Tag Archive: Phil Cartwright


“You just need to believe in yourself. Anyone can sing. Anyone can play the guitar. It’s not that people can say that “I’m not good at that”. It’s not true. You have to not let fear hold you back.” Heather Boo, Beau

On 1 April, HorizonVU Music’s Phil Cartwright met up in Paris with Beau – Heather Boo and Emma Rose – for an informal conversation about the duo’s background, development and points-of-view toward music and expression. Many thanks to Viviane Bres, Kitsuné Records, for making the meet-up possible.

HVMU: This afternoon we have the opportunity to visit with Emma Rose and Heather Boo – together known as Beau. It’s a real pleasure for HorizonVU Music to have the chance to hear your live performance and meet you for a visit today. We can talk a bit about your background, what’s been going on with Beau and talk a bit about the future.

We’ve done our homework reading your profile and interviews that you have done (The Village Voice and Numéro, for example). We understand that you are from New York City, you met through family connections and you have been friends for a long time. You are basically self-taught as far as your musical background is concerned which is quite incredible. Developing on your own is quite amazing.
Can you tell us a bit of the backstory? We have a following of young female emerging musicians and they like to hear from success stories. Surely, you didn’t decide just to have a band one day and all of a sudden you had a manager, a label and went on tour. Can you tell us how your story evolved?

Beau2HB: Well, we were always writing music. We started writing songs. This was after we knew how to play the guitar. This is before I started singing. I thought I was going to be a guitar player. We were writing songs, we got inspired by other musicians who are songwriters and we just knew that is what we wanted to do. We started writing and playing guitar together and that’s when things came full-circle. We realized that we have a lot to say. Not only that, but were not going to be self-conscious and be held back. We were going to write, write, write and produce until we thought we had something we felt good about. We made a lot of music. We recorded music on our iPhone and someone heard it.

I started singing and Emma started playing the guitar heavily. She got really involved. She started when she was twelve years old. She just grew. I started singing and became more confident. There’s a thing about music. You do not need to take lessons. You just need to believe in yourself. Anyone can sing. Anyone can play the guitar. It’s not that people can say that “I’m not good at that”. It’s not true. You have to not let fear hold you back. We are human beings in a society where we have been chanting and singing melodies for years, so that is natural.

So, a friend of a friend heard our music and introduced us to the head of our record label. He popped the question whether or not we had a record label and whether we would like one. We said “yes”.

HVUM: That’s fabulous; a great story. When you look back from where you re today and thinking about people that are starting out, were there any real bumps in the road that you hit and you haven’t forgotten them? How did you get over the bumps?

ER: There are bumps in every road. I don’t think it was one big thing that happened. It was a bunch of little things that happened
Beau3 all the time. That’s where the magic happens, too.

I think the attacks in Paris were really crazy for us. We were on tour in Europe at the time. We were in The Hague at the time. We had the day off the day after the attacks. We started asking ourselves what we should do. That’s one time we questioned whether or not we should take a break. It was scary and it first seemed like musicians were targeted, but of course, it was everyone. That was a big eye-opening event for us in the world. Other than that no real problems.

HVUM: That’s great. So far, so, good. One thing that we’ve noted about your music is that you have a very cool eclectic sound. As we listen to the album we hear rock, folk/rock, a little blues, folk, and some punk and even some jazz. The punk came through more in your live performance last night than it does on the album. The album is beautiful. There is some more “mellow” sounding music. Many musicians have a hard time being eclectic. They hit on a genre and stay with it. They never get outside the borders. How did you pull it off?

ER: We never thought about it. That’s how we pulled it off. When you start thinking about things, nitpicking and judging your music that’s when it all goes wrong.

HB: We are inspired by a lot of people growing up in New York. Every day we wanted to write. I feel like performance-wise making a genre for a band can be a big mistake. Either the band makes the genre or the people make the genre. If the band makes the genre they stick to one thing. If the people make the genre they need to put a label on each song.

BeauOur style and the style of our producer shows through on our Beau album. This gives the album a more specific genre than the live performance, but each song is so different that it should be put under its own genre like “open” or “worldly” or “confusing”. What makes a really good performance is the range a person can give to the audience. You’re expressing yourself. You are expressing the truth of the song, the emotion of the song. You have to be honest with the song and if you are honest each song will be different.

ER: On our set list we also try to put different kinds of songs.

HVUM: You mix it up very well. Can you help us tie together the title, ”That Thing Reality” with the tracks.

HB: Since all of the songs are so different, “That Thing Reality “ is a really good title. For me it felt right. Emma came up with the title and I felt very comfortable with it.

HVUM: What’s the story behind “Animal Kingdom”?

