So, I was on a freshman class field trip one time down to the Gulf Coast. A group of six of us were staying in a hotel overnight and attending a seminar the next morning. The chaperone was our basketball coach; a middle-aged flub whose appeal had waned where sarcasm had waxed. Out of boredom, I had taken to the hallways of this place, staring out the windows at the dimly lit sand wishing I could figure out a way to get some beer and a bit of freedom. It was late, and the parking lot was dark. But I was positive I had just watched our coach kiss some woman and then get into her car, inexplicably driving away in the night. I knew immediately that this was grounds for mayhem and the time was now. And I have said all that to say this… This memory is what came to mind while listening to the first track on this demo by What a Waste, “Nailed to Your Southern Cross”. The sticks count in and instantly you’re hit with a motivating bassline that says action. I like it already. Tip of the toes kids, the pit is a calling! “You won’t see me. I’ll see you”, is what it sounds like he said. And that’s what I’m thinking jumping in that pit. The song is quick; in and out in just over a minute. I do hope the final cut gives us a bit more of this gem.
Moving on. Second track “So Far Away” finds Dave on the vocals with trail-offs at the ends of vocal bars leaving listeners with an almost melodic presence; almost. I like his style. It’s cool to scream your ass off. And maybe it’s the Southerner in me, but when the grit is mixed with a bit of butter, I like that. A quick two-and-a-half-minute track that, at a minute and twenty-eight seconds in goes through a change-up. And this change-up slowly builds in pace until they plop the original rhythm back in our laps. This is good stuff people! It’s like they’re milking the anxiety cow’s teats for all their worth. I’m spewing adrenaline.
Next up is the title track “What a Waste”. And apparently some guy works every day and has either pissed off Dave, or Dave is telling us the over-worked guy is pissed. Whatever the case may be, the guitar gets a little funky in this one. I mean its punk, but with a little snazzle-razzle on it. Ok it’s just a sharp note followed consecutively by the two flat notes beneath it. But I like the way Joe twangs his thang.
“Huffing Glue” is almost as short as the first track at only a minute thirty-seven and the final track on this demo. I think my laptop was huffing glue because it kept pausing, or buffering, whatever that means. Anyway, good ole Billy on drums counts us in and we blast off into a four-note mainstay broken up by a couple high notes that signify the chorus is here.
All in all, they’re quick, they’re tight, and pay them their respect. This is a middle finger to your day, to my day; something to spruce up your morning coffee. And I needed it because I’m out of creamer and sugar. Whoever said “once you go black, you never go back”….. lied. But to the ex-members of A Hanging, The Pallbearers and AR-15 that gave me this lovely dose of audio intensity, I say thank you. And definitely, definitely follow up on this project with an expansion, both in catalog and song exploration. With that, I will hand over the reigns to Neworleansmusicians.com member and bassist for The Grooxs, Jorge Caicedo.
Jorge: This is the demo debut of What A Waste from New Orleans. Four tunes of straight-ahead punk rock with the Black Flag and Circle Jerk influences coming through nicely. The rhythm section of bassist Bobby Bergeron and drummer Bill Baxley, both of whom were in the excellent A Hanging, keep the bottom end tight while the guitars and vocals do their thing.
The tunes are more of a mid-tempo style as opposed to straight speed, although “Huffing Glue” is the exception. As per punk aesthetics, the songs are short, catchy and to the point. Catch these guys the next time they play a show, it’ll be well worth your time. You can get your cassette or digital download plus more perks using the Bandcamp link below.
In Louisiana, thirty-seven miles from the Gulf of Mexico, lies the town of Cut Off, the place where Hunter Bruce was born and raised. At that time (and still to this day), it was the type of place with nothing to do. You could find Hunter with friends hanging out in the parking lots of Sonic or Wal-mart. And the music scene… well it didn’t exist there. Experience with music for him at that time was whatever played on the radio. Streaming could only be found on Pandora and music in his household wasn’t a focal point. It wasn’t until Hunter graduated high school and moved away that he got to actually see live music. His first experience was on a grand scale and it would change his life forever.
