Marc M Cogman

The life and times of the second-to-last great American troubadour.
Albatross is Underway
Greetings from Boston, MA (for another day or two).  As I mentioned last week, the long, slow process of recording my 4th album, Albatross has officially begun.  As many of you know, the wife-to-be and I are moving again, this time Oklahoma City.  Before I blew town, I wanted to set the recording process in motion with one of my good friends (and all-time favorite drummers), Patrick Hanlin.  Pat is a talented multi-instrumentalist originally hailing from Indiana who’s been entrenched in the Boston music scene for some time now.  
He’s probably best known as the drummer of Kid:nap:kin, a jaw-dropping power trio of aggro-prog-metal awesomeness (click HERE if you think I’m lying), but he’s also played as a hired gun in a number of other bands, rocked the VANS Warp Tour, and develops/produces local talent.  
I first met him in 2003, tried unsuccessfully to recruit him to be the drummer in the Neon Calm back in 2005, and have been able to share the stage with him many times.  He even appeared as the Dead Messengers drummer in the music video for “I Can’t Fix It”.  Nevertheless, I’ve never had him record on any of my material until now.  
At Pat’s suggestion, we spent two Fridays in a row at the studio of Producer/Engineer extraordinaire Scott Riebling.  Scott first found fame as the bassist for the band Letters to Cleo, and has since become a go-to guy for great sounding records. He’s worked with a ton of artists (Butch Walker, Metro Station, the Von Bondies, Fall Out Boy, Dropkick Murphys and more) and produced one of my favorite local Boston records of all time, A Girl’s Name Here by Rocketscience. 
But enough about all that. These are two awesome guys and they’ve helped insure that my fourth album will be awesome as well.  Pat also added hand percussion and accordion parts. And Scott also made us homemade pizza.  
So the tracks we’ve begun so far:
1. If I Stop Singing, Check My Pulse
2. Still Running
3. The Long List of Names
4. The Wedding Party
5. No Show Tonight
6. That’s Mine, This is Yours
7. You’ll Never Work in This Town Again
8. Tender Venom
9. Elizabeth Murphy & the Albatross
10. The Road Home
Pat also offered up this tasty tidbit for any broke drummers out there:  need a sizzle-ride?  Just scotch tape loose change to your ride cymbal and you’re golden! (see photo).
More updates soon.

Albatross is Underway


Greetings from Boston, MA (for another day or two).  As I mentioned last week, the long, slow process of recording my 4th album, Albatross has officially begun.  As many of you know, the wife-to-be and I are moving again, this time Oklahoma City.  Before I blew town, I wanted to set the recording process in motion with one of my good friends (and all-time favorite drummers), Patrick Hanlin.  Pat is a talented multi-instrumentalist originally hailing from Indiana who’s been entrenched in the Boston music scene for some time now.  

He’s probably best known as the drummer of Kid:nap:kin, a jaw-dropping power trio of aggro-prog-metal awesomeness (click HERE if you think I’m lying), but he’s also played as a hired gun in a number of other bands, rocked the VANS Warp Tour, and develops/produces local talent.  

I first met him in 2003, tried unsuccessfully to recruit him to be the drummer in the Neon Calm back in 2005, and have been able to share the stage with him many times.  He even appeared as the Dead Messengers drummer in the music video for “I Can’t Fix It”.  Nevertheless, I’ve never had him record on any of my material until now.  

At Pat’s suggestion, we spent two Fridays in a row at the studio of Producer/Engineer extraordinaire Scott Riebling.  Scott first found fame as the bassist for the band Letters to Cleo, and has since become a go-to guy for great sounding records. He’s worked with a ton of artists (Butch Walker, Metro Station, the Von Bondies, Fall Out Boy, Dropkick Murphys and more) and produced one of my favorite local Boston records of all time, A Girl’s Name Here by Rocketscience. 

But enough about all that. These are two awesome guys and they’ve helped insure that my fourth album will be awesome as well.  Pat also added hand percussion and accordion parts. And Scott also made us homemade pizza.  

So the tracks we’ve begun so far:

1. If I Stop Singing, Check My Pulse

2. Still Running

3. The Long List of Names

4. The Wedding Party

5. No Show Tonight

6. That’s Mine, This is Yours

7. You’ll Never Work in This Town Again

8. Tender Venom

9. Elizabeth Murphy & the Albatross

10. The Road Home

Pat also offered up this tasty tidbit for any broke drummers out there:  need a sizzle-ride?  Just scotch tape loose change to your ride cymbal and you’re golden! (see photo).

More updates soon.

I’m thrilled to announce that tracking on my 4th album began today, at Scott Riebling’s studio.

I’m thrilled to announce that tracking on my 4th album began today, at Scott Riebling’s studio.

Where’s my favorite song? Why no iTunes? The Anthems F.A.Q.

