We all love the rush of being the first to hear the ‘next big thing’ – how many times have you one of your mates tell you how they were “listening to Arctic Monkeys way before the hype?” Well if you are the type who loves hearing new bands but hates drudging through Myspace, join us in this live interactive WebTV to discuss the best of the UK’s independent bands and artists and what we should all be listening to in 2009.

Joining us in the studio will be a band who definitely knows the importance of the independent music scene, Howling Bells. Coming to the UK in 2004 to make their name in the music industry, they shot to fame with their self-titled debut album which received wide critical acclaim and a faithful UK fan base.

Lucky for us, the Australian indie darlings are taking time out from releasing their forthcoming album, tell us what it’s like starting out and advice on making it in the music industry. Having supported the likes of The Killers and Placebo on tour, they know a thing or two about what it takes to get your music out there.

The most important thing is to get your music heard and with the rise in social networking sites, there has never been a better time to lay down a few tracks. eMusic has the best of independent music with over 5 million tracks available, you can hear the best new music.

So if you want to know what music to look out for this year, discuss what you thought of 2008’s or get some tips from our special guest then log on and submit your questions to be answered live in the studio.

Howling Bells and music expert Andy Perry join us live online to talk about the future of independent music.

For more information visit www.emusic.com/webtv

H: Vicky Letch, host
A: Andy Perry, music expert
J: Juanita Stein, Howling Bells
G: Glenn Rainbow, Howling Bells

H: Hello and welcome to the Entertainment Show, I’m Vicky Letch. Now we all love to be the one that finds that cool new music and then spread the word to all of our friends, but many times have you heard a band or an artist mentioned and then someone says “but I’ve been a fan of them for ages”? Well one of those independent artists are indie rockers Howling Bells who have taken time out from releasing their forthcoming album to come to the studio and to chat to us. We’re also joined by music journalist Andrew Perry who writes for independent digital music retailer Music. Now we’re going to be delving into the world of independent labels, and looking at the impact that they’ve had and are having on the rapidly changing music industry. Now of course we are totally live, so if you want to get your questions into Andrew or Howling Bells please do so. Any comments are welcomed, isn’t that right gang?

J: Sure

H: Very enthusiastic, I like that! Ok welcome along thank you so much for taking the time out of your busy music schedule to come and chat to us. Don’t get lonely, I’ll come and chat to you in a second. Now before we get stuck in to the meat, I just want to ask you about your album that’s coming out soon, it’s all very exciting – tell us a bit about that?

J: Yes well we’ve been writing for it pretty much since our last bunch of touring which was like two or three years ago, so it’s been a long process and we kind of got together in a house and threw all the songs into a big pot and came out with an album called Radio Wars which we recorded in Los Angeles this year – earlier this year

G: Last year. Start of last year

H: Very glam – you’re very casual, just you know recorded in LA baby!

J: Do you like LA?

H: I haven’t been yet

J: Right

H: Is it not glam?

J: It is and it isn’t. It’s the most glamorous and the most unglamorous place I’ve ever been in my life

H: Really?

J: Yes

H: I’m sure you added the glamour being there. What’s the whole process like? I always wonder when you’re in a band, do you ever – are you ever at loggerheads going I want that track on that album and someone else is saying yes –

J: All the time

G: Yes. And when you put a produce in the mix as well it adds someone else to fight – yes

H: Which begs the question then, because I would always imagine when you’re artists you have pride and you love every song that you write. How on earth do you ever choose a single?

J: Boy oh boy oh boy

G: Yes. I think you have to look at where you want to end up, like essentially

H: Yes

G: And where – how you want your band to be seen and how you want to be represented, and I think you kind of have to choose in a direction. So I mean if you write a folk song and you’re a heavy metal band, you’re not going to pick that folk song to be the single, are you?

J: No

H: You’d hope not

J: Yes. I mean you have a record label and managers and agents and if you’re open to suggestion then you, like we did, we gave them our records and we were kind of interested in which tracks they connected with simultaneously which they always do –

H: Yes

J: They always talk through tracks on a record that people seem to connect with instantly

H: Ok

J: Sometimes you tend to go with their opinion because as a band you’re – at times – pretty lost inside your own musical world

H: Yes. Which I can believe, I really can. Now we have footage, exclusive footage of your new single, so we’re going to take a look now. And I just want to say – hot lady, hot

Video Footage

H: That looks absolutely fantastic – very sexy

J: Thank you

H: Indeed. I’ve got to ask as well, when you start out, you all get together – because you used to have a different name didn’t you originally?

