Guilty Pleasures: Havens Help Us!

It’s 2021 and Larissa and Lauren fully support indulging in all your vices a bit- Romulan Ale, a Troi-sized chocolate sundae, and those Star Trek episodes that you KNOW aren’t very good but – gosh darn – you just love them. In this episode, the ladies each pick a guilty pleasure episode for different reasons. Larissa’s pick of VOY’s “Fair Haven” is all about Kathy finally getting some well-deserved action, which leads to an honest discussion about the romantic and sexual challenges of Voyager’s situation. Lauren nominates TNG’s “Haven” due to the glory that was season one’s art direction, everything from Armin Shimerman’s Pee-wee’s Playhouse Face-in-a-box appearance to an alien crew flying around in a Lisa Frank mood ring. We know we’re wrong, but it feels so right.

Subscribe to catch all the new episodes and follow @intothewormhole.podcast on Instagram for more!

The Mute Group – “Father Figure / Airbag”

Note: The Mute Group released their debut album Sinister Hand on yk Records, curated and operated by the author of this post. There’s bias afoot.

Back in October 2020, The Mute Group participated in the Festival of Ghouls, a massive multi-day streaming event with a multitude of bands sharing videos and live performances. The band contributed a number of covers; including this brilliant combined dual cover of George Michael’s “Father Figure” and Radiohead’s “Airbag.” On the surface, it does not seem these two tracks would fit together so well but, based on the captured performance, they clearly do.

Previously, the band had released their video for “Rodney O,” which also served as the closing of the proverbial book on promotional efforts for their debut album, Sinister Hand. However, that chapter ending has signaled the beginning of a new one. This cover is not a part of any official album release but it’s a compelling contribution to the notion that they are far from done.

232: The Inevitability of Nashville with PETTY

We are joined by PETTY for an interview episode about his new #53 Fridays project, his history with the city’s scene and the inevitability of Nashville’s comeuppance.

Be sure to follow PETTY on Instagram, Twitter and your preferred streaming service. Throw a bookmark at pettyseason.com as well.

Follow us or submit your music:
Facebook: /weownthistown
Twitter: @weownthistown
Instagram: @weownthistown

PETTY
“Explode” (feat. Chuck Indigo)

“Main Theme” by Upright T-Rex Music.

Ron Obasi – Sun Tapes

Every time I turn on my car, the stereo pairs with my phone over Bluetooth and starts playing the same song. Up until October of 2020, that was “Coming Up” by Paul McCartney; every day, no matter what. Then I snagged Sun Tapes by Ron Obasi and for whatever magical illogical reason, now my car plays “Dem Crackas” every time I step in. If you’re currently unfamiliar with the record, it’s a track that features a refrain of “sick of dealing with these bitch ass crackers” atop a delightfully float-y piano line. As a white male, it’s a nice reminder to be mindful of my privilege in the world and, frankly, it’s a catchy song to boot.

Obasi spent October releasing a number of tracks on his website under the title Droptober, released a collaborative track with Elements and put Sun Tapes out in the world. That’s a rather abundant period of releases that might lead one to overlook the album; which would be a damn shame because it’s a uniquely crafted piece of work from start to finish. Throughout the 36-minute runtime, hard snapping beats are woven between twinkling piano lines and freeform saxophone solos that all pay service to Obasi (and guests) verses that pull no punches. The aforementioned “Dem Crackas” tackles white privilege, “Pennys Interlude” references police violence and “S.U.N.S.” brutally tackles capitalism being stacked against people of color. Throughout the record these hard hitting topics and more glide across deceptively gentle tracks. It’s a dichotomy of music and message that is pulled off effortlessly.

Obasi hasn’t slowed down since the release of Sun Tapes, having released a captivating video for “Pennys Interlude“, the new single “Suck Yo Teeth” and a live performance for Eighty Vybe that proves his MC skills shine in person just as much as they do in the studio. His output can be a firehose to consume but start with Sun Tapes as your introduction and dive right in to the rest.

Let’s Talk About Bandcamp

At the start of 2021, we tweeted that it was our personal goal for the year to get more Nashville hip-hop artists to use Bandcamp. So, let’s talk about Bandcamp. Not Hip-Hop specific Bandcamp, just Bandcamp. Everyone can benefit here.