The Anthems FAQ

THE 10 MOST FREQUENTLY ASKED QUESTIONS ABOUT ANTHEMS

Available now at www.marcmcogman.bandcamp.com

Q:         What the hell took so long?

A:         I know, I know.  I thought this record would be out by 2009, and then 2010, etc, etc, etc.  I had some tough times in there.  Some crazy crap went down. If you’d been there, you wouldn’t be surprised that I fell a little behind with regard to record releases. But fear not: Anthems is here, and my next record is nearly finished being written. So don’t plan on having to wait another three years before the next one comes out.

 

Q:         Why no CDs this time?  You’ve always had physical copies as well as digital downloads available…

A:         I do love CDs, but in addition to the fact that everyone listens to music on computers and iPods now, it was a matter of cost.  I’ve had all of my recording expenses from the last five years funded by record labels, but finding the cash for the mixing, mastering and printing of Anthems has been the biggest hurdle in the record being released – because once I was out of my deal(s), these became out-of-pocket expenses.  Printing CDs is expensive, so going solely digital meant the album could finally be released without the help of outside funding. The last piece of the puzzle was realizing I could include a deluxe digital booklet with all the photos, lyrics, and credits that would usually accompany a physical CD.  Once I knew that was possible, I felt I could live with a digital-only release.

Q:         You’re right about digital downloads; they’re the way to go, but why isn’t Anthems on iTunes?

A:         Well, although iTunes put the digital music store on the map, it’s simply not as artist-friendly as other digital retailers, like Bandcamp.  I’ve chosen to use Bandcamp as my music distributor for a few reasons, but the two most important are:

1.) I could offer the digital booklet as an easy download along with the music, and

2.) I could allow fans to NAME THEIR OWN PRICE when purchasing the album.

This last element is something I’ve wanted to do for a long time, and with Bandcamp, it’s really easy.  The fan downloads the record, pays $10 or $1 or $5 or whatever they want, and everybody wins.  So that’s the way I plan to release records from now on.

  

Q:         I’m a bit of a collector. Will there ever be an actual CD of Anthems to sit on my collector’s shelf next to the first two albums?

A:         I hope so, but I can’t say for sure.  There’s a very limited chance that one day I could do a special-edition short run, just for posterity’s sake. I’d also love to do vinyl editions of all of my records at some point, if the demand exists and the funds are available.

Q:         I saw you on tour in (Spokane / Omaha / Atlanta) and you played a new song about (a car crash / worms / Tyler’s sister) and it was one of my favorites.   Why don’t I see that song here on Anthems?

A:         Yeah, those will be on the next one.  As you know I’ve been doing a lot more writing and touring for the last few years than making records.  So I’m a bit behind.  Those songs will definitely be on the next record, Albatross, which I’m nearly done writing.  Sometime in the coming year I’ll start looking to record it and hopefully it’ll be out in 2013.

 

Q:         It says David Lowery produced and plays bass on two songs.  You mean David Lowery, the lead singer from Cracker?

A:         Indeed, it’s that David Lowery.  We were introduced back in 2009 and he graciously invited me to his home-base of Richmond, VA to record at Sound of Music Studios with him and the excellent house-band there. “The Rest of My Life” and “Oh Lily” came out of those sessions, and the talents of John Morand, Craig Harmon, Hugo Haggie, Alan Weatherhead and Miguel Urbizitano are also on display. They’re a great bunch of guys and excellent musicians. 

Q:         Why do the backup vocals sound so awesome? Is Kelli back?  Could this really be true?

A:         Yes, after being conspicuously absent from Beneath a Balcony, original Dead Messengers member Kellianne Noftle is on Anthems singing backup vocals.  I hesitate to say, “she’s back where she belongs” because she’s actually been right where she belongs this whole time: putting out her own excellent solo records and promoting the publication of her award-winning book of poetry.  But let’s just say we all missed her, and she’s a Dead Messenger once again. Hopefully she always will be, for many records to come.

Q:         Tell us about the artwork. Please?

A:         Edward C. Simon came up with the signature motif of the typewriter and Polaroids for the album cover way back in 2009, long before the record was finished.  Eddie is a multi-talented artist and musician from New Orleans, and one of my best friends for several years now.  He’s one of the many people who gave a lot of time and energy to seeing this record become a reality, and for his special contributions over the years and his friendship and support, I’ve dedicated the record to him.

Q:         I’m OG and went to the CD release shows for both Welcome to the Danger Show and Beneath a Balcony. So when/where is the Anthems release show?

A:         It pains me to say that a “release show” (at least in the sense of what I’ve done for my last two records) is not in the cards this time.  I’ve moved to new states twice in the last year, and I’m more than likely moving to yet another state in the next few months. This, among other things (like the untimely death of my car), has made fly-back shows difficult and touring impossible.  I hope to be playing live again soon in all my favorite places, but performing has had to take a back seat to getting the new album out. Maybe in the next few months we’ll get some celebratory shows in places like Boston, New York, L.A. and/or New Orleans.

