The Mothercrow: Max and Daniel – Interceptor Beyond Podcast EP02

The Mothercrow is a classic four piece inspired by late sixties and seventies rock. Their sound blends blues roots, contemporary stoner and psych rock, with elements of old school heavy metal. Karen Asensio’s strong, soulful vocals and Wild stage antics, the ruthless rifting and melodic guitar solos of Max Eriksson, and the groovy, thundering rhythm section made up of Jaume Darder (drums) and Daniel Ribeiro (bass), is an explosive combination that guarantees their intense live shows will leave no one indifferent.


Episode transcript

The transcript is done automatically and is not 100% accurate. There were some corrections done by a human, but mistakes can still occur.

Arthur 0:00
Welcome to Interceptor Beyond podcast. My name is Arthur and today our guests are Max and Daniel of the Spanish rock band, the Mothercrow. We’re gonna talk about crowd funding their first album, going analogue and lots of other cool stuff. If you dig this episode, don’t forget to subscribe. If you like what you’re hearing, make sure to rate the show everywhere you listen to podcasts, including Spotify, and now on to the show.

Hello, guys, thank you very much for agreeing to this. Max, Daniel please introduce yourself to our listeners.

Max 0:35
Okay. My name is Max, from the Mothercrow, from Barcelona, my like myself, personally, I’m from Stockholm, Sweden. And I’ve been living here in Barcelona for about 10 years.

Daniel 0:47
10 years. Nice. My name is Daniel. I’m Brazilian. I’m from the south of Brazil. I been living here in Barcelona since 2015. And well, making music here with this guy in the Mothercrow. I’m the bass player of the Mothercrow, man. And, well, I’ve been maybe making music since 12 years old, making lots of kinds of music in Brazil, like, Well, I started with rock music course and listening to Beatles, Van Halen, this kind of bands now. And with the acoustic guitar trying to have some distortion in my acoustic guitar, breaking it in little pieces of the acoustic guitar in order to have this distorted sound that it was something that really made me engage it in rock music really is the well maybe one of the most important things for me in rock is the sound really, probably caught my caught my attention.

Arthur 1:45
I read online that you have a PhD in music.

Daniel 1:49
Yeah, well, my PhD is not really in music it is in anthropology, but my study was in Anthropology of music. Well, to be more be more accurate is about anthropology of memory. And what I did was, I was well to explain what memory is in an anthropology, anthropological point of view. It’s, it’s, it takes long. But the question was, I was interviewing people, I was playing with them as well in the 90s, in the local rock scene in my city, and well, just interviewing them about their memories about these rock scene in this in this period of our lives. And during this period of the city. And it was really interesting.

Arthur 2:36
I wanted to first tell you how I discovered the Mothercrow, it was, I think, a year ago, and I discovered… if I’m pronouncing the names wrong, please come tour here, play a show and then kill me.

Daniel 2:48
Okay, don’t worry.

Arthur 2:50
But MagAra, yes? is that correct.

Max 2:52
Yeah. Oh, MagAra. We were saying it the wrong way for a lot of time. In the beginning, we said MAgara. And that’s the wrong way. It’s MagAra. So you said that the right way from the start. So that’s good.

Arthur 3:02
I don’t really speak Spanish. But I read your interviews with Google Translate and watching YouTube videos with Google Translate. So I’m guessing, you know, my Spanish skills maybe will improve after this interview. So yeah, I discovered your album about a year ago, and it’s totally awesome, actually, totally killer music, super analogue, you know, like the really cool sound of the analogue.

Max 3:27
Thank you.

Arthur 3:28
How did you achieve this sound?

Max 3:30
Well, actually, it was kind of a dream of ours to record on to tape, we will go into this studio here in Barcelona with a really nice old tape machine, a really nice mixing desk. And our goal was to record straight on the tape. Unfortunately, the tape machine broke down on the first day of recording.

Arthur 3:51

Max 3:52
Which is like the, the negative thing I guess about analogue is that stuff can break down and when it breaks down, it’s not like you can just fix it really quick and be back up running it sometimes you need to find like period correct replacement parts, etc. So it can be a pain in the ass. Basically what we had to do, since we had bought the tapes, well, the tape machine was working. But the problem was that it was no way of actually knowing where we were on the tape, as we were going, like, the counter had broken. And since we had so little time, we didn’t really have the time to like do it properly record onto the tape. So in the end, we had to record it digitally first, and then pass it like all to tape like basically hold all the record and then take it to mixing and then master it on tape. So tape was definitely in the picture. But the it was a shame that we couldn’t actually record it straight onto the tape as we wanted from the beginning.

Arthur 4:48
So your goal was in the beginning to do it triple A like analogue – analogue – analogue.

Max 4:52
Yeah, that was it. That was the goal. But I mean when you’re in the studio and like the clock is ticking and like every minute is money. And I mean, you have to take decisions quickly. And we were just, like, okay, we prepared for this for so long, we’re not gonna, like, stop the recording process and, like, booked dates later on, we’re just gonna do this this way now and it’s gonna sound almost the same.

