477/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://elisaluu.bandcamp.com/album/un-giorno-sospeso\">Un Giorno Sospeso by Elisa Luu</a></iframe> July 2012</p><div> </div><p><em>Un Giorno Sospeso</em> is the new album by Italian ambient electronica artist Elisa Luu.  As evidenced on recently released single ‘Se Fosse Per Me’, <em>Un Giorno Sospeso</em> is dense with chiming tones, buoyant beats, skittering horns and immersive drones. From the shimmering, levitating tones of ‘Flussigirl’ to the rattling, dark drone-beat of ‘Il Tempo Di Capire’, Elisa Luu’s brilliant marriage of texture and composition is on virtuoso display. Elisa Luu’s alchemical touch is in full bloom on this, her long-awaited second album for Hidden Shoal. Her uniquely crafted compositions carry a warmth and vulnerability that belies their digitally manipulated textures. The album takes the glorious blueprint of debut <em>Chromatic Sigh</em> and accentuates the highlights and shadows, making for a deliciously disorientating trip.</p><div> </div><div> </div><h4>Chromatic Sigh</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 440px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=2386771120/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://elisaluu.bandcamp.com/album/chromatic-sigh\">Chromatic Sigh by Elisa Luu</a></iframe> September 2009</p><div> </div><p>Though digitally crafted, <em>Chromatic Sigh</em> is warm, inviting and uniquely human, betraying a vulnerability and sensitivity that is rarely found in the male-dominated sphere of electronica. With its sighing, lilting qualities, Elisa Luu’s music reawakens a sense of childlike wonder and adventure with every sprawling and sparkling track. The album deftly moves in and out of the realms of ambient and electronica, creating a blissful, liminal realm where everything is rendered transformative. The opening title track is a shifting kaleidoscope of drones, enveloping the listener with its gorgeous metallic haze. Single ‘The Garden’ creates a humid atmosphere of synths and glistening textures, carried aloft by crisp, skittering drum breaks. Melancholic centerpiece ‘Slow Bass Flute’ – which also appeared on debut EP Floating Sounds (Phantom Channel) – is so emotionally weighty that one can’t help but feel humbled in its presence. And album closer ‘Warn Plate’ is the gentle return to terra firma, leaving the listener conscious of having visited somewhere unique, complex and beautiful.</p><div> </div><div> </div><h4>Unreleased</h4><div> </div><p><iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/52927332&amp;color=000000&amp;auto_play=false&amp;hide_related=false&amp;show_comments=false&amp;show_user=false&amp;show_reposts=false\" width=\"500\" height=\"400\" frameborder=\"no\" scrolling=\"no\"></iframe></p><div> </div><p>A collection of previously unreleased tracks from Elisa Luu. All available for licensing as part of the Hidden Shoal Publishing catalogue.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Elisa Luu (Elisabetta Luciani) is a Rome-based composer, who began her musical career as a jazz/fusion saxophone player. Elisa has been involved in a number of  musical projects over the years, including fusion quartet Prodotti Speciali and Short’s Monday Night Jazz Orchestra. She has also participated in Berklee Jazz clinics, where she received special mention as an alto sax player.</p><p>In 2007 Elisa began to compose electronic music using flute, saxophone and guitar as sound sources. Though digitally crafted, Elisa Luu’s music is warm, inviting and uniquely human, betraying a vulnerability and sensitivity that is rarely found in the male-dominated sphere of electronica.</p><p>In 2008, UK net label Phantom Channel released her debut EP <em>Floating Sounds</em>, which garnered glowing online reviews. <em>Chromatic Sigh</em> is her first full-length release.</p><p>Accompanied by her two beloved dogs, Elisa is constantly creating new music in her home studio, away from the madding Roman bustle.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=elisa-luu content=yes pagination=no title_tag=h4 title_class=lcp_title]<p style=\"text-align: right;\"><a title=\"Elisa Luu News\" href=\"http://www.hiddenshoal.com/category/news/elisa-luu/\"><strong>More News</strong></a></p>[/et_pb_tab][et_pb_tab title=\"Reviews\"]<h2>Reviews</h2>[catlist name=elisa-luu-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Elisa_Luu-Un_Giorno_Sospeso.pdf\"><em> Un Giorno Sospeso</em> Album Release</a></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Elisa_Luu-Se_Fosse_Per_Me.pdf\">‘Se fosse per me’ Single Release</a></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Elisa_Luu_Chromatic_Sigh.pdf\"><em>Chromatic Sigh</em> Album Digital Pre-Release</a></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Elisa_Luu_Single.pdf\">‘The Garden’ Single Release</a></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release_-_Elisa_Luu_Signing.pdf\" target=\"_blank\">Elisa Luu Signing</a></p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery ids=\"8822,8823,8820\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p>No videos yet, sorry.</p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Elisa Luu\'s music is  available for licensing (master & sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Elisa Luu','','inherit','closed','closed','','8817-revision-v1','','','2014-10-17 09:32:57','2014-10-17 01:32:57','',8817,'http://www.hiddenshoal.com/8817-revision-v1/',0,'revision','',0),(11037,1,'2014-10-17 09:35:43','2014-10-17 01:35:43','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Elisa Luu</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft wp-image-8820 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Elisabetta_in_Stockholm-300x225.jpg\" alt=\"Elisa Luu\" width=\"300\" height=\"225\" /></a><em>“an astonishingly talented artist, crafting immersive and emotive soundfields with ease”</em> <strong>- Luna Kafe</strong></p><p>Though digitally crafted, Elisa Luu’s music is warm, inviting and uniquely human, betraying a vulnerability and sensitivity that is rarely found in the male-dominated sphere of electronica. With its sighing, lilting qualities, Elisa Luu’s music reawakens a sense of childlike wonder and adventure with every sprawliong and sparkling track.</p><p><a title=\"Website\" href=\"http://www.elisaluu.com/home.html\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><div> </div><h4>Shebeen (Single)</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=1993796865/size=large/bgcol=333333/linkcol=ffffff/tracklist=false/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://labelnetlabel.bandcamp.com/track/shebeen\">Shebeen by Elisa Luu</a></iframe><br /> October 2014</p><div> </div><p><em>\'</em>Shebeen\' is lifted from the forthcoming Elisa Luu mini-album <em>Enchanting Gaze</em> (3rd November 2014). On this new album, Elisa Luu\'s shimmering tones and deftly handled rhythms are manipulated into new and beautiful shapes. <em>Enchanting Gaze</em> manages to perfectly balance its cosmic/terrestrial duality throughout its six tracks, making it another wonderful progression in the Elisa Luu discography.</p><div> </div><div> </div><h4>Un Giorno Sospeso</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 405px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=2149015477/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://elisaluu.bandcamp.com/album/un-giorno-sospeso\">Un Giorno Sospeso by Elisa Luu</a></iframe> <br />July 2012</p><div> </div><p><em>Un Giorno Sospeso</em> is the new album by Italian ambient electronica artist Elisa Luu.  As evidenced on recently released single ‘Se Fosse Per Me’, <em>Un Giorno Sospeso</em> is dense with chiming tones, buoyant beats, skittering horns and immersive drones. From the shimmering, levitating tones of ‘Flussigirl’ to the rattling, dark drone-beat of ‘Il Tempo Di Capire’, Elisa Luu’s brilliant marriage of texture and composition is on virtuoso display. Elisa Luu’s alchemical touch is in full bloom on this, her long-awaited second album for Hidden Shoal. Her uniquely crafted compositions carry a warmth and vulnerability that belies their digitally manipulated textures. The album takes the glorious blueprint of debut <em>Chromatic Sigh</em> and accentuates the highlights and shadows, making for a deliciously disorientating trip.</p><div> </div><div> </div><h4>Chromatic Sigh</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 440px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=2386771120/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://elisaluu.bandcamp.com/album/chromatic-sigh\">Chromatic Sigh by Elisa Luu</a></iframe> September 2009</p><div> </div><p>Though digitally crafted, <em>Chromatic Sigh</em> is warm, inviting and uniquely human, betraying a vulnerability and sensitivity that is rarely found in the male-dominated sphere of electronica. With its sighing, lilting qualities, Elisa Luu’s music reawakens a sense of childlike wonder and adventure with every sprawling and sparkling track. The album deftly moves in and out of the realms of ambient and electronica, creating a blissful, liminal realm where everything is rendered transformative. The opening title track is a shifting kaleidoscope of drones, enveloping the listener with its gorgeous metallic haze. Single ‘The Garden’ creates a humid atmosphere of synths and glistening textures, carried aloft by crisp, skittering drum breaks. Melancholic centerpiece ‘Slow Bass Flute’ – which also appeared on debut EP Floating Sounds (Phantom Channel) – is so emotionally weighty that one can’t help but feel humbled in its presence. And album closer ‘Warn Plate’ is the gentle return to terra firma, leaving the listener conscious of having visited somewhere unique, complex and beautiful.</p><div> </div><div> </div><h4>Unreleased</h4><div> </div><p><iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/52927332&amp;color=000000&amp;auto_play=false&amp;hide_related=false&amp;show_comments=false&amp;show_user=false&amp;show_reposts=false\" width=\"500\" height=\"400\" frameborder=\"no\" scrolling=\"no\"></iframe></p><div> </div><p>A collection of previously unreleased tracks from Elisa Luu. All available for licensing as part of the Hidden Shoal Publishing catalogue.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Elisa Luu (Elisabetta Luciani) is a Rome-based composer, who began her musical career as a jazz/fusion saxophone player. Elisa has been involved in a number of  musical projects over the years, including fusion quartet Prodotti Speciali and Short’s Monday Night Jazz Orchestra. She has also participated in Berklee Jazz clinics, where she received special mention as an alto sax player.</p><p>In 2007 Elisa began to compose electronic music using flute, saxophone and guitar as sound sources. Though digitally crafted, Elisa Luu’s music is warm, inviting and uniquely human, betraying a vulnerability and sensitivity that is rarely found in the male-dominated sphere of electronica.</p><p>In 2008, UK net label Phantom Channel released her debut EP <em>Floating Sounds</em>, which garnered glowing online reviews. <em>Chromatic Sigh</em> is her first full-length release.</p><p>Accompanied by her two beloved dogs, Elisa is constantly creating new music in her home studio, away from the madding Roman bustle.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=elisa-luu content=yes pagination=no title_tag=h4 title_class=lcp_title]<p style=\"text-align: right;\"><a title=\"Elisa Luu News\" href=\"http://www.hiddenshoal.com/category/news/elisa-luu/\"><strong>More News</strong></a></p>[/et_pb_tab][et_pb_tab title=\"Reviews\"]<h2>Reviews</h2>[catlist name=elisa-luu-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Elisa_Luu-Un_Giorno_Sospeso.pdf\"><em> Un Giorno Sospeso</em> Album Release</a></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Elisa_Luu-Se_Fosse_Per_Me.pdf\">‘Se fosse per me’ Single Release</a></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Elisa_Luu_Chromatic_Sigh.pdf\"><em>Chromatic Sigh</em> Album Digital Pre-Release</a></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Elisa_Luu_Single.pdf\">‘The Garden’ Single Release</a></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release_-_Elisa_Luu_Signing.pdf\" target=\"_blank\">Elisa Luu Signing</a></p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery ids=\"8822,8823,8820\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p>No videos yet, sorry.</p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Elisa Luu\'s music is  available for licensing (master & sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Elisa Luu','','inherit','closed','closed','','8817-revision-v1','','','2014-10-17 09:35:43','2014-10-17 01:35:43','',8817,'http://www.hiddenshoal.com/8817-revision-v1/',0,'revision','',0),(11038,1,'2014-10-17 10:20:24','2014-10-17 02:20:24','<img class=\"alignleft  wp-image-11024\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile1-300x300.jpg\" alt=\"Makee\" width=\"149\" height=\"149\" />A fantastic announcement to end the week - Perth based artist Daniel Cavalli, aka <a title=\"Makee\" href=\"http://www.hiddenshoal.com/project/makee/\">Makee</a>, has signed to Hidden Shoal. His self-titled debut EP will be released on the 19th of November with a single and music video dropping next week (23 Oct). Makee\'s new EP will also join our licensing and publishing catalogue. We see many a visual sync for these wonderful tracks!\r\n\r\nMakee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische. The EP follows on from Makee’s first foray through Hidden Shoal, the wonderful remix of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>’s ‘Hold On To The Road’.\r\n\r\nRead more at Makee\'s <a title=\"Makee\" href=\"http://www.hiddenshoal.com/project/makee/\">artist profile</a> and keep your ears and eyes out next week for the new single and video.