Tim Charles, from NE OBLIVISCARIS, introduce “EXUL” next March 24th.30 min read
We had a very interesting chat with Tim, the clean voice of NE OBLIVISCARIS, right before the release of their fourth album “Exul”, which already has two singles “Equus” and “Graal”, and talked about being the first band with crowdfunding in music industries, how many works demanded to be a manager of a band and the rights of being a professional musician.
You are a very special project it’s a very special life Ted style how did you find that style?
In the end, it was where we are now is really just an end point of us trying just to be ourselves, everyone is quite unique in how we all are within the world and the thing is that often as younger musicians, we first learn by copying the other musicians and bands that we love and then sometimes we get good at that and we stop exploring and we just emulate, I think for us from the very beginning the intention was to do new and interesting things and then part of that was just a natural progression of that we had six quite different people in the band, with some very different ideas and some of them would be kind of annoyed see what it sounds like, and then sometimes we would be like “well, I don’t know if other people were like this but we think it’s cool” and so over the years it’s been kind of a pleasant surprise to find that people are really connected with the music that we’re doing, because really I mean we’ve always worked very hard with the intention of making the band the highest quality possible but at the same time in the early years of the band we didn’t think that we would ever do much beyond a very small Underground level, because we thought that we’re playing that kind of weird music, with violin and blog combining all these different things and surely that won’t be that popular so we’re hardly Metallica but it’s been really amazing just the support that we get especially now and with the new stuff that we’ve just started to release, it’s been just very heartening for sure.
The first song of your upcoming album (“Equus”) is so long to be a single and it’s so nice the video, the image and the sound and all that you show there is a point of the next album is gonna be like that?
I think that well first of all thank you for the nice words about the single “Equus”, I think that often people yeah surprised like “oh it’s like a 12 and a half minute video as a single”, we don’t really care, it’s just we thought this song is a good representation of like a blend of the different sounds that we do and that are featured on the record and that was really behind the choice of that and I was like this is the best song to kind of represent the album overall and however long it was it didn’t really matter and I guess from there it was then going okay, a 12 half minute video is a bit tricky to make it interesting the whole time so then it was the challenge of trying to what are we going to do for this video and then we actually filmed the video in lockdown, because if the video was actually filmed last well in 2021 and half of the band was separated from each other, which was the reason why Marc “Xenoyr” Campbell and I are the only band members that feature in that video because we were like “well we can’t get these two guys in and so what do”, we do and then in the end we end up getting a separate film crew to France just to film Benji’s guitar solo (Benjamin Baret), because we were like oh this is such a big moment in the song we really need to feature it, so it was a bit challenging trying to work out how to do that, but the video direction our vocalists then directs is like the creative director for that video which is it just came out really well, we have Dave Hunter who’s from a great Australian progressive metal band called CIRCLES, he does a lot of music videos and he shot the whole thing and did an incredible job and he edited the “Equus” video as well and then we had the same team work together on our new single “Graal” so by the time this goes up I guess it will probably already be out and that once again was the same team but then with that one actually Xenoyr even edited the music video also so just like it’s that ability to do stuff in-house and be really heavily involved in doing things for ourselves helps, because then we can really take our time and I really kind of believe that it’s I’m often of the view that no one’s going to work harder for your band than yourself, which is why I manage the band, which is why Xenoyr does these videos like he also does the artwork this the covers and all the other different types of the merch designs, so we do a lot of stuff in-house and very independent minded in that way.
There’s huge creativity in the background, creating music videos art, the music by itself, maintaining the whole show, and managing everything, the production of a video can be pretty complex, where do you draw your energy from?
Well, I think that the main thing is trying to work out what different members are good at and giving them roles that fit with that, for Xenoyr is such a great example because these brilliant visually aside from as a vocalist and when we’re thinking about music videos he’s the one with all of these interesting visual ideas, the ideas for the merchandise, the album cover, the 16 page expanded booklet versions, he’s the one with all those different ideas about how to do that he does the band photos even as well and so I think when there’s something that you’re passionate about and you really get it that energizes you, and you have the energy to do that when you’re being asked to something that’s maybe not your thing, that can be really hard, because it’s a lot of extra mental energy to really connect into something that’s not yours strength, as much as possible we try to work to our strengths, like one of my strengths I do think outside the box a lot just in everything managed and run the way that the music is put together I’m normally the one saying “Hey what if we took this song gets a little longer” like that’s normally my fault and like little things like just that ability to way back in the day, Matt (Klavins) was the one who wrote the original acoustic guitar idea for “And plague Flowers The Kaleidoscope”, which is one of our most popular songs, but he didn’t think it would be in one of our songs, because it was like not metal at all, whereas I was the one going “hey what if we tried to turn that into a metal song” and it became like a challenge, like let’s take this little flop kind of flamenco sounding type thing this latin vibe and turn it into something that is fits with what we do, I had different ideas and I tried to do it on the business side and the creative side and then utilize the wonderful members that we have for the things that they’re all really amazing at in their own rights as well.