Arthur 5:19
How did you feel when they when you found out that the machine broke down, man, that’s horrible. And you said it was in the beginning, right?

Max 5:26
Yeah it was the first day we were tracking, like, the we had just finished tracking the first song and we were like happy with it in a couple of takes. And we were going to go on the second one. And that’s when we noticed that we are actually recorded over part of the first because the counter was like incorrect, you know, the the digital tape counter because this is one of like the later date machines that you can actually see which second, which minute on the tape you’re at. So you don’t have to like listen to the tape every time you are going to press Rec basically, you’re already nervous. And you’re already like, on your toes. And and that was just kind of really, really unfortunate moment. But the owner of the studio, he was very gracious and very nice with us. So he actually gave us some extra recording time for free because we had that bit of technical breakdown.

Arthur 6:16
Do you think it somehow influenced the recording of the album? Like the sound? I mean, the emotional situation? I mean, in some cool way? Maybe or? Or it was a negative impact?

Max 6:28
I mean, I think it was, I think it was? I’m not sure, actually. But definitely, I think that there’s some of the energy probably on some of the first tracks that we recorded, can still have maybe a little bit of that. What do you say? Like, not anger, but frustration, you know, like we actually had like a lot of really nervous feelings. And you know, and so every time we had to really bang a song out, I think maybe that showed through, maybe it’s maybe it’s a positive thing. I don’t know.

Arthur 6:59
Shit happens. I mean, you can’t really plan for this kind of thing. I mean, you can always in this case, you can always go to digital, but still, you never know. What was the concept behind the album. Was there a concept?

Max 7:12
Well, it’s not like we didn’t write the songs with a concept in mind. But like the concept behind the album is related to the the name of the album,

Arthur 7:25
How would you translate the how do you translate the words for the non Spanish speakers?

Max 7:29
Yeah, no, it’s actually not a Spanish word. Like it’s, it’s a concept. Like it’s a religious concept from like, animistic religions. I think you say, basically…

Daniel 7:41
Some tribe from Africa know something, something like that. No.

Max 7:46
Yeah, basically, it’s our singer Karen, she can explain this much better.

Arthur 7:52
I mean, I’m pretty sure everybody’s asking you this, you know, by maybe you’re like you even tired about about this question.

Max 7:58
No, no, no.

Daniel 7:59
But Magara, it has to do well, I remember the expect I wasn’t in the band. And in the time they composed the album, but Magara has to do. I’m not I’m not sure. But Magara has to do with all this energy that passes through us and passes through things and through animals through plants. This kind of thing, very holistic thing, you know.

Max 8:22
Yeah, it’s kind of like, like,

Daniel 8:24
How you have to do with, with the universe and all the energy in the planet? And how everything is related to each other in the world in the in the universe.

Arthur 8:35
So was it like a basis for choosing instruments? I saw that you used interesting instruments in recording?

Oh, yeah, yeah. No, I think the instruments that we picked, obviously, when we found out that there was gonna be like a real like Hammond organ with a Leslie speaker in the studio. It was like too good of an opportunity to, to not use it on the record, you know, and apart from that, the producer and the recording technician, he’s a great musician, as well. So we asked him to lay down some organ tracks on a couple of songs. And obviously, we used a little bit of acoustic guitar, our former bass player who recorded that album, she also played flute and sitar. So I mean, basically, it was just an attempt to kind of showcase all the talents in the band and even some talents outside of the band.

Did you use the instruments from the 70s era? Or did you try?

Max 9:38
Yeah, I mean, it gets a bit geeky, actually, because we abandon I mean, as personally, we’re very influenced, influenced by those kinds of artists back in the 70s. And that that sound is definitely something that we tried to achieve. So me personally, I tried to go that route and I used an amplifier, Marshall amplifier from the 70s. I know that the bass player, she was using a bass and bass amp from the like 70s also. So it’s it gets a bit geeky when we talk about gear.

Arthur 10:15
Well, it’s the fun part everything, it should be actually fun. Well, except maybe not the business side, the business side is boring.

Max 10:21

Arthur 10:22
But still, you know, you should enjoy it as much as possible.

Max 10:24
Yeah, I agree. I mean, in the end, I think it’s like, it’s a good experience. But also, I think that probably we’re not going to try as hard for the coming albums to kind of like, recreate the sound of that era, obviously, were hugely influenced by it. But I think also it it can limit you a bit, you can paint yourself into a corner. And I mean, sometimes it’s nice to explore some different soundscapes. Also.

Arthur 10:50
So you mentioned you’re working on a new material, or I mean, it’s almost we’re recording in December, the year is almost over. Right? So I guess you’ve been recording all this time?

Max 10:59
Actually, we haven’t started with actual recordings.

Arthur 11:04
I meant that you were working on new material.