The following is a primer for the pros and cons of the service and, ultimately, why every artist should be using it. If you don’t consider yourself much of a reader, just skip to the summary.


Introductions

To start, you should know that Bandcamp is a self-serve platform for offering digital music for sale. It’s free to use with the caveat that for every sale you make, they take a 15% cut (10% on physical merch items). They were founded in 2007 and have been profitable since 2012. That’s important to note because it cements the notion that they aren’t a fly by night company, nor are they operating off of investor money and predictions of profitability, they are already making money. According to their About Us page, they’ve paid artists $650 million dollars.

While it’s insightful to know the ethos of the company and that their profit margins are healthy, the real benefit of Bandcamp comes when considering the current ecosystem of music. Over the course of the past few years, streaming services providers like Apple Music, Spotify, YouTube Music and their ilk have become the norm for consuming music. These services provide an extremely low barrier to entry. Anyone can sign up for Spotify and start streaming music without ever providing any payment information. They may hear some advertisements but almost all of the functionality of the service is intact. From a listener’s perspective, this is great! If you’re a regular listener of music in the year 2021, none of this is news to you.

While the convenience of these streaming services is undeniable, the downside that comes with it is how they pay artists. Many other publications have gone into this in much more depth but this Rolling Stone article provides a nice summary:

Spotify pays out its royalties on a pro-rata basis, meaning that, at the end of each accounting period, all of its royalty money gets virtually dumped into one pot, from which artists are paid according to their share of all streams on the platform. So if a group of artists is getting 90% of the streams, they’re also getting 90% of the money.

It’s difficult to boil that down into normal people talk but, in short, it means that Spotify can make $2 billion dollars in a single quarter, pay out $963 million of that to the top tier of artists (about 43,000 artists out of 3+ million) and, if those funds were distributed evenly, they’d receive ~$22,000 per quarter or about $90,000 a year. Not bad at all; especially considering that other streaming services are also paying these artists in a similar fashion (with variable royalty rates – i.e. Apple Music pays more than Spotify).

However, the devil is in the details here because 43,000 artists on a platform with more than 3 million artists is a very small number. If you exist outside of that (and if you’re reading this, we assume you do), you are subject to a different payout rate; a considerably smaller one. If you’re on a label, they’re going to have their own mechanisms for who gets paid what percentage. If you’re registered with a Performance Rights Organization like BMI or ASCAP, they’ll collect additional income on your behalf but, again, have their own internal algorithms on who receives what amount. There are alternatives to this model but they aren’t well adopted because democratizing this payment structure would mean less money going to the folks that are already making the most; there’s no incentive for them to do that. In short, if you aren’t a wildly popular artist, you aren’t going to make enough money from streaming income to even pay your bills.

The upside to these services is the fact that your music lives alongside huge artists. It’s entirely possible that a mega-artist could release a new song and your track would be listed right next to it. The potential exposure is gigantic. Additionally, fans who go looking for your work specifically can follow you and the services will, potentially, surface new releases into personalized playlists. And because listeners have adjusted to this way of listening to music, it’s a no-brainer that you want to be where the listeners are. In short, Spotify and their ilk may pay a paltry sum but if you’re building a fanbase, it makes sense to post your music there.


Bandcamp Pros

That’s a whole lot of background information to set the stage for using Bandcamp. There’s a litany of benefits to using the service but the main driving factor is that it creates a direct conduit for income. As an artist (or label), you set the terms for how much your music costs and can do so confidently knowing that 85% of that price is coming to you. If you have an EP of 4-6 songs and price it at $7, that’s $5.95 in your pocket. An album of 12 songs at $9, that’s less than a dollar a song and still yields $7.65 for you. Nashville hip-hop artist Petty just released his first single (of 53 for the year) and it’s 20 minutes long. On a streaming service, the price is $1.29, simply because it’s one song. He could post that to Bandcamp and reasonably charge $3, yielding $2.55 per purchase.

While those individual payments may seem small, it’s good to remember that making that amount from streaming – in aggregate – is very difficult. Furthermore, none of them pay in real time, only quarterly at best.