On June 27th, 2016 the Warped Tour made its stop in New Orleans. And Hunter was one of the thousands in attendance. With most of his friends off to the military, he went to this event alone, and would spend most of that day at the smaller Full Sail University Stage. He affectionately recalls, “I saw Bad Seed Rising, incredible. I wish they would’ve never broken up. I saw Palaye Royal. No one knew who these guys were. There was like twenty people standing in front of that stage with me. Now these guys are touring the world and that’s so awesome to see.” He was later spotted and stopped by the guitarist for Palaye Royal, who signed and gave him a CD, thanking him for coming to their performance. He still has that CD to this day. And he’s kept a record of all the bands he’s seen over the years. Later that same year Islander, whom he was unfamiliar with, would headline at The Varsity Theater in Baton Rouge. He remembered Bad Seed Rising from the Warped Tour, and they were on the bill along with local supporting band Ventruss. That night, he became a fan of Ventruss and would see them countless times in the future. “The guys from Ventruss came, ‘aw dude thank you so much for being here’, you know, shook my hand. ‘Oh man we really appreciate it.’ And whenever that kind of stuff happens, you start realizing; man, this is really a tight knit community. You know, it feels genuine. They’re not just trying to sell me a CD or something. They actually appreciate you being here. That’s a really cool feeling.”
I can’t help but draw attention to the idea that, just like Hunter came away with a good feeling from his interaction with the band, the bands exist in that moment on stage drawing their feeling from the crowd. When the energy and excitement is projected from those in attendance, they witness a better performance. For many, these shows also become a new source of friendships. Regular attendees recognize one another from previous shows and began to strike up conversations among one another. And speaking from personal experience, I can say that a band grows in their appeal once you have some sort of personal vestment in them. Gaining friends with mutual interests, meeting members of the band that just blew you away on stage, and perhaps coming away from a show with a memento of some sort all make people feel connected and a part of something greater and more relative. These experiences also help to quell the overwhelming nature of today’s uber-convenient paths to new music. We have the world at our fingertips when it comes to new music. But there’s just so many options that make all too easy to get lost. Indie bands in Louisiana, for instance, often times get drowned out by all the other music with which they have to contend globally. Neworleansmusicians.com has focused on the niche of Louisiana bands, in part, for that reason. Bands who join our site intermingle pools of fans, helping to lift one another up. Likewise, when a booking agent does their job well, you can show up because you recognize one of the bands on the bill, and walk away gaining interest in new ones. In his present-day capacity as an entertainment company owner, Hunter recognizes and has been able to lend his services to bands in the Gulf Coast region, an area that he paused to recognize in this interview as rich with new talent. This is a pleasant surprise, given the havoc that Covid wreaked on the live music community as a whole.