HB: It’s a funny story. Originally we didn’t know what to do with it. It sounded great; great melody, great hook. We weren’t sure if we wanted to talk about the relationship between man and beast or politics…

We had a crazy drummer and we produced a different version of it. It was crazy pop-punk. We all struggled with it. Writing with three people s difficult. We decided to put it on the album. Emma came with final lyrics that were solidified. Emma put it together. It was almost like a book; so detailed. We still didn’t feel comfortable. In the studio it was the last song we worked.

ER: It’s fun to play live.

HVUM: We’ve posted the video and it gets a positive response. Keep it up! Other than music, what do you do for fun?

Beau Photo Credit: Amber Byrne Mahoney Photography

Photo Credit: Amber Byrne Mahoney Photography



ER: Walk a lot.

HB: We like to walk and write and draw. In New York anything can happen; a naked guy walking down the street and somebody gives him a pair of socks and a shirt.

ER: I like Chinatown.

HB: We never get tired of New York. It’s always changing. No store stays there for more than five years. It still feels like home.

ER: And we have ridiculously creative and talented friends from New York. Sometimes I’ll call one of them. If they’re in a move I’m with them just because they’re so “out there”.

HVUM: Thanks for your time and we hope you’ll keep us up to date. Hopefully you’ll come back to Paris and have a night to yourself so you can play all twelve tracks. It’s been a pleasure talking with you and we wish you all the best!

Visit Beau on Facebook and Twitter


Tarah G. Carpenter Reveals Her Uncompromising Confrontation with Real Life and Music

Interview with Phil Cartwright, CEO, HorizonVU Music

Tarah G. Carpenter Photo Credit: Anais Brebion

Tarah G. Carpenter Photo Credit: Anais Brebion


The mind, soul, rock’n roll heart beat and operator behind ‘Tarah Who?’ is French / American Singer and Multi-Instrumentalist (drummer, guitarist & bassist) Tarah G. Carpenter. Born in Paris, France, Tarah got her first drum set at age 14. After a short stint of coming to the US to be a high school exchange student in Murray, Kentucky, she was unable to play drums & out of boredom she picked up the guitar & started writing songs as an outlet.

After playing in-and-out of bands around Paris on drums & bass for few years, Tarah got the desire to travel to Los Angeles to explore the music scene. With her bandmates back in Paris and on a last minute whim, Tarah answered an ad on Craigslist “looking for an artist to perform original songs at a warehouse Party Downtown”. When she, for the first time performed singing and playing guitar the audience response was so good that she decided she wanted to do her own music and started playing under the moniker ‘Tarah Who?’ immediately.

With true 90’s spirit, anthemic sing-a-long choruses, a punk edged energetic live show and a load of heart to back it up. Tarah’s song live and recorded jump out and grab at you to listen. The fact that she can rock the drums just hard as the guitar is enough to make any audience member or listener pay attention. Tarah’s been compared to everything from the female Pearl Jam to Sonic Youth, but regardless, Tarah G. Carpenter stands on her own and is someone you don’t want to miss.

Tarah’s song ‘In My Mind’ received an honorable mention for the world song contest by Billboard Magazine and ‘Worst to Come’ has had regular spins on WRCR Rockford, IL College Radio, as well as play on 89.4 FM Radio Libertaire. She has also been featured on numerous blogs including Ustream.tv, Revolutionthreesixty.com (’PEOPLE THAT MATTER’) and Thehangoutgroup.com

Tarah Who? has just released their new EP, “Federal Circle of Shame” available at https://itunes.apple.com/us/album/federal-circle-of-shame-ep/id1083959696

HVUM: You are well-known amongst your peers for having a hard-edged DIY approach to your music career. Tell us what’s behind that.

Federal Circle of ShameTGC: I never really thought of it this way, really…

I started playing when I was 14 and I just kept on going. My approach to music or my career is more of a feeling. Does it feel right to follow this path? Or is it fair?

Things don’t always go as planned but you learn and keep going. You know better.

I have my own definition of DIY. I understand and use it more as Do it… Independently from the big labels that do everything for you. What I believe as an independent artist that may be called do it yourself is that you are not famous, but you still want to do and share your music. Why not? Just do it yourself. Don’t wait for the contract, you may not even want any of it after reading it. In that sense you are doing it yourself.

But it is really interesting when you meet other DIY artists. You become friends, and help each other out, tour together, exchange gear, or dates, musicians, studios, ideas and tips etc… It’s this sort of circle of friends, and family that you start building, with artists that are just like you, trying to break through.

017The hard part for a DIY is to stay true to yourself and what you believe in. If you are a DIY musician you are most likely broke or not very wealthy. It is important to not fall into the scams of pay to play gigs for instance. Talking to other bands or musicians is very important to get the best advice to meet your needs. (i.e., you may not have the cash for a recording studio, but need to record: ask around about the equipment you need for a home studio and learn how to do it yourself. Or maybe someone loves your project and would like to help out. The idea is: NOTHING gets in your way)

HVUM: You’ve been working a lot with bassist Ash Orphan. You two come from slightly different musical paths. What led you to work together and how does the collaboration show up in your music?