J: Well we were in different bands

H: Right ok

J: Before we –

H: Oh I’m sorry I thought you had a different name collectively –

J: Yes

H: Right so you start out, you get together, are you thinking straight away this is how we will make a living? Are you quite positive or are you thinking it might not work out, it might just be something we do on a sideline?

J: There’s really no point in even venturing outside the box if there’s kind of an option of it failing. I mean when you start, initially, you’re young and naive and presumptuous and you’re like you can take over the world and it’s going to be amazing, and then you’re in a band two, three, four, five years and then you’re like alright, alright, this is how it works, ok – you’re humbled but yes you just push on

H: You must still have those moments where you wake up and go wow, we’ve actually done this, we’re making a living from doing something we love

J: It’s humble

H: Yes

J: I mean we’re not yet buying houses in different cities and all over the world, but I’m not a checkout chick so I’m happy

H: And you’re holidaying in LA so all’s good

J: Right

H: Is Andrew Perry still here? Oh thank goodness, I thought –

A: Hello

H: You might have left us

A: Hello, hello

H: Hello Mister! We say save the best till last don’t we?

A: Like a good wine, eh?

H: Like a fine wine. Now we’ve come to you for the meat.

A: Right

H: We’re going to get into the meat of the chat here. I want to know, in terms of 2008 what Indie bands were hot for you, and then looking into the future in ’09, although it’s a bit premature, but who are we looking out for?

A: It’s a lot to ask. Well I’m a big Jack White fan, I like the White Stripes but he didn’t do a White Stripes album last year, it was Raconteurs which is his bigger band. I mean they were actually the biggest selling thing on music last year, and – but what I thought was good about the year was it was very diverse, you know they would say people like Vampire Weekend, you know who sort of strange sound, and you know that sort of music wouldn’t be made on a major label I don’t think

H: Yes

A: You know I think that’s you know, if you said we’re a bunch of American college kids and we’re going to start pulling in bits of African music, you know – out you go, you know if you went to a major label so. And you know I think that kind of diversity is what makes independent music really worth, you know worth its money really

H: And how important do you think the independent labels are in the development of the music industry? Vital?

A: Massively so because you know the major labels are really there just to make money now, that’s really all they understand, you know. I mean people like, say, last year had a great album, Nick Cave and Jack White as well you know, these are people that aren’t sort of quick fix kind of people, they’re not you know sort of one-hit record and out the door, you know these are people that keep writing and they develop, and that kind of attitude to music only really gets invested in the independent sector in my book. You know everything is very much fixated towards you know quick money in the majors

H: Ok. Now before we get too stuck in, because I’m going to come back to that, I don’t want to get off this subject just yet – what about for you, ‘08, ’09 – people who you loved and people to look out for?

J: Actually went and saw an act last night who kind of really inspiring, a girl called La Rue – do you know her?

A: Yes, yes

J: Yes it was great, it reminded me – she reminded me of Annie Lennox a little bit

A: Right, yes yes

J: Really modern stance. And there’s a young band from London I’ve heard recently called Stricken City who I think are really cool. And –

G: Tulips

J: Tulips

G: Tulips are fun

J: Yes. We’re going to go on tour soon and we’re taking two bands that we both really like. One is Tulips and the other is Joy Formidable. Yes I think they’re all bands that should be exciting for this year

H: Great. You heard it here first people. Right so let’s talk a little bit more about the fact that people are now downloading rather than going to shops to buy – I mean how does that change the trends? I mean it would then create more of a level playing field for people who wouldn’t necessarily be that accessible

A: Yes sure, but I think there still needs to be – downloading- there still needs to be that kind of feeling of browsing in a record shop

H: Yes

A: And you know I think the problem with a lot of the sort of downloading sites is that it kind of cheapens the music. It’s just like you just click your mouse and you know, there’s your blob of music, right. And you can also just go bang – delete – it’s gone, you know, and I think there are people, a lot of people out there who feel music’s a much more valuable commodity than that, and I think there needs to be sites in which I think – I don’t actually work for them per say but you know what Music are trying to do is just to make it a more than immersive experience and then it actually caters to people – you know you actually find out stuff about the music. And you know that it’s a diverse and living, breathing kind of organism, you know, music today – it fulfils more of a function than just what’s in the air for sort of 2 minutes 59 seconds or whatever