Sounds like great teamwork, you need to struggle with that, or a problem to get one video out and so many participants?
Yeah, it varies song to song, back in the day we used to rehearse every Sunday, like all day we would get in a rehearsal room all together and rehearse, and then in between do our own practice since I guess after ”Citadel” (2014) came out, our lead guitarist Benji moved back to France, because that’s where he’s from originally, by that stage most of us kind of had home recording studios I’m sitting here in my home studio at the moment, I’ve actually recorded some of the vocals for the album in this room and we started getting more in the habit of demoing ideas that we have up front and then just sending them the different demo files around via email and dealing with people that way, that’s kind of like where we kind of collaborate work together but a lot of songs come from different places so if, for example, one song might be Benji sent me through a two or three minute idea of guitar riffs with program drums underneath and then if everyone really likes it, we might then see who else has ideas to maybe add to that to turn it into a proper song, but then who starts the song can be quite different so one of the songs on this record “Graal” actually the basis for the song was actually written by our bassist Martino “Tino” Garattoni and that was really fantastic, because originally it was like when you whenever you’re on their own part so ”Tino” was brought in, because he’s a credible bass player and when you knew they could really create bonus and they’re working within that, that member on the other hand something like “Misericord part two” we had a jam session when we were in Australia for a tour back in May 2019, and I had a little chord progression idea that I’d written on piano and I taught it to the guys on guitar, which was the beginning of that, and we just kind of jammed it and we recorded that jam session and then I went home and I put together a demo with all the different ideas that we’ve done and then after that I wrote all the strings and everything because that was one that I kind of wrote a lot of, and it kind of went from there so each of them kind of comes from a different place, now honestly because we are very different so we don’t always agree because we are coming from really different places and it is sometimes a compromise of someone coming from this direction, someone coming for that one and maybe they don’t match and it’s like okay well these ideas are totally different how do we make that work but it’s the ability to work through that process that is what creates our music, so that’s a very important part of everyone kind of understanding that it’s not it’s not your ideas, not my ideas or whatever that are most important it’s the song and it’s the album, so sometimes it is that thing of going this is a really good idea but maybe it’s not right for the flow and so we have to do something different and but it’s it is difficult sometimes because we have a few people that make significant truck contributions I always think that it’s probably easier in the bands where one guy writes all the music, as far as no arguing, but the thing is we can’t we can’t do that because our sound is not created that way our sound is a blend of the members in the band and that’s always been the way that it is and it’s an important element to how we got that sound going back to that first question that you asked, how we got the sound is by letting everyone have a big role in the band.
It looks great, from the very beginning when you were just a four pieces band, all the time did you work like that?
From the very beginning it was a lot more us just jamming in a room together and trying out ideas on the spot and it’s a bit easier to do that when you just tried an idea quickly in the jam room, and then straight away if it works or not whereas when you’re in different countries and you say “Hey try out this idea”, maybe that person has to spend a bunch of time like learning the idea and doing a demo whatever because you’re not in the same room you can’t just like quickly teach it to them or whatever it’s a little bit slower, so it makes it a little bit more difficult but on the other hand there’s the huge benefit of the fact that we use we are able to do such high quality pre-production now because we have our home studios and so the quality of the preparation in writing the songs is a lot better, but like over the years I mean who is in the band has changed, I mean, Xenoyr and I are the kind of two founding members but Matt’s been in the band since 2004 so only one year after Xenoyr and I, Benji 2008, so a lot of us have been there a long time but that process of kind of me working in with other members to create different elements has always kind of been the same it’s just depending on who is there sometimes has changed a little bit over the years but that that process is similar just moved more into that, I guess, online element because we are in three different countries now the band.
How exciting is the upcoming United States tour, I was checking that you’re gonna play with PERSEPHONE, for example.