Q:         Well if you just put out a record and you’re not about to start touring, what’s next?

A:         Well, I’m getting married. And moving. And in addition to spot dates in support of Anthems, I hope to roll out a few music videos and then focus on a bunch of exciting stuff coming down the road. This includes a long-lost Dead Messengers live record from 2009, a documentary film about me and Ben De La Cour from one of our 2010 tours, and recording plans for my fourth record, Albatross. For now though, please enjoy Anthems.  It’s the result of a lot of hard work by a lot of people, nearly all of whom contributed their time and talents for nothing more than their love of this music.  I’m extremely proud of this record and I’m sorry it took so long to release it.

Thanks for reading!  If you haven’t already, please get your copy of Anthems for whatever price you choose at:www.marcmcogman.bandcamp.com

Anthems - a short essay

In the last 20 years, we’ve all lived through an age of revolution in the music business. It’s common knowledge that the industry has been changed in unfathomable ways by the internet, the MP3, the iPod, etc., and the major-label system has essentially collapsed on itself.  But meanwhile, another revolution has taken place – also involving technology, one that has to do with the cultural shift from music made by live bands in mic’d rooms to music made with the heavy use of computers.  It’s come in many forms: the emergence of rap music (and its emphasis on producers and beats), the invention of pop-stars without any actual talent (and their use of auto-tune to make themselves sound palatable), and finally, the rising movement of electronic dance-music - an explosion of popularity that has led to some of the world’s most successful musicians only being able to claim “laptop” as their musical instrument.

Whether you see this as evolution or Armageddon (and I’ll stay out of that argument) you have to recognize that it was inevitable.  It’s a sea change in the world of popular music, and it’s given us wonderful innovations that musicians of all genres can appreciate.  But it’s also turned guitar-based rock into a niche art-form, a novelty, and some would argue – a feeble attempt to cling to an earlier time. 

I came of age during the death rattle of guitar music’s reign as the cultural voice of the age.  Being in a rock band was the musical thing to do – the fringe kids were the ones interested in electronica or dance music (and jazz of course.  Those guys were theserious hipsters.)  I loved being in rock bands. I loved the noise and the camaraderie and the social allowance to be as dirty or wild or youthful as I wanted.  And thanks to certain bands who lit the fuse (especially in the late 60’s, the 70’s and the early 90’s), being a rock musician also meant you could be a serious artist.  I could write real lyrics, tell real stories, and not be too presumptuous in thinking I could actually have an effect on people in a tangible, emotional way. 

Over time, certain goals for my music became more important to me, and the importance of other goals waned.  After awhile, noise wasn’t as important as emotional impact.  Camaraderie wasn’t as essential as control.  To me, an infinite sense of possibility could only be reached by the removal of what I saw as limitations (literally, the democratic process of being in a band.)

Welcome to the Danger Show was an amazing experience in that I broke away from all of that.  I finally dreamt up a record, and then managed to make that record in exactly the image I had in my head from the beginning.  Being a solo artist allowed my lyrics and my voice to be front and center, with everything else as supporting elements, and I was able reach new artistic heights. 

Somewhere in there, I got enamored with Americana.  A big part of me started wanting things to be rootsy and dusty, with a sepia-tone feel and analog warmth, like those great singer-songwriter records from Laurel Canyon in the 70’s.  So I scratched that itch with Beneath a Balcony, and again I felt gratified that my personal vision was realized.

But a funny thing happened along the way, in the process of playing clubs in Los Angeles, supporting Danger Show and writing new material:  I was suddenly (and quite accidentally) in a band again!  But instead of opposing it, I realized it felt incredible.  I’d stumbled upon the best of both worlds – the camaraderie and support of world-class musicians, but an understanding between us that this was my ship, and I alone would be steering it.  There was a tremendous exchange of trust: I could create and control the material, and they could use their best judgment in adding their parts. 

And so it was: among the Americana experimentation, the sprawling Dylanesque lyrical epics, and the diversifying subject matter, complete with ars poetica self-examination and a growing sense of doom, that the inevitable happened.  I wanted to take my new, improved band and do something I’d always loved doing:

I wanted to make a rock-n-roll record full of love songs.

And so on March 6th, 2012, I give you Anthems.

In many ways, Anthems isthe rock record I always wanted to make; the one – perhaps – I would have made back when I was just a member of rock bands if I’d been allowed to call all the shots. It’s a rock record that has does have guitar-solos, but only messy ones without flamboyant flourishes.  It’s a rock record with powerful vocals, but not the quadruple-tracked, auto-tuned wall of impersonal sound found too often nowadays. It’s a rock record that features two songs recorded with an entire band playing live in one big room together, and one song improvised entirely.  It’s a rock record full of love songs, but lyrically-driven as much as any of my solo records have been.  (I’m still a singer-songwriter after all.)