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/69148903&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Makee Signs to Hidden Shoal','','publish','closed','closed','','makee-signs-to-hidden-shoal','','','2016-02-03 16:48:14','2016-02-03 08:48:14','',0,'http://www.hiddenshoal.com/?p=11038',0,'post','',0),(11039,1,'2014-10-17 09:39:38','2014-10-17 01:39:38','','Makee Signs to Hidden Shoal','','inherit','closed','closed','','11038-revision-v1','','','2014-10-17 09:39:38','2014-10-17 01:39:38','',11038,'http://www.hiddenshoal.com/11038-revision-v1/',0,'revision','',0),(11040,1,'2014-10-17 09:42:53','2014-10-17 01:42:53','&nbsp;\r\n\r\n&nbsp;\r\n\r\nMakee\'s self-titled EP will also join our licensing and publishing catalogue. We see many a visual sync for these wonderful tracks.','Makee Signs to Hidden Shoal','','inherit','closed','closed','','11038-revision-v1','','','2014-10-17 09:42:53','2014-10-17 01:42:53','',11038,'http://www.hiddenshoal.com/11038-revision-v1/',0,'revision','',0),(11041,1,'2014-10-17 10:08:15','2014-10-17 02:08:15','<img class=\"alignleft  wp-image-11024\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile1-300x300.jpg\" alt=\"Makee\" width=\"194\" height=\"194\" />A fantastic announcement to end the week - Perth based artist Daniel Cavalli, aka <a title=\"Makee\" href=\"http://www.hiddenshoal.com/project/makee/\">Makee</a>, has signed to Hidden Shoal. His selft-titled debut EP will be released on the 19th of November with a single and music video dropping next week (23 Oct). Makee\'s new EP will also join our licensing and publishing catalogue. We see many a visual sync for these wonderful tracks!\r\n\r\nMakee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische. The EP follows on from Makee’s first foray through Hidden Shoal, the wonderful remix of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>’s ‘Hold On To The Road’.\r\n\r\nRead more at Makee\'s <a title=\"Makee\" href=\"http://www.hiddenshoal.com/project/makee/\">artist profile</a> and keep your ears and eyes out next week for the new single and video.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/69148903&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Makee Signs to Hidden Shoal','','inherit','closed','closed','','11038-revision-v1','','','2014-10-17 10:08:15','2014-10-17 02:08:15','',11038,'http://www.hiddenshoal.com/11038-revision-v1/',0,'revision','',0),(11042,1,'2014-10-17 10:11:17','2014-10-17 02:11:17','<img class=\"alignleft  wp-image-11024\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile1-300x300.jpg\" alt=\"Makee\" width=\"194\" height=\"194\" />A fantastic announcement to end the week - Perth based artist Daniel Cavalli, aka <a title=\"Makee\" href=\"http://www.hiddenshoal.com/project/makee/\">Makee</a>, has signed to Hidden Shoal. His self-titled debut EP will be released on the 19th of November with a single and music video dropping next week (23 Oct). Makee\'s new EP will also join our licensing and publishing catalogue. We see many a visual sync for these wonderful tracks!\r\n\r\nMakee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische. The EP follows on from Makee’s first foray through Hidden Shoal, the wonderful remix of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>’s ‘Hold On To The Road’.\r\n\r\nRead more at Makee\'s <a title=\"Makee\" href=\"http://www.hiddenshoal.com/project/makee/\">artist profile</a> and keep your ears and eyes out next week for the new single and video.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/69148903&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Makee Signs to Hidden Shoal','','inherit','closed','closed','','11038-revision-v1','','','2014-10-17 10:11:17','2014-10-17 02:11:17','',11038,'http://www.hiddenshoal.com/11038-revision-v1/',0,'revision','',0),(11043,1,'2014-10-17 10:18:25','2014-10-17 02:18:25','<img class=\"alignleft  wp-image-11024\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile1-300x300.jpg\" alt=\"Makee\" width=\"168\" height=\"168\" />A fantastic announcement to end the week - Perth based artist Daniel Cavalli, aka <a title=\"Makee\" href=\"http://www.hiddenshoal.com/project/makee/\">Makee</a>, has signed to Hidden Shoal. His self-titled debut EP will be released on the 19th of November with a single and music video dropping next week (23 Oct). Makee\'s new EP will also join our licensing and publishing catalogue. We see many a visual sync for these wonderful tracks!\r\n\r\nMakee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische. The EP follows on from Makee’s first foray through Hidden Shoal, the wonderful remix of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>’s ‘Hold On To The Road’.\r\n\r\nRead more at Makee\'s <a title=\"Makee\" href=\"http://www.hiddenshoal.com/project/makee/\">artist profile</a> and keep your ears and eyes out next week for the new single and video.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/69148903&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Makee Signs to Hidden Shoal','','inherit','closed','closed','','11038-revision-v1','','','2014-10-17 10:18:25','2014-10-17 02:18:25','',11038,'http://www.hiddenshoal.com/11038-revision-v1/',0,'revision','',0),(11044,1,'2014-10-17 10:19:15','2014-10-17 02:19:15','<img class=\"alignleft  wp-image-11024\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile1-300x300.jpg\" alt=\"Makee\" width=\"161\" height=\"161\" />A fantastic announcement to end the week - Perth based artist Daniel Cavalli, aka <a title=\"Makee\" href=\"http://www.hiddenshoal.com/project/makee/\">Makee</a>, has signed to Hidden Shoal. His self-titled debut EP will be released on the 19th of November with a single and music video dropping next week (23 Oct). Makee\'s new EP will also join our licensing and publishing catalogue. We see many a visual sync for these wonderful tracks!\r\n\r\nMakee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische. The EP follows on from Makee’s first foray through Hidden Shoal, the wonderful remix of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>’s ‘Hold On To The Road’.\r\n\r\nRead more at Makee\'s <a title=\"Makee\" href=\"http://www.hiddenshoal.com/project/makee/\">artist profile</a> and keep your ears and eyes out next week for the new single and video.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/69148903&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Makee Signs to Hidden Shoal','','inherit','closed','closed','','11038-revision-v1','','','2014-10-17 10:19:15','2014-10-17 02:19:15','',11038,'http://www.hiddenshoal.com/11038-revision-v1/',0,'revision','',0),(11045,1,'2014-10-17 10:19:56','2014-10-17 02:19:56','<img class=\"alignleft  wp-image-11024\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile1-300x300.jpg\" alt=\"Makee\" width=\"149\" height=\"149\" />A fantastic announcement to end the week - Perth based artist Daniel Cavalli, aka <a title=\"Makee\" href=\"http://www.hiddenshoal.com/project/makee/\">Makee</a>, has signed to Hidden Shoal. His self-titled debut EP will be released on the 19th of November with a single and music video dropping next week (23 Oct). Makee\'s new EP will also join our licensing and publishing catalogue. We see many a visual sync for these wonderful tracks!\r\n\r\nMakee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische. The EP follows on from Makee’s first foray through Hidden Shoal, the wonderful remix of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>’s ‘Hold On To The Road’.\r\n\r\nRead more at Makee\'s <a title=\"Makee\" href=\"http://www.hiddenshoal.com/project/makee/\">artist profile</a> and keep your ears and eyes out next week for the new single and video.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/69148903&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Makee Signs to Hidden Shoal','','inherit','closed','closed','','11038-revision-v1','','','2014-10-17 10:19:56','2014-10-17 02:19:56','',11038,'http://www.hiddenshoal.com/11038-revision-v1/',0,'revision','',0),(11046,1,'2014-10-17 10:30:04','2014-10-17 02:30:04',' ','','','publish','closed','closed','','11046','','','2017-03-16 12:02:57','2017-03-16 04:02:57','',0,'http://www.hiddenshoal.com/?p=11046',32,'nav_menu_item','',0),(11151,1,'2014-10-30 12:15:16','2014-10-30 04:15:16','<p style=\"text-align: justify;\"><img class=\"alignleft wp-image-8890\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Glassacre_5-300x208.jpg\" alt=\"Glassacre\" width=\"224\" height=\"155\" />This week\'s featured track is a deep cut from our catalogue, delivered by Hidden Shoal\'s Tim Clarke. <a title=\"Glassacre\" href=\"http://www.hiddenshoal.com/project/glassacre/\">Glassacre</a>\'s debut EP <a title=\"Bandcamp\" href=\"https://glassacre.bandcamp.com/album/slow-attack\" target=\"_blank\"><em>Slow Attack</em></a> was one of Hidden Shoal\'s first releases back in 2006:</p>\r\n<p style=\"text-align: justify;\">\"The hold that \'Tension Agreement\' has over me is undiminished in the eight years since its release. There\'s a pleasing simplicity to the way all the elements overlap, and Chris\'s understated vocal performance just kills me. It\'s quite hard to write about how deeply this song affects me, but it makes you feel at home in feeling sad, yet suggests expansiveness beyond the horizon of that feeling. Sublime.\"</p>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/156120625&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Featured Track - Glassacre \'Tension Agreement\'','','publish','closed','closed','','featured-track-glassacre-tension-agreement','','','2016-06-20 10:42:01','2016-06-20 02:42:01','',0,'http://www.hiddenshoal.com/?p=11151',0,'post','',0),(11048,1,'2014-10-21 12:11:34','2014-10-21 04:11:34','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Kryshe</h1><p><img class=\"alignleft  wp-image-10297\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Kryshe-1-300x201.jpg\" alt=\"Kryshe\" width=\"243\" height=\"163\" />Kryshe’s exquisitely subtle and detailed ambient work resonates with chilly grandeur. Across spacious vistas reminiscent of the collaborative work of Eno and Budd, delicate yet assured melodies unfurl before being subjected to delicate manipulation. This is enveloping, minimal music with a fragility that belies its emotional potency.</p><p><strong><a title=\"Facebook\" href=\"http://www.facebook.com/kryshemusic\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"http://www.soundcloud.com/kryshe\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://kryshe.com/\" target=\"_blank\"><img class=\"alignnone wp-image-8767 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><div> </div><h4>In Between</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 307px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3024572785/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://kryshe.bandcamp.com/album/in-between\">In Between by Kryshe</a></iframe><br /> September 2014</p><div> </div><p>As its name suggests, <em>In Between</em> lives and breathes in the spaces around each carefully played note. This exquisitely subtle and detailed five-track EP resonates with chilly grandeur and heartening warmth. Across spacious vistas reminiscent of the collaborative work of Brian Eno and Harold Budd, delicate yet assured melodies unfurl before being subjected to delicate manipulation. This is enveloping, minimal music with a fragility that belies its emotional potency.</p><p>Opening with the shimmering piano melodies and tape-chewed ambience of the majestic title track, with detours via the angelic music-box miniature ‘Iceland’ and the glitch-scarred sustain-scapes of ‘Africa’, and concluding with the achingly melancholic ‘Lullaby’, <em>In Between</em> is a perfectly formed release that announces an understated new ambient craftsman.</p><div> </div><div> </div><h4>Growing</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 241px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=265281379/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://kryshe.bandcamp.com/album/growing\">Growing by Kryshe</a></iframe><br /> May 2014</p><div> </div><p>The debut release from Kryshe (aka Christian Grothe). This album was recorded in the Summer of 2013 on a lazy morning. It is a 40 minute live improvisation in 3 sections.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Kryshe is the live and studio-based ambient project of German musician Christian Grothe. Grothe’s musical explorations began by writing and recordings guitar-based songs at home, and over time his approach has become more experimental in nature. His current productions often evolve from live improvisation sessions, incorporating sound-manipulation software such as max/msp to develop a richly layered yet spacious sound. Grothe is also a member of the improvisational trio Unland, featuring ambient artist Jonas Meyer and clarinetist Shabnam Pavaresh.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=kryshe-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<h2>Reviews</h2>[catlist name=kryshe-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p>No press releases yet, sorry!</p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery link=\"file\" ids=\"10297,10301,10300\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p><iframe src=\"//www.youtube.com/embed/DcbLFCvLlWY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe><br /> Kryshe Liveset at Mimis Osnabrück. September 2013</p><p> </p><p><iframe src=\"//www.youtube.com/embed/EfheJsHPZwU?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe></p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Kryshe\'s music is  available for licensing (master & sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Kryshe','','inherit','closed','closed','','10289-revision-v1','','','2014-10-21 12:11:34','2014-10-21 04:11:34','',10289,'http://www.hiddenshoal.com/10289-revision-v1/',0,'revision','',0),(11049,1,'2014-10-21 12:16:42','2014-10-21 04:16:42','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Kryshe</h1><p><img class=\"alignleft  wp-image-10297\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Kryshe-1-300x201.jpg\" alt=\"Kryshe\" width=\"243\" height=\"163\" />Kryshe’s exquisitely subtle and detailed ambient work resonates with chilly grandeur. Across spacious vistas reminiscent of the collaborative work of Eno and Budd, delicate yet assured melodies unfurl before being subjected to delicate manipulation. This is enveloping, minimal music with a fragility that belies its emotional potency.