The Tour is we’re so excited about and we have Europe and U.K. coming up this may, U.S. and Canada coming up in October and November, we’re working on tours for Australia, Asia and Latin America as well, so you mentioned PERSEPHONE, I’m the manager for PERSEPHONE and so I actually booked there, they’re coming to Argentina just these days, so I booked that show for them, so part of this thing is like I I’m booking their Latin American tour and then the next album one for us, but that’s definitely on the right so we haven’t started on that process yet, I had started talking to a couple of promoters but first half of 2024 is where we’re thinking because this is pretty busy as it is I think between like North America, Europe and Australia it’ll be pretty full but first half of next year, where the intention is try to do headline tours in Asia and Latin America that’s the plan and we really want to get everywhere, because we’re really proud out of this new record, we really think it’s a special album and we think that the songs have got to be great live and we want to share that with people, because we know that that’s how you get people long term interested in the band you listen to a record you like the song and then you see the live band and that’s when you go okay wow I want to follow this band for a long time, I know that’s what I’m like with bands so maybe I’m just projecting what other people’s experience might be but that’s what I hope for people come along have a great time and then instantly they’re waiting for the next album and we’ve been being asked to get to Latin America for a long time we’ve been to Mexico a couple of times, but we haven’t been anywhere south of there but we know there’s lots of interest and we get asked from fans very often, and so the intent is hopefully go as many places as possible for this album for sure.
From my point of view, you get an army person already are really at the stage if you really can make a trip with that tour, it takes a long while for me to the new band gets on my playlist, you are on my playlist, it took a while but you made it, I love your stuff of course and I really think that’s a good thing right now to get more solidified and get a bit bigger the message out.
Absolutely, and it’s a different experience the live show, and not all bands are great live, there are some bands that you love the record and you see them live and it’s maybe not as good as you thought, on the other way around sometimes you have great live bands to see and their album sound is not so good, but we always viewed ourselves as a band that was a really good live act and that was first before we had any albums out you know we were playing live from it for many years and so that was what came first and then it was trying to work out how do we make our albums as good as the live shows, because we were like we think the live shows are really good we got to make sure that album here on the production you hear the changes in the production from album to album and that is part of this match as best as possible.
How much time do you spend with the band and managing the band?
Yeah, it is really tricky, I mean I think everything’s about having a good team to make it work, so I manage the band so I handle a lot of stuff with booking the world tour but at the same time we have a wonderful booking agent over booking the European UK shows, we have booking agent in North America, but you now hasn’t been used in three years and getting it all tested and making sure that’s getting repaired and getting the right people to test that because I can’t test it and repair it myself so it’s getting the right people to make sure that they’re getting everything sorted, and checking if anything needs to need to be replaced or upgraded and then going okay well we have to pay what at 10.000 Euro bus deposit for Europe, and we have to have that money before we get paid for the shows, and solving all of these different things and going okay well how do we do that and I need to get a company business account for this travel agent so that they can put the flights on that account then we can pay them there’s a lot of different things in managing a band, and then that’s not even touching on the fact that it’s a 95-minute show that we need to rehearse and practice, and it’s not that, the music it’s natural to us because we write it, but it’s not easy like you have to practice the stuff like if I don’t know practices and all that sort of stuff so right now we have about over three months till we leave for the European tour and a lot of work to do just to make sure that we’re ready for the first show, because like the very first show that we have is going to be in Helsinki on May 5. and I think it’s a the venue holds about 775 people and I think there’s it’ll be pretty packed and maybe hopefully it might sell out and that’s the first show in like almost four years, and so the comment within the band was like hey we need to make sure that we’re really practiced a lot because the first show is like it takes a lot, I mean you mentioned other work, so once we took up managing the band which is kind of late 2015 we launched our Patreon a few months later, we were the first band in the world to do that in the way that it was released and from that point on I didn’t have any other work I just worked on NE OBLIVISCARIS, some of the other guys would go over and do part-time work in between tours, but then my job was just to do all the stuff I’ve been talking about because it is an enormous job in itself and you do need someone dedicated to it and but when the pandemic hit we came home July 2019 from European festivals and we were supposed to just be home for about 12 months right record a new album go back on the road and then, obviously that was not what happened, so I went back to teaching violin which was something I’d done before kind of the band stuff took over, all the guys just went back to their other jobs, guys had to get new jobs if they weren’t already doing things because other guys they would often get fired if they tour too much, so then they would come home maybe at the end of an album cycle and have to find a new job because we’ve got too many tours this year, so when they asked her extra time off they would get fired because it’s like hey you’re never here and then when they came home for hey we’re gonna be home for a year they would have to get a new job and so that was kind of the challenge to the pandemic, people getting extra work to kind of just uh to get by which was tough, we’re very fortunate to still have a significant income through our Patreon membership and the script subscriptions that we have on that, no other bands really had things to that level for bands our size and so we’re very fortunate with that and then now it’s that adjustment, I have some violin teaching that I’m trying to wind back because the band stuff is getting so busy but at the same time we’re not getting paid anything yet, because the album’s not out we haven’t done any tours so it’s just really busy time because I can’t let go other work because there’s no money coming, because album’s not out the tour is not happening, so it’s just trying to make it through to that and then the album’s out once we get back on the road as long as lots of people turn up and people buy the album, then hopefully things get back on track but we’re very confident sales are really amazing for the tours and the feedback on the album so far for the few that have heard it it’s been really positive and obviously the single’s done really great, so it’s an exciting time for the band.