Ash Orphan

Ash Orphan

TGC: I have known Ash for five years now. We were playing in a project called LED. I was the drummer he was the bass player. I really enjoyed his approach to bass and it really inspired me in playing drums.

We started a side project together to explore the ideas that we had during the smoke breaks our bandmates had. Those ideas became the project we have today called Jane Gray Black Orphan.

At the time Ash was part of another band as well that was getting pretty popular and he didn’t want to start a new project. I really believed there was something to his touch and approach of the guitar now and I really liked his voice. Even though he said he didn’t want a band I kept asking for him to come over “to jam” but of course it all became more serious and before he knew it we were a new band! Now JGBO is a very serious project and we are both really proud of it!

Ash comes from a different musical background. He listens to the dark depressing songs that I usually change after 30 seconds of hearing. I think it’s called post-rock? Not my thing. We tried many times. I just can’t do it! Maybe in a few years!

I am more punk rock, grunge, rock… not pop rock… ROCK! So I enjoy playing with Ash because he writes melodies that inspire me to play grooves he doesn’t expect. It’s the combination of our two musical worlds, I think, that makes Jane Gray Black Orphan.

HVUM: You’re doing a combination of electric and acoustic shows these days. Do you like mixing it up?

TGC: I started Tarah Who? as a solo acoustic performer only because I didn’t have a band! I like playing the electric show better because I get to be loud, I have a lot of fun with the guys and I love the vibrations of the drums and bass and I get to scream as loud as I want!

IMG_1468It is interesting to play solo (or just with Ash but the idea is to play an acoustic set) because I have a different audience and people’s that can’t handle the electric show can appreciate the acoustic!

I hear it all: people that LOVE the electric show, others that are very surprised with the acoustic and could not imagine it but really enjoy it, others that prefer the acoustic etc..

The acoustic is more intimate but still very entertaining and both are a lot of fun. I feed of the audience’s energy so whether it’s an electric or acoustic event, if you’re into it, I’ll give you my best!

HVUM: What you do think each (electric and acoustic) presents you as a songwriter and guitarist?

TGC: I write ALL of my songs with an acoustic guitar. I think that the acoustic emphasizes the rhythmic parts I play.

My songwriting is very “drum” oriented. It doesn’t really follow any songwriting “rules” people may learn. I usually think of the drums first and whatever is fun to play I stick to.

The acoustic show is interesting because there are no drums and I have heard many times from the people that have only seen us electric, they can’t imagine an acoustic show. As of today no one has been disappointed!

So the acoustic definitely shows the rhythm of the songs and you can actually hear my vocals too!

For the electric shows…I think speed… Everything is played faster. Faster than the acoustic show and faster than the album. I think that’s why we started getting this punk label. I never intended to be in the punk scene. I just write what I want really and can’t define it. I have certain emotions while recording that requires a specific tempo. But once it’s out there, available to the world, the live show is something else! We want to have fun, and we want people to jump around and go crazy, so we intentionally play faster, and sometimes as fast as we can!

HVUM: Tell us about your gear setup for Tarah Who? And your acoustic performances.

TGC: Tarah Who? is meant to be a four piece band with a second guitar player, but until I find the “dude” we are a three piece. (booking@tarahwho.com if you are interested.)

Tarah Who?

Tarah Who?


We have the drums, very simple set up: Kick Snare, 2 toms and Floor Tom. 3 crashes, 1 ride, 1 china (essential!!) and HH. Soultone cymbals.

Bass: G&L 5 string bass, Big Muff- Electro Harmonix , EBSMulti Drive. Gallien Kruger Head , Form Factor CAB.

GTR: I have three different guitars and a spare because of my different tunings. On ALL of my guitars though, i have the Ernie Ball Not so slinky set of strings. A friend of mine introduced me to those strings a few years ago, i haven’t stopped buying them since.

Ampeg amp.

Acoustic GTR: my dream guitar is still at the store…I just haven’t had gathered the cash for it yet!

So I still use my old acoustic guitar, with Ernie Ball’s acoustic set. (Medium)
New Album: Barytone and Ernie Ball’s Barytone set. EBS Chorus and Distortion.
Vocals; Shure Beta 58 A.

HVUM: Apart from your own music, what artists are in the top three positions on your playlist these days?

TGC: I actually don’t listen to much music.

I spend my days rehearsing for Tarah Who? or Jane Gray Black Orphan. I also have another punk project with the bass and Barytone that I would like to work on more, so really, when I am done practicing the last thing I want to do is listen to anything.

I actually enjoy silence a lot, and if anything is playing, the people I am with, are usually playing it.

I have more apps on my phone than music, and the music I have is for work, demos: with a very loud metronome!