Bandcamp Fan App

Bandcamp Fan App

The other large benefit of the service is that every time someone purchases, they will be notified when you release something new. Virghost posted his track “60 Feet” back in November of 2020 and when he released Searching for Shiloh on Jan 1, 2021, an email was automatically blasted out notifying fans that it existed. Streaming services may have notified fans about “new music they’ll love” but it’s unlikely they’d send a distinct notification about a specific album. Upon purchasing, a fan can opt in to an artists mailing list; allowing them to send out notifications anytime about shows, new merch or any projects coming up.

Those are the broad, basic, strokes for the service. More specifically, they also offer the ability to setup pre-orders, sell physical merch, generate free download codes for giveaways and even create crowdfunding campaigns for vinyl, which they’ll manufacture for you. Releasing music via Bandcamp is almost instantaneous, there’s no waiting for the files to “distribute”, as soon as you’re ready to release, it’s there. They recently launched paid livestreaming to augment the lack of in-person events and, of course, there’s the infamous Bandcamp Fridays where they waive their 15% profit sharing entirely, giving 100% to artists. Oh yea, and there’s a Bandcamp Fans app that allows customers to stream their purchases, try out new music and see what their friends are listening to.

Bandcamp also allows for no barrier streaming just like the other services. If you want to let your fans listen to the music before purchasing you can set that up. Optionally, you can restrict it to a limited number of plays before prompting them to purchase.

All of this is possible with just a few clicks. There’s no code or tech mindedness necessary, it’s just a matter of configuring it the way you like.


Bandcamp Cons

While the benefits of Bandcamp outweigh the drawbacks, it would be unfair not to point out a few of the downsides. First and foremost, Bandcamp distribution is not a part of any aggregator. If you’re an artist using TuneCore, DistroKid, CD Baby or even a big name distributor like The Orchard your music will not automatically show up on Bandcamp. This means you’ll need to create an account, gather your WAV files and art assets and upload them yourself. This is the exact same process as using a distributor but it is double the work. That said, you need all those things for a distributor as well; so you’d presumably have them already.

The remainder of cons are nit-picky at best; their artist profile pages don’t look great, there’s no Playlisting feature to compile your favorite artists together and the label management interface is subpar. One could also complain that their editorial blog is just as tough to get exposure on as any other site but, honestly, they’ve covered lots and lots of Nashville in the past, so maybe your chances aren’t so bad.

Bandcamp’s biggest con is also its best feature; it’s a self-serve product where you can make the rules. Should a single song be $0.99 or $2? Should a 12-track album be $7.99 or $15? The service doesn’t force you into any given parameters, so it’s up to you to figure out what your audience will work with.


In Summary

Building a career as a musician is an unbelievably difficult undertaking. Even the largest artists with well established record labels and bottomless budgets find themselves struggling. As an independent artist building their catalog of work and an interested fanbase around it, you have to use all of the tools available.

Distributing your music to Spotify, Apple Music and other streaming services is a perfectly sane choice to make as it puts you into an ecosystem where millions of potential listeners are already finding new music. However, the likelihood of making any significant income from streaming is severely unlikely. Bandcamp removes the barrier between you and your fans by allowing you to distribute your music on your schedule, at your price and maintain a direct communication with them afterwards.

Bandcamp Pros

• You set the price with 15% rev share
• Allow fans to pay more than the base (this actually works)
• Keep contact with your fans
• Sell physical merch with 10% rev share
• Offer Pre-Orders
• Offer Download Codes
• Offer Unlimited or Limited Streaming
• Tag your music for discovery

Bandcamp Cons

• Doesn’t always look as slick
• No playlisting feature
• Additional effort to upload

This whole piece may read like a sponsored ad but it’s not. Truthfully, there are benefits to every streaming service but the most likely path to success is to allow fans that want to pay you, to pay you. Our goal at We Own This Town is to do our part to lift the creative voices across all genres and styles across the Nashville area but, like most things, that simply isn’t possible without money. While posting your music to Bandcamp may not instantly unlock untold riches, it will provide an option for success that can fuel future endeavors. There simply is no downside, only up. We highly suggest you sign up and let us know.

231: The Grand Cornucopia

After a quick bit of administrative chat about the show moving to a Tuesday release schedule, we dive right in to a playlist that showcases the grand cornucopia of the Nashville music landscape. As we’ve done for the past 230 episodes, we strive to showcase the cities diversity of style and we’re confident you’ll enjoy.