Max 11:06
Oh, yeah. Yeah. Yeah, definitely. That’s basically what we have been doing. For the past that Well, during the pandemic, and everything like that we have been locked in a rehearsal space and trying to get new songs as prepared as possible for like our upcoming record, basically,

Arthur 11:24
Were you all together in one city, you didn’t have to do any zoom, whatever, like live stream kinds of things to record or to practice or?

Max 11:33
No, we, I mean, our drummer at that time, he lived a bit outside of the city. So there were some moments, especially in the beginning of the pandemic, where it was basically not possible to rehearse at all. So we had a break for maybe three or four months. And there was also a lockdown here in Spain. So that rehearsal space was closed, and yeah, everything like that.

Daniel 11:46
It was really restrictive here in Catalonia as well. Yeah, we had this break, and it got us beat in the process of this creative process. But we’ve been composing these new songs, and maybe we will record it in until well, I don’t know until when. But try to record it. As soon as, as soon as possible. The material is good. The material is well, from now, from our point of view, it’s really good because it’s maybe it has a new it will show kind of something new in terms of influences, because new musicians got into the band. And maybe probably people will, will listen to something a little bit different.

Arthur 12:24
Is it completely different? Or is just like an exploration in a different sonic environment?

Daniel 12:51
No, I don’t think so. It will be completely different. What do you think?

Max 12:56
Yeah, well, no, I think I mean, the influences are still the same. And I think that perhaps this is a bit more how, I don’t know how to put it, but there’s a lot of more like, kind of groovy songs. So perhaps a little bit more influenced by like 70s rhythm and blues on some tracks. Maybe we went a little bit more like a metal on some tracks on the on the last record, and we still have some really heavy tunes on the upcoming one. So it’s a mix. And I think that also is something that I was told by some people that last record was very diverse, which can be a good and bad thing. Some people like to listen to music that sounds very homogenous and like, know what to expect, you know, but I’m kind of more from that school of bands like, like Led Zeppelin, The Beatles or like, Black Sabbath even. I mean, it’s like you listen to a Black Sabbath album, you’re gonna have songs that are like, not all Black Sabbath songs are a symptom of the universe, you know, it’s like they have a lot of acoustic songs. They have a lot of like folky songs. So I really like those kind of groups that are not afraid to explore and to yeah, getting inspired by different kinds of genres.

Arthur 14:20
So is there like a concept also behind this album, the new material?

Max 14:25
Not really not really no, it’s

Daniel 14:29
There is concept, a bit of a sub concept. No?

Max 14:33
Yeah, well, it’s not as it’s not really like a musical concepts or any lyrical. There’s not like any red thread that I can see going through the music, maybe someone else can, but usually when I compose, I just focus on one song and try to get that song as good as possible. And then maybe the another song pops up and that song becomes my like, complete focus for the next couple of weeks.

Arthur 14:59
I saw in the credits section of the album that the music and the lyrics are written by The Mothercrow, they are collective. So is it like everybody’s participating in the creation of the new material in general? Or do you have a strict role or something like this?

Max 15:17
Well, I mean, we have, like, especially the lyrics, I think that our singer was responsible for the most of the lyrics on the last record, because of like band policies and stuff like that, we just choose to credit all the lyrics and all the music equally to everyone in the band. Basically, when it comes to the music, we have been working in some different ways in the past, but at the moment is usually one idea that it comes to the rehearsal space, and we try to just like, play with it, or I also like this record, there’s been songs that I’ve written by myself more or less structured, like have just a meet in the bone, and basically like, Okay, guys, what do you think about this? And we try it and we develop it, you know, so I think everyone has the roles in the band, definitely, we see it as a democracy. But we still have different strengths, you know, so we try to just focus on each. Yeah, the strengths of each person, basically,

Arthur 16:19
in this podcast series, I’m trying to ask questions that will be useful to other musicians. And I want to ask you, like, you mentioned that everything is divided equally among the band, Credit Wise, right? Have you written a split sheet? You know, like in case of royalties, or something like this? Have you written it made it wrote it on paper? What royalties go to whom? And how many?

Max 16:41
Yeah, I mean, we actually like for this record, we have recorded, our first album we registered it at this is like, in Spain here called the SGAE, which is like an association of like, authors, basically. And so you can register any work of like music. Yeah, basically, any work of art, you can just register there, and you have to fill in, like, the quotas of each person responsible for that piece of art. So that’s actually something that we that we did, obviously, everyone is going to contribute differently when it comes to songwriting. And but since it’s still in at that level, when I mean, everyone has to put in a lot of work. And we’re not getting anything out of it really, like, economically, that felt at that time felt like the right thing to do. Because I mean, everyone’s pulling just as just as hard and trying to, to make it happen, you know, going out on the road, playing gigs, and sleeping in uncomfortable places, and you know, everything like that. So for the last record that we felt that was the correct thing to do to split evenly.

