Interview with Jackie Russell and Steve Graff of Exosphere
By Mick Michaels
COSMICK VIEW: Hello, Jackie and Steve! Welcome to The Cosmick View. Thank you for taking some time out of your day to chat with me, it's greatly appreciated.
Jackie Russell: Thanks for having us!! Always down to get all Cosmick!
CV: What do
you feel is a real game changer for an artist or band when it comes to their
career in the modern music industry? Is it something they do, or say, or
achieve…?
Steve Graff:
Not to sound pessimistic off the bat, but for a real tight band with good music
that's having trouble breaking through, money and connections are the true game
changers…unless you can go on stage and shock people like GG Allen or Dillinger
Escape Plan. That can get you noticed without the money and connections, but it
also might get you banned from the venue you're playing.
JR: Yeah it’s all a capitalist ball-game: the people with the most money will not only be able to afford the best gear, recording, producers, songwriters, promotion, etc., but will also be able to dedicate time to the art without fear of where they will get their next meal. This system we’re in only allows the well off to have their artistic voice heard to the fullest of its potential.
CV: Years ago
it was said that video killed the radio star. Has social media killed what was
left in your opinion?
SG:
I wouldn't say it killed it, it just multiplied the number infinitely so
everyone is just buried in a sea of millions of other artists/projects.
JR: I’m glad the radio star is dead. Hearing those
live acoustic sets by rock and metal bands on like 101.1 was some of the worst,
most insincere music I’ve ever heard. The situation is akin to when movies got
sound: some notable silent actors couldn’t make the switch to talkies, but the
art form grew exponentially as a result of this new facet. The same can be said
of music singles and videos now.
CV: With the
world now being post-COVID, how has things changed for you as an artist? Has a
new music industry really emerged in its wake as many are saying? What are your
thoughts?
SG:
We are definitely still feeling the effects of COVID on the music industry, so
it still doesn't seem post-COVID at the moment. Most of the promoters we had
before COVID don't promote, as well as many of the venues we played shut down,
so it's pretty grim right now. The scene is definitely 1000 times more active
than during lockdown, but I can't say anybody has really recovered from it yet
as it's still affecting us all.
JR: It’s honestly just more risky. We throw around the term post- COVID but if even one band member catches it that gives any people at the show a potential to be out of work for a week, which I know I can’t afford and would likely halt or hinder any progress for the band. At best a band ends up dropping for sickness, but even then that can cause a show to be cancelled. Plus if you’re touring, you may as well be a guinea pig for viral diseases.
CV: If you
knew the pandemic was coming, what would you have done differently as an artist
to prepare?
SG:
We definitely would have postponed us taking a break from shows to work on the
Nightmares album, but that’s about it. What else can ya do really? This was and
is so much bigger than any of us individuals, we would be in the same boat now
no matter what we did.
JR: I would’ve dropped out of school earlier. Maybe tried to work more so we could afford more promo or something for the debut album. Like Steve said, we’d still be fucked even with the foresight.
CV: Do you
believe bands and artists who make the biggest impact on fans, as well as other
artists, are really ever aware that they are? Or do you think it’s more like a
tunnel vision sort of existence for them, where they’re somewhat in the dark?
Do you think such artists can actually see past their own work to even know the
ripples they make on others?
SG:
Not that I know because we are not a big band with lots of influence, but I’d
say it's a mixture of both. Kind of like a kid being aware of something, but
not totally knowing what it is. They probably know they have some sway to some
degree, but everything's moving so fast they don't have time to truly
acknowledge the power they hold.
JR: Kanye West exists so I would say def aware influencers are out there. In metal it’s a lot more common for the humble tunnel vision musician to not understand the impact they have on people, I’m curious what exactly makes that so. The only big example I can think of in the rock and metal adjacent world is Yngwie, but that guy is hated for being so self assured in his abilities. Metal feels more like a folk art where the music comes out and exists in its own right, whereas other genres make it harder to separate the artist’s identity from the art they make.
CV: Does
music need to be influential to be considered worth listening to in your opinion?
Or can music simply be just an enjoyable auditory experience devoid of
substance?
SG:
Not at all. Half the music I listen to is noise rock that has no potential to
really get out there due to it being so out of the ordinary for most people to
enjoy, but I enjoy it and am influenced by it nonetheless.
JR: Music doesn’t have any prerequisites to be
worth listening to. My little sister wrote a piano song when she was 5 and it
was definitely not innovative, but I love hearing her play it and cherish that
musical experience more than most “groundbreaking” art. Metal in addition has
only had Djent as its last major development, and I don’t think anyone who
still listens to thrash or doom to be wrong for liking the music they do.
Popularity wanes and grows over time for different genres and their most
involved artists, but that does not lessen the effect that music can have on
the individual.
CV: What do
you consider “being relevant” is when discussing how artists and bands should
present themselves to the public? Does relevance translate into success in your
opinion? In addition, what do you feel an artist can do right now to stay
relevant?
SG:
For relevance, I'd say it's how much of a hold the music still has on those who
aren't necessarily fans, and then also how many new fans the band is still
creating. If you aren't having any success, I’d say it’s hard to be relevant.
If you wanna be relevant, save up all your money for promotion, make killer
music, and play unforgettable shows.
JR: To me this is two-fold: one, the band has to be
active in not only writing music, but also in keeping people up to date on the
songwriting process and release schedule through social media and the like.
The second part requires a catalog that either explores sounds their
contemporaries haven’t, or becomes a sound that many other bands replicate soon
after. Without either part, the effort goes unnoticed—having constant progress
posts and pics without having a solid back catalog simply won’t have the chance
for success, and without the constant updates people lose interest in artists
faster than ever.
CV: As an
artist, what do you see as being your biggest lesson learned? And what type of
impact has that lesson had on you as a person and your career?
SG:
My biggest lesson learned is to have a plan for whatever you are doing. Never
do anything unprepared. It definitely lets me go a little crazier onstage so I
don't have to pay as much attention to the notes I'm playing. Also putting
effort into promotion is a big one. Not even just for music, but for anything
you're doing. If you don't put the word out, who will ever know?
JR: You can’t will your art to become popular. The best you can do is create the best piece of art that you can regardless of whether anyone is going to see it. Best is a subjective term, but if I’m not gaining anything from my creations catharsis-wise it makes it very hard to dedicate time and brain power to the endeavor. Any success past your own satisfaction is just gravy.
CV: What's
next? What can fans expect to see coming from you?
SG:
We are in the middle of creating our 2nd album at the moment. Hopefully it will
be done before this year is over if everything goes according to plan.
JR: Get ready for chugs and screams about robots that are force fed drugs by the government to test the limitations of an immortal torment. And also mega heavy riffs.
CV: Thank you again Jackie and
Steve for spending some time talking and sharing with our readers. It was
such a pleasure. I wish you all the best.
SG:
Thank you so much for having us, stay safe and healthy!
JR: Thanks to you as well! Don’t Eat the Fish.
Check out
Exosphere at:
Bandcamp: https://exosphereband.bandcamp.com/
Facebook:
https://www.facebook.com/exosphereband
Spotify:
https://open.spotify.com/artist/2WX2kP0efqcXTamPk2iSiX?si=EJ2F8HzEQB2Yi72iJgkyNQ&utm_source=copy-link
Instagram:
https://www.instagram.com/exobear_official/
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