Check the playlist links below for more music and be sure to follow Dream Chambers, Virghost, Alexander Wren, Reaux Marquez, Josh Gilligan, BROKE, Erica Case, Chico Rashad, Justice Rhiime, Casey Jo and The Friday Night Dads and f_Forever for updates direct from the artists.

Follow us or submit your music:
Facebook: /weownthistown
Twitter: @weownthistown
Instagram: @weownthistown

Dream Chambers
“Hopeful”

Virghost
“Doug Funnie”

Alexander Wren
“Everything Is Meaningless”

Reaux Marquez
“Forever” (feat. Lul Lion, Brian Brown)

BROKE
“New News”

Josh Gilligan
“Love is a Town”

Erica Case
“I Don’t Know When”

Chico Rashad
“Hennessey”

Salt Water Baby
“Bodies”

Justice Rhiime
“Let It Be Known”

Casey Jo And The Friday Night Dads
“Howl”

f_Forever
“Binary ✰✰✰’s”

“Main Theme” by Upright T-Rex Music.

Gee Slab – “On Me” (Official Video)

By all weights and measures, Gee Slab had a good year in 2020. The short list of accomplishments includes releasing his No Signal EP in June, a number of supporting videos, the Tenn Toes Down compilation of Nashville hip-hop to much fanfare and still managed to make guest appearances and receive personal props along the way.

This isn’t so much a specific review or heads up about a distinct piece of work – tho, I do recommend you watch the “On Me” video – but, rather, this is just a reminder to keep your ears peeled for upcoming Gee Slab projects. There’s a lot on the way.

Sparkling Wines That Aren’t Champagne

For their annual New Year’s Eve episode, Mike, Kenneth and Jess all pick a favorite lesser-known sparkling wine and talk about why they love it. They also dive into some techniques for making sparkling wine cocktails at home, and share the ultimate pairing for bubbles. Also discussed: the fake origin story of the Seelbach cocktail, wine terms to help the consumer pick out a favorite, and the unlikely story of a fantastic wine made in the deserts of New Mexico.


Order Lost Spring: How We Cocktailed Through Crisis on Amazon.

Hear the companion playlist over on Spotify.

Music by Upright T-Rex Music.
Logo by Jess Machen

230: Selections from the Randomizer Machine

We put together a playlist of 100 meaningful and memorable songs from 2020 and then let the Randomizer Machine choose a selection of those tracks for this episodes playlist. Great music in, great music out.

We refuse to call it a Best Of episode because we simply didn’t hear all of the music from 2020. No one did! It’s subjective of course but every song in our list was in heavy rotation at some point during the year, so there was no way for the Randomizer to pick something subpar. The experiment works.

Check the playlist links below for more music and be sure to follow Grumpy, Sister Kit, Heaven Honey, Savoy Motel, The Watchman & thaPoet, The Blam Blams, Liza Anne, Vast Ness, Juan Solorzano, Ryoki Center / Pale Apollo, Rich Ruth, Rashad Sylvester, Thunder Lily, Fu Stan, Daisha McBride and Namir Blade for updates direct from the artists.

Follow us or submit your music:
Facebook: /weownthistown
Twitter: @weownthistown
Instagram: @weownthistown

Grumpy
“Davey Jones”

Sister Kit
“Crummy”

Heaven Honey
“Total Abandon”

Savoy Motel
“Crossword Puzzle”

The Watchman And ThaPoet
“The Ballad of Dick Gregory”

The Blam Blams
“Isabella”

Liza Anne
“Bad Vacation”

Vast Ness
“Chronograph no 4”

Meadownoise
“Cliff House Kids”

Juan Solorzano
“Your Eyes”

Ryoki Center
“New Leash”

Rich Ruth
“Zoomed Out”

Rashad Sylvester
“Let it Play”

Thunder Lily
“Sex is Laughter”

Datenight
“On TV”

Fu Stan
“Lockdown”

Daisha McBride
“Ballgame”

Namir Blade
“Patlabor”

“Main Theme” by Upright T-Rex Music.

We Own This Town Wrapup 2020

Not that anyone needs the slightest reminding but 2020 was a wretched year. We won’t bore you with the litany of specifics but a heartbreakingly devastating tornado followed by a novel coronavirus and all of the financial implications that threatened our favorite venues, restaurants, bars, publications and even record labels was unbelievably depressing. That doesn’t even begin to touch on the emotional weight of losing so many members of the community as well but, like I said, I won’t bore you with the specifics. You know all this. You’re living through it.