</p><p><strong><a title=\"Facebook\" href=\"http://www.facebook.com/kryshemusic\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"http://www.soundcloud.com/kryshe\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://kryshe.com/\" target=\"_blank\"><img class=\"alignnone wp-image-8767 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><div> </div><h4>In Between</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 307px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3024572785/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://kryshe.bandcamp.com/album/in-between\">In Between by Kryshe</a></iframe><br /> September 2014</p><div> </div><p>As its name suggests, <em>In Between</em> lives and breathes in the spaces around each carefully played note. This exquisitely subtle and detailed five-track EP resonates with chilly grandeur and heartening warmth. Across spacious vistas reminiscent of the collaborative work of Brian Eno and Harold Budd, delicate yet assured melodies unfurl before being subjected to delicate manipulation. This is enveloping, minimal music with a fragility that belies its emotional potency.</p><p>Opening with the shimmering piano melodies and tape-chewed ambience of the majestic title track, with detours via the angelic music-box miniature ‘Iceland’ and the glitch-scarred sustain-scapes of ‘Africa’, and concluding with the achingly melancholic ‘Lullaby’, <em>In Between</em> is a perfectly formed release that announces an understated new ambient craftsman.</p><div> </div><div> </div><h4>Growing</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 241px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=265281379/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://kryshe.bandcamp.com/album/growing\">Growing by Kryshe</a></iframe><br /> May 2014</p><div> </div><p>The debut release from Kryshe (aka Christian Grothe). This 40 minute live improvisation in 3 sections was recorded in the Summer of 2013. As it\'s name suggests <em>Growing</em> is about evolution and gentle forward movement, both in process and in aesthetic.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Kryshe is the live and studio-based ambient project of German musician Christian Grothe. Grothe’s musical explorations began by writing and recordings guitar-based songs at home, and over time his approach has become more experimental in nature. His current productions often evolve from live improvisation sessions, incorporating sound-manipulation software such as max/msp to develop a richly layered yet spacious sound. Grothe is also a member of the improvisational trio Unland, featuring ambient artist Jonas Meyer and clarinetist Shabnam Pavaresh.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=kryshe-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<h2>Reviews</h2>[catlist name=kryshe-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p>No press releases yet, sorry!</p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery link=\"file\" ids=\"10297,10301,10300\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p><iframe src=\"//www.youtube.com/embed/DcbLFCvLlWY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe><br /> Kryshe Liveset at Mimis Osnabrück. September 2013</p><p> </p><p><iframe src=\"//www.youtube.com/embed/EfheJsHPZwU?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe></p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Kryshe\'s music is  available for licensing (master & sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Kryshe','','inherit','closed','closed','','10289-revision-v1','','','2014-10-21 12:16:42','2014-10-21 04:16:42','',10289,'http://www.hiddenshoal.com/10289-revision-v1/',0,'revision','',0),(11050,1,'2014-10-21 12:21:50','2014-10-21 04:21:50','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Kryshe</h1><p><img class=\"alignleft  wp-image-10297\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Kryshe-1-300x201.jpg\" alt=\"Kryshe\" width=\"243\" height=\"163\" />Kryshe’s exquisitely subtle and detailed ambient work resonates with chilly grandeur. Across spacious vistas reminiscent of the collaborative work of Eno and Budd, delicate yet assured melodies unfurl before being subjected to delicate manipulation. This is enveloping, minimal music with a fragility that belies its emotional potency.</p><p><strong><a title=\"Facebook\" href=\"http://www.facebook.com/kryshemusic\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"http://www.soundcloud.com/kryshe\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://kryshe.com/\" target=\"_blank\"><img class=\"alignnone wp-image-8767 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><div> </div><h4>In Between</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 307px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3024572785/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://kryshe.bandcamp.com/album/in-between\">In Between by Kryshe</a></iframe><br /> September 2014</p><div> </div><p>As its name suggests, <em>In Between</em> lives and breathes in the spaces around each carefully played note. This exquisitely subtle and detailed five-track EP resonates with chilly grandeur and heartening warmth. Across spacious vistas reminiscent of the collaborative work of Brian Eno and Harold Budd, delicate yet assured melodies unfurl before being subjected to delicate manipulation. This is enveloping, minimal music with a fragility that belies its emotional potency.</p><p>Opening with the shimmering piano melodies and tape-chewed ambience of the majestic title track, with detours via the angelic music-box miniature ‘Iceland’ and the glitch-scarred sustain-scapes of ‘Africa’, and concluding with the achingly melancholic ‘Lullaby’, <em>In Between</em> is a perfectly formed release that announces an understated new ambient craftsman.</p><div> </div><div> </div><h4>Growing</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 241px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=265281379/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://kryshe.bandcamp.com/album/growing\">Growing by Kryshe</a></iframe><br /> May 2014</p><div> </div><p>The debut release from Kryshe (aka Christian Grothe). This 40 minute live improvisation in 3 sections was recorded in the Summer of 2013. As it\'s name suggests <em>Growing</em> is about evolution and gentle forward movement, both in process and in aesthetic.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Kryshe is the live and studio-based ambient project of German musician Christian Grothe. Grothe’s musical explorations began by writing and recordings guitar-based songs at home, and over time his approach has become more experimental in nature. His current productions often evolve from live improvisation sessions, incorporating sound-manipulation software such as max/msp to develop a richly layered yet spacious sound. Grothe is also a member of the improvisational trio Unland, featuring ambient artist Jonas Meyer and clarinetist Shabnam Pavaresh.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=kryshe-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<h2>Reviews</h2>[catlist name=kryshe-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p><a title=\"Kryshe - &quot;In Between&quot; Press Release\" href=\"http://www.hiddenshoal.com/publicity/kryshe/In_Between-Press_Release.pdf\">Kryshe <em>In Between</em> Album Release</a></p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery link=\"file\" ids=\"10297,10301,10300\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p><iframe src=\"//www.youtube.com/embed/DcbLFCvLlWY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe><br /> Kryshe Liveset at Mimis Osnabrück. September 2013</p><p> </p><p><iframe src=\"//www.youtube.com/embed/EfheJsHPZwU?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe></p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Kryshe\'s music is  available for licensing (master & sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Kryshe','','inherit','closed','closed','','10289-revision-v1','','','2014-10-21 12:21:50','2014-10-21 04:21:50','',10289,'http://www.hiddenshoal.com/10289-revision-v1/',0,'revision','',0),(11051,1,'2014-10-21 13:22:55','2014-10-21 05:22:55','<img class=\"alignleft  wp-image-10297\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Kryshe-1-300x201.jpg\" alt=\"Kryshe\" width=\"256\" height=\"171\" />Before his stunning new mini-album <em><a title=\"Kryshe\" href=\"https://kryshe.bandcamp.com/album/in-between\" target=\"_blank\">In Between</a>, </em>Christian Grothe, aka <a href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a>, released the gorgeous album <em>Growing</em>. Hidden Shoal is excited to now have this beautiful work join its publishing catalogue. <em>Growing </em>is a 40 minute live improvisation in 3 sections, recorded in the Summer of 2013. As demonstrated on <em>In Between</em>, Grothe has a sublime understanding of space and tone. <em>Growing</em> is a delicate, hovering soundworld, pulsing with life yet never leaving a trace of its creator\'s presence.\r\n\r\nThe album, along with <em>In Between</em>, is available via <a title=\"Bandcamp\" href=\"https://kryshe.bandcamp.com\" target=\"_blank\">Kryshe\'s Bandcamp</a> with all tracks available for licensing (master &amp; sync cleared). Don\'t hesitate to <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with any licensing enquiries.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/173115109&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Kryshe\'s \"Growing\" Album Joins the Hidden Shoal Catalogue','','publish','closed','closed','','kryshes-debut-album-joins-the-hidden-shoal-catalogue','','','2016-02-03 16:48:14','2016-02-03 08:48:14','',0,'http://www.hiddenshoal.com/?p=11051',0,'post','',0),(11052,1,'2014-10-21 13:04:28','2014-10-21 05:04:28','','Growing','','inherit','closed','closed','','growing-cover','','','2014-10-21 13:04:28','2014-10-21 05:04:28','',11051,'http://www.hiddenshoal.com/wp-content/uploads/2014/10/Growing-Cover.jpg',0,'attachment','image/jpeg',0),(11053,1,'2014-10-21 13:15:30','2014-10-21 05:15:30','<img class=\"alignleft size-medium wp-image-11052\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Growing-Cover-300x300.jpg\" alt=\"Growing\" width=\"300\" height=\"300\" />Before his stunning new mini-album <em><a title=\"Kryshe\" href=\"https://kryshe.bandcamp.com/album/in-between\" target=\"_blank\">In Between</a>, </em>Christian Grothe, aka <a href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a>, released his gorgeous debut album <em>Growing</em>. Hidden Shoal is excited to now have this beautiful work join its publishing catalogue. <em>Growing </em>is a 40 minute live improvisation in 3 sections, recorded in the Summer of 2013. As demonstrated on <em>In Between</em>, Grothe has a sublime understanding of space and tone. <em>Growing</em> is a delicate, hovering soundworld, pulsing with life yet never leaving a trace of its creator\'s presence.\r\n\r\nThe album, along with <em>In Between</em>, is available via <a title=\"Bandcamp\" href=\"https://kryshe.bandcamp.com\" target=\"_blank\">Kryshe\'s Bandcamp</a> with all tracks available for licensing (master &amp; sync cleared). Don\'t hesitate to <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with any licensing enquiries.','Kryshe\'s Debut Album Joins the Hidden Shoal Catalogue','','inherit','closed','closed','','11051-revision-v1','','','2014-10-21 13:15:30','2014-10-21 05:15:30','',11051,'http://www.hiddenshoal.com/11051-revision-v1/',0,'revision','',0),(11054,1,'2014-10-21 13:17:18','2014-10-21 05:17:18','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Kryshe</h1><p><img class=\"alignleft  wp-image-10297\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Kryshe-1-300x201.jpg\" alt=\"Kryshe\" width=\"243\" height=\"163\" />Kryshe’s exquisitely subtle and detailed ambient work resonates with chilly grandeur. Across spacious vistas reminiscent of the collaborative work of Eno and Budd, delicate yet assured melodies unfurl before being subjected to delicate manipulation. This is enveloping, minimal music with a fragility that belies its emotional potency.</p><p><strong><a title=\"Facebook\" href=\"http://www.facebook.com/kryshemusic\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"http://www.soundcloud.com/kryshe\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://kryshe.com/\" target=\"_blank\"><img class=\"alignnone wp-image-8767 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><div> </div><h4>In Between</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 307px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3024572785/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://kryshe.bandcamp.com/album/in-between\">In Between by Kryshe</a></iframe><br /> September 2014</p><div> </div><p>As its name suggests, <em>In Between</em> lives and breathes in the spaces around each carefully played note. This exquisitely subtle and detailed five-track EP resonates with chilly grandeur and heartening warmth. Across spacious vistas reminiscent of the collaborative work of Brian Eno and Harold Budd, delicate yet assured melodies unfurl before being subjected to delicate manipulation. This is enveloping, minimal music with a fragility that belies its emotional potency.</p><p>Opening with the shimmering piano melodies and tape-chewed ambience of the majestic title track, with detours via the angelic music-box miniature ‘Iceland’ and the glitch-scarred sustain-scapes of ‘Africa’, and concluding with the achingly melancholic ‘Lullaby’, <em>In Between</em> is a perfectly formed release that announces an understated new ambient craftsman.</p><div> </div><div> </div><h4>Growing</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 241px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=265281379/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://kryshe.bandcamp.com/album/growing\">Growing by Kryshe</a></iframe><br /> May 2014</p><div> </div><p>The debut release from Kryshe (aka Christian Grothe). This 40 minute live improvisation in 3 sections was recorded in the Summer of 2013. As demonstrated on Kryshe\'s mini-album  \"In Between\", Grothe has a sublime understanding of space and tone. Growing is a delicate, hovering soundworld, pulsing with life yet never leaving a trace of its creator\'s presence.