“There was a lot of bands that broke up, which is unfortunate. There’s a lot of bands that took that time and said, well we can’t perform right now. But we can write. We can go to the studio. We can record. We can really spend this time honing our craft and come out swinging. And I think once the lockdown stopped and people came back, you could really see who spent those two years just kind of sitting around waiting, and who spent those two years still diligently trying to hone their craft.” As anyone can tell by now, Hunter remained an attentive understudy of the local music scene throughout. From his break out from Cut Off, to a stint in Houma, to finally settling in Folsom, Louisiana, that list of bands he’d seen grew to over 300. And all of these places were and still are rather obscure when it comes to hotbeds of music activity. He was constantly driving out to see these bands play. So, when a new venue, the Hideaway Den & Arcade opened up near him in Folsom, he was elated to attend their first rock show. Pious, Thornprick, and Dead Machine Theory were on the bill. The venue was pleased with the turnout and Hunter, well he saw opportunity. He approached the owner about booking another rock show and they accepted. On the bill was Acala from Covington, 4Mag Nitrous out of Baton Rouge, and Dead Savage from Hammond. The three fit well and, barring the fact that he accidently booked it on his wedding anniversary, the show was a success. “From that show, we’ve expanded so much. We built out the stage. We brought in an in-house sound tech with a full sound rig. They’re looking to do more and more. Whenever they first opened up, they were like man, we want to be the Southport Hall of the north shore in the sense that we want to offer a wide array of entertainment.” In the past, many places in the north shore area have been accustomed to the safety of cover bands. Every so often a local act performs. But Hunter hopes to see more original talent performing in the area. And he hopes The Hideaway, where he has become the main talent buyer, sets the standard. His intention is to strategically mix local bands with regional, national, more widely recognized names. Shortly after approaching and booking his first show at The Hideaway, Hunter approached about twenty venues between Slidell and Hammond with the interest of booking shows. “I went to these places. You know, here’s my business card. I understand you don’t know me from Adam. But, you know, give me a chance. Let’s see what we can do. Everywhere turned their nose at me; slammed the door in my face. They didn’t want to work with me. I get it, you know. You don’t know who I am and a lot of these places, they have their in-house people already. But after that, I’m like alright I guess I’m all in on this place (The Hideaway). And I’ve been all in with them ever since. And I don’t regret it man, I never looked back. And I think now if one of these places that originally turned their nose to me came back and said, oh man we’ve been seeing what you’re doing for this place, maybe we can do something, I’d probably tell them no. They take really good care of me here. I’m all in over here.”
Reflecting on his start, Hunter couldn’t remember the last time he did something that brought him so much joy. From booking the bands, to doing the fliers, to the online promotion, he fell in love. He became a true believer in the old adage “Choose a job you love, and you will never have to work a day in your life.” So, unbeknownst to most, during his days booking, he spent four months registering, recruiting, and building his own roster. By its proper name, Fuel the Funeral Entertainment is now a booking agency with a list of developmental and promotional services, some of which include EPK one sheets, public relations, advertising, and website creation. Through dedication and diligence, Hunter hopes to bring to these bands what they have brought to him, loyalty. “There’s a lot of nights where you’re working until two or three in the morning. behind the computer making sure that it’s done the right way. I don’t want to approach these bands and say hey, let me give you booking representation if I don’t know what I’m doing, you know? There’re enough thieves out there. I don’t want to be another one of them. And that’s what really lead me to starting this venture.” Before he began the process of forming this LLC, before he even had the idea, he was hired by an up-and-coming artist management firm that wanted to expand into booking. Though initially excited about the opportunity, upon working for the firm he began to notice business practices that he would only describe as a little less than reputable. “We’re taking these bands’ money and we’re not doing much for them. How are we justifying this? I just took a big step back and I’m like, I don’t want to do this. This feels wrong.” And just as one experience inspired him to book for The Hideaway, his experience with this company prompted him to forge his own path.
Since its inception, Fuel the Funeral Entertainment has been focused on transparency. The contracts come with personal advice from Hunter himself advising recipients to bring the documents to an entertainment lawyer. And I wouldn’t be surprised if honesty is the best bait out there these days. He’s been in discussions with bands that he’s had to turn away. Though he has confidence in his future ability to become more adept at the art, if what they’re seeking is outside of his level of current experience, he’s not above informing them. During our discussion, he stressed the importance of knowing one’s limitations and not embellishing upon them. This, coupled with his humility and true appreciation for what bands bring left a lasting impression that tells me his candor in business will take him far. You can view their list of services and submit works for review on the contact form at Fuelthefuneralentertainment.com.
Start by creating a profile on Neworleansmusicians.com. Be sure to fill in all the blanks and upload a song. With your registration, you can message other bands and businesses in the industry. You can also list on the show calendar and music classifieds. And any tracks you have on the 12 streaming platforms we are a member of will be added to our public playlists on those platforms. Your music presence online has just doubled!