We really love the idea of you playing here in South America and hopefully more than the Buenos Aires show.
The intention is to try to make as many shows as possible.
About the songwriting process, is it the most challenging part to think with the band members or are there other parts as well?
Sometimes, I think that the lyrical process is pretty easy because we just leave that to Xenoyr, he writes the lyrics and he pretty much sends them through, I guess the only other person involved in the lyrics is myself because I also sing, so him and I will have a bit of back and forth sometimes about the lyrics for my parts, but it’s never really that I’m writing lyrics it’s more just that “hey this particular word or a syllable doesn’t suit the note that I want to sing”, often I write my melodies first, and I send Xenoyr like the guitar riff and the melody recorded just with no words, and then he will write lyrics that are similar to the melody and then it might be like “oh this word doesn’t sound good on a long note can we change it” or something like that so there’ll be a bit of back and forth in that regards but that’s normally pretty stress-free, because it is mostly Zen‘s thing and we work together really well regardless, it’s definitely tricky in the songwriting process we do get stuck sometimes, there are songs that get set aside and never finish, if we finish a song it’s because we think it’s awesome, so we don’t really have like b-sides to release, because it’s a lot of work to finish like a 12-minute song and if there’s something not working, we just we never finish it, because we get we do get stuck and we go way we’re up to the four minute Mark and what do we do here, or maybe the vibe of it or the flow is not working and we’re experimenting with ideas, normally there’s like a song or two per album that happens to, that you guys just never get to hear, every now and then every now and then there are riffs from those songs then get pulled aside, I remember that I’m trying to think when we had way back on “Citadel” with “Devour me Colossus” maybe about three or four minutes into the song we kind of went off into this kind of black medley riff, this is in the original version not the album version, in this completely different direction we had like a good like two or three minutes of music written but the change from one bit to the next bit had a particular riff wasn’t quite flowing that well and we were trying this, and we were trying that, and it’s like ah they’re not quite working and so in the end like we had a different idea, which was this acoustic thing, I can’t remember who wrote it doesn’t really matter but it was one of the other guys and I think I had the idea well can we try taking this bit from this song and putting that over there in a different song and all of a sudden it flowed perfectly and I was like okay cool well that two or three minutes we had would throw that in the bin and now we’re going off in different direction, that happened as well actually with the single “Equus” was actually originally a different song stuff that Benji had sent through and I kind of fleshed it out turned it into a bit of a Verse Chorus thing added a bridge that I kind of wrote in there in amongst veggie’s stuff and then it kind of went off in totally different directions to what you hear, but the flow once again it was a matter of I always I’m aiming for the song to flow seamlessly and to feel very natural in its progression, there was a moment that felt forced and then later on there was another moment that felt a bit forced and we kept trying different ideas and for a long time and there was some disagreement about how to try and solve that.