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Kryshe is the live and studio-based ambient project of German musician Christian Grothe. Grothe’s musical explorations began by writing and recordings guitar-based songs at home, and over time his approach has become more experimental in nature. His current productions often evolve from live improvisation sessions, incorporating sound-manipulation software such as max/msp to develop a richly layered yet spacious sound. Grothe is also a member of the improvisational trio Unland, featuring ambient artist Jonas Meyer and clarinetist Shabnam Pavaresh.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=kryshe-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<h2>Reviews</h2>[catlist name=kryshe-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p><a title=\"Kryshe - \"In Between\" Press Release\" href=\"http://www.hiddenshoal.com/publicity/kryshe/In_Between-Press_Release.pdf\">Kryshe <em>In Between</em> Album Release</a></p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery link=\"file\" ids=\"10297,10301,10300\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p><iframe src=\"//www.youtube.com/embed/DcbLFCvLlWY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe><br /> Kryshe Liveset at Mimis Osnabrück. September 2013</p><p> </p><p><iframe src=\"//www.youtube.com/embed/EfheJsHPZwU?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe></p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Kryshe\'s music is  available for licensing (master & sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Kryshe','','inherit','closed','closed','','10289-revision-v1','','','2014-10-21 13:17:18','2014-10-21 05:17:18','',10289,'http://www.hiddenshoal.com/10289-revision-v1/',0,'revision','',0),(11055,1,'2014-10-21 13:18:13','2014-10-21 05:18:13','<img class=\"alignleft size-medium wp-image-11052\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Growing-Cover-300x300.jpg\" alt=\"Growing\" width=\"300\" height=\"300\" />Before his stunning new mini-album <em><a title=\"Kryshe\" href=\"https://kryshe.bandcamp.com/album/in-between\" target=\"_blank\">In Between</a>, </em>Christian Grothe, aka <a href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a>, released his gorgeous debut album <em>Growing</em>. Hidden Shoal is excited to now have this beautiful work join its publishing catalogue. <em>Growing </em>is a 40 minute live improvisation in 3 sections, recorded in the Summer of 2013. As demonstrated on <em>In Between</em>, Grothe has a sublime understanding of space and tone. <em>Growing</em> is a delicate, hovering soundworld, pulsing with life yet never leaving a trace of its creator\'s presence.\r\n\r\nThe album, along with <em>In Between</em>, is available via <a title=\"Bandcamp\" href=\"https://kryshe.bandcamp.com\" target=\"_blank\">Kryshe\'s Bandcamp</a> with all tracks available for licensing (master &amp; sync cleared). Don\'t hesitate to <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with any licensing enquiries.\r\n\r\n<iframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/173115109&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\"></iframe>','Kryshe\'s Debut Album Joins the Hidden Shoal Catalogue','','inherit','closed','closed','','11051-revision-v1','','','2014-10-21 13:18:13','2014-10-21 05:18:13','',11051,'http://www.hiddenshoal.com/11051-revision-v1/',0,'revision','',0),(11056,1,'2014-10-21 13:19:58','2014-10-21 05:19:58','<img class=\"alignleft  wp-image-11052\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Growing-Cover-300x300.jpg\" alt=\"Growing\" width=\"233\" height=\"233\" />Before his stunning new mini-album <em><a title=\"Kryshe\" href=\"https://kryshe.bandcamp.com/album/in-between\" target=\"_blank\">In Between</a>, </em>Christian Grothe, aka <a href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a>, released his gorgeous debut album <em>Growing</em>. Hidden Shoal is excited to now have this beautiful work join its publishing catalogue. <em>Growing </em>is a 40 minute live improvisation in 3 sections, recorded in the Summer of 2013. As demonstrated on <em>In Between</em>, Grothe has a sublime understanding of space and tone. <em>Growing</em> is a delicate, hovering soundworld, pulsing with life yet never leaving a trace of its creator\'s presence.\r\n\r\nThe album, along with <em>In Between</em>, is available via <a title=\"Bandcamp\" href=\"https://kryshe.bandcamp.com\" target=\"_blank\">Kryshe\'s Bandcamp</a> with all tracks available for licensing (master &amp; sync cleared). Don\'t hesitate to <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with any licensing enquiries.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/173115109&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Kryshe\'s Debut Album Joins the Hidden Shoal Catalogue','','inherit','closed','closed','','11051-revision-v1','','','2014-10-21 13:19:58','2014-10-21 05:19:58','',11051,'http://www.hiddenshoal.com/11051-revision-v1/',0,'revision','',0),(11057,1,'2014-10-21 13:20:28','2014-10-21 05:20:28','<img class=\"alignleft size-medium wp-image-10297\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Kryshe-1-300x201.jpg\" alt=\"Kryshe\" width=\"300\" height=\"201\" />Before his stunning new mini-album <em><a title=\"Kryshe\" href=\"https://kryshe.bandcamp.com/album/in-between\" target=\"_blank\">In Between</a>, </em>Christian Grothe, aka <a href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a>, released his gorgeous debut album <em>Growing</em>. Hidden Shoal is excited to now have this beautiful work join its publishing catalogue. <em>Growing </em>is a 40 minute live improvisation in 3 sections, recorded in the Summer of 2013. As demonstrated on <em>In Between</em>, Grothe has a sublime understanding of space and tone. <em>Growing</em> is a delicate, hovering soundworld, pulsing with life yet never leaving a trace of its creator\'s presence.\r\n\r\nThe album, along with <em>In Between</em>, is available via <a title=\"Bandcamp\" href=\"https://kryshe.bandcamp.com\" target=\"_blank\">Kryshe\'s Bandcamp</a> with all tracks available for licensing (master &amp; sync cleared). Don\'t hesitate to <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with any licensing enquiries.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/173115109&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Kryshe\'s Debut Album Joins the Hidden Shoal Catalogue','','inherit','closed','closed','','11051-revision-v1','','','2014-10-21 13:20:28','2014-10-21 05:20:28','',11051,'http://www.hiddenshoal.com/11051-revision-v1/',0,'revision','',0),(11058,1,'2014-10-21 13:20:51','2014-10-21 05:20:51','<img class=\"alignleft  wp-image-10297\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Kryshe-1-300x201.jpg\" alt=\"Kryshe\" width=\"287\" height=\"192\" />Before his stunning new mini-album <em><a title=\"Kryshe\" href=\"https://kryshe.bandcamp.com/album/in-between\" target=\"_blank\">In Between</a>, </em>Christian Grothe, aka <a href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a>, released his gorgeous debut album <em>Growing</em>. Hidden Shoal is excited to now have this beautiful work join its publishing catalogue. <em>Growing </em>is a 40 minute live improvisation in 3 sections, recorded in the Summer of 2013. As demonstrated on <em>In Between</em>, Grothe has a sublime understanding of space and tone. <em>Growing</em> is a delicate, hovering soundworld, pulsing with life yet never leaving a trace of its creator\'s presence.\r\n\r\nThe album, along with <em>In Between</em>, is available via <a title=\"Bandcamp\" href=\"https://kryshe.bandcamp.com\" target=\"_blank\">Kryshe\'s Bandcamp</a> with all tracks available for licensing (master &amp; sync cleared). Don\'t hesitate to <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with any licensing enquiries.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/173115109&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Kryshe\'s Debut Album Joins the Hidden Shoal Catalogue','','inherit','closed','closed','','11051-revision-v1','','','2014-10-21 13:20:51','2014-10-21 05:20:51','',11051,'http://www.hiddenshoal.com/11051-revision-v1/',0,'revision','',0),(11059,1,'2014-10-21 13:22:15','2014-10-21 05:22:15','<img class=\"alignleft  wp-image-10297\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Kryshe-1-300x201.jpg\" alt=\"Kryshe\" width=\"296\" height=\"198\" />Before his stunning new mini-album <em><a title=\"Kryshe\" href=\"https://kryshe.bandcamp.com/album/in-between\" target=\"_blank\">In Between</a>, </em>Christian Grothe, aka <a href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a>, released his gorgeous debut album <em>Growing</em>. Hidden Shoal is excited to now have this beautiful work join its publishing catalogue. <em>Growing </em>is a 40 minute live improvisation in 3 sections, recorded in the Summer of 2013. As demonstrated on <em>In Between</em>, Grothe has a sublime understanding of space and tone. <em>Growing</em> is a delicate, hovering soundworld, pulsing with life yet never leaving a trace of its creator\'s presence.\r\n\r\nThe album, along with <em>In Between</em>, is available via <a title=\"Bandcamp\" href=\"https://kryshe.bandcamp.com\" target=\"_blank\">Kryshe\'s Bandcamp</a> with all tracks available for licensing (master &amp; sync cleared). Don\'t hesitate to <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with any licensing enquiries.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/173115109&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Kryshe\'s Debut Album Joins the Hidden Shoal Catalogue','','inherit','closed','closed','','11051-revision-v1','','','2014-10-21 13:22:15','2014-10-21 05:22:15','',11051,'http://www.hiddenshoal.com/11051-revision-v1/',0,'revision','',0),(11060,1,'2014-10-21 13:22:31','2014-10-21 05:22:31','<img class=\"alignleft  wp-image-10297\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Kryshe-1-300x201.jpg\" alt=\"Kryshe\" width=\"268\" height=\"179\" />Before his stunning new mini-album <em><a title=\"Kryshe\" href=\"https://kryshe.bandcamp.com/album/in-between\" target=\"_blank\">In Between</a>, </em>Christian Grothe, aka <a href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a>, released his gorgeous debut album <em>Growing</em>. Hidden Shoal is excited to now have this beautiful work join its publishing catalogue. <em>Growing </em>is a 40 minute live improvisation in 3 sections, recorded in the Summer of 2013. As demonstrated on <em>In Between</em>, Grothe has a sublime understanding of space and tone. <em>Growing</em> is a delicate, hovering soundworld, pulsing with life yet never leaving a trace of its creator\'s presence.\r\n\r\nThe album, along with <em>In Between</em>, is available via <a title=\"Bandcamp\" href=\"https://kryshe.bandcamp.com\" target=\"_blank\">Kryshe\'s Bandcamp</a> with all tracks available for licensing (master &amp; sync cleared). Don\'t hesitate to <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with any licensing enquiries.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/173115109&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Kryshe\'s Debut Album Joins the Hidden Shoal Catalogue','','inherit','closed','closed','','11051-revision-v1','','','2014-10-21 13:22:31','2014-10-21 05:22:31','',11051,'http://www.hiddenshoal.com/11051-revision-v1/',0,'revision','',0),(11061,1,'2014-10-21 13:22:44','2014-10-21 05:22:44','<img class=\"alignleft  wp-image-10297\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Kryshe-1-300x201.jpg\" alt=\"Kryshe\" width=\"256\" height=\"171\" />Before his stunning new mini-album <em><a title=\"Kryshe\" href=\"https://kryshe.bandcamp.com/album/in-between\" target=\"_blank\">In Between</a>, </em>Christian Grothe, aka <a href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a>, released his gorgeous debut album <em>Growing</em>. Hidden Shoal is excited to now have this beautiful work join its publishing catalogue. <em>Growing </em>is a 40 minute live improvisation in 3 sections, recorded in the Summer of 2013. As demonstrated on <em>In Between</em>, Grothe has a sublime understanding of space and tone. <em>Growing</em> is a delicate, hovering soundworld, pulsing with life yet never leaving a trace of its creator\'s presence.\r\n\r\nThe album, along with <em>In Between</em>, is available via <a title=\"Bandcamp\" href=\"https://kryshe.bandcamp.com\" target=\"_blank\">Kryshe\'s Bandcamp</a> with all tracks available for licensing (master &amp; sync cleared). Don\'t hesitate to <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with any licensing enquiries.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/173115109&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Kryshe\'s Debut Album Joins the Hidden Shoal Catalogue','','inherit','closed','closed','','11051-revision-v1','','','2014-10-21 13:22:44','2014-10-21 05:22:44','',11051,'http://www.hiddenshoal.com/11051-revision-v1/',0,'revision','',0),(11062,1,'2014-10-22 09:59:20','2014-10-22 01:59:20','<img class=\"alignleft  wp-image-10625\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Kramies-Sea-Otter-Frame-Cropped-300x185.jpg\" alt=\"Kramies\" width=\"231\" height=\"142\" />One year and a few days ago we released the stunning EP <em>The Wooden Heart</em> by the inimitable <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> in collaboration with the wonderful Jason Lytle (of Grandaddy) and production genius from <a title=\"Todd Tobias\" href=\"http://www.hiddenshoal.com/project/todd-tobias/\">Todd Tobias</a>. The EP gained critical success and rave reviews following its release and still to this day manages to find new fans in the press and in the music listening public. To celebrate the anniversary of the release of <em>The Wooden Heart</em> Kramies is giving the EP away as a free download via <a title=\"Bandcamp\" href=\"https://kramies.bandcamp.com/album/the-wooden-heart\" target=\"_blank\">Bandcamp</a>. If you have not yet fallen to its charms then there is no excuse not to now. If we need to coerce you with some press then how about,\r\n\r\n<em>“It’s rare to find dream-pop that resolves with such assured optimism, in which you can sense experience shifting into its proper place… Kramies seems to have mastered the talent of simply breathing it into shape”<strong> – </strong></em><strong>Misfit City</strong>\r\n\r\nDownload <em>The Wooden Heart</em> <a title=\"Bandcamp\" href=\"https://kramies.bandcamp.com/album/the-wooden-heart\" target=\"_blank\">here</a> and check out more about Kramies and his releases <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">here</a>.