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Tarah G. Carpenter Will Rock U!

Originally posted May 29th, 2015 by Tom Tom Magazine http://tomtommag.com/2015/05/tarah-g-carpenter-will-rock-u/

Photo by Anais Brebion

Photo by Anais Brebion

Tarah G. Carpenter Will Rock U!

By Phil Cartwright

Full Name: Tarah G. Carpenter

Age: 30

Hometown: Paris, France & Los Angeles, CA

Lives in: Los Angeles, CA

Past Bands: Fräulein (punk/noise)

Current Bands: Jane Gray Black Orphan

Day Job: Musician

Endorsements: Soultone, DC California

The mind, soul, rock’s roll heartbeat and operator behind Tarah Who? is French/American singer and multi-instrumentalist (drummer, guitarist and bassist) Tarah G. Carpenter.

Born in Paris, France, Tarah got her first drum set at age 14. While in the U.S. as a high school exchange student she also picked up the guitar and starting writing songs. With a 90’s spirit, anthemic sing-a-long choruses, a punk-edged energetic live show, the power of Tarah’s songs pull you in and slam you.

Since 2010, Tarah G. Carpenter has released numerous demos and toured Europe many times. She has played at the Festival Europe des Cultures, Gibus, Le Sentier des Halles in Paris. She has been active in the London, Leeds, Amsterdam, Berlin and Hanoi music scenes. More recently, she toured the U.S. playing venues such as the Viper Room and House of Blues in Los Angeles.

PC: Tell us how playing the drums influenced your musical development?

TGC: I think the best thing in being able to play several instruments is that you can experience different positions and feel the music differently. As a drummer, I tend to naturally leave room for others and try not to always play when not necessary. Excepting for drummers, fills are not very fascinating to others. Now, being a drummer, I find it easier to play other instruments as well. For example, I take my guitar as a rhythm instrument. I pay more attention to my band’s tightness. When I play the bass, I like to have fun with the drummer.

In terms of your career, who were your biggest influences?

I first discovered Steve Gadd, Dave Weckl and Vinnie Colaiuta’ drums solos for Buddy Rich’s event. I really enjoyed how they were using the drums. At 15 all of this was new to me.

Then I listened to the Foo fighters and of course I got into Dave Grohl and Taylor Hawkins. Then I started looking for female drummers and discovered Sheila E. I don’t know many drummers or I don’t look for any in particular. I enjoy drummers that have personality, their own sound behind the kit, that are original, or just know how to groove.

Recently, I saw Keith Carlock at a drum festival in Paris. I really, really enjoyed his approach to the drums. I have also seen Sean Winchester in his solo project called Something Bot Metro. I think his drumming is brilliant and watching the project live is a real pleasure.

What makes a good drummer?

Ha! I think we can all have our own definition!

I don’t think a “GOOD” drummer needs to have all the technique possible. I think practice is important because without technique you are limited. But there’s nothing worse in my opinion than a very good technician who has no feelings or personal touch or sound. Most people wouldn’t notice the difference, but I think you can tell sometimes from a hit, or sound who is behind the drums. Also I find it annoying for instance if I’m playing another instrument and the drummer doesn’t listen to the music and really feel it. I think a good drummer needs to find the right balance, or find the right amount of groove, fill, feel, and of course timing – feel where it feels right to put in a fill or leave it simple. A good drummer should keep the band tight for sure, but also a good band should know how to listen to each other, whichever instrument they play.

PC: Tell us a little about life with Tarah Who?

TGC: Life with Tarah Who? is an adventure! I write all the music and lyrics then send the songs to my band mates. They learn their parts and then we meet in studios to rehearse. What I like is that we can arrange every song for the live performance, and we have a lot of fun doing that. Every show is different.

A very fun moment that sticks in my mind? Yes, I have tons, but a recent one was in London. We were invited to play at this punk Festival (which is really funny to us because we are not a punk band at all…or at least we are not my definition of a punk band). So we are at this punk fest which is very cool. There were five bands and we played 4th. So we got to see the other bands, and I’m starting to sweat thinking, “This crowd is going to hate us so much! We are like the pop band of the night to these professional mosh-pitters with mohawks in every color having toilet paper fights and demonstrating talent as world renowned beer drinkers!” It’s finally our time to go and as we’re setting up I turn to the band and tell them, “ Guys! we’re going to need to give them all that we’ve got!” and told my drummer to speed all the songs up to 200 bpm or follow my lead when I have to start the songs. And no stopping in between songs.

It was a success! We definitely sounded punk, and we had a blast!

PC: What has been the highlight of your career to-date?

TGC: For Tarah Who? so far it has been to take the plunge and go in the studios alone. Make the record the way it sounds like in my head. The rest is to come.

For Jane Gray Black Orphan our first EP is about discovering ourselves and what we want to do in the project. The first album (that we are currently writing ) is going to be a huge next step, that we cannot wait to start sharing.