In the end like Matt and I got together and put all that other stuff, because we have a 10 minute song written, in the last six minutes I’ll just like but let’s pretend that doesn’t exist and get to this moment that isn’t flowing about the former mark, what could come next if we would writing something afresh without trying to make anything work, it was like we’ve completely fresh like if we were just listening to the first the song or the last eight minutes, just hanging out at Matt’s house one night, then send it back to the and we send it back to the rest of the band, say “hey guys we I lost most of this song in the bin and rewrote it please check it out and listen to it before you make any judgments”, obviously it’s like stuff people worked really hard on, and a lot of it just got tossed aside and that can be really awkward because people might really love their idea but then some of that stuff that got tossed side there is great and one of those ideas I know that we’ve kind of already flagged oh we should try and work on that idea has something fresh for the next record or things like that, because if something’s really good enough we’ll use it in the long run but this is the challenge of going of trying to not care about the ideas or not be too personal about the ideas and just go is this great, is this the best thing that we can do. Sometimes it’s experimenting and it doesn’t work and we might go we experiment, we experiment, we experiment and we don’t know what we’ve got is the best idea that we have, then it’s like is that good enough or is it not, is it good enough to be on the record or is it not, but at least if you experiment and that you feel comfortable that that’s the best that you can do, and I think that’s the really important thing by that sort of experimentation where if we don’t all agree, we generally the agreement is to try some other things because often what happens is that if we’re not all in agreement if we try some different things, something else will be we’ll all jump on and go “oh okay this we all agree about this, this is great” and then that’s the idea we move forward on whereas previously maybe we were struggling together.
I get tempted sometimes to take an old song and rewrite it or do a second version like Unforgiven two and three or something like that.
I think not really as far as the songwriting, because the songwriting for every song that we release we’ve put so much work into it that at that time I couldn’t imagine it any other way um and then it’s then it’s okay to move on going well that’s a piece of art that exists in that time capsule that doesn’t necessarily need to be changed having said that I do sometimes wish we could change the production or the performances on some records I mean I listened to portal of I and I think I mean it’s that’s a decade ago I mean I recorded vocals for that, like over 12 years ago and I’m a much better singer now than I was back then, so I listen to portal of I and I kind of go oh I don’t really like the vocals anymore because I’m comparing to now, and I go I wish I could like redo that with now but that’s what the live show is for, the live show is to hear the band as we are now, and you get to hear those old songs with the new today performance and so that’s kind of I guess how I managed to avoid wanting to redo stuff because it’s like you just come to the live show and you can hear the today version of it up to date.
I think having a great evolution of the band where does it lead to what is huge do you have a Grand Vision for example these are almost unlimited Partnerships with you with your employer Kestra or what is the future ultimate version?
Yeah I daydream but all sorts of different things, I remember years ago talking to Zen about the idea of doing something like with a ballet company or and like a wider string section or different things like that, but I think like for now I mean when I think about like the ultimate version of what we could do, especially if there was more budget, it would be things like maybe including like a string section in the live shows we’re actually even looking at whether we can do that sometimes maybe including a string quartet or something because there are a lot of strings on the new stuff, more than I can play by myself, haha, so I think like for us it’s just continuing to explore new things so I always try to make the album’s flow start to finish, I’ve been thinking for a while about the idea of a concept album that is a particular story or narrative that flows start to finish, because we our albums often are almost like that but not quite and so it feels like that would be something that would be fun to do although a big challenge, and just continuing to explore on this new record there’s a little bit more Viola there’s a couple solo Viola Parts mixed in on the record continue to explore that, maybe you can bring in some more solo cello stuff there’s a couple of songs with cello Parts on this record, just continue to expand and explore different sounds and so that’s really when I think about the ultimate idea of the band it would just to be continuing to push ourselves to do some new things and not just do the same record again I always well I would find that very boring as an artist to be too similar, so it’s important for me to be challenging and doing new things artistically, and then just try and do the best live show possible we have this new video which is out later today “Graal” and we have this wonderful fire dancer those sort of things but uh it’s the more people you have on the road like it makes things very expensive and so it’s aspirational things that hopefully one day we have that sort of money to be able to do extra special things into course.
You were talking about Patreon, and obviously, the band was one of the first ones to use Crow funding, how does it work for you?