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Kramies \"The Wooden Heart\" Available As Free Download','','publish','closed','closed','','kramies-the-wooden-heart-available-as-free-download','','','2016-02-03 15:46:31','2016-02-03 07:46:31','',0,'http://www.hiddenshoal.com/?p=11062',0,'post','',0),(11063,1,'2014-10-22 09:39:31','2014-10-22 01:39:31','(Translated via Google from the <a href=\"http://musicwontsaveyou.com/2014/07/05/kramies-the-folklore-sessions/\" target=\"_blank\">original Italian version</a>)\n\"The interest of Kramies format for a more expressive thin and noise compared to the usual mixture of low-fidelity subtly psychedelic had to guess between the lines of his last two EP, \" The European \"and\" The Wooden Heart \". Now the American singer-songwriter from the Netherlands has found a way to give free rein to that appetite so far remained concealed in another short EP as a free download, also the result of the encounter with Grant Wilson of the Syfy\'s Ghost Hunters, which accompanies Kramies in two of the four tracks .\n\nIn this capacity, bare, Kramies nevertheless maintains the shaded tones that characterize the production, while his interpretations wrapped in soft sighs are in the new context structure indeed able to nourish the suggestions dreamy. Beyond the two fine dialogues with the piano Wilson - hypothetical fragments of melancholy and melodic sensibility on the potential of Impressionism wake of the Montgolfier Brothers - of \"Antiquarian Days\" and \"Sea Otter Cottage\", emblematic of the ongoing transition from Kramies is the version of \"The Wooden Heart\" in this acoustic session, which renounces all\'incedere original epic title track of previous Ep without losing but rather amplifying the rhythmic pathos.\n\nGiven the expressive power of the poor quarter of an hour of \"The Folk Sessions\", is to be hoped that it is not an impromptu session, but that the renewed willingness of Kramies for this format audio can find more organic manifestation in a new album after three Ep, missing for four years now.\"\n\n<p style=\"border: 0px; font-family: Georgia, \'Times New Roman\', Times, serif; font-size: 14px; font-style: normal; font-weight: normal; margin: 12px 0px; outline: 0px; padding: 0px; vertical-align: baseline; font-variant: normal; line-height: 22px; color: #333333; letter-spacing: normal; orphans: auto; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-align: justify; background-color: #ffffff;\">- <a title=\"Music Won\'t Save You\" href=\"http://musicwontsaveyou.com/2014/07/05/kramies-the-folklore-sessions/\" target=\"_blank\"><strong>Music Won\'t Save You</strong></a></p>','Kramies \"The Folklore Sessions\" Reviewed at Music Won\'t Save You','','inherit','closed','closed','','9447-autosave-v1','','','2014-10-22 09:39:31','2014-10-22 01:39:31','',9447,'http://www.hiddenshoal.com/9447-autosave-v1/',0,'revision','',0),(11066,1,'2014-10-22 09:48:32','2014-10-22 01:48:32','<img class=\"alignleft size-medium wp-image-10625\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Kramies-Sea-Otter-Frame-Cropped-300x185.jpg\" alt=\"Kramies\" width=\"300\" height=\"185\" />One year and a few days ago we released the stunning EP <em>The Wooden Heart</em> by the inimitable <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> in collaboration with the wonderful Jason Lytle (of Grandaddy) and production genius from <a title=\"Todd Tobias\" href=\"http://www.hiddenshoal.com/project/todd-tobias/\">Todd Tobias</a>. The EP gained critical success and rave reviews following its release and still to this day manages to find new fans in the press and in the music listening public. To celebrate the anniversary of the release of <em>The Wooden Heart</em> Kramies is giving the EP away as a free download via Bandcamp. If you have not yet fallen to its charms then there is no excuse not to now. If we need to coerce you with some press then how about,\r\n\r\n<em>“It’s rare to find dream-pop that resolves with such assured optimism, in which you can sense experience shifting into its proper place… Kramies seems to have mastered the talent of simply breathing it into shape”<strong> – </strong></em><strong>Misfit City</strong>\r\n\r\nDownload <em>The Wooden Heart</em> <a title=\"Bandcamp\" href=\"https://kramies.bandcamp.com/album/the-wooden-heart\" target=\"_blank\">here</a> and check out more about Kramies and his releases <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">here</a>.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Kramies \"The Wooden Heart\" Available As Free Download','','inherit','closed','closed','','11062-revision-v1','','','2014-10-22 09:48:32','2014-10-22 01:48:32','',11062,'http://www.hiddenshoal.com/11062-revision-v1/',0,'revision','',0),(11067,1,'2014-10-22 09:51:26','2014-10-22 01:51:26','<img class=\"alignleft size-medium wp-image-10625\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Kramies-Sea-Otter-Frame-Cropped-300x185.jpg\" alt=\"Kramies\" width=\"300\" height=\"185\" />One year and a few days ago we released the stunning EP <em>The Wooden Heart</em> by the inimitable <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> in collaboration with the wonderful Jason Lytle (of Grandaddy) and production genius from <a title=\"Todd Tobias\" href=\"http://www.hiddenshoal.com/project/todd-tobias/\">Todd Tobias</a>. The EP gained critical success and rave reviews following its release and still to this day manages to find new fans in the press and in the music listening public. To celebrate the anniversary of the release of <em>The Wooden Heart</em> Kramies is giving the EP away as a free download via <a title=\"Bandcamp\" href=\"https://kramies.bandcamp.com/album/the-wooden-heart\" target=\"_blank\">Bandcamp</a>. If you have not yet fallen to its charms then there is no excuse not to now. If we need to coerce you with some press then how about,\r\n\r\n<em>“It’s rare to find dream-pop that resolves with such assured optimism, in which you can sense experience shifting into its proper place… Kramies seems to have mastered the talent of simply breathing it into shape”<strong> – </strong></em><strong>Misfit City</strong>\r\n\r\nDownload <em>The Wooden Heart</em> <a title=\"Bandcamp\" href=\"https://kramies.bandcamp.com/album/the-wooden-heart\" target=\"_blank\">here</a> and check out more about Kramies and his releases <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">here</a>.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Kramies \"The Wooden Heart\" Available As Free Download','','inherit','closed','closed','','11062-revision-v1','','','2014-10-22 09:51:26','2014-10-22 01:51:26','',11062,'http://www.hiddenshoal.com/11062-revision-v1/',0,'revision','',0),(11068,1,'2014-10-22 09:51:45','2014-10-22 01:51:45','<img class=\"alignleft  wp-image-10625\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Kramies-Sea-Otter-Frame-Cropped-300x185.jpg\" alt=\"Kramies\" width=\"255\" height=\"157\" />One year and a few days ago we released the stunning EP <em>The Wooden Heart</em> by the inimitable <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> in collaboration with the wonderful Jason Lytle (of Grandaddy) and production genius from <a title=\"Todd Tobias\" href=\"http://www.hiddenshoal.com/project/todd-tobias/\">Todd Tobias</a>. The EP gained critical success and rave reviews following its release and still to this day manages to find new fans in the press and in the music listening public. To celebrate the anniversary of the release of <em>The Wooden Heart</em> Kramies is giving the EP away as a free download via <a title=\"Bandcamp\" href=\"https://kramies.bandcamp.com/album/the-wooden-heart\" target=\"_blank\">Bandcamp</a>. If you have not yet fallen to its charms then there is no excuse not to now. If we need to coerce you with some press then how about,\r\n\r\n<em>“It’s rare to find dream-pop that resolves with such assured optimism, in which you can sense experience shifting into its proper place… Kramies seems to have mastered the talent of simply breathing it into shape”<strong> – </strong></em><strong>Misfit City</strong>\r\n\r\nDownload <em>The Wooden Heart</em> <a title=\"Bandcamp\" href=\"https://kramies.bandcamp.com/album/the-wooden-heart\" target=\"_blank\">here</a> and check out more about Kramies and his releases <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">here</a>.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Kramies \"The Wooden Heart\" Available As Free Download','','inherit','closed','closed','','11062-revision-v1','','','2014-10-22 09:51:45','2014-10-22 01:51:45','',11062,'http://www.hiddenshoal.com/11062-revision-v1/',0,'revision','',0),(11069,1,'2014-10-22 09:58:33','2014-10-22 01:58:33','<img class=\"alignleft  wp-image-10625\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Kramies-Sea-Otter-Frame-Cropped-300x185.jpg\" alt=\"Kramies\" width=\"231\" height=\"142\" />One year and a few days ago we released the stunning EP <em>The Wooden Heart</em> by the inimitable <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> in collaboration with the wonderful Jason Lytle (of Grandaddy) and production genius from <a title=\"Todd Tobias\" href=\"http://www.hiddenshoal.com/project/todd-tobias/\">Todd Tobias</a>. The EP gained critical success and rave reviews following its release and still to this day manages to find new fans in the press and in the music listening public. To celebrate the anniversary of the release of <em>The Wooden Heart</em> Kramies is giving the EP away as a free download via <a title=\"Bandcamp\" href=\"https://kramies.bandcamp.com/album/the-wooden-heart\" target=\"_blank\">Bandcamp</a>. If you have not yet fallen to its charms then there is no excuse not to now. If we need to coerce you with some press then how about,\r\n\r\n<em>“It’s rare to find dream-pop that resolves with such assured optimism, in which you can sense experience shifting into its proper place… Kramies seems to have mastered the talent of simply breathing it into shape”<strong> – </strong></em><strong>Misfit City</strong>\r\n\r\nDownload <em>The Wooden Heart</em> <a title=\"Bandcamp\" href=\"https://kramies.bandcamp.com/album/the-wooden-heart\" target=\"_blank\">here</a> and check out more about Kramies and his releases <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">here</a>.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Kramies \"The Wooden Heart\" Available As Free Download','','inherit','closed','closed','','11062-revision-v1','','','2014-10-22 09:58:33','2014-10-22 01:58:33','',11062,'http://www.hiddenshoal.com/11062-revision-v1/',0,'revision','',0),(11070,1,'2014-10-22 10:04:17','2014-10-22 02:04:17','[Translated from the French as best we could!]\r\n\r\n\"Last January appeared on the Hidden Shoal label the wonderful Kramies EP, \"The Wooden Heart\" Produced in collaboration with Jason Lytle and Todd Tobias, \"The Wooden Heart\" has received rave reviews around the world for nearly a year.\r\n\r\nTo celebrate this success and because he is an artist with a big heart, Kramies offer starting tomorrow, October 22, his record for free download. This download also includes the lyrics, and the stunning artwork by the French Jerome Sevrette for the disk.\r\n\r\nKramies, as I like to define it, it is the subtle blend beautifully orchestrated a touch of dream, an ounce of lyricism and a profusion of sensitivity. A bright and dreamy album. Music full of delicacy in the image of man as talented as modest and charming he is.\"\r\n\r\n- <a title=\"Totoromoon\" href=\"http://totoromoon.wordpress.com/2014/10/21/le-cadeau-de-kramies/\" target=\"_blank\"><strong>Totoromoon</strong></a>','Kramies \"The Wooden Heart\" Reviewed at Totoromoon','','publish','closed','closed','','kramies-the-wooden-heart-reviewed-at-totoromoon','','','2014-10-22 10:04:17','2014-10-22 02:04:17','',0,'http://www.hiddenshoal.com/?p=11070',0,'post','',0),(11071,1,'2014-10-22 10:04:17','2014-10-22 02:04:17','[Translated from the French as best we could!]\r\n\r\n\"Last January appeared on the Hidden Shoal label the wonderful Kramies EP, \"The Wooden Heart\" Produced in collaboration with Jason Lytle and Todd Tobias, \"The Wooden Heart\" has received rave reviews around the world for nearly a year.\r\n\r\nTo celebrate this success and because he is an artist with a big heart, Kramies offer starting tomorrow, October 22, his record for free download. This download also includes the lyrics, and the stunning artwork by the French Jerome Sevrette for the disk.\r\n\r\nKramies, as I like to define it, it is the subtle blend beautifully orchestrated a touch of dream, an ounce of lyricism and a profusion of sensitivity. A bright and dreamy album. Music full of delicacy in the image of man as talented as modest and charming he is.\"\r\n\r\n- <a title=\"Totoromoon\" href=\"http://totoromoon.wordpress.com/2014/10/21/le-cadeau-de-kramies/\" target=\"_blank\"><strong>Totoromoon</strong></a>','Kramies \"The Wooden Heart\" Reviewed at Totoromoon','','inherit','closed','closed','','11070-revision-v1','','','2014-10-22 10:04:17','2014-10-22 02:04:17','',11070,'http://www.hiddenshoal.com/11070-revision-v1/',0,'revision','',0),(11072,1,'2014-10-22 13:44:42','2014-10-22 05:44:42','<img class=\"alignleft  wp-image-8999\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Kramies-2013-150x150.jpg\" alt=\"Kramies\" width=\"96\" height=\"96\" />Check out this <a title=\"Pop Culture &amp; Co.