Short Questionnaire
Because you uploaded at least one track, you are e-mailed a questionnaire. This contains questions about your band’s style, inspiration, and history. Once this is returned, you will be featured in our podcast. Instead of commercials half-way through every episode, we shout out our members. We draw our discussion from your questionnaire answers, and then play an example of your work for the audience to hear.
Upload a video
Once you are a member, you are able to upload videos. This would preferably be footage related to your band, and you do this from your profile. Your video is displayed on your profile, as well as our Videos page. And it will appear on our Youtube Channel as well. We will also began promoting your video on social media. You’re one of the family now. We’ve got you!
Inquire about an interview
Contact us via e-mail, social, or by phone and inquire about being interviewed. After we verify that you have a complete account with us, we confirm your eligibility and place you in the interview pool. We choose all our interviews from this group, making sure to cover every genre. Our interviews result in several Youtube videos, an article on our blog, and a podcast episode on our show.
Becoming a member of NOM means many things….
In becoming a member of our growing network of Louisiana musicians, you gain many advantages. This site is not like facebook and other social media sites. It exists strictly for networking purposes. We are onboarding Louisiana bands currently, and will move on to filling Vendor directories soon. These will include venues, sound & light companies, recording studios, and the like from all over the world. Our goal is to empower Louisiana’s talent with tools while remaining exclusive to bands from our state. This is why we only accept bands from Louisiana. Members can message other bands or vendors directly within the site at any time. I created this site and personally keep in touch with its members. Promotional material that our members create is shared constantly on our social. You will begin to see your show announcements shared by us. Promotional material that we create for our interviewees is shared repeatedly on social for months. Any leads on gigs that we generate are sent to members first. We have assisted in filling spots at venues, in movies, and on podcasts. Members’ song plays are tracked through our site and those with the most plays earn placement as Artist of the Month. There are three chosen per month. Those bands are given a spot at the top of our home page with a graphic and link. I look forward to getting to know your band and fulfilling your needs. And remember, I will NEVER ask you for money. I have created a line of merchandise and an account at BuyMeaCoffee to help support my efforts. With enough eyes and ears, I also hope to generate money from Youtube and podcast ads. Any money generated from this site goes right back into it, back into supporting Louisiana’s independent artists.
This will get you directly to our Podcast. Click any image to go directly to it via your favorite streaming platform. Not using that? You can click the first option titled “WEB”. Please be sure to subscribe while there. This really helps us support independent Louisiana musicians to the fullest. You will also find our interviews on Youtube. Feel free to click that red bar and check those out as well. Thanks so much, you’re awesome!
Please check out our show, Neworleansmusicians.com Podcast, wherever you stream. Thanks!
Are you in a band and living in Louisiana? Want your band to be featured on a podcast, in an article, or on a Youtube video? It’s 100% free. Email neworleansmusicians (at) yahoo (dot) com and ask to find out how.
So, maybe you saw us online. Or maybe you heard about us by word of mouth. But seriously, what is Neworleansmusicians.com, or NOM as it’s sometimes called? And what are they doing that can’t already be done on Facebook, or Reverbnation, or any other website with bands on it? I’m glad you asked. First let’s look into the good stuff… what can they do for my band? Here’s the breakdown:
Podcast feature – NOM publishes regularly on every podcast platform available. The content is music-based and covers bands and the music business in Louisiana. When you register on the site, you automatically get dibs on a slot on the show where we talk about new members and play a snip of their work. It starts with a mention, giving you free, immediate promotion. And being a site member, you are part of a pool of members that is used to select actual future guests.
NOM’s streaming platform presence
Playlist feature – NOM has set up its own public playlists on all the major streaming platforms. There are eighteen playlists, organized by genre, on each platform. If you have any music on streaming platforms when you register with NOM, they find you, pick one of your tracks and add it to their playlists. Pretty cool huh? Good luck trying to get placement on some of these “Hot Summer Mix” type playlists elsewhere! It’s not magic. It’s NOM’s indie artist promo strategies at work for you.