PC: Thinking about great female drummers, we recall Sheila Escovedo, Georgia Hubley, Teresa Taylor, Kate Schellenbach, Janet Weiss and others… but really there are not that many? Why is that? Do you think female drummers have an especially hard time being recognized?

TGC: We are a few out there and we do have our own community, which is not unpleasant. Thanks to Tom Tom magazine for instance, female drummers have a place to express themselves among others or discover other female drummers, Hit Like A Girl contest makes you realize you’re not the only one and there are AMAZING female drummers worldwide.

I have met a few well-known male drummers that are very supportive of female drummers. I also think it is changing a lot and the more girls/women are going to see other women play, the more they are going to see that they can do it too and dare to make their first step.

From my experience, I have kept it for myself for a while that I was playing the drums, because I was tired of men’s reactions. I travel a lot and as of today I still deal with guys making a face when they see that I am the drummer. I think unless your name is out there, Cindy Blackman with Lenny Kravitz, for example, you’re still going to deal with people’s first judgment and then it depends on us to change their opinion or not.

Drums are for everyone, just like any instrument (or anything in life, as a matter of fact!).

I think people are more open to female drummers in North America than elsewhere. I think girls used to have a hard time, because it was set in people’s minds that drums were for men, but it has definitely evolved and keeps evolving.

Maybe female drummers have had a hard time being recognized, but I know that today things are changing and I don’t know if the male drummers are in special need for some female drummers around all of these dudes! But I have been encouraged a lot by people like Thomas Lang, to just keep playing!

And I keep meeting more and more supportive people. I have just been endorsed by Soultone cymbals and DC California for instance. On social media I have a lot of supportive comments, and everyone I meet at gigs tell me “it’s nice to see a woman play the drums!” Sound engineers also come very often after the shows to show their support. Soon it will be a new trend!

PC: Touring can be particularly tough especially for drummers. There is a lot of gear involved and that means not only setting up and tearing down night after night, but making sure your gear stays safe and in the best condition. Thoughts about touring as a drummer?

TGC: I love touring. As a drummer, I find it difficult at times because you have to think of more things like numbers of stands and toms you really need. Unless you have a lot of room on the tour bus you’re just going to take too much room in the van and stage.

Touring in the States and in Europe ( as an independent band) is very different. In Europe, bands share equipment so that every band brings something and everyone stays for the other band and it’s all fair. In the US, we were really surprised that in the beginning no one lended anything, or if they did, they would actually rent it. In the end, this makes sense. Gear is so expensive you don’t want anyone to play your gear. And lately, I have heard about a few situations where gear was stolen. WHO DOES THAT??

I am very particular with my drums and I know where and how I set up my stuff, so I don’t like anyone to try to help me setting up. As band, everyone should help each other carrying gear from van to stage. But when it comes to setting up, in my opinion you’re better off doing it yourself.

PC: What words of advice do you pass along the young musicians wanting to be rock stars?

TGC: Ha! What is a rock star?! If you want to play music. Get out there and play. Do what you have to do, to make it happen. But I only have one piece of advice: BE YOU! Don’t try to be someone else, don’t learn the drums like someone else, get inspired, or learn a few things here and there from others. Other drummers succeeded because they were doing their own thing.

So do your thing, feel the music, write, play. Do what you have to do, be you and stay clean! You want to be a good drummer? You are first an athlete! Write and play music because you have something to say, something to pass on, emotions, express yourself, share it with the world, not because it looks cool.

PC: One final question… what is Tarah G Carpenter doing now and what are your plans for the future?

TGC: I am currently recording my third album (Tarah Who?). That should come out in 2015. I am also working with Ash on Jane Gray Black Orphan’s first album. Tarah Who? is planning to tour the West Coast in September 2015 and we hope to see you out there!

You can check Tarah’s Facebook and Instagram for updates on all her music!


Paris, France – April 25, 2015
PRESS RELEASE
FOR IMMEDIATE RELEASE

Contact: Lei GUO
www.horizonvumusic.com
marketing@horizonvugroup.com

HORIZONVU MUSIC SET FOR RELAUNCH

HorizonVU Music (Horizonvu Group LLC), a start-up company specializing in business services for emerging female musicians announced a company relaunch today. Featured artists include Sagarika (India), Chantelle Barry (US), Tarah Who? (France-US), Amanda Thorpe (France-UK), Maura Kennedy (US) and Nausicaa (France).

The company was initially founded in 2009 by CEO Phil Cartwright and a small dedicated team. The company has traditionally offered business services including management, marketing and promotion, publishing and production.“We continue to believe that there is a niche for a firm that offers both brick-and-mortar as well as internet-based business services to emerging female musicians. Our firm caters to dedicated female musicians in need of affordable business support to further their careers.”