H: And do you think we’re going to see this explode even more now we’ve obviously lost some of our key players – Zavvi for example, one of the largest, gone

A: Sure

H: So do you think we’re going to see people buying -

A: Yes absolutely. I mean it will diversify, you know that’s the great thing about pop culture overall, you know is that it just sort of sprawls on and where the energy is at the moment is in this sort of, you know digital kind of transferral thing, you know – but I mean there are still great old record shops too, you know, and I think you know people just find the bit of it that they want, you know and you know some people are really into technological advances and that, and that’s great, but you know maybe I’m a little too old for that. It’s all a bit fast for me

H: Well. I’m getting there Andrew but we’ll talk about that later. Right we are live, so thank you very much for all of your questions. Let’s get kicking off with these then – Olivia has sent a question in that says “I’m a massive Howling Bells fan from NYC and I was wondering when are you touring the US or coming to New York?”

J: What do you think Glenn?

G: There’s no definite, no definite time but I would say around May

H: There’s no definite time – I’m going to say May

J: May 12th at 7.08pm

G: We get off the plane –

J: And we’ll be entering the venue

G: JFK at 13.00

H: Brilliant, she’ll be there, won’t you Olivia, I’m sure you will! Thank you very much for your question. Another question here is “do you think that as a musician, staying independent is a better way to form a successful career?” Ooh who wants to jump in?

J: Independent as in not with a record label at all, or an indie label? Is that –

H: I think – do you know what, answer however you want to answer it, because I would be lying if I knew exactly what they meant by that

J: What do you think it means?

A: Yes I think it means an independent label

J: Right

A: I think that’s probably what –

J: Right. We haven’t really been with like a massive record label so it’s hard to compare our experiences of all being with very small, homely creative labels with – all I can say from experience is I couldn’t fathom working with somebody who didn’t have an exceptional obsession with music. It kind of defeats the entire purpose of working with music, don’t you think?

G: Yes, absolutely. I mean when it all comes down to numbers, and numbers become more important, you know being an artist, that’s like – that’s pretty offensive in my eyes

J: As an artist, yes

G: I’m not saying all major labels are like that but there’s definitely that element in there that you just can’t avoid

H: Ok

A: I went to a label recently, a major label who shall remain nameless –

H: Name them!

J: There’s not many of them left

H: Yes

A: I had to be there over the lunch time and none of them went out for lunch, right, and also some of them didn’t eat and so I wondered if maybe they had like some kind of interface with the mains, you know like zip robot, and it is getting really like that I think, and the great thing about independent labels is as you say that you deal with people who kind of like, get the music made first and then you talk about the marketing and all the other sort of cack that gets involved

J: Exactly

A: So that’s why, you know you’re more likely to have a career because you might actually enjoy it, you know. You also look at some of the bands that are signed to majors now, and they’re just sort of thousand yard stare, you know

J: It’s frightening

A: Yes and it’s hard work

G: So have a used-by date on them

J: I know, an expiration date

G: Stamp it on them

J: The moment they sign. So I mean our experience has been extremely positive thus far

H: Good, good. David, how are you David? Thank you for your question. David says “what festivals do you look forward to playing at? I loved the energy of the Isle of Wight – would you like to headline there one day?”

G: Of course, of course

J: Sure, we want to headline anywhere

H: Yes

G: We always go back to answering these questions of which ones we love playing at, and it’s always Latitude

J: Yes that’s a great festival

G: We always throw that in there, it’s amazing, but I’m busting to do Glastonbury

J: Yes that’s nice

G: That’s my aim

J: Play there, that would be amazing

H: That would be amazing wouldn’t it?

J: Yes.

H: You have arrived, it’s one of those moments I think

A: Yes

J: I think so, to play a good, decent-sized stage there would be great

G: So if anyone’s listening

H: From Glastonbury

G: And can help us

H: Can you, anyone, just give us a call. We’re live, call us. Ok let’s go onto another question because we don’t have an awful lot of time left, so here’s one. “Many bands are against the big players in the music industry, take Radiohead for example, they ditched their label, went independent then asked their fans to decide what they wanted to pay for their album. What kind of effect did this have on the industry as a whole? Does this make it harder or easier for new bands starting out?”