\" href=\"http://culturepopculture.com/2014/10/21/itw-kramies-english-version/\" target=\"_blank\">wonderful interview</a> with <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> at the French mag <a title=\"Pop Culture &amp; Co.\" href=\"http://culturepopculture.com/2014/10/21/itw-kramies-english-version/\" target=\"_blank\">Pop, Cultures &amp; Co</a>. The interview comes just after the <a title=\"The Wooden Heart Free Download\" href=\"http://www.hiddenshoal.com/kramies-the-wooden-heart-available-as-free-download/\">announcement</a> of Kramies\' <a title=\"Bandcamp\" href=\"https://kramies.bandcamp.com/album/the-wooden-heart\" target=\"_blank\"><em>The Wooden Heart</em></a> being made available as a free download. Read, listen and enjoy!','Kramies Interviewed at Pop, Cultures & Co.','','publish','closed','closed','','kramies-interviewed-at-pop-cultures-co','','','2016-02-03 15:46:30','2016-02-03 07:46:30','',0,'http://www.hiddenshoal.com/?p=11072',0,'post','',0),(11073,1,'2014-10-22 13:43:45','2014-10-22 05:43:45','<img class=\"alignleft  wp-image-8999\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Kramies-2013-150x150.jpg\" alt=\"Kramies\" width=\"125\" height=\"125\" />Check out this <a title=\"Pop Culture &amp; Co.\" href=\"http://culturepopculture.com/2014/10/21/itw-kramies-english-version/\" target=\"_blank\">wonderful interview</a> with <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> at the French mag <a title=\"Pop Culture &amp; Co.\" href=\"http://culturepopculture.com/2014/10/21/itw-kramies-english-version/\" target=\"_blank\">Pop, Cultures &amp; Co</a>. The interview comes just after the <a title=\"The Wooden Heart Free Download\" href=\"http://www.hiddenshoal.com/kramies-the-wooden-heart-available-as-free-download/\">announcement</a> of Kramies\' <a title=\"Bandcamp\" href=\"https://kramies.bandcamp.com/album/the-wooden-heart\" target=\"_blank\"><em>The Wooden Heart</em></a> being made available as a free download. Read, listen and enjoy!','Kramies Interviewed at Pop, Cultures & Co.','','inherit','closed','closed','','11072-revision-v1','','','2014-10-22 13:43:45','2014-10-22 05:43:45','',11072,'http://www.hiddenshoal.com/11072-revision-v1/',0,'revision','',0),(11074,1,'2014-10-22 13:44:26','2014-10-22 05:44:26','<img class=\"alignleft  wp-image-8999\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Kramies-2013-150x150.jpg\" alt=\"Kramies\" width=\"96\" height=\"96\" />Check out this <a title=\"Pop Culture &amp; Co.\" href=\"http://culturepopculture.com/2014/10/21/itw-kramies-english-version/\" target=\"_blank\">wonderful interview</a> with <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> at the French mag <a title=\"Pop Culture &amp; Co.\" href=\"http://culturepopculture.com/2014/10/21/itw-kramies-english-version/\" target=\"_blank\">Pop, Cultures &amp; Co</a>. The interview comes just after the <a title=\"The Wooden Heart Free Download\" href=\"http://www.hiddenshoal.com/kramies-the-wooden-heart-available-as-free-download/\">announcement</a> of Kramies\' <a title=\"Bandcamp\" href=\"https://kramies.bandcamp.com/album/the-wooden-heart\" target=\"_blank\"><em>The Wooden Heart</em></a> being made available as a free download. Read, listen and enjoy!','Kramies Interviewed at Pop, Cultures & Co.','','inherit','closed','closed','','11072-revision-v1','','','2014-10-22 13:44:26','2014-10-22 05:44:26','',11072,'http://www.hiddenshoal.com/11072-revision-v1/',0,'revision','',0),(11076,1,'2014-10-22 16:59:51','2014-10-22 08:59:51','\"I’m not advocating you start the working week with a drink. But I do suggest that you start it with Elisa Luu’s <em>Shebeen</em>. As many will know, it’s an illegal drinking den. I’ve always assumed it’s Irish. derivation But I didn’t <a href=\"http://en.wikipedia.org/wiki/Shebeen\" target=\"_blank\">know</a> that “<em>The word derives from the Irish síbín, meaning ‘illicit whiskey’</em>” Elisa’s <em>Shebeen</em> is awkward, crunchy, clicky IDM initially becoming strummed glitched guitar eventually. Free download.\r\n\r\nThe track is from the “<em>forthcoming Elisa Luu mini-album Enchanting Gaze. On this new album, Elisa Luu’s shimmering tones and deftly handled rhythms are manipulated into new and beautiful shapes</em>.” If this free track is any indication of what’s to come I’d recommend checking it out when it’s released on 3 November through <a href=\"http://www.labelnetlabel.com/\" target=\"_blank\">La Bel</a>.\"\r\n\r\n- <a title=\"Acid Ted\" href=\"http://acidted.wordpress.com/2014/10/20/illicit-whiskey/\" target=\"_blank\"><strong>Acid Ted</strong></a>','Elisa Luu \'Shebeen\' Reviewed at Acid Ted','','inherit','closed','closed','','11075-revision-v1','','','2014-10-22 16:59:51','2014-10-22 08:59:51','',11075,'http://www.hiddenshoal.com/11075-revision-v1/',0,'revision','',0),(11081,1,'2014-10-23 09:22:10','2014-10-23 01:22:10','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Makee</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-11009\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile-300x300.jpg\" alt=\"makee\" width=\"171\" height=\"171\" /></a>Makee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische. The EP follows on from Makee\'s first foray through Hidden Shoal, the wonderful remix of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>’s ‘Hold On To The Road’.</p><p><strong><a title=\"SoundCloud\" href=\"https://soundcloud.com/makee\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>   </strong>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><div> </div><h4>\'Bail\' (Single)</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=2897140347/size=large/bgcol=333333/linkcol=ffffff/tracklist=false/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://makee.bandcamp.com/track/bail\">bail by makee</a></iframe><br /> October 2014</p><p>Taken from Makee\'s debut self-titled EP from Perth based artist Makee (Nov 19, 2014). The fog-laden disco of ‘Bail’ is shot through with a beatific vibe and provides the perfect introduction the new EP. Makee’s bright-eyed, beat-driven tracks are as danceable as they are atmospheric and build to create a thoroughly rewarding sonic whole. </p><p> </p><div> </div><div> </div><h4>[The] Caseworker - \'Hold On To The Road (Makee Remix)\'</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=877417942/size=large/bgcol=333333/linkcol=ffffff/tracklist=false/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://hiddenshoal.bandcamp.com/album/hold-on-to-the-road-makee-remix\">Hold On To The Road (Makee Remix) by [The] Caseworker</a></iframe><br /> November 2012</p><div> </div><p>Makee (Perth artist Daniel Cavalli) has taken the hesitant shuffle of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>\'s ‘Hold On To The Road’ and re-imagined it as an infectious driving groove. The wonderful sense of space evident in [The] Caseworker’s music is still present, but it’s beautifully aligned with Makee’s propulsive beatwork.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Makee is Perth-based musician Daniel Cavalli, whose musical life began playing drums and guitar. As drummers were rarer than guitarists, and because he was a shy team player rather than a guitar hero, Cavalli most often hit the skins when jamming with friends. It wasn’t long before Cavalli figured that the best way to mesh his love of stringed things with drums and other instruments was to try his hand at production. Thus began a rather long and protracted musical journey littered with four tracks, samplers, sequencers and reel-to-reel tape, culminating in the purchase of a computer and some dodgy sequencing software. Even though he was immersed in a sea of ’90s atmospheric drum ’n’ bass at the time, he slowly but surely began to navigate back to his roots in guitar-based music, started playing bass, and even plucked up the courage to sing now and again.</p><p> </p><p>Then disaster struck: hard drive failure and no back-up. With all but a few of his scratched demo CDs lost, he began to rebuild his compositions. This was timely, as Hidden Shoal’s Cam Merton showed interested in doing something more, following on from Cavalli’s remix of [The] Caseworker’s ‘Hold On To The Road’. Makee then re-acquainted himself with an old mate called Hooch and got to work finishing his debut self-titled EP.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=makee-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<h3>Reviews</h3>[catlist name=makee-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title]<br /> [/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p>No press releases yet, sorry.</p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery columns=\"2\" ids=\"11020,11021,11022,11024\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p> No video yet, sorry.</p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Makee\'s music is  available for licensing (master & sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Makee','','inherit','closed','closed','','11006-revision-v1','','','2014-10-23 09:22:10','2014-10-23 01:22:10','',11006,'http://www.hiddenshoal.com/11006-revision-v1/',0,'revision','',0),(11082,1,'2014-10-23 10:12:44','2014-10-23 02:12:44','<p>[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]</p><h1>Makee</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-11009\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile-300x300.jpg\" alt=\"makee\" width=\"171\" height=\"171\" /></a>Makee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische. The EP follows on from Makee\'s first foray through Hidden Shoal, the wonderful remix of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>’s ‘Hold On To The Road’.</p><p><strong><a title=\"SoundCloud\" href=\"https://soundcloud.com/makee\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>   </strong>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]</p><h3>Discography</h3><div> </div><div> </div><h4>\'bail\' (Single)</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=2897140347/size=large/bgcol=333333/linkcol=ffffff/tracklist=false/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://makee.bandcamp.com/track/bail\">bail by makee</a></iframe><br /> October 2014</p><p>Taken from Makee\'s debut self-titled EP from Perth based artist Makee (Nov 19, 2014). The fog-laden disco of ‘bail’ is shot through with a beatific vibe and provides the perfect introduction the new EP. Makee’s bright-eyed, beat-driven tracks are as danceable as they are atmospheric and build to create a thoroughly rewarding sonic whole.</p><div> </div><div> </div><h4>[The] Caseworker - \'Hold On To The Road (Makee Remix)\'</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=877417942/size=large/bgcol=333333/linkcol=ffffff/tracklist=false/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://hiddenshoal.bandcamp.com/album/hold-on-to-the-road-makee-remix\">Hold On To The Road (Makee Remix) by [The] Caseworker</a></iframe><br /> November 2012</p><div> </div><p>Makee (Perth artist Daniel Cavalli) has taken the hesitant shuffle of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>\'s ‘Hold On To The Road’ and re-imagined it as an infectious driving groove. The wonderful sense of space evident in [The] Caseworker’s music is still present, but it’s beautifully aligned with Makee’s propulsive beatwork.</p><p>[/et_pb_tab][et_pb_tab title=\"Bio\"]</p><h3>Biography</h3><p>Makee is Perth-based musician Daniel Cavalli, whose musical life began playing drums and guitar. As drummers were rarer than guitarists, and because he was a shy team player rather than a guitar hero, Cavalli most often hit the skins when jamming with friends. It wasn’t long before Cavalli figured that the best way to mesh his love of stringed things with drums and other instruments was to try his hand at production. Thus began a rather long and protracted musical journey littered with four tracks, samplers, sequencers and reel-to-reel tape, culminating in the purchase of a computer and some dodgy sequencing software. Even though he was immersed in a sea of ’90s atmospheric drum ’n’ bass at the time, he slowly but surely began to navigate back to his roots in guitar-based music, started playing bass, and even plucked up the courage to sing now and again.</p><p> </p><p>Then disaster struck: hard drive failure and no back-up. With all but a few of his scratched demo CDs lost, he began to rebuild his compositions. This was timely, as Hidden Shoal’s Cam Merton showed interested in doing something more, following on from Cavalli’s remix of [The] Caseworker’s ‘Hold On To The Road’. Makee then re-acquainted himself with an old mate called Hooch and got to work finishing his debut self-titled EP.