Phil Cartwright

Phil Cartwright

Although there are many music industry consultants and support networks, HorizonVU intends to provide focused service to a relatively small roster of musicians with the intention of contributing to successful careers for female musicians, and over the course of time establishing a long-lived annuity relationship with those artists.

In addition to meeting the business needs of our artists, the company will be extending our interest to include educational programs focusing on general topics such as event management as well as more specialized subjects such as topics economics of the industry, business in a networked ecosystem, and innovation.

HorizonVU Music in incorporated in Delaware as a Limited Liability Company and registered in France. For specific questions about the company and its service offers contact

Phil Cartwright, CEO phillip.cartwright@horizonvumusic.com
Tony Taylor, Industry and Artist Relations tony.taylor@horizonvumusic.com
Lei Guo, Marketing and Communication Management lei@horizonvumusic.com
Nathalie Ni, Community Leader nathalie@horizonvumusic.com


ECU_2015_blog_smallThe 10th European Independent Film Festival – ÉCU – is nearly here! The Festival is dedicated to the discovery and advancement of

Tarah Who? with Phil Cartwright

Tarah Who? with HorizonVU's Phil Cartwright

the very best independent filmmakers from around the world and proudly provides a unique platform for risk-taking storytellers to reach the broadest audiences possible.

The annual festival showcases films that demonstrate quality, innovation, and creativity in both form and content. These qualities are judged in 14 categories, 7 of which are open to non-European filmmakers (from the Americas, Australia, Africa, and Asia), and compete for 24 awards. Jury members come from around the globe, have a variety of backgrounds, and are all united in their desire to screen films that will truly impress and inspire attendees.

Excitement builds from the Festival Launch Party on 11 March 2015 at Badaboum! In addition to welcoming remarks by Scott Hillier, President, The European Independent Film Festival and Kädi Lokk, Manager, the party featured music from Nausicaa, Tarah Who? and Milky WAY!

This year, HorizonVU Music is proud to sponsor “Innovation and the Cinema in the 21st Century” a workshop directed by Philippe Duvivier (Sennheiser) who will present jointly with Juliette Valsamidis (HorizonVU Music).

Innovation and the Cinema in the 21st Century
Where: Les 7 Parnassiens (Petite Salle)
When: Sunday, April 12th // 10:30 – 11:30

Philippe Duvivier

Philippe Duvivier

Juliette Valsamidis

Juliette Valsamidis

Cam

Cam

The program will also feature music by singer/songwriter Cam. Come and see amazing live demos, and discuss with us innovation and potential disruptions in the movie and sound businesses. This year the Festival has an added surprise for you… one super SPECIAL award has been added honoring EXCELLENCE IN WOMEN’S FILMMAKING !

All the information you need to enjoy this years festival can be found at the Festival’s site. See you there!!!

by Phillip Cartwright
CEO, Horizonvu Group LLC (HorizonVU Music)

This post was written while attending The Sixth Art of Management and Organization Conference, The University of York, 4-12 2012.

Phil Cartwright

Phil Cartwright

You’re an emerging musician? You have a site and you are registered on Facebook, Twitter, ReverbNation, and SoundCloud. Hold on. Technology has seriously disrupted the music business making access to physical and digital channels relatively easy, but despite this ease of access to potential networks of fans, there are many platforms available for connecting with fans and there are millions of people using them. There many thousands of emerging musicians hoping to launch their careers on-line by building a solid fan base, and perhaps, catching the ear of a label executive. It has been argued that accepting for the one-percent of performing artists that are discovered, many social networks are not viable and sustainable economic markets in any conventional sense.

Networks in business and personal relationships have long been studied offline and online. It is widely recognized that networks play important roles in success and the knowledge that is both contributed to a network and that which is gained as the result of participating in the network has a lot to do with the extent to which success is created and captured. In simplest terms, knowledge of network players (for example, musicians, managers, team members, agents, venue owners, marketers and promoters) and their interconnections lies at the heart of the argument.

A key to networking for success is orchestration – using multiple platforms and channels to focus attention toward the music and being consistent and persistent in the message. This amounts to efforts to succeed by finding and managing creative combinations for value. Like promotion, the objective of orchestration is to stimulate market response, but the focus of orchestration is on process and connectivity, whereas promotion is focused on tactical content. In the orchestration stage, the objective is to use channels, platforms and network interconnectivities between groups of individuals (actors, associations or groups) or individuals (customers or fans). Orchestration is a process by which networked relationships are combined and managed for success.

Combinations must be original and expressive and they must have compatibility and consistency. Compatibility refers to the fact that the broad range of music potentially produced meets the requirements of the intended audience. In technology-based companies it is possible to produce multiple versions of a product in order to be compatible with a particular device. In music, an artist producing multiple versions of a song to meet the preferences of different audience segments is likely to be disastrous. Admittedly, this has been done by some artists (e.g. Shania Twain, “Up”, released in three versions on the Mercury/Nashville label), but it is not standard practice. Consistency simply requires that messages concerning the brand attributes and brand identity of the group or individual are clear and concise across channels. The extent to which these messages are consistent will determine the positive or deleterious effects on the artists’ network identities.