Arthur 17:54
Yeah, it’s really important to discuss such things in the beginning, because because it’s always possible that the song becomes a hit. And then there’s actual real, like, a lot of income, and then then it can be problematic to trying to decide who gets what, after.

Max 18:10
Yeah, exactly. And, and I have some, well, not actually, not really, like, really close, but I’ve heard some stories about, like, acquaintances that had that problem. At that stage, it’s obviously hard to, to keep the group together and move forward as equals, if there’s one person that’s making a lot of money of the music and the rest of the people are just like, not making anything. Almost.

Arthur 18:39
Did you manage to play any gigs? In 2021?

Max 18:43
Yeah, we have actually a couple we played first. The first gig was a seated gig. That was, actually we managed to play a gig in 2020 as well. But that was really like, it’s more of a streaming thing. We had an audience of maybe like, 20 people or something like that.

Daniel 19:04
Well, 12 people seat.

Max 19:05
Oh, yeah. 12 people.

Daniel 19:06
In the beginning of the pandemic, no, in the end of the confinement, I think,

Max 19:11

Arthur 19:12
And how was this experience? I mean, it’s pretty weird to perform to a camera. I mean…

Max 19:17
Yeah, in a seated crowd. It’s like, first thing we did this year was also a seated crowd, but at least we had 100 people, so I mean, it wasn’t bad. But I made the comparison that like having a seated crowd at the rock gig is a little bit like having a crowd for like a stand up comedian, but the crowd is not allowed to laugh, you know? Yeah. It’s like you get no feedback from the crowd because everyone has to be seated. You can see them moving their heads maybe a little bit but I think that feedback from the crowd is so important when you’re playing you know, you kind of get that energy of the of the crowd and I think you play better.

Daniel 19:52
Yeah, when we play when we play for people who is seated is like if you people were judging you, you were in a kind of trial, you know, like, like in university, for example, you know, because I was making this grading music and all the exams was kind of okay, we had to give, in the the end of the semesters, we had to give some small concert to the, to the teachers professors know and they were kind of not we were in a kind of a musical trial. And they it was, of course, the question is to be playing for people seated in 12 people seated that it was a bit strange because we weren’t really in the mood and the audience as well, because they were kind of a as well. How can I say? embarrassing because it was a very embarrassing situation. And of course, we were enjoying, but at the same time, it was a kind of what, what is that? You know, what, what have we been doing in the, in this oddest situation of a pandemic situation and applying for 12 people seated? It was totally different. And if you compare it with the last gig we did here in Barcelona, the salah upload no clothes venue, which people were allowed to stay well, they check it everyone if everyone took the vaccine, but people were allowed to be standing some some of them without mask some of them some of them for with masks. And but the feedback you could feel the feedback from from from from the crowd and was was amazing. Well, in the end for me the in the end of the concert, the the feeling was like okay, it was a fucking great concert because of because all of these now because it’s a kind of a ritual, you know, and the rock needs rock concert, they need this kind of ritual, you know, to play rock photos, people see it is like, okay, what are we doing here?

Max 21:41
Yeah, it was a little bit absurd. But we just wanted to have something to look forward to. Because at that stage, it wasn’t like any talk of a concert being back ever again. You know, it’s like, everyone was a little bit scared that like, is this the last? You know, I remember so many gigs, just because I like to go to concerts myself. And I was just thinking like, all the gigs that I missed in 2019. Because I said, like, now I’m tired. I don’t have any money went down. Like, I was just kicking myself for not like going to those gigs. Because all of a sudden there was nothing, you know,

Arthur 22:13
yeah, man, back then. It was so weird. What I heard from other musicians, local musicians, they said the same thing. Playing to a seated crowd is absolutely devastating. I mean, it’s people are still there. But yes, you’re being judged, kind of being judged. I mean, it’s not the same thing.

Max 22:29
Yeah. And with the masks, you can even see any facial expressions. It’s like, it’s like, I don’t know,

Daniel 22:35
Eye expressions know that people were like, I remember doing the last year to be playing and to see some some of some of them are the people in the audience, some of them with the masks. And you could see that their eyes, the eyes gestures are like, Oh, I like that. But of course, you couldn’t see the smile, or somebody just shouting at us.

Arthur 22:55
Are you planning to with this, you tried a little bit of this live stream? Right?

Max 23:00

Arthur 23:00
I’ve seen other bands, who has the budget, of course, to do the huge show. Are you planning to experiment with that further? You know,

Max 23:09
I think that’s, I definitely don’t rule anything out for the future. But I see also that like, I respect a lot of bands that are really like, trying to do something interesting, something new, you know, and I think that there’s definitely an audience. But I think that at the moment, I’m not sure or a band of the size of ours has the enough, like, draw to sell, like, I’m not sure even if our fans would would buy the tickets, because they love the live shows are such important thing for us. And I’m not sure if we could translate what we do in the on the stage in front of a real audience to a stream. It’s almost been like more like a rehearsal lecture recording. I’m not sure like, I would have to, I’d have to experiment with that. I think

Arthur 24:04
well, probably we all gonna check out how those bands who have the budget, how they will do that. And we’ll see how it all goes together. But probably definitely some way people have to think about it, ways of doing that. Because we don’t know anything about the situation what’s going to happen. So this is like a backup. But yeah, regarding the live stuff, I’ve seen recordings, I haven’t seen your live but I’ve seen recordings from the show and you look like super like yeah, how you described perfect live the energy is like going through. I mean, from from the screen, it goes halfway down, you know, like not completely but I can imagine how it being seen live and by the way, like who’s doing this, the Instagram account?