Article feature – NOM has its own blog. The blog is centered around the music scene in Louisiana and is accessible on-site. The blog uses an effective approach at SEO optimizations and the articles go in depth about everything from “this one time the band almost died” to “acoustics were drafted forty years ago by the same guy that engineered Electric Lady Studios for Hendrix…”. When you register with NOM, you are also placed in a pool the site picks from for band write-ups and interviews. We advertise these articles on social, each for four weeks. This is an important opportunity that you don’t want to miss out on. You never know what prominent publication could republish your piece.
Video placement – On the sites Video Page, if you upload media like your latest music video or footage of your band on stage, it posts on the website as well as on NOM’s Youtube Channel. There’s no limit to how many videos you can post. And the value here, like in the previous examples, is that Youtube communities aren’t always the same crowd as social media followers, or podcast listeners for that matter. Exposure, exposure, exposure.
Artist of the Month – On the main page of the website, at the very top, is a collection of three different band profiles. This is the Artist of the Month section. It’s another way NOM encourages traffic to find your music. It features your profile image and leads users to your page on the site where people can hear your music and see your band’s vital information like label and management stats, etc. Oh, and the site also features a Music page where casual listeners can stream music from Louisiana by genre. So, when you register with NOM, any music you upload is automatically inserted there as well.
10% off everything in the store – As a little “thank you”, NOM gives all new members a one-time 10% off code. It can be used for everything in the store which includes backpacks and gig bags, as well as men’s and women’s clothing and accessories. New items are added to the store often. So be sure to have a look around a few times before pulling the trigger.
NOM’s innovative promotional strategies
Promotion – When you register with NOM, you instantly begin benefitting from this site’s aggressive promotional efforts. It’s got its hands in many different places all at once. And each one of the perks discussed places its members on multiple platforms in audio, video and written formats. It employs many promotional tactics specific to each of these, driving traffic to the site and to all the other places it can be found; which is where you could be found if you register. Upon request, any of the digital media created to represent our members is available to them for free. So, if you like that thumb artwork we made, it’s yours. Throw it on your next album cover!
So basically, WHAT they do is WHY you should join. But there IS a catch. And please understand that this is probably the most important part of the whole article. NOM only accepts registrations from bands in Louisiana. This is huge! This is why it isn’t like Facebook or Reverbnation. By design, NOM has eliminated the distractive trolling you see on Facebook. It has eliminated hundreds of thousands of other bands that you contend with on sites like Reverbnation. Part of the core concept of Neworleansmusicians.com is that when musicians across our state come together under one umbrella, they become THE source for music in our state. Coupled with NOM’s growing network, this assembly of bands becomes leverage for each band on the site. You become part of a reputable brand and a trusted resource for music industry professionals. So, take a look for yourself. See how the site is structured to serve your band’s needs, because there are more features than what we’ve covered here. At absolutely zero cost to you, I think you’ll find this site a powerful networking tool for the band serious about its music business.
North of Lake Pontchartrain off of Hwy 59 in Mandeville, Louisiana sits a fine example of acoustic perfection. And nestled within its walls lies both a rich history and a promising future for the world of music. I am talking about Rabadash Studios, home to Rabadash Records, owned by John Autin. But in order to properly acquaint you with these elements I must first take you back some fifty-three years to a building located at 52 W 8th Street in New York’s Greenwich Village that would come to be known as Electric Lady Studios.
Working for an architect firm by day and playing in a band by night, a man by the name of John Storyk decided to take a volunteer position as a carpenter converting a loft in SoHo to a bohemian theater of a club known as Cerebrum back in 1969. His work caught the eye of the one and only Jimi Hendrix who hired John to build a club just like it. But Hendrix would quickly pivot from building a club similar to Cerebrum, to building a recording studio. It would be the only artist-owned recording studio in existence at the time. And this became the famous Electric Lady Studios, cementing Storyk’s place in history as one of the greatest acousticians of our time.
