1.Let’s start from the beginning, when and where did it all start? And with who?
At age 5 I was forced by my parents to take piano lessons, so it must have started there! I didn't truly enjoy playing until around 14, when I found practical and social applications for having any sort of musical talent—I played in pit orchestras and for choir and jazz until college. In 1996, with the help of a technologically savvy classmate, I started recording in my dorm room at the University of Cincinnati. I actually crammed a full-size KORG elctric piano with weighted keys into a four-person room! My first original piece was a musical adaptation of one of my favorite sci-fi trilogies, C.S. Friedman's Coldfire novels. I've been a solo recording artist since then, collaborating now and then with one or two (or twelve) artists on larger projects, and continuing on my own to pick up and learn as many instruments as my wallet will allow.
2.If you had to describe your sound in one sentence, what would you say?
Hmm... that's a tough one, because I try to fight genre pigeon-holes as much as possible—too many preconceptions there. So, how about, "I create mostly-instrumental music that skirts the bounds of standard classification, finding a place nestled snugly within clean melodies, richly layered instrumentation, and modern rhythms." Is that silly?
3.Name 3 artists that have inspired you as a musician.
Mike Oldfield, definitely... he's truly my number one inspiration. For those who don't know, Oldfield wrote and recorded Tubular Bells practically on his own at age nineteen. I've definitely been inspired by artists like London Elektricity, who takes a rigid genre like drum and bass and completely shakes it up, or The Postal Service, a "group" that embodies a type of collaboration that I find incredibly worthwhile.
4.What do you see in the future for music, with all of the outlets available for exposure, along with the current Internet craze? This is one I really don't think can be answered, but I'm starting to think that the future of music will just follow the same path it always has. Since music has existed, there have been people who want tradition, people who want innovation, and people who are apathetic to either. Some classical composers were reviled for their break from convention. Radio became a voice for new and often outrageous new music, but current Top 40 radio has commercialized the mundane. In all eras, you can find both "popular" and "underground" music, and you as a listener are fortunately allowed to choose what you like. Now more than ever the spectrum of choices has widened for casual listeners, but you will still find plenty of people who want regurgitated music and people who want something different. As long as musicians are out there creating something and getting it to the public, there will be someone who wants to listen.
5.What can we expect to see from Joshua Wentz in 2008? Any big plans?
A lot of HUGE plans, actually, not all of which I can discuss just yet. I will be spending a good deal of time focused on a few new albums, both solo and collaborative. I want to become more involved with The Very Us Artists project (www.veryusartists.com) because I feel like it's hitting on a great concept with a lot of potential. I'd like to do some performance (something I haven't done since moving to Chicago), and some more soundtrack work, which is easily my favorite thing in the world to do.
6.What has Joshua Wentz been listening to lately?
I find myself listening to a ton of music in fall/winter: Underworld, Kenna, Jose Gonzalez, Bent, Little Dragon, Loney Dear, Olive, Shinichi Osawa, Tracey Thorn, Silver Apples, etc. Also, I've had a few INDISTR artists in heavy iPod rotation lately: Jeremy Simmons, Dolophane, Verde Velma, and CYE, just to name a few.
7.Your thoughts on independent music and if it’s possible to be successful through these means of distribution?
I think it's definitely possible to be a successful musician and be independent, however, I don't think people should feel that being independent means doing it alone. Musicians rightfully need to concentrate on their music, and sometimes this means that they let the business, marketing, and design work slide. A guitar player shouldn't have to know how to build a website, screen print posters, or setup QuickBooks. Nor does he/she have the time to do all of these things. While maintaining the rights to your art, in my opinion, should be a primary goal for everyone, it is important to find people to work with that have the same goal in mind.
8.If we can’t find you playing a gig or practicing music, where might we expect to find you?
The Web is my true home: Sidedown.com! I record a weekly podcast called "Winchester Sessions" in my home studio on the north side of Chicago. Each weekend I try to do a completely improvised set that lasts as long as it takes for me to come out with a 20-30 minute piece of music. Sometimes that ends up being three hours with all of the layering. It's a lot of fun, and keeps me mentally and physically active in music. (the URL for the Winchester Session podcast is: http://sidedown.org/serials.php?serial_id=17 and it is also available on iTunes) I always have some random free music up on www.sidedown.com/sessions as well.
9.How many shows do you play a year? What’s the atmosphere typically like?
As I said, I haven't performed live in years, but I want to change that in 2008. If you see me on a bill, expect the atmosphere to be filled with nervous excitement coming from the stage, confusion ( and hopefully not indifference) coming from the (hopefully existent) crowd!
10.Lastly, your thoughts on INDISTR.COM?
I love INDISTR! Seriously. Long ago I posted my music on MP3.com, which used to be a site for independent artists to host their music for free. I thought that was pretty great, but it was cumbersome and it still didn't get me paid. INDISTR provides a great solution to the idea of hosting your music on a collective site, because it is easy to control, looks nice, and was built specifically because INDISTR has passion for music. I'm glad I got in on the ground floor and look forward to seeing it continue to grow. And I sure do love seeing that instant-payment email hit my inbox, ha!
4 comments:
An insightful interview!
Among my friends I feel I've got a pretty massive selection of music and a very fine appreciation for many artists. Except when I'm talking to Josh, who makes me feel like a clumsy layman with no knowledge of music. It's not fair. He can list off obscure (and usually very interesting) artists like I can list off favorite cereals.
I'd like to add to question #2: Josh's music is atmospheric and, like any good music, brings you somewhere else; it alters your mood, generally shaping you into a sort of filtered introspection. If I had to create a new sub-genre for his style, it would probably be: Rainy. It would fall somewhere between New Age, Pop/Rock, and maybe Soundtracks in a music store, with just the slightest nod to Jazz.
For the record-Joshua was not forced to take piano lessons. When he exhibited an interest in music and an innate musical ear, we encouraged and fully supported his music lessons. Seldom did he complain or fail to practice. We love to listen to his music. MoM
And INDISTR got off to a good start, artistically, with the likes of J-Wentz. However, their overall quality control is suspect with the likes of Frederick Slidepole on the roster. Here's hoping that the finer artist such as Josh, Jeremy Simmons, and other true musicians will eventually drown out the rot of such wannabes.
Ha, INDISTR got my mom to post... that's a sign of greatness.
Also, Frederick Slidepole is fantastic- I don't know what that crazy John is talking about ;)
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