</p><p>[/et_pb_tab][et_pb_tab title=\"News\"]</p><h3>News</h3><p>[catlist name=makee-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]</p><h3>Reviews</h3><p>[catlist name=makee-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title]<br /> [/et_pb_tab][et_pb_tab title=\"Press Releases\"]</p><h3>Press Releases</h3><p><a title=\"Makee EP Press Release\" href=\"http://www.hiddenshoal.com/publicity/makee/Makee-EP-Press-Release.pdf\"><em>Makee</em> EP Press Release</a></p><p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]</p><h3>Artist Photos</h3><p> </p><div class=\"wpview-wrap wpview-type-gallery\" contenteditable=\"false\" data-wpview-text=\"%5Bgallery%20columns%3D%222%22%20ids%3D%2211020%2C11021%2C11022%2C11024%22%5D\" data-wpview-type=\"gallery\"><div class=\"toolbar\"> </div><div class=\"gallery gallery-columns-2\"><dl class=\"gallery-item\"><dt class=\"gallery-icon\"><img src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/664386_276169982485569_553735576_o-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" /></dt><dd class=\"wp-caption-text gallery-caption\"></dd></dl><dl class=\"gallery-item\"><dt class=\"gallery-icon\"><img src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/gallery-1-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" /></dt><dd class=\"wp-caption-text gallery-caption\"></dd></dl><br style=\"clear: both;\" /><dl class=\"gallery-item\"><dt class=\"gallery-icon\"><img src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/IMG_3026-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" /></dt><dd class=\"wp-caption-text gallery-caption\"></dd></dl><dl class=\"gallery-item\"><dt class=\"gallery-icon\"><img src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile1-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" /></dt><dd class=\"wp-caption-text gallery-caption\"></dd></dl></div><ins data-wpview-end=\"1\"></ins></div><p>[/et_pb_tab][et_pb_tab title=\"Video\"]</p><h3>Music Videos</h3><p><iframe src=\"//www.youtube.com/embed/WucocllpuO0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe></p><p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]</p><h3>Licensing</h3><p>Makee\'s music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p><p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]</p>','Makee','','inherit','closed','closed','','11006-autosave-v1','','','2014-10-23 10:12:44','2014-10-23 02:12:44','',11006,'http://www.hiddenshoal.com/11006-autosave-v1/',0,'revision','',0),(11085,1,'2014-10-23 09:41:04','2014-10-23 01:41:04','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Makee</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-11009\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile-300x300.jpg\" alt=\"makee\" width=\"171\" height=\"171\" /></a>Makee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische. The EP follows on from Makee\'s first foray through Hidden Shoal, the wonderful remix of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>’s ‘Hold On To The Road’.</p><p><strong><a title=\"SoundCloud\" href=\"https://soundcloud.com/makee\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>   </strong>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><div> </div><h4>\'bail\' (Single)</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=2897140347/size=large/bgcol=333333/linkcol=ffffff/tracklist=false/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://makee.bandcamp.com/track/bail\">bail by makee</a></iframe><br /> October 2014</p><p>Taken from Makee\'s debut self-titled EP from Perth based artist Makee (Nov 19, 2014). The fog-laden disco of ‘bail’ is shot through with a beatific vibe and provides the perfect introduction the new EP. Makee’s bright-eyed, beat-driven tracks are as danceable as they are atmospheric and build to create a thoroughly rewarding sonic whole.</p><div> </div><div> </div><h4>[The] Caseworker - \'Hold On To The Road (Makee Remix)\'</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=877417942/size=large/bgcol=333333/linkcol=ffffff/tracklist=false/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://hiddenshoal.bandcamp.com/album/hold-on-to-the-road-makee-remix\">Hold On To The Road (Makee Remix) by [The] Caseworker</a></iframe><br /> November 2012</p><div> </div><p>Makee (Perth artist Daniel Cavalli) has taken the hesitant shuffle of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>\'s ‘Hold On To The Road’ and re-imagined it as an infectious driving groove. The wonderful sense of space evident in [The] Caseworker’s music is still present, but it’s beautifully aligned with Makee’s propulsive beatwork.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Makee is Perth-based musician Daniel Cavalli, whose musical life began playing drums and guitar. As drummers were rarer than guitarists, and because he was a shy team player rather than a guitar hero, Cavalli most often hit the skins when jamming with friends. It wasn’t long before Cavalli figured that the best way to mesh his love of stringed things with drums and other instruments was to try his hand at production. Thus began a rather long and protracted musical journey littered with four tracks, samplers, sequencers and reel-to-reel tape, culminating in the purchase of a computer and some dodgy sequencing software. Even though he was immersed in a sea of ’90s atmospheric drum ’n’ bass at the time, he slowly but surely began to navigate back to his roots in guitar-based music, started playing bass, and even plucked up the courage to sing now and again.</p><p> </p><p>Then disaster struck: hard drive failure and no back-up. With all but a few of his scratched demo CDs lost, he began to rebuild his compositions. This was timely, as Hidden Shoal’s Cam Merton showed interested in doing something more, following on from Cavalli’s remix of [The] Caseworker’s ‘Hold On To The Road’. Makee then re-acquainted himself with an old mate called Hooch and got to work finishing his debut self-titled EP.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=makee-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<h3>Reviews</h3>[catlist name=makee-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title]<br /> [/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p><a title=\"Makee EP Press Release\" href=\"http://www.hiddenshoal.com/publicity/makee/Makee-EP-Press-Release.pdf\"><em>Makee</em> EP Press Release</a></p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery columns=\"2\" ids=\"11020,11021,11022,11024\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p><iframe src=\"//www.youtube.com/embed/WucocllpuO0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe></p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Makee\'s music is  available for licensing (master & sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Makee','','inherit','closed','closed','','11006-revision-v1','','','2014-10-23 09:41:04','2014-10-23 01:41:04','',11006,'http://www.hiddenshoal.com/11006-revision-v1/',0,'revision','',0),(11083,1,'2014-10-23 09:35:25','2014-10-23 01:35:25','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<br />\r\n<h1>Makee</h1>\r\n<p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-11009\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile-300x300.jpg\" alt=\"makee\" width=\"171\" height=\"171\" /></a>Makee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische. The EP follows on from Makee\'s first foray through Hidden Shoal, the wonderful remix of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>’s ‘Hold On To The Road’.</p>\r\n<p><strong><a title=\"SoundCloud\" href=\"https://soundcloud.com/makee\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>   </strong>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><div> </div><h4>\'Bail\' (Single)</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=2897140347/size=large/bgcol=333333/linkcol=ffffff/tracklist=false/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://makee.bandcamp.com/track/bail\">bail by makee</a></iframe><br /> October 2014</p><p>Taken from Makee\'s debut self-titled EP from Perth based artist Makee (Nov 19, 2014). The fog-laden disco of ‘Bail’ is shot through with a beatific vibe and provides the perfect introduction the new EP. Makee’s bright-eyed, beat-driven tracks are as danceable as they are atmospheric and build to create a thoroughly rewarding sonic whole.</p><div> </div><div> </div><h4>[The] Caseworker - \'Hold On To The Road (Makee Remix)\'</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=877417942/size=large/bgcol=333333/linkcol=ffffff/tracklist=false/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://hiddenshoal.bandcamp.com/album/hold-on-to-the-road-makee-remix\">Hold On To The Road (Makee Remix) by [The] Caseworker</a></iframe><br /> November 2012</p><div> </div><p>Makee (Perth artist Daniel Cavalli) has taken the hesitant shuffle of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>\'s ‘Hold On To The Road’ and re-imagined it as an infectious driving groove. The wonderful sense of space evident in [The] Caseworker’s music is still present, but it’s beautifully aligned with Makee’s propulsive beatwork.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<br />\r\n<h3>Biography</h3>\r\n<p>Makee is Perth-based musician Daniel Cavalli, whose musical life began playing drums and guitar. As drummers were rarer than guitarists, and because he was a shy team player rather than a guitar hero, Cavalli most often hit the skins when jamming with friends. It wasn’t long before Cavalli figured that the best way to mesh his love of stringed things with drums and other instruments was to try his hand at production. Thus began a rather long and protracted musical journey littered with four tracks, samplers, sequencers and reel-to-reel tape, culminating in the purchase of a computer and some dodgy sequencing software. Even though he was immersed in a sea of ’90s atmospheric drum ’n’ bass at the time, he slowly but surely began to navigate back to his roots in guitar-based music, started playing bass, and even plucked up the courage to sing now and again.</p>\r\n<p> </p>\r\n<p>Then disaster struck: hard drive failure and no back-up. With all but a few of his scratched demo CDs lost, he began to rebuild his compositions. This was timely, as Hidden Shoal’s Cam Merton showed interested in doing something more, following on from Cavalli’s remix of [The] Caseworker’s ‘Hold On To The Road’. Makee then re-acquainted himself with an old mate called Hooch and got to work finishing his debut self-titled EP.</p>\r\n[/et_pb_tab][et_pb_tab title=\"News\"]<br />\r\n<h3>News</h3>\r\n[catlist name=makee-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<br />\r\n<h3>Reviews</h3>\r\n[catlist name=makee-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title]<br /> [/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p><a title=\"Makee EP Press Release\" href=\"http://www.hiddenshoal.com/publicity/makee/Makee-EP-Press-Release.pdf\"><em>Makee</em> EP Press Release</a></p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<br />\r\n<h3>Artist Photos</h3>\r\n<p> </p>\r\n[gallery columns=\"2\" ids=\"11020,11021,11022,11024\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p><iframe src=\"//www.youtube.com/embed/WucocllpuO0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe></p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<br />\r\n<h3>Licensing</h3>\r\n<p>Makee\'s music is  available for licensing (master & sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>\r\n[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Makee','','inherit','closed','closed','','11006-revision-v1','','','2014-10-23 09:35:25','2014-10-23 01:35:25','',11006,'http://www.hiddenshoal.com/11006-revision-v1/',0,'revision','',0),(11084,1,'2014-10-23 10:17:28','2014-10-23 02:17:28','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Makee-EP-300px.jpg\"><img class=\"alignleft  wp-image-11088\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Makee-EP-300px.jpg\" alt=\"Makee EP\" width=\"172\" height=\"172\" /></a>We have some sonic and visual delights for you today in the form of the beautiful debut single from <a title=\"Makee\" href=\"http://www.hiddenshoal.com/project/makee/\">Makee</a> and its luscious accompanying music video. \'bail\' is the first track from Perth-based Makee\'s forthcoming self-titled debut EP, out November 19th. Grab the single at <a title=\"Bandcamp\" href=\"https://makee.bandcamp.com/releases\" target=\"_blank\">Bandcamp</a>, stream it at <a title=\"SoundCloud\" href=\"https://soundcloud.com/hidden_shoal/bail\" target=\"_blank\">Soundcloud</a> and check out the video at <a title=\"YouTube\" href=\"https://www.youtube.com/watch?v=WucocllpuO0&amp;list=PLC331131EC8DC434C\" target=\"_blank\">YouTube</a> and <a title=\"Vimeo\" href=\"https://vimeo.com/109564186\" target=\"_blank\">Vimeo</a>.\r\n\r\nMakee’s bright-eyed, beat-driven tracks are as danceable as they are atmospheric and build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, stretches luxuriously across seemingly disparate genres. The fog-laden disco of ‘Bail’ is shot through with a beatific vibe; ‘Stez’ surges relentlessly on motorik rhythms; ‘Tone’ burns with ecstatic, sun-blind intensity; ‘Wake’ is infused with Caribou-esque psychedelia; and finale ‘Bord’ takes a leap into the void with the fervour of prime kosmische that’s been mollified by shoegaze.\r\n\r\nEnjoy the single and video and keep your ears peeled for the EP in November!\r\n<iframe src=\"//www.youtube.com/embed/WucocllpuO0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Makee \'bail\' Single and Music Video','','publish','closed','closed','','makee-bail-single-and-music-video','','','2016-02-03 16:48:14','2016-02-03 08:48:14','',0,'http://www.hiddenshoal.com/?p=11084',0,'post','',0),(11086,1,'2014-10-23 09:46:48','2014-10-23 01:46:48','We have some sonic and visual delights for you today in the form of the beautiful debut single from Makee and its luscious accompanying music video. \'bail\' is the first track from Makee\'s forthcoming self-titled debut EP, out November 19th. Grab the single at Bandcamp, stream it at Soundcloud and check out the video at <a title=\"YouTube\" href=\"https://www.youtube.com/watch?v=WucocllpuO0&amp;list=PLC331131EC8DC434C\" target=\"_blank\">YouTube</a> and <a title=\"Vimeo\" href=\"https://vimeo.com/109564186\" target=\"_blank\">Vimeo</a>.\r\n\r\nMakee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, stretches luxuriously across seemingly disparate genres. The fog-laden disco of ‘Bail’ is shot through with a beatific vibe; ‘Stez’ surges relentlessly on motorik rhythms; ‘Tone’ burns with ecstatic, sun-blind intensity; ‘Wake’ is infused with Caribou-esque psychedelia; and finale ‘Bord’ takes a leap into the void with the fervour of prime kosmische that’s been mollified by shoegaze.','Makee \'bail\' Single and Music Video','','inherit','closed','closed','','11084-revision-v1','','','2014-10-23 09:46:48','2014-10-23 01:46:48','',11084,'http://www.hiddenshoal.com/11084-revision-v1/',0,'revision','',0),(11087,1,'2014-10-23 09:53:31','2014-10-23 01:53:31','We have some sonic and visual delights for you today in the form of the beautiful debut single from Makee and its luscious accompanying music video. \'bail\' is the first track from Makee\'s forthcoming self-titled debut EP, out November 19th. Grab the single at <a title=\"Bandcamp\" href=\"https://makee.bandcamp.com/releases\" target=\"_blank\">Bandcamp</a>, stream it at <a title=\"SoundCloud\" href=\"https://soundcloud.com/hidden_shoal/bail\" target=\"_blank\">Soundcloud</a> and check out the video at <a title=\"YouTube\" href=\"https://www.youtube.com/watch?v=WucocllpuO0&amp;list=PLC331131EC8DC434C\" target=\"_blank\">YouTube</a> and <a title=\"Vimeo\" href=\"https://vimeo.com/109564186\" target=\"_blank\">Vimeo</a>.