When I read the advertisement for the contest, I had to chuckle. The Nassau cultural prize for contemporary composition 2003 sounded great to me. Yet I hardly believed in myself enough to think the effort to apply would be more than futile. So that’s what I called my non-existent band project: The Futile Project.
I had left all my former bands when I returned from six months abroad in Glasgow. There, for the first time, I had an opportunity to present my music to an audience of musicians I hardly knew. Therefore, the feedback I got was honest and not tainted by friendship or sympathy. I performed almost every Monday at Gerry Lyon’s open stage night in the Nice’n’Sleazy, a club on Sauchiehall Street.
It first began in 2019 with the release of ‘guilt.’ There have been three releases since.
The latest release, ‘too artsy for the footy kids, too footy for the art ones,’ was released in February 2023.
It was written and recorded in my bedroom as I moved across Melbourne, Bendigo, and Canberra over the last three years. Its title comes from a line in its second song, ‘michael cera, serotonin.’ It references how I fit in socially, growing up in a country town with an interest in sports and art.
Okay, that’s not entirely true. I have the language. I can talk about what a particular song means to me, or I can talk about what that drummer is doing on the hi-hat that makes you know it’s them. Music history is an easy one – I’ve devoured all the rock bios, read all the critical analysis, seen all the interviews. I eat, sleep and breathe music. So why does it feel hard to talk about?
Not to sound all new-age about it, but music is elemental. Larger than life. When I was a kid, like most kids, I was into superheroes. The bright colors, the high stakes, the every moment of a story that meant something important to the larger narrative. As I grew up, music was the only “adult” thing that felt that exciting, that vital, that universal and yet intensely personal.
We are Veronica and Guido from Rome (Italy); we founded “Pancake Drawer” in 2018. Back in the day, we started as an acoustic duo, playing guitar and ukulele. Along our journey, we evolved our sound by introducing new instruments such as lap steel guitar and synthesizers.
The name “Pancake Drawer” is a quote from our favorite TV show, “Scrubs.” In our live sets, we love to play some covers from that show.
A few years ago I found myself banging away on a $12 Casio from goodwill in a basement in Edmonds making some weird experimental pop songs. Soon a pandemic was upon us and I decided to buckle down and learn how to make beats and use Logic to record. Some friends gave some pointers and drum kits to download, and soon I was off and running, making beat tapes and collaborating with vocalists over the instrumentals.
Music ebbs and flows, back into time immemorial and forward into the unknown future. I was late to the party, learning instruments and theory as a self-funded young adult long ago.
After many years of compiling former band and personal demos for my own interest, I thought it was time to finish an album for release. Sea to City began with a bunch of “lost” songs from other abandoned collaborative projects and a cover concept. The songs seemed to join hands as a thematic collection, so I then wrote into the spaces, and painted the cover to go along with them.
If there is one aspect of music that is underrated, it is the storytelling and imagination it inspires. I have been infatuated by those qualities since I was four years old, and I have never stopped telling stories through music.
Blurry lights, late-night, pink roses, and a tremendous amount of drama: Enter the world of The Spotlights. My name is Vincent, and I’m here to tell you the story of our first EP called THISWILLMAKEAFUNSTORYONEDAY.