Personally, I feel there’s always been a symbiotic relationship between rock music and love songs.  They’re what audiences want to hear, because they’re what people can identify with most.  And poems about love are the perfect accompanying language to a rock song. In this context, with guitars wailing and cymbals crashing, with a band hammering away at simple chords and a melody cutting through the noise, simple love songs become something bigger.  They become the thing that made guitar-based music the music of a generation, however long ago that may have been.  Backed by a loud, awesome rock band, love songs become anthems.  The word actually means, “sacred songs” when you trace it back its Greek roots. 

So maybe guitar-based music is now just a novelty, or a stale genre with a shrinking audience, or worse yet, some lame-duck attempt to coast off a golden age from someone else’s revolution, one long-since given way to innovations like computer-based music or the cultural migration toward hip-hop. While I have no ill will towards hip-hop or electronica, I’d like to think that’s all a miscalculation.

Rock ‘n’ roll doesn’t have to be a goofy parody of its former self, characterized by the gags from Spinal Tap and bad tribute bands.  It doesn’t have to be limited to a set of people entrenched in red-state anti-intellectualism.  And it doesn’t have to “evolve” into something made by a bunch of guys with laptops and robot vocals.  It can still be a pure, American art form, and it can still be taken seriously.

In any case, this much is true: not too long ago, it was something serious artists aspired to – the idea of making great rock music, and singing love songs. It was something special. Something sacred. 

Thanks for listening.

  

 -         Marc M Cogman

March 3, 2012

Boston, Massachusetts

Marc M Cogman’s third album, Anthems is available for download atwww.marcmcogman.bandcamp.com on March 6th, 2012.  You can name your own price for the album, so give it a listen. You’ve got nothing to lose.

tumblrbot asked: ROBOTS OR DINOSAURS?

robot dinosaurs!

Here’s the fourth and final Anthems trailer.  The record will be available for download (and you can NAME-YOUR-OWN-PRICE) as of this Tuesday, March 6th.  Check out the video and look for updates on where and how to get the album when the day arrives. www.cogman.com

Check out the 3rd mini-trailer for Anthems, my third record due out on March 6th.  The music in this video is from track #2 of the new album, “The Rest of My Life”.  Check out www.cogman.com for info on how to get the new record in less than three weeks.

Marc M. Cogman’s third full-length record, Anthems comes out March 6th.
www.cogman.com
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www.twitter.com/marcmcogman

Marc M. Cogman’s third full-length record, Anthems comes out March 6th.

www.cogman.com

marcmcogman.tumblr.com

www.twitter.com/marcmcogman

The second trailer/teaser for Anthems is here.

In preparation for the 3/6/2012 release of my third full-length album, I’m releasing a new video every few weeks.  This one includes a snippet of the new song, “Understudy”, as well as some of the polaroids taken during my time at Dangerland in 2007-8.  Check out the video, you might see your own photo.

Check back often here and at www.cogman.com for more videos and updates about the release of Anthems on March 6th, 2012

It begins…

To promote the release of Anthems, my third full-length, I’ll be releasing a handful of promo videos over the coming weeks. Here’s the first, with an instrumental clip of one of the new songs off the record, called “Oh Lily” Enjoy, and check back often for more videos and information on the release of the record. 

Happy Holidays

Happy Holidays

may truth and love triumph over lies and hatred

Vaclav Havel

This is the new music video for “Bullet” off of Beneath a Balcony in 2009.  This video was directed by Roham Rahmanian at a soundstage in downtown L.A. It’s unique among my music videos in that it was not shot digitally, but instead filmed on a huge old 35mm Panavision camera. Please enjoy.

No I never made a thing off of this guitar,
But it feels okay to have got this far,
And I can tell you now that the choice wasn’t hard.
‘Cause even being broke with a broken heart
Sure beats the hell out of working in bars.

Ben De La Cour, “Even If It All Falls Through”

Try to praise the mutilated world.

Remember June’s long days,

and wild strawberries, drops of wine, the dew.

The nettles that methodically overgrow

the abandoned homesteads of exiles.

You must praise the mutilated world.

You watched the stylish yachts and ships;

one of them had a long trip ahead of it,

while salty oblivion awaited others.

You’ve seen the refugees heading nowhere,

you’ve heard the executioners sing joyfully.

You should praise the mutilated world.

Remember the moments when we were together

in a white room and the curtain fluttered.

Return in thought to the concert where music flared.

You gathered acorns in the park in autumn

and leaves eddied over the earth’s scars.

Praise the mutilated world

and the gray feather a thrush lost,

and the gentle light that strays and vanishes

and returns.

 

—Adam Zagajewski

(translated by Clare Cavanagh)