Networking and orchestration is not easy. Despite access to technology and millions of potential fans, the emerging artist will face issues of strategy and tactics. It’s important to be informed and understand business basics, but don’t fire your manager or other members of your team thinking you can do it all yourself. If these people are really supportive, you probably cannot afford to disconnect them from your organization like a piece of outdated software. Very few people are good at everything. You want to get the best support you can to help guide you through the business of music – so you can focus on what you do best – the music!

Visit HorizonVU Music at www. horizonvumusic.com


What’s The Buzz ?


EIFF_002
The European Independent Film Festival is underway! Yes, creativity, passion and a bit of craziness have all convened for what is destined to be an exceptional event. Friday night’s opening started off with welcoming remarks from the Festival’s President, Scott Hillier. HorizonVU Music was on the scene joined by featured singer/songerwriter Justyna Kelley.

Justyna Kelley

Justyna Kelley


The evening centered on a series of twelve shorts

Balkanica LTD | Daniele Scarpi 2012
I’ve Only Just Begun | Elias Koskimies 2012
O-Ring | Ondrej Hudecek 2011
Heads Up | Alex Merkin 2012
Cabbagemincer | Vadim Viner 2011
Eight-minute Deadline | Petros Papadopoulos, Zina Papadopoulou 2012
Pianoworks 13 | Julien Martorell 2012
Niagara | Leopold Dewolf 2011
Voices | Hussain Al-Riffaei
Nazi Goreng | Nathan Nill
EAT | Moritz Krämer 2012
Dog Sitting | Sara Verhagen, Yannick Privat 2011

and was followed by the first-night after party at Sitatunga. HorizonVU Music’s unofficial standout favorites for the night are Heads Up, Eight Minute Deadline, Voices and Dog Sitting. There’s a lot more to see over the next days, so we’ll just have to wait for the jury’s verdict.

Phil Cartwright, Justyna Kelley and Mike Beck

Phil Cartwright, Justyna Kelley and Mike Beck

As in the past, Mike Beck, Access Film-Music, is producing the music support for the Festival, leading with outstanding artists Lollo Meier, Tracorum, A.J. Croce and many more. The Festival runs through Sunday, so whether you’re involved in the entertainment industry or simply a lover of film, we strongly encourage your participation.

www.ecufilmfestival.com
www.facebook.com/TheEuropeanIndependentFilmFestival
www.twitter.com/ECUfilmfestival



ANDREA SOLER | Sydney, NSW, AU | Folk / World / Roots  Members: Andrea Soler-Vox, Guitar, Uke James Ross-Electric/Acoustic Guitars Elvis Calaghan-Violin Alex Elfes-Double/Electric Bass Shay Henderson-Drums

ANDREA SOLER | Sydney, NSW, AU | Folk / World / Roots Members: Andrea Soler-Vox, Guitar, Uke James Ross-Electric/Acoustic Guitars Elvis Calaghan-Violin Alex Elfes-Double/Electric Bass Shay Henderson-Drums


Ok, so who in their right mind would plan three months on the road, visit ten different countries, drive over 12 000km’s, and perform at over 50 shows? We did! After months of planning, preparation and fundrasing through www.pozible.com, we got the show on the road. If you have just recently joined my mailing list, then you can click here and go to youtube and watch videos from our Daydreamer tour in the UK and bonus film clips. This tour was one of the most wonderful life changing times for me. It opened my heart, showed me faith in this big wide world of ours, the people that live in it, and in music. My passion to create and share music was taken to a whole new level and since coming home I have already started working on the next album, which will include this brand new song which we recorded in the south of France – No Ordinary Love Song.

We made so many new friends, had many laughs and smiles, experienced approx 4 mudded out festivals, 1 gig in the back of a semi trailer, 5 countries I’ve never been to before, radio play all over Europe, approx 2000 photos taken by Goba, a few mid-gig guitar string snaps, lots of German and Beligium beer, bratwurst, coffee, towering infernos, eggs on toast, and apple pie from Amsterdam – best breaky ever! (Did I forget to mention the Swiss chocolate?!)

From Paris With Love x x

I couldn’t think of a better place to end our three month tour than in Paris. This is the city that stole my heart seven years ago when I bought a one way ticket to France to learn to sing in French and follow my dream to make music! I was a regular at lots of the open mic nights and would try out new material in front of audiences that didn’t really understand what I was singing about, but appreciated it just the same. It was so great to be back in my old stomping ground.

