Why do you feel you’re credited as a producer more than you deserve?
A lot of times I’ll see a band will send me a copy of their demo that I recorded in a weekend and it’ll say “Produced by Kurt Ballou” and that really bums me out. I very rarely record a band that I don’t like on some level, but I don’t really want to be credited as a producer on something that I haven’t left my mark on as a producer […] It’s like using my name as a selling feature of their record. I certainly don’t mind that if I’ve really made an impact on the record and I feel as though my contribution is something that is going to affect its sales, but I don’t like using my name when I haven’t made an impact on a record because I guess if you consider my name a “brand name,” it dilutes my “brand image.” I really only want to have my brand image associated with things that I 100% stand behind.
Do you consider yourself a brand name?
I don’t personally, but I feel as though judging from the way that I’ve been treated in the past I would say that some other people do. It comes with the territory. And certainly, it’s great for business, but I’m less concerned with business than I am with art. I feel like if you make good art that people appreciate, then business will follow. If you focus on business you may have some short-term success but your long-term success will suffer. It sucks that you can’t stand on your own anymore, you’re not defining yourself in terms of yourself, in order to market your music you’re defining yourself in terms of someone else. It sucks that hardcore now is about marketability. It’s like all music in that the business goals are being put ahead of the artistic goals, which is something I really disagree with. That’s what I like about being on Epitaph, it’s more about putting out credible, artistic music with long term success than it is about flash-in-the-pan kind of stuff.
Would you say that you’re a bit of a perfectionist?
I’m much less of a perfectionist than I probably give you the impression of. I mean, I’m not doing tons of takes on my guitar tracks, most of them are pretty raw, so I’m not really a perfectionist. I’m a control freak, but not a perfectionist. I want it to be my way, but I don’t necessarily want my way to be perfect. I’m more interested in creating something new.
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Harmonic insurgents, Boston Music News for the week of January 20, 2006, An unstoppable force, More
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Hardcore screamers the HOPE CONSPIRACY have been through some changes over the years, but they’ve reassembled a who’s-who of the band’s past incarnations to record a new album with Converge’s KURT BALLOU at his Godcity Recording Studio.
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Appreciation of Converge is one of those things that comes after you stop trying too hard, like driving stick without stalling at the red lights.
- Boston music news, February 17, 2006
Converge are currently writing material for the follow-up to 2004’s You Fail Me (Epitaph) .
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BU grad and Boston rock vet Matt Squire gave up the guitar for the producer’s chair – and now he’s got his name (and even a songwriting credit) on the hottest Top-40 emo album in America.
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It’s old news: this series of tubes they call the Internet has revolutionized the way music is distributed.
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The ‘80s took a lot of flack over the years, mostly during the ‘90s -- but not from the Bouncing Souls. The Bouncing Souls, “The Gold Song” (mp3) The Bouncing Souls, “The Ballad of Johnny X (Live)” (mp3)
- Twice in a Lifetime
Since their breakup in 1997, Lifetime have been credited with creating the sound that made Fall Out Boy, My Chemical Romance, and Saves The Day famous. Just don’t call them the Pixies of emo.
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Some people call Vanna the luckiest band in town — they signed to Epitaph after an A&R scout stumbled over a song on PureVolume. But even such modest success comes with consequences.
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Indie kids aren’t known for their dance moves.
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Music Features
, Kurt Ballou