A: You’re a band – you’re probably -

J: No I mean you’re just –

A: I’m just waffling

J: As involved in it as we are, you write about the bands – we – I don’t know, I kind of – it was very split when it happened and I had a lot of friends who hated them for it, and a lot that loved them, and I was kind of extremely excited by the whole thing, because I’m like, they’re just shaking it up

H: Yes

J: They’re just getting a big jar of stale bread and they’re just like shaking it up, and they’re making people think and question and ask and revise and – and contemplate the state of the industry and I think that’s crucial. It’s not different to like when the Beatles took it to the rooftop of the building and played their music, I mean it’s just challenging

H: Excellent. Right we really don’t have a lot of time left, so before we do anything else I have to ask you what it was like to tour with the likes of the Killers and Placebo – what a moment! Exciting?

J: Yes

G: She was going to swear then but she -

J: I was going to swear, and I was very considerate –

H: What were you going to say? No tell me later

G: It’s incredible. You can just imagine being in a – what are they called?

J: Auditorium

G: Stadium, a stadium

H: It must be awesome

G: With 20,000 people, it’s – how would you feel?

H: Well pretty nervous –

G: Would you feel –

H: I mean I could probably bash out London’s Burning on the recorder through my nose, but it doesn’t get much better than that

A: Here’s the run-out fee

H: A cow bell as well, I could introduce the cow bell. But no, on a serious note, it must be so exciting, beyond exciting

J: It is exciting and it’s overwhelming and it’s intimidating as well, and you think you’ve kind of got a grasp on it all and then you get on stage and you’re like oh God –

G: There’s another 20 rungs that have just been put in the ladder

J: Yes. But then you watch, you know, Brandon from the Killers get on stage and you’re like wow! You know it’s, you have something to learn from absolutely everybody, whether you love, hate, are inspired by their music or not, it’s all very – it’s all educational

H: And initially when you do start to tour with the big bands as you are, I mean the learning curve must be a really steep one

J: Sure

H: So much to absorb and take in all the time

J: I mean we just got in off the road with Mercury Rev and we were talking about this the other day, they’re a band that’s been around forever, and to watch them, you know to watch Jonathan sing these songs night after night after night with as much kind of impact and like you know – he’s got so much passion, yes. And it never falters, it’s like every night is as genuine as the one before

G: He could play in front of one person, or 500 or a 1000 or whatever and it – he wouldn’t pull it short at all

A: The other thing, don’t give up, I remember him saying when I met him he said that he’s just been to see Joe Mascis playing from Dinosaur playing in this tiny bar playing acoustically with about 20 people in there

J: Amazing

A: And he said they were just talking afterwards and it’s just, you just keep going, you don’t stop, you know. Like people would come back

J: Yes

A: People like him who – you know – you don’t get enough of those people who have just got the drive to just do it, whether there’s people listening or not

J: They do, so much

A: Yes absolutely

H: Final question everyone! “Should radio, music, television be more dedicated and strive to play more independent music? Most commercial radio stations, bar Q only play true independent artists on specialist shows. Should there be more support for unsigned, independent music acts?”

A: Yes. It would be more interesting if it did happen that way, of course. There’d be more diversity because you know the major labels just – I read a thing apparently this year it’s basically they want chicks with keyboards, that’s the big thing, you know which –

H: I wondered what he was going to say then

A: Who La Rue is cool, there’s some interesting things, but basically all they want is that sound, you know so Florence and the Machine and all those people, you know, and basically all you’ll hear is that, and it’s just like – you know if that’s what’s cool I’d like to hear a deep voiced man with an acoustic guitar, or whatever

H: Or a girl with a cow bell

A: With a cow bell, yes

H: You know

G: Or playing a recorder through her nose

H: Or playing a recorder through her nose, when you don’t have a cold it works a lot better. Well we’ve got to wrap things up, thank you so much again for your time. Before we do, future for you guys – what can we look forward to?

J: Long, long long future

G: We’re not going to give up

H: Yes, yes baby

A: Don’t stop

J: We’re taking our Jonathan and Jane Maskis on board and just – in it for the long haul

H: Brilliant. Well we look forward to seeing and hearing the long haul. Thank you again for your time, all of you. Right that is all we’ve got time for so thanks for watching. For your chance to download some of the music we’ve highlighted today, go to emusic.com/webtv and get 35 free tracks from emusic’s catalogue of over 5 million songs. Howling Bells album Radio Wars will be available from the 1st week of March. Thanks again for watching.

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