Max 24:49
It’s me and the singer Karen basically.

Arthur 24:52
It looks awesome.

Max 24:53
Thank you.

Arthur 24:54
Everything is in a good direction goes good with the music really spot on. Cool stuff.

Max 25:01

Arthur 25:02
And I also wanted to ask about still about the previous album.

Max 25:07

Arthur 25:08
It was crowdfunded. Right?

Max 25:10
Yeah, that’s correct.

Arthur 25:11
Well, crowdfunding is, is a completely separate beast, as I understand.

Max 25:15

Arthur 25:17
How was the experience for you?

Max 25:19
It was, it was a good experience. But I don’t think that we would do it the same way. Again, or, actually, for this record, we kind of made the decision, we’re not going to do a crowdfunding again, even though like we don’t have a label that’s backing us. So I mean, basically, people think that like, Oh, you just put something on the internet, and you put some video, and people just give you a lot of money. But actually, it’s really hard work, you have to work a lot like social media every day, you have to publish stuff, you have to like go after your hands, you have to go after your relative, like, show it to as many people as possible, you know, and because I mean, a small band, or size, I mean, we’re not really famous, maybe a little bit on a local level, like people here in Barcelona know about us. And more and more like on a national level, I guess, if you talk about this small community of like bands that play this kind of music that we do. But to reach out to a lot of people is really hard and to have people like ask people to give you money for some projects that you’re going to do. It’s It’s hard work.

Arthur 26:31
How did you prepare for the campaign? How long it took you on how long in advance where you started thinking about it?

Max 26:36
I think we were planning it for maybe like a month or something like that, but really like planning, okay, like every step that we were going to do, we were also like preparing material that we were going to upload on our social media every day. We tried to at that moment, I think it was we just looked at other like other bands, other campaigns, like okay, so how did they do? And we had some videos recorded in, in our rehearsal space, like presentation, so the band interviews, so like, all that has been obviously filmed and edited. And so yeah,

Arthur 27:17
For how long was it running?

Max 27:18
I think it was 30 days if I’m not mistaken. Yeah, I think I think it was 30 days. And, and yeah, we reached the goal. So that was great.

Arthur 27:28
Congrats. You have an album.

Max 27:30
Yeah. But, but then also, it’s the thing, you know, with the crowdfunding is like, okay, so obviously, not all the money goes straight to the artist, like every platform has the commission fee, and you know, like, and also there’s taxes that you have to pay if you want to do it the right way. Which that’s basically actually did

Arthur 27:50
Congrats on that. Not many people who will know that they should.

Max 27:54
Yeah, so basically, you’re selling a record. So I mean, so you’re selling a product in advance. I don’t know, I think that we were just a little bit scared. We were just like, okay, maybe we should pay taxes? Because who knows, you know.

Arthur 28:08
In this case you should, if you’re doing the crowdfunding, everything should.

Max 28:12
Yeah, right.

Arthur 28:13
Did you think how are you going to promote the album once it comes out?

Max 28:19
No, and not really, we did. However, we did hire a local guy who has his own, like media, like music production company. And we did pay him for basically promotion to get our album to like different kinds of music blogs, and like magazines and stuff like that. And that was something we did. So we put that we were actually like, paired the launch. And, and but that was like outside of the of the budget. The the goal we set for the crowdfunding, it was more or less like, what’s the realistic amount we can get for this album? And then like, add some,

Arthur 29:02
If you put a little bit more, maybe people would not be there. Because I know that the promoting of an album or in general, the the release is quite expensive.

Max 29:13
Yeah, definitely. And also, you know, that like different crowdfunding sites or different conditions, like in our case, we were using this site, where if you don’t reach your objective users to get a refund, basically. So it’s like, make or break.

Arthur 29:25
So you chose this platform because of that.

Editor’s note 29:28
The name of the platform is Verkami.

Max 29:30
I mean, I think it’s a double edged sword, because obviously, you give also the fans a bit of an incentive to like, be a little bit more involved. Because if like, if the band doesn’t reach the goal, then they’re not going to get the product either, you know, so that’s one good thing, but also obviously, the bad thing is that if you don’t reach a goal, then you don’t get any money. So but in our case, so we set a goal that was an objective that was optimistic, but also at the same time I mean, it was realistic. I thought,

Arthur 30:01
Well, I looked a little bit on the campaign. That’s what was left of it, you know. And so well, I mean, it looks like you really prepared, you know, and it was your first campaign is I understand?

