Canadian Musician - March-April 2022 - Page 20



Godmode Co-Founder


For the full conversation , listen to the Jan . 5 , 2022 episode
CM : I ’ d seen you say in another interview that “ how you do business and market your art is part of the experience of that art .” That ’ s an interesting point . Can expand on that to explain what you meant ?
Talya Elitzer : Totally . So , creative decisions are business decisions , and business decisions are also creative decisions . Of course , in a pure sense of it , if you put out a song and it ’ s the most perfect song in the world , it ’ ll change everything , but that ’ s just not how the world works . I think particularly today , it ’ s really , really hard for artists to break through and to have their own identity . Artists are a faceless , nameless song on a playlist full of 300 other faceless , nameless artists . And it ’ s like , yes , you could be getting streams , but that doesn ’ t mean that you have fans , and that doesn ’ t mean that you will have a career .
So , a lot of the work that we do – and honestly , probably 90 % of the work that we do – is really about creating a world around each of our artists . We are really proud that we think that when you encounter one of our artists , you ’ re like , “ Oh my God , what is this ? What is this world that I ’ ve encountered ? How did I not know about this before ?” It fosters an environment for fans , rather than just passive listening .
That doesn ’ t just happen , though . The artists have to be game to put in the work in order to be present in that sense . Whether it ’ s having a social media presence , whether it ’ s presenting themselves in a certain way , or any of that stuff , you have to put in that work in order to really break through in this day and age , we believe . We ’ ve started working with some artists who weren ’ t down to change anything . We ’ re not saying you have to completely change who you are and be this other person . What we often say around here is that artists often don ’ t know what ’ s the most special thing about themselves . It ’ s our job to shine a light on that , whether that ’ s changing the mix on a song , or whether that ’ s picking out the right photo for Spotify . Some artists are really not interested in compromising on what specific things they want and I respect that fully . But for us , the artists that we work with , it ’ s very much a collaborative process . At the end of the day , they still may say to fuck off . For instance , JPEGMafia is an artist who has a very strong vision for what he wants to do , and he tells me , like , “ I hear you , but I ’ m doing this anyways ” and that ’ s fine . But we have to work with artists who are open to that conversation .
melody guy , and I was known as someone who could come up with 100 melodies for one part in the matter of seconds . So , hooks came naturally to me and lyrics were difficult . And after experiencing Nashville , it really brought my lyrical game to another level . Not only was I better and faster at writing good lyrics , but I respected lyrics , whereas I don ’ t know if I respected it before as much as I should have . I think a lot of artists need to learn that they must respect the lyric , because at the end of the day , I wouldn ’ t say writing melodies is easy , but it ’ s easier than writing a really great lyric .
CM : It ’ s interesting that after that , you also got into the business of top-line writing for pop artists . How do you compare those two skills of Nashville-style songwriting versus topline writing for pop music ?
Musician , Producer & Songwriter


For the full conversation , listen to the Feb . 16 , 2022 episode
CM : When you spent those years in Nashville honing your craft and career as a songwriter , what were you learning as a lyricist ? Was there a new standard for you there where you learned the difference between a good or acceptable song to one that met a higher standard ?
Andre Kaden Black : Fantastic question . I mean , I was always a
Black : I would kind of differentiate it as songwriting in Nashville is a little bit more from the heart and authentic , whereas pop is a little bit more cultured and stylistic , in my opinion . So , I think there has to be both in songwriting ; you have to be aware of everything . But if you ’ re asking me the difference between my sessions writing for Pitbull , or my sessions writing for a country artist , with Pitbull I ’ m kind of thinking about what his niche would want to hear , you know ? A lot of that is partying and is about having fun . A lot of that is Miami , you know ? It ’ s fun , it ’ s rap , it ’ s hip-hop , it ’ s dance music . Whereas in country , people are listening to the story , and they want to feel something . You know , when you listen to Kacey Musgraves ’ music , it ’ s just like , you feel goosebumps ; it ’ s different . When you listen to Pitbull ’ s music , you just want to throw down and party . So , it ’ s kind of like you want to capture those different emotions .
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