\r\n\r\nMakee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, stretches luxuriously across seemingly disparate genres. The fog-laden disco of ‘Bail’ is shot through with a beatific vibe; ‘Stez’ surges relentlessly on motorik rhythms; ‘Tone’ burns with ecstatic, sun-blind intensity; ‘Wake’ is infused with Caribou-esque psychedelia; and finale ‘Bord’ takes a leap into the void with the fervour of prime kosmische that’s been mollified by shoegaze.','Makee \'bail\' Single and Music Video','','inherit','closed','closed','','11084-revision-v1','','','2014-10-23 09:53:31','2014-10-23 01:53:31','',11084,'http://www.hiddenshoal.com/11084-revision-v1/',0,'revision','',0),(11088,1,'2014-10-23 10:03:40','2014-10-23 02:03:40','','Makee EP','','inherit','closed','closed','','makee-ep-300px','','','2014-11-24 12:05:56','2014-11-24 04:05:56','',11084,'http://www.hiddenshoal.com/wp-content/uploads/2014/10/Makee-EP-300px.jpg',0,'attachment','image/jpeg',0),(11089,1,'2014-10-23 10:07:39','2014-10-23 02:07:39','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Makee-EP-300px.jpg\"><img class=\"alignleft  wp-image-11088\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Makee-EP-300px.jpg\" alt=\"Makee EP\" width=\"172\" height=\"172\" /></a>We have some sonic and visual delights for you today in the form of the beautiful debut single from <a title=\"Makee\" href=\"http://www.hiddenshoal.com/project/makee/\">Makee</a> and its luscious accompanying music video. \'bail\' is the first track from Perth-based Makee\'s forthcoming self-titled debut EP, out November 19th. Grab the single at <a title=\"Bandcamp\" href=\"https://makee.bandcamp.com/releases\" target=\"_blank\">Bandcamp</a>, stream it at <a title=\"SoundCloud\" href=\"https://soundcloud.com/hidden_shoal/bail\" target=\"_blank\">Soundcloud</a> and check out the video at <a title=\"YouTube\" href=\"https://www.youtube.com/watch?v=WucocllpuO0&amp;list=PLC331131EC8DC434C\" target=\"_blank\">YouTube</a> and <a title=\"Vimeo\" href=\"https://vimeo.com/109564186\" target=\"_blank\">Vimeo</a>.\r\n\r\nMakee’s bright-eyed, beat-driven tracks are as danceable as they are atmospheric and build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, stretches luxuriously across seemingly disparate genres. The fog-laden disco of ‘Bail’ is shot through with a beatific vibe; ‘Stez’ surges relentlessly on motorik rhythms; ‘Tone’ burns with ecstatic, sun-blind intensity; ‘Wake’ is infused with Caribou-esque psychedelia; and finale ‘Bord’ takes a leap into the void with the fervour of prime kosmische that’s been mollified by shoegaze.\r\n\r\nEnjoy the single and video and keep your ears peeled for the EP in November!\r\n<iframe src=\"//www.youtube.com/embed/WucocllpuO0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Makee \'bail\' Single and Music Video','','inherit','closed','closed','','11084-revision-v1','','','2014-10-23 10:07:39','2014-10-23 02:07:39','',11084,'http://www.hiddenshoal.com/11084-revision-v1/',0,'revision','',0),(11291,1,'2014-11-19 08:05:37','2014-11-19 00:05:37','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>Makee</h1>\r\n<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-11009\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile-300x300.jpg\" alt=\"makee\" width=\"171\" height=\"171\" /></a>Makee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische. The EP follows on from Makee\'s first foray through Hidden Shoal, the wonderful remix of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>’s ‘Hold On To The Road’.\r\n\r\n<strong><a title=\"SoundCloud\" href=\"https://soundcloud.com/makee\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>   </strong>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<h4>Makee</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 307px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2377940152/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://makee.bandcamp.com/album/makee\">makee by makee</a></iframe>\r\nNovember 2014\r\n\r\nMakee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, stretches luxuriously across seemingly disparate genres. The fog-laden disco of ‘Bail’ is shot through with a beatific vibe; ‘Stez’ surges relentlessly on motorik rhythms; ‘Tone’ burns with ecstatic, sun-blind intensity; ‘Wake’ is infused with Caribou-esque psychedelia; and finale ‘Bord’ takes a leap into the void with the fervour of prime kosmische that’s been mollified by shoegaze.\r\n<div></div>\r\n<div></div>\r\n<h4>[The] Caseworker - \'Hold On To The Road (Makee Remix)\'</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=877417942/size=large/bgcol=333333/linkcol=ffffff/tracklist=false/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://hiddenshoal.bandcamp.com/album/hold-on-to-the-road-makee-remix\">Hold On To The Road (Makee Remix) by [The] Caseworker</a></iframe>\r\nNovember 2012\r\n<div></div>\r\nMakee (Perth artist Daniel Cavalli) has taken the hesitant shuffle of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>\'s ‘Hold On To The Road’ and re-imagined it as an infectious driving groove. The wonderful sense of space evident in [The] Caseworker’s music is still present, but it’s beautifully aligned with Makee’s propulsive beatwork.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nMakee is Perth-based musician Daniel Cavalli, whose musical life began playing drums and guitar. As drummers were rarer than guitarists, and because he was a shy team player rather than a guitar hero, Cavalli most often hit the skins when jamming with friends. It wasn’t long before Cavalli figured that the best way to mesh his love of stringed things with drums and other instruments was to try his hand at production. Thus began a rather long and protracted musical journey littered with four tracks, samplers, sequencers and reel-to-reel tape, culminating in the purchase of a computer and some dodgy sequencing software. Even though he was immersed in a sea of ’90s atmospheric drum ’n’ bass at the time, he slowly but surely began to navigate back to his roots in guitar-based music, started playing bass, and even plucked up the courage to sing now and again.\r\n\r\n&nbsp;\r\n\r\nThen disaster struck: hard drive failure and no back-up. With all but a few of his scratched demo CDs lost, he began to rebuild his compositions. This was timely, as Hidden Shoal’s Cam Merton showed interested in doing something more, following on from Cavalli’s remix of [The] Caseworker’s ‘Hold On To The Road’. Makee then re-acquainted himself with an old mate called Hooch and got to work finishing his debut self-titled EP.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=makee-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h3>Reviews</h3>\r\n[catlist name=makee-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title]\r\n[/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\n<a title=\"Makee EP Press Release\" href=\"http://www.hiddenshoal.com/publicity/makee/Makee-EP-Press-Release.pdf\"><em>Makee</em> EP Press Release</a>\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery columns=\"2\" ids=\"11020,11021,11022,11024\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\n<iframe src=\"//www.youtube.com/embed/WucocllpuO0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nMakee\'s music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.\r\n\r\n[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Makee','','inherit','closed','closed','','11006-revision-v1','','','2014-11-19 08:05:37','2014-11-19 00:05:37','',11006,'http://www.hiddenshoal.com/11006-revision-v1/',0,'revision','',0),(11090,1,'2014-10-23 10:14:19','2014-10-23 02:14:19','<p>[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]</p><h1>Makee</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-11009\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile-300x300.jpg\" alt=\"makee\" width=\"171\" height=\"171\" /></a>Makee’s bright-eyed, beat-driven tracks, as danceable as they are atmospheric, build to create a thoroughly rewarding sonic whole. His debut self-titled EP, self-described as “looped samples of atmospheric nostalgia”, spreads itself across beatific disco, ecstatic electronica, and shoegazing kosmische. The EP follows on from Makee\'s first foray through Hidden Shoal, the wonderful remix of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>’s ‘Hold On To The Road’.</p><p><strong><a title=\"SoundCloud\" href=\"https://soundcloud.com/makee\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>   </strong>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]</p><h3>Discography</h3><div> </div><div> </div><h4>\'bail\' (Single)</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=2897140347/size=large/bgcol=333333/linkcol=ffffff/tracklist=false/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://makee.bandcamp.com/track/bail\">bail by makee</a></iframe><br /> October 2014</p><p>Taken from Makee\'s debut self-titled EP from Perth based artist Makee (Nov 19, 2014). The fog-laden disco of ‘bail’ is shot through with a beatific vibe and provides the perfect introduction the new EP. Makee’s bright-eyed, beat-driven tracks are as danceable as they are atmospheric and build to create a thoroughly rewarding sonic whole.</p><div> </div><div> </div><h4>[The] Caseworker - \'Hold On To The Road (Makee Remix)\'</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=877417942/size=large/bgcol=333333/linkcol=ffffff/tracklist=false/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://hiddenshoal.bandcamp.com/album/hold-on-to-the-road-makee-remix\">Hold On To The Road (Makee Remix) by [The] Caseworker</a></iframe><br /> November 2012</p><div> </div><p>Makee (Perth artist Daniel Cavalli) has taken the hesitant shuffle of <a title=\"[The] Caseworker\" href=\"http://www.hiddenshoal.com/project/the-caseworker/\">[The] Caseworker</a>\'s ‘Hold On To The Road’ and re-imagined it as an infectious driving groove. The wonderful sense of space evident in [The] Caseworker’s music is still present, but it’s beautifully aligned with Makee’s propulsive beatwork.</p><p>[/et_pb_tab][et_pb_tab title=\"Bio\"]</p><h3>Biography</h3><p>Makee is Perth-based musician Daniel Cavalli, whose musical life began playing drums and guitar. As drummers were rarer than guitarists, and because he was a shy team player rather than a guitar hero, Cavalli most often hit the skins when jamming with friends. It wasn’t long before Cavalli figured that the best way to mesh his love of stringed things with drums and other instruments was to try his hand at production. Thus began a rather long and protracted musical journey littered with four tracks, samplers, sequencers and reel-to-reel tape, culminating in the purchase of a computer and some dodgy sequencing software. Even though he was immersed in a sea of ’90s atmospheric drum ’n’ bass at the time, he slowly but surely began to navigate back to his roots in guitar-based music, started playing bass, and even plucked up the courage to sing now and again.</p><p> </p><p>Then disaster struck: hard drive failure and no back-up. With all but a few of his scratched demo CDs lost, he began to rebuild his compositions. This was timely, as Hidden Shoal’s Cam Merton showed interested in doing something more, following on from Cavalli’s remix of [The] Caseworker’s ‘Hold On To The Road’. Makee then re-acquainted himself with an old mate called Hooch and got to work finishing his debut self-titled EP.</p><p>[/et_pb_tab][et_pb_tab title=\"News\"]</p><h3>News</h3><p>[catlist name=makee-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]</p><h3>Reviews</h3><p>[catlist name=makee-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title]<br /> [/et_pb_tab][et_pb_tab title=\"Press Releases\"]</p><h3>Press Releases</h3><p><a title=\"Makee EP Press Release\" href=\"http://www.hiddenshoal.com/publicity/makee/Makee-EP-Press-Release.pdf\"><em>Makee</em> EP Press Release</a></p><p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]</p><h3>Artist Photos</h3><p> </p><div class=\"wpview-wrap wpview-type-gallery\" contenteditable=\"false\" data-wpview-text=\"%5Bgallery%20columns%3D%222%22%20ids%3D%2211020%2C11021%2C11022%2C11024%22%5D\" data-wpview-type=\"gallery\"><div class=\"toolbar\"> </div><div class=\"gallery gallery-columns-2\"><dl class=\"gallery-item\"><dt class=\"gallery-icon\"><img src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/664386_276169982485569_553735576_o-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" /></dt><dd class=\"wp-caption-text gallery-caption\"></dd></dl><dl class=\"gallery-item\"><dt class=\"gallery-icon\"><img src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/gallery-1-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" /></dt><dd class=\"wp-caption-text gallery-caption\"></dd></dl><br style=\"clear: both;\" /><dl class=\"gallery-item\"><dt class=\"gallery-icon\"><img src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/IMG_3026-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" /></dt><dd class=\"wp-caption-text gallery-caption\"></dd></dl><dl class=\"gallery-item\"><dt class=\"gallery-icon\"><img src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/makee-profile1-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" /></dt><dd class=\"wp-caption-text gallery-caption\"></dd></dl></div><ins data-wpview-end=\"1\"></ins></div><p>[/et_pb_tab][et_pb_tab title=\"Video\"]</p><h3>Music Videos</h3><p><iframe src=\"//www.youtube.com/embed/WucocllpuO0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe></p><p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]</p><h3>Licensing</h3><p>Makee\'s music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p><p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]</p>','Makee','','inherit','closed','closed','','11006-revision-v1','','','2014-10-23 10:14:19','2014-10-23 02:14:19','',11006,'http://www.hiddenshoal.com/11006-revision-v1/',0,'revision','',0);