Max 30:13
Yeah, definitely. Yeah.

Arthur 30:14
What was the biggest challenge? Promotion probably, right? Getting people to chip in?

Max 30:19
Yeah, I mean, the biggest challenge is, I guess that it’s a bit the same as all social media, you just like you preparing a lot of content, you’re doing a lot of work. And sometimes it feels like, you’re not getting any, any response. So you’re not getting the response that you expect, or, I mean, it’s just like, you just have to push, push through and like, be consistent. Like, every day, it’s not like you can just say like, Okay, so now we published a campaign. Now, we just have to sit and wait for 30 days and see if we’re gonna make it like the challenge is that you have to be consistent and promoted every day. It through the band’s social media, through your personal social media, like talk to your friends about it, talk, try to reach out to everyone who could be interested, you know, and that’s like, yeah, finding the motivation to kind of like do it every day. Even when you don’t feel like it.

Arthur 31:12
All crowdfunding campaigns are really stressful. As soon as you start it, you see this ticker of money going in, going slow. How was it actually? slower? How was it? gradual increase?

Max 31:23
Yeah, I think it was a lot in the beginning. And it was a lot during the end. So it was like, there was definitely like, a slow period in the middle, where we were like, a bit worried, like, okay, it’s not, it’s not moving like the the counter is not moving in, did we hit the ceiling, like what’s happening, but I guess that’s, there’s an effect first, like, okay, there’s something new, you know, people who are really like, really like the band, they commit instantly. And then you have the people who are always a bit late, the wait until the very end. And but yeah, the middle part was, was a challenge. And I mean, also, just creating something that looks attractive, because in crowdfunding, in my opinion, should never be like, you’re asking for money to do something that you’re going to like, like, I’m going to get something I mean, you have to offer something that the person who commits to the crowdfunding campaign get something out of, I mean, has to be worth it for the person who spends that amount of money. In our case, one of the perks that we had for our people who gave us money for the crowd funding was that we had a special vinyl pressing, like a special colour, for example, and stuff like that, you know, like, people should feel that. Okay. I’m doing this for you. And what I’m getting something back that’s really worth it. You know, it’s not like charity.

Arthur 32:44
Yeah. I mean, the whole campaign was, I mean, that was successful is great. And the album looks cool. The vinyl looks cool. Everything is super, like so many details. The album cover is awesome. Like, this is an album that you’d like to own,

Max 32:59
Thank you. Yeah, I mean, we’re very happy with it. I mean, I have two copies here, one of each colour, and I don’t take them out much. But But yeah, I mean, the artwork is fantastic.

Arthur 32:59
You know, I have a traditional question that I ask everybody I know music music related is like, what do you think about audio cassette?

Max 33:19
I think that it’s something that we’ve never really discussed. To be honest. I know that it’s coming back and I know that a lot of people are collecting cassettes and, and it’s also like, much cheaper way to distribute music like analogue music and vinyl obviously, but I think that maybe for our, like, fan base, like I’m not sure how it would how it would sell but we haven’t really thought about it that much. Because in the scene, like the local scene, and also like bands that we think belong to more or less the same and genres of music in general like in Europe, I guess that’s it’s not something that you see that often. I think that maybe if you look and be more to like the punk scene and stuff like that, and you can see it a little bit more definitely when it’s like more of an 80s vibe. Perhaps I don’t know. I don’t know I haven’t I haven’t got that much experience with cassettes to be honest.

Arthur 34:19
I was doing research recently checking out who’s offering cassettes and which labels are offering just for example, I went to an Napalm Records, Nuclear Blast all this major labels and they’re not so many cassettes there, but I found a lot on Bandcamp, of course, and what’s interesting, a lot of electronic music there was a band I forget the name but.

Editor’s note 34:41
The name of the band is Blood Red Shoes.

Arthur 34:43
there had they’re planning to release 400 audio cassette

Max 34:47

Arthur 34:48
Well, this is like some major impact, but I think majors will not be interested for now. They have vinyl, but cassettes will go more for independent local bands.

Max 35:01
yeah. And and also, I think that I mean, there’s obviously been like underground movements with like, especially like the Death Metal black metal scene where you had a lot of like the most like demos, I mean, being passed around, like underground stuff. I think that like underground music has always had a place with a cassette. I think that probably it’s, it’s something that is always going to be something that I don’t I don’t think it’s going to go away. I don’t think the CD is going to go away either

Arthur 35:33
How is the music scene in Barcelona, you know, it’s considered to be one of the creative centres in Europe. You said you come from Sweden and Brazil. Yeah, were there some things that surprised you that was strictly barcelonian thing?