Fast forward to the year 2005. Hurricane Katrina had hit the Gulf Coast and a guy by the name of Dave Fortman, former guitarist for Ugly Kid Joe, was in search of a new home for his own Balance Studios. Years before, and for years to come, Balance Studios produced and engineered for such groups as Down, Superjoint Ritual, Evanescence, Slipknot and Eyehategod to name a few. Fortman found his new headquarters in an empty 4,000 sq. ft. building in Mandeville, Louisiana. He enlisted the services of John Storyk to design his new studio whom by now with his firm, Walters-Storyk Design Group, had designed and built studios for such artists as Alecia Keys, Bob Marley, Jay-Z, and Whitney Houston. Construction began and as fate would have it, even the contractor hired to build this studio was himself a musician. Doesn’t this all feel so good already?
As warm and fuzzy as this all may feel, Balance Studios would only reside there for a year or so. But this building would still play host to a different recording studio for nearly two decades. And THAT, if you’re still with me boys and girls, is the chronological spaghetti that leads us to the spicy meatball on our plate known as Rabadash Studios. The legacy continues to this day within that building, and the Chef du Jour is John Autin.
From the street one would never guess the precise architecture contained within its outer shell. For all intents and purposes, it looks like a plain warehouse. And prior to John being able to secure the building, it was actually slated to be gutted and used as storage space for a lighting company. But luckily, before this travesty could ensue, the building owner’s son Nick LaRocca, who was also a musician, walked through and recognized its original purpose and future potential. You might say the vibe from this building has resonated with musicians since day one. Because even the LaRoccas are a musical family that are very important historically in New Orleans. Nick was named for his father’s uncle, who recorded the very first jazz record with the original Dixie Land Jazz Band back in 1917.
Even just past its skin, this unassuming warehouse is made with nine insulative layers. Torrential downpours do not faze the acoustic integrity within. Every single piece of wood, every single piece of fabric, every piece of glass was placed just so by Storyk himself. The spacious live room is optimized sonically, providing an intimate setting ideal for tracking and overdubbing drums, horn sections, strings ensembles or vocalists. The wood floors and trim throughout are absolutely gorgeous. Large fabric panels and track lighting accentuate the area.
Through triple glass, the control room looks directly into this space and is flanked on either side by isolation booths. The monitoring system is custom designed by Dynaudio. Near fields, midfields, and large built-in natural wood faced monitors give arguably the best mixing environment in Louisiana. The back wall of this space ship is an architectural masterpiece where Storyk intended sound to be deposited, never to be heard from again. Twenty years ago, this concoction totaled over four million dollars. But as I stood there that day setting up for our interview, I couldn’t help but feel it was priceless.
Before the interview with John began, he was kind enough to give me a tour of the facility. Beyond the front door and past the foyer, there is a long open-area workspace. An antique organ caught my eye as John turned my attention to the full kitchen. The building sleeps six for out-of-town bands on a budget, and even has a full bath and shower upstairs. The second level housed a sound board, monitors, and screens dedicated to his newly launched Rabadash Radio. It is currently streaming online and you can find that link below along with a link to our interview footage.
In our interview, John outlined what he expected of artists interested in recording at his studio, as well as what they can expect from him. He stressed the importance of artistic freedom “almost to a fault” as he put it and touched on his methods for focusing on the artist’s strengths, allowing those elements to shine through in his mix. His decades of experience in the music business are further fortified by Platinum Record award winning engineer/ producer Marc Hewitt. Marc has been involved in the music business since 1981 and in his capacity as a sound engineer, producer, and musician has worked with such artists as Aaron Neville, Art Neville, Allen Toussaint, Fats Domino among many others.
John’s presence was a comfort. And combined with the spacious, relaxed atmosphere, I could see how an artist would feel free to create in this realm. From a business standpoint, recording here would be an intelligent move as well, both for the many years of experience John and his staff have, and the fact that Rabadash Records has been in business as a label for over forty years. I enjoyed my time at Rabadash Studios with John Autin. And I hope that the musicians out there reading this will consider recording their next project there.
