SETH

If you dig deep enough you’ll find bands that you have never ever heard of, even if they have been around for what seems like forever. That is what SETH. An ancient treasure recently dug up. Anders Ekdahl ©2017

When the band came into creation what was the main purpose for it?
-Seth started out as a cover band in the early 1970’s and quickly became a vehicle for original music, that eventually became all original. The goal of any serious musician is to create meaningful and hopefully lasting music. Anything short of that is an abomination and an insult to the art. Too many times current pop music is viewed as something to behold and usually it is not. As a topic on social commentary, to the experienced and serious player, it can come across as meaningless dribble for the small minds that are obviously entertained by small things. I, like many others have constantly seen this musical decline since disco and possibly just before. It has a place in culture, but not in music because of its disingenuous origin. I have always tried to be the antithesis of that movement whether it be covers or originals.

How hard is it to come up with a sound that is all yours? What bits’n’pieces do you pick up from other stuff to make it your sound?
-We are all a conglomeration of our influences. I try to stay away from common chord structures and melodies. In our musical structure there are 12 notes in different registers to work with. It is sometimes said that imitation is the most sincere form of flattery but in music it can be called copyright infringement ie; George Harrison My Sweet Lord. I don’t think anyone in their right mind believes that was anything close to intentional. If they did this with the Blues, you would clog up the court system until the apocalypse. We all create within specific musical parameters that make it almost impossible to come up with small groups of notes that haven’t been thought of before. I come up with ideas that I haven’t heard before and still get comparisons to other bands, but that is a reaction to an overall sound and not a blatant ripoff. It’s that 1-12 thing.

I have no idea what kind of creative process you guys go through but how hard is it to record and release new songs?
-The basis of all music should be genuine. Transferring thoughts, emotions or real situations into a cohesive form of music is work from beginning to end. Sometimes when you take a song that you think is all set to record into the studio, you get a different view of it and the arrangement changes the texture of your original thoughts. Glenn and Marco at Minotauro Records have been irreplaceable in my life to get my music heard. They are just consummate professionals.

Today technology allows you to record at home and release your music digitally. But in doing so is there a risk that you release songs too soon, before they are fully ready to be launched at an audience?
-The average listener reacts to the promotion and visibility of a song. They don’t know a lot about the history of music, so they act in an almost blind leading the blind sort of way. If a song has high visibility and enough people they associate with likes a certain song or performer, they will too, so as not to feel left out. Presenting new music to the public wthout a common denominator tempers their opinion of what they hear, and this leads to indifference.

I for one feel that the change of how people listen to music today, by downloading it and expecting to get it for free, will kill music as we know it. What kind of future is there for recorded music?
-If all you want to do is hear a song, you can pull it up and listen to it until your power supply dies. If you have a hard copy with the artwork, pictures and lyrics associated with that music it will help to create a full image of what the artist had in mind. That is why putting a package together that says something on many levels is so important to the survival of hard copies.

What kind of responses have you had to your recorded music? What has been the thing that has gotten the most attention?
-The most common response I get is why aren’t you somewhere else. I think the attention getter is the level of musicianship. It’s not a dead form of execution, but it is becoming less prevalent as time passes. Please see parts of previous responses for complete answer.

We live in a world where there are no real distances between people communicating anymore. What has been the most surprising contact so far?
-You, the reviews in other languages we have received and of course the call from Glenn at Minotauro Records. I didn’t even post the song that prompted his response, it was someone else.

Do you feel like you are a part of a greater community playing in a band?
-I could have my own zip code with all of the people I have played with over the years. My closest friends are musicians. We all have war stories from being in bands over the years that non musicians can certainly enjoy, but being there is twice the fun. So in short, yes.

What is the live scene like for you? Do you feel that playing live helps building a bigger following?
-Next to hearing a completed song in the studio, there is no greater feeling of musical satisfaction than performing live. They are similar, but not necessarily congruent. Lipsyncing does not count as a legitimate form of performance, I won’t mention any names. Creating a following has to do with promotion and wanting to be a part of something for varied reasons. It would be nice to think that the quality of music by itself attracts a crowd but that is nonsense.

What plans do you have for the future?
-Live. Love. Create. Record. Perform. Repeat as necessary. Die knowing I did the right thing in my heart.

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