Max 35:47

Daniel 35:48
A couple of things that caught my attention is the diversity of the theme Barcelona, okay, you’re talking to a Brazilian every city in the countryside in Brazil is is huge. Now in terms of territory and Barcelona is for me it is it. I will not say I would not say it is more city, but it’s a very dense city in terms of population. And you have in this for me, this is my the way I see Barcelona in terms of general scene is that it is more place with a huge diversity in terms of music, music from lots of parts of many parts from the world, Latin America, Brazilian musicians playing here, jazz musicians from United States playing here. Us playing rocking rock music here. One of the things I most like is that okay, I don’t go a lot because of the money of course, to rock gigs every week. But every week if you wish to to go to a rock gig, you can you can go because you always have rock gig here, you have people playing stoner music, you have lots of yeah, as you can see in this this venues, like Sala Upload, for example, in one week, you can have a rock concert, you can have a soul music concert, and you can have some jazz and salsa, all kinds of music. Because it’s of course, it’s a very cosmopolitan city in terms of many people from many parts of the world living here. It’s interesting. Well, in general terms, no.

Max 37:19
Yeah. And I think, obviously, like, from my perspective, coming from Stockholm, in Stockholm, we have really like, we have really good music, especially if you look at the Swedish act. But it’s not. I don’t get the impression that Stockholm has as much going on especially like in on weekdays, like here in Barcelona, at least before the pandemic, it was a lot like going on, you can go on the Wednesday, and you can see like, a band from I don’t know, like the US coming through on tour playing a small venue. So I mean, there was always something going on. And for me, it was really nice to be able to catch a lot of those bands going through Europe, like on European tours, because like, not all bands have the financial means to make it all the way up to Scandinavia. You know, it’s usually they tour based around like Germany, France. Not even all bands make it to Spain, but I think it’s more more common than bands that go to Stockholm to play

Arthur 38:29
What venue would you recommend for like bands that play your type of music because some musicians you know, like they they will know you and maybe there’s some venues that you will recommend that they would contact that will be in similar genre.

Max 38:42
Yeah. Actually. It’s it’s difficult because the place like there was one place that was really the champion of like rock music as a small, small venue that was called Rock Sound. And I think that if you…

Daniel 39:02
centre the centre of the rock scene here, no. Rock Sound.

Max 39:06

Daniel 39:08
Venue which everyone who likes rock and go to rock gigs. If you don’t love go to a rock gigs. You go to a bar to listen to rock and to stay with your people. You know, it was this bar and this bar, just a

Max 39:23
yeah, they had to close unfortunately, because they’re building they decided to level it. And they’ll do some expensive housing there, I guess for some offices or something like that. So that’s a big, big shame. But I think that the name Rock Sound is probably familiar with most of the artists in Europe that have been touring, and coming through Barcelona, because I mean, you had some incredible bands playing that venue. And I’m talking like

Arthur 39:48
and now what what venue would you recommend?

Max 39:49
And it’s it’s hard because there’s not really at the moment like one rock venue that’s like where the people Yeah, specific for this genre of music. I think there’s, there’s several small venues that are obviously good, but they’re just like venues that would put on anything, if you just pay them the right amount of money. So

Arthur 40:13
you mentioned that you don’t have a label at the moment. Right?

Max 40:17
Exactly. Yeah.

Arthur 40:18
Is that one of the goals? Or do you want to be signed?

Max 40:22
under the right conditions, I mean, there’s, there’s different kinds of deals you can have with a record label. For our last record, we had what you could maybe called just like, almost like a distribution deal. We had this label that manufactured all the vinyls, and we got like a part of all the manufacturer records for free, and they got another part for them that they could sell. So it was kind of like a split, like we make these records, you get some records, we get some records, we both sell them independently of each other and, and that way, you can have your, your music on vinyl. So I mean, for this, this time around, I think that we’re definitely looking into a signing with a label that’s going to support us to help with the promotion. And because I mean, our ambition is to to reach more people than we did last time. And I think that there’s some labels already last time around that were interested in our record that we ended up not signing with because we were very anxious to just get it out basically. So we just… the first really good offer a well acceptable offer that we got the with like, Okay, let’s go with that one. Because it wasn’t signing our rights to any anyone we weren’t. We weren’t like losing anything. As far as like copyrights or, like royalties or anything like that. It was just like, Okay, let’s make some some records. And let’s, because obviously we had a we had to deliver the records to the people for the crowdfunding,

Arthur 42:12
are you going to change? With all the experience from the crowdfunding and recording and considering the labels? How does it affect you in thinking about the release of the upcombing album?

Max 42:25
Yeah, I think that you have to be a little bit patient. I think the problem is that when you have something recorded, or at least you have something, maybe you don’t have the final mixes yet, but you actually have something really nice to show to label to get them to make a move. And like start planning. I mean, especially when we’re talking about vinyls that can take like six months or even more to just press. I mean, you have to you have to be really patient, I think, especially if you want to get us as good of a deal is possible, you have to talk to a lot of different labels, you have to to check like what Okay, so what’s the options? What are the options we have right now. And so if you’re in a rush, I think you’re probably risking making a bad decision, or at least not making the best decision. And I think for this time, and that unfortunately means that we’re going to have record recording, and maybe we’re not going to be able to release it as fast as we want to. But what we could potentially do is to get some singles or some music videos out in the meantime, before an actual launch of a record that’s on a physical format.