James and I performed a few shows in Montmatre, and also did some busking on sunny days. Our clips for the last part of the tour – Amsterdam,Germany, Switzerland, and Paris will be up online very soon. In the meantime, I hope you enjoy these photos taken by Goba from our time in France. Big thanks to our Paris promotion partner Phil Cartwright from HorizonVU for your help in getting some shows off the ground.

Bistro 82, Montmatre...Where the bar lady sets the bar on fire!

Bistro 82, Montmatre...Where the bar lady sets the bar on fire!

HorizonVU showcase and fundraiser at Le Cafe Oz, Paris

HorizonVU showcase and fundraiser at Le Cafe Oz, Paris

Cafe Oz, Paris

Cafe Oz, Paris

Le Tour Eiffel, Pareeeeeee

Le Tour Eiffel, Pareeeeeee

James and I busking on a sunny hot day at La Butte De Montmatre

James and I busking on a sunny hot day at La Butte De Montmatre

Playing at a bar in Montmatre with a very eclectic audience

Playing at a bar in Montmatre with a very eclectic audience

Our new Parisian friends...after our Montmatre gig

Our new Parisian friends...after our Montmatre gig

Whats the caption for this pic, then, eh?

What's the caption for this pic, then, eh?

Another busking session, right next to Le Sacred Coeur Church, Montmatre

Another busking session, right next to Le Sacred Coeur Church, Montmatre

Family in the south of France…

It was really special for me to take some time off from the tour and get together with some of my French family down in the south of France. Whenever I come back here it always helps me to feel my roots and my ancestry. I believe it’s really important to know where we’ve come from to know where we’re heading. ( I also really enjoy the local vin rouge!)

Tata Anne Marie, Louisette, Me and my cousin Alix

Tata Anne Marie, Louisette, Me and my cousin Alix

Some of my family from the south of France (Laungedoc Rousillion region)

Some of my family from the south of France. (Laungedoc Rousillion region)

Mum, my aunty and me walking along the Canal Du Midi, South of France

Mum, my aunty and me walking along the Canal Du Midi, South of France

Thank you!

Big thanks to a few special people who really made the Daydreamer Europe tour happen – Goba for all your love, kindness, driving and camera skills, James Ross for your fun energy on stage, enthusiam and arm wrestles! Thanks to Merch Muma for helping us on the road in many different ways, and also BIG thanks to all of you for your support.

Andrea x

Visit Andrea Soler at www.andreasoler.com


HVUM_logo_150x150HorizonVU Music is proud to announce it’s membership to the Independent Filmmaker Project (IFP), the oldest and largest organization for independent filmmakers in the U.S.

Lucie Reneau

Lucie Reneau

“This membership is the beginning of a company outreach program bridging independent musicians and independent filmmakers”, according to Phil Cartwright, CEO of HorizonVU Music. Phil has asked Lucie Reneau to lead the company’s efforts in planning and implementing a project that represents a “win-win” for artists wanting to pursue working in a multiarts environment. “Over the weeks and months ahead, Lucie will be reaching out to the independent film community in France and abroad to structure a program to build community,” said Phil.

IFP represents a network of 10,000 filmmakers in New York City and around the world. Through its workshops, seminars, conferences, mentorships, and Filmmaker magazine, IFP schools its members in the art, technology, and business of independent filmmaking (there are special programs to promote racial, ethnic, religious, ideological, gender, and sexual diversity). IFP builds audiences by hosting screenings, often in collaboration with other cultural institutions-and also bestows the Gotham Awards™, the first honors of the film awards season. When all is said and done, IFP fosters the development of 300 feature and documentary films each year.

For information on HorizonVU Music’s initiative and developling plans with independent filmmakers contact Lucie at lucie.reneau@horizonvumusic.com.


What’s The Buzz ?



Spring Forward and The Kennedys by Hannah Judson


HJ with Pete and Maura Kennedy and Phil Cartwright of Horizon Vu Music.
Horizon Vu Music organized a great show at OPA (Bastille) on Saturday night with me HJ, Tarah Who? and The Kennedy’s.  If you haven’t come across Pete and Maura Kennedy yet, I recommend more than a click and a listen, but you can start here. This talented

Hannah Judson, Maura Kennedy, Pete Kennedy, Phil Cartwright

Hannah Judson, Maura Kennedy, Pete Kennedy, Phil Cartwright

and engaging duo from New York follow a rigorous touring and production schedule, fortunately for their loyal and large fan base. They were just coming off tour with Nanci Griffith in the UK, and came to Paris for a few days to play a show and soak up some beautiful days along the Seine.
RADIO ON!
Underbelly is now on regular rotation on New Driven Radio. The  show airs Tuesday evenings 8-midnight (eastern time) on 89.1 WBCX and is streamed internationally at: www.Brenau.edu/wbcx.

Read more from Hannah Judson at http://hannahjudson.wordpress.com/

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