Hello! Annie here. It’s been two months since my and Bern’s album tour. On the night of our Melbourne launch, we were excited to see that we’d sold another album from our Listen & Download page. We couldn’t see who’d bought it, to thank them directly. So, before we get back into posts about gigs, new songs and vintage style, I’d like to acknowledge the importance of The Album Buyer and, while I’m at it, the wonders and practicalities involved in an album’s realisation.
I want you to know that, when you buy an album, you really are helping to bring music into being. You are actively funding the flowering of human potential. You are providing the means for the following to occur.
First, recording: I’ve heard people bandy about the statement, “All you need these days is a laptop and Pro Tools”. No! Recording engineers develop awareness of sound in its infinite detail. What’s more, they invest in sound proofing, speakers, microphones and other bits and bobs that remain mystifying to me. They research equipment, take time to experiment with it, and have enthusiastic discussions about it. The really pleasant ones have the tact and gentleness to be able to tell a performer when a take wasn’t quite up to scratch, or rather, “I think we should do it again – I think you might be able to do it even better”, without harshing the performer’s tentative grasp on their recording-day mellow. At least that’s what it seems like to me, and I appreciate it. Thank you, Kent Street Studios.
Next, production: For Here Comes The Love, after the recording engineers captured our performances, Bern mixed them in his studio at home. He took on the role of producer – refining the sound to bring out the heart of each song and to imbue the whole album with its atmosphere. I see it as kind of ‘dressing’ the recording, which in itself conveys another level of meaning and feeling and character. Thank you, Bern.
Then, the cover art: Rather than hiring a graphic designer, I put together our sleeve artwork, using our photos. Photographers have my admiration too. They research, experiment and invest in equipment, and they have a discerning eye. What I see of their magic is probably the tip of the iceberg, but I do see that they have the ability to utilise a setting to create a photo-worthy scene, to eliminate details that could distract viewers, to direct their subject towards flattering or compelling poses and expressions, and to frame shots and finesse tones to evoke a desired mood. The very pleasant ones accept their subjects’ vanity and image anxiety like a photographic confidant, conducting painstaking ‘alterations’ without a word of complaint or judgement. Thank you, James Bryans.
Practicalities need to be funded too. For example, we bought licenses for the three covers we included, and we had to get the albums manufactured. Our album buyers are helping to pay for those things.
As for the song writing, selling a lot more albums would mean Bern and I having more time to write more songs. When you buy our album, you give us hope that we might have that in the future.
I’m not suggesting you should buy an album if it doesn’t appeal to you. That would be like kissing someone you don’t fancy. If it does appeal to you though, if it enriches you, or excites you, or energises you, or connects you to a feeling you like, or makes your day a bit more pleasant, then buying an album is a great thing to do – And I mean ‘great’ as in ‘significant’.
So, we give our profound thanks to everyone who has bought our album. Hopefully, the person who bought the download on May 24th 2014 will read this. If it was you, and you’d like to let us know, please do!