Yeah, it’s been great, we did a crowdfunding campaign for our world tour in 2014 and we raised over 86,000 Australian dollars, which is about maybe 60,000 US dollars roughly, and our original Target of 40,000 we hit it in about 38 hours or 36 hours, it was a record in Australia for the biggest music-related crowdfunding campaign in Australia at the time. That was really exciting because that showed that if we said to our fans “hey if you support us we will give back in the nature of guaranteed tours” and they all went “hell yeah we are happy to support you” and then we did all the tours and it was great, the challenge for us after that was of course once that money dried up, we weren’t making profits on tours, and it was like well we’re still losing money on tours how do we keep on the road now that the crowd funny money is gone, and that’s where we came up with this idea of doing a subscription service. When that idea came up late 2015, I had never heard of Patreon before and I kind of mentioned on our Facebook page that we’re looking at doing this idea of maybe like a subscription service blah blah, like would people be interested in that sort of thing and it was in the comments that one of our fans mentioned like “oh that kind of like sounds like what Patreon do a little bit” and we checked it out and thought well actually this would be a pretty good fit, at that time though Patreon was really just for YouTube bloggers it was a way to get monetized for YouTube videos, and AMANDA PALMER (THE DRESDEN DOLLS) it was using it for each new thing that she released it would get a guaranteed like payment, so it wasn’t a monthly subscription it was like every time she released something, like a song or whatever it was, the membership fee would get processed, and she was the only prominent musician in the world that I could find using it, at all at that time everyone else was on YouTube videos, but there wasn’t any other bands in the world doing it beyond a very small level, like I found a couple of small local bands with like 10 members or something like that, but no one that you’d ever heard of or that was doing it with my success and so it was a bit of a risk because no one had ever done it before and we were checking with Patreon like are there any other bands like doing this and they’re like no like you guys are the first one, so we were like the first band in the whole world to do this, and now there’s a lot and it’s the thing is that people forget because in 2016 we announced this and a lot of people had to go you’re begging for money in ball one we said this is bullshits bands deserve to be paid for what they do if there is a market for it and we were like we have like tens of thousands of followers at that time I reckon we had about maybe 40 000 followers on Facebook and I’m like we have all these people that want to support us they don’t have a method to and we get paid so little from album sales and we don’t get any money for when we lose money on tour but these people want us to tour they want to support us and so my idea at the time was saying well this the system is broken and it’s not supporting bands it should be debate I’m successful, I can’t remember the figures off the top of my head but we did a big news feature in like one of the biggest newspapers here in Australia called the Australian newspaper and they did a big feature on this type of music that talked about how in that time in Australian dollars, I mean we must be getting close to a million dollars and over the last seven years, in Australian dollars I mean I think it was got to check the figures but it sounds like a huge amount of money because it is, because a lot of beds they don’t get any of that money and so you’re pumping that in and that’s literally how we’ve been able to do it as a part-time job invest into us where maybe we lose 25,000 on the tour it’s like that’s okay because we have this money to spend and when you really break it down on spending that money between six people or like six seven years it’s actually like less than working at McDonald’s, so it makes through a headline like that sort of figure, but not actually it’s not actually a livable wage yet but it’s a huge thing and it is basically creates a part-time income just from the Patreon, we still as of today we have about 6,000 US in monthly membership with 700 plus members on board and that’s gone down a lot because of the pandemic but we’re just starting advertise that, again because of a new album and things like that so it really completely changed our career and it’s the reason why we’ve been able to tour because so literally most of the touring we’ve done around the world is because of the money that we got for Patreon from 2016 onwards and so it’s been incredible and it’s been great to see a lot of bands copy that idea over the years it took a while before people got the confidence, because there was that bit of a negative stigma about it but now lots of bands and musicians are doing it which is great and also doing other things as well whether they’re streaming on Twitch or whatever.
The whole point is that there’s got to be more ways for musicians to make money because it can’t be that just because you’re a metal musician you have to be broke it’s not cool, I have a 10 year old daughter, I don’t have to put food on the table I got to pay my rent and I spent like 20 years studying to be a professional violinist, like I’m highly trained professional musician, just like a doctor or whatever else, what I chose to do was to work, my I saw practicing three or four hours a day for years as a violinist, as a musician, as a composer, writer; and musicians deserve to be paid if there is support for what they’re doing so not every musician can get a lot of money, there’s a lot of musicians who would like to be, but it’s about making sure that if you have fans there, that there’s a way for them to support you in a way that is fair and reasonable with not everyone else getting paid first like the record label, on the publicist and the record store and the promoter and the all that sort of stuff, that’s not saying that that’s not good like those people do essential things in the music scene, but the musicians if they don’t like most bands if they never get paid eventually they have to quit, because it becomes unsustainable so you get a lot of musicians getting like I’m 40 years old a lot of bands they get into their 40s they have families and kids and they quit, because they’ve never got to the stage of being able to make a profit from the band and they just can’t do it anymore and so the more bands can keep going that we can support financially the better.
Follow NE OBLIVISCARIS:
Official Website: https://neobliviscaris.com.au/