Arthur 43:36
Are you still planning to do the vinyls because what I know from the situation with vinyl in the industry now, like there’s a lot of delay, everybody’s like trying to do vinyls now and take longer than before to press some.

Max 43:52
Yeah, definitely. I mean, I know that depending also on the label. Some people it was some labels, get a little bit of… they pass the line sometimes, you know, it’s like a big customer, they usually can can get a better timeline than a small independent artist, for example. So I mean, signing with a with a bigger label is I mean, obviously, that’s one of the perks. But if we have to wait a bit longer, I mean, I guess it’s just like, tough luck. You know,

Arthur 44:25
Maybe try tapes.

Max 44:26
Yeah, maybe.

Arthur 44:28
Maybe just a limited edition of 20 copies. Who knows?

Max 44:31
Yeah, no, but it’s it’s important to really plan to release in the right way. And you know, and yeah, we definitely keep a lot of different things in mind before we decide on who is going to press or vinyl but hopefully we can start throwing out the hooks before we even have a finished product and attract some attention from from some label that is hopefully going to make the deal we can accept.

Arthur 45:00
Don’t forget about the lawyers, always read the contract.

Max 45:03
Yeah, yes, yes. Yes, I know. I know. Yeah. I mean, it’s a difficult place, I think right now, but also, I mean, I guess I understand the industry how it works and, and right now, with the streaming services, not really making a lot of money for, for anyone I mean, except the really, really, really big artists, any band or play music that are like pretty underground or pretty niche is going to have a really hard time making music of the streams.

Arthur 45:35
I think that streams for independent artists, the small one is just promotional tool.

Max 45:43

Arthur 45:43
Of course later down the line it will get you get money from the royalties and streams. Yeah, but in the beginning, it’s no way the only way to get the income is merch sales live gigs, we’ll see how it goes with the with the streams, how it goes further down the line, but still, the physical stuff is winning. And it’s the only way the moment.

Max 46:05
yeah, yeah.

Arthur 46:07
So now you’re focused on working on the new material, finishing it up and then recording it’s next year.

Max 46:13
Yeah. Yeah, we have. We have a date. We have booked some days in in a recording studio in the same recording studio as last time, actually.

Arthur 46:22
Which one was it?

Max 46:23
It’s is called Sol de Sants in Barcelona.

Arthur 46:27
I’m just trying to plug local names.

Max 46:30
Yeah, sure. Yeah, no, it’s a great studio, I would recommend it really to anyone. And we have a great relation with, with the owner, like the co owner. And yeah, the guy who produced and recorded our last record, I think that’s something that’s really, really important. You actually are comfortable in the studio, you have a good feeling with someone that’s going to make you perform better. I think.

Arthur 46:57
Now, the space is really important. Everything, everything physical is important. The instruments, the atmosphere, everything is going into the music. You can feel it with every note.

Max 47:08
Yeah, definitely.

Arthur 47:09
Oh, well, we’re out of time. Really fast.

Max 47:13
Yeah, it does. It does.

Arthur 47:14
Where would you like the listeners to follow you? Or what would you like the listeners to do?

Max 47:20
Well, first of all, I guess that Instagram is our like, most active channel and we publish a lot of, and nice photos from our live shows. So definitely go and follow us on Instagram, themothercrowofficial, but if you just Yeah, search for the Mothercrow is going to come up, obviously. And I mean, go and follow us on on Spotify as well. That way you should not be missing when our next album comes out. And hopefully it’s going to be soon. So

Arthur 47:53
yeah, I will also include the links in the show notes of the episodes so people can check out

Max 48:00
thank you.

Arthur 48:01
In the end, I put the song, what do you want to put?

Max 48:03
I think that we would like to put the first song of the record is called Revolution. And that way you have the perfect segway into listening to the rest of the record.

Arthur 48:16
It’s an excellent record that people should check it out. And there’s still vinyl copies left I think.

Max 48:21
We have very few very few left. But yes, we have.

Arthur 48:24
Which means limited edition. Highly valuable stuff.

Max 48:28
Exactly. And we’re not sure when we’re going to press more of this one so yeah, there’s a few you can go on to our Bandcamp page and you can get it there. So if you want to have the orange limited to 300 copies vinyl, then you should definitely react fast.

Arthur 48:44
Max, Danny, Thank you very much for your time. It was a pleasure

Daniel 48:46
Thank you Arthur. It was a it was a pleasure to be with you here

Arthur 48:50
yeah thank you very much really nice to have a chat.

Thank you so much for listening to Interceptor Beyond podcast. If you want to go to the show you can find the transcribed version of this episode at the website interceptor Don’t forget to subscribe and if you like what you’re hearing, make sure you rate the show everywhere you listen to podcasts.