It’s hard to celebrate wins in an environment where so much of what you adore is struggling. There’s no silver lining to the situation but it is heartening to know that our community came together with massive efforts to help with the tornado cleanup, banded together to help support organizations like The Scene and Cold Lunch Recordings to continue to see the other side and favored spots like DRKMTTR and The 5 Spot pivoted into Nashville Free Store and live performance studios, respectively. For all of the woes it brought, 2020 did manage to show the triumph of good will and perseverance on a number of occasions. It’s important to remember that for all the hard and daunting times, we overcame more often than not.

As the year winds down, we face another difficult trial with TN having rising COVID numbers, flippant politicians and a steep emotional fatigue about the whole thing. Two vaccines have been approved but there’s still a stretch of road ahead to see this through. We can’t go back to 2019 but we can come out the other side confident that when we work together, we are stronger.

Without sounding too corny, that mentality is the ethos behind the name We Own This Town. It isn’t about the publishers of this site or the bands and projects that get featured, it’s about everyone. All of us. We own this town and make it what it is. Throughout 2020, we proved that Nashville continously overcomes when we come together.


Our 2020

We strove to continue to bring some quality entertainment, distraction and education your way throughout 2020 by continuing to publish podcast episodes from our delightfully creative team of hosts.

Established shows like San Dimas Today released milestone episodes interviewing cast and crew members from Bill & Ted 3: Face the Music, including Bill himself, Alex Winter. Bandsplainer posted an insightful, data-driven, look at Women in Country Music. The Alex Steed hosted Nashville Demystified released insightful pieces on civic engagement, loads of Music City Tales and even pieces on the history of Nashville wrestling – just to name a few. Thick as Thieves found their way through the technological separation of recording and released an engaging third season all about the intersection of art and crime. Filmography Club researched the works of Jeremy Saulnier and spoke with many friends along the way. The consistently hilarious Hott Minute ran their own Tall Brawl Hottie bracket and took to Twitch to help provide some relief through absurdity. Liquid Gold raised funds for hospitality relief and published a myriad of episodes under the name Gardentined, to help you leverage your home garden during the lockdown. Ladyland posted a fascinating second season of interviews with the likes of Samantha Irby, Joy the Baker and members of the Nashville community on how they came to find success. This is the Place returned from a long hiatus with insights on where to safely eat and drink during these strange times. WOTT Music published a playlist of diverse local music, every week.

Even with that jumble of text, that’s only the very tip of the iceberg in terms of the amount of stories, insights and entertainment being shared from our incredible lineup of shows.

New Shows

We continued to publish shows from our established pocasts but also strove to add more voices and content to our lineup. Our goal is to not only to shine a light on the greatness of Nashville but to support unique stories and insights from those that live here.

DRKMTTR Radio – Our favorite DIY-inspired music venue had a tough year. The lockdown meant no shows, which meant no income and no community building. We launched DRKMTTR Radio alongside the DRKMTTR Patreon to help augment both of those issues. It’s not the same as seeing a band in a cozy space but it’s a great way to stay connected. Be sure to check out the interview episodes with the likes of Bliss Cortez or Kelton Young for more ways to support the community.

If You Don’t Know, Now You Know – launched in collaboration with the Tennessee Democractic Party (TNDP), the idea here is to speak with politicians at the capitol about the issues that have meaningful impact on our daily lives. With the lockdown, these plans did not pan out exactly as planned but host Mary Mancini still managed to bring some enlightening insights on Women’s Reproductive Rights, Tennessee Education and Permit-less Gun Carry. These conversations were timely but the issues continuously persist; education is our best tool for securing the proper rights and safety for all.

Into the Wormhole with Larissa and Lauren – good science fiction serves as reflection and prediction on current social issues. There may be phasers and teleporters but Star Trek, in all its forms, is an excellent example of this. Hosts Larissa and Lauren are self-professed Star Trek fans that discuss these reflections with episodes on maternity, race depictions and colonization (aka gentrification). Their excitement for the world building and characters within is entertaining but their enthusiasm for how to build a better world is downright infectious.

Memento Stori – dealing with loss is an unfortunate theme of 2020 but an inescapable fact of life. Host Rebecca Delius speaks with guests about heirlooms and cherished items left behind by family, friends and coworkers that carry a special relationship to their bearer. These connections can be complicated but dissecting their stories is always a fascinating reveal.

Let’s Face the Music – host Ryan Breegle previously brought us the delightfully macabre My Fantasy Funeral and the electrically insightful Vidalotry. Now he turns his gaze to the stories of the Great American Songbook; the influential songs that crafted the landscape for modern music. These songs may have been recorded more than five decades ago but their creation has every bit of drama you’d expect from a modern Behind the Music.

The Hills are Alive – Nashville is an overtly musical town. Everyone knows at least five musicians within a short stones throw but there isn’t much focus on actual musicals; their storytelling, their exuberance or their pitfalls. Hosts Alex Caress and Kelsey Jayne explore these themes through movie musicals; keeping it entertaining from start to finish.


221

New Episodes Posted

171

Hours of Entertainment

65

New Music Reviews

If you didn’t know, We Own This Town is a small operation. Our hosts work exceedingly hard to create their shows. The words you’re reading now, and throughout the site, are largely written by one person. Our hustle is a labor of love and it gives some context to our year end stats. We managed to publish 220 new episodes spanning more than 170 hours of listening time. That’s over a week of listening continuously and the year isn’t over yet!

Our music reviews slipped this year but we managed to publish insights on 65 releases and various premieres. While the writing may have been lighter than previous years, WOTT Music published a new episode every single week; highlighting only Nashville area music for the duration of the year.

Where we could, we supported various fundraisers and ran more fake but amusing billboards. Like everyone, did our best to survive the mania of it all.

We are indebted to our listeners and supporters but mostly extremely grateful for the strength of Nashville (even when the outlook was bleak). Everywhere, literally the entire planet, had it hard this year. Seeing the outpouring of support for those in need, restaurants, bars, venues, musicians, creators and everyone in between has been inspiring. In 2021, we will strive to do our part in supporting even more of these efforts. We’ll keep publishing podcasts and music reviews and notable news but our aim is to continue to provide aid where we can. With you. Us, Together. We Own This Town.

Thank You

Coquito and Holiday Traditions of Puerto Rico

For the annual holiday episode, Mike, Kenneth and Jess dive in to the coconut cousin to egg nog: Puerto Rico’s Coquito. Mike is joined by Shamil Velasquez, executive chef of Delaney Oyster House, to discuss Christmas in Puerto Rico and the food and drink traditions of the island. Jess Backhus joins in later for a dairy free recipe for Coquito, and recipes for cocktails that “taste like Christmas.” Kenneth brings it home with Booze News that asks the question: Can Russians stay away from alcohol for 40 days? And why is someone making wine at a water treatment plant in Alabama?

Happy holidays from Liquid Gold.


Order Lost Spring: How We Cocktailed Through Crisis on Amazon.

Hear the companion playlist over on Spotify.

Music by Upright T-Rex Music.
Logo by Jess Machen

Dream Chambers – The Longest Night

Dream Chambers (aka Jess Chambers) has an uncanny penchant for creating moody electronic soundscapes that fully immerse you. In early December, Light of Day was released, a three track experimental drone that filled the available space with sound and consumed the listener with modulating repetition. On the winter solstice, Chambers released The Longest Night, a full-length album of new songs that continues to demand the listeners attention through the massive atmospheric worlds it creates.

Throughout the course of the record, the musical vibe sways from the ominously foreboding to optimistically dance-y to quietly melancholy. Set against these various backdrops, Chambers provides consistently uplifting and affirming lyrics – reminding the listener they are not a mistake, they are loved and there is a path forward. One has to assume it was no mistake to provide this juxtaposition during a year of hard times; no matter how dark things may seem, Chambers urges you to remember there is available goodness around you.

It’s a refreshing approach on the generally dour and cynical tact that electronic music often takes. These songs could easily be accompanied by lyrics about a dystopian future or similar ilk but Chambers literally sings “Feeling lost, there’s a trail through the night / Don’t give up the ghost, don’t give up the fight.” It’s fitting that it was released on the shortest day of our year, as the world begins to refresh and literally take its journey back towards the light.