Myspace.com/Saosin
Newport Beach natives, SAOSIN, formed in 2003 and attained instant success through their own DIY marketing tactics and exhaustive self-promotion. The band elevated themselves to an unprecedented level and landed a lucrative recording contract with renowned label, Capitol Records.
Vocalist Cove Reber has been with Saosin since 2004, following Anthony Green’s abrupt departure that very same year. His work with the band has led to much critical acclaim, but with the good comes the bad, and Saosin has experienced its fair share of both.
I had the opportunity to speak with Cove following the band’s announcement of their split with Virgin Records. He spoke about how he began his career with Saosin, his take on the current state of the industry, and his musical plans for the future.
SJ: Your entrance into the music industry was somewhat unorthodox, but obviously effective. Explain how you segued from being a local musician to becoming the frontman of an already established group.
CR: 100% luck of the draw. The passion I had, and still have, for music is insane; it’s what I want to do for the rest of my life.
Transitioning from playing bass and singing in a garage band to just holding a mic and having the freedom to move around carefree took some getting used to. I was scared as hell the first time I took the stage with Saosin. I remember it like yesterday, we were 30 minutes from going on and everyone was asking me, “Are you ready?” My response should have triggered some red flags, but the guys had faith in me. I remember their expressions when I told them, “I have no idea what to do. I’ve never been a frontman.” But after that first show, I got the itch.
This is what I want to do forever. 5 years later, I’m right where I want to be and stoked to be here.
SJ: Upon joining Saosin, you became part of a major label roster. What have been your experiences working with Capitol and Virgin, and what role do you see major labels playing in the future?
CR: You couldn’t have asked this at a better time. Saosin is no longer officially signed to Capitol/Virgin/EMI, and though there is some uncertainty floating over my head, I’m glad we have this time to regroup and look ahead to the future.
I think record labels are struggling. I mean, who isn’t struggling right now? What’s plagued the music industry is the same thing that has plagued the banking system in this country–a lot of bad deals were made and record labels haven’t recouped the money. They’re also in a similar situation as print media. Everyone is going digital and no one is going to purchase something at a store which they have to drive to when they can sit in the comfort of their own home and steal music or buy it off of iTunes. The major record labels never updated their system with the times. Bands are darts thrown at a wall and if something sticks then it sticks, but if it doesn’t stick, then oh well.
SJ: You recorded the Grey EP at Hurley Studios in Costa Mesa. How did that experience differ from the recording sessions for the self-titled release and In Search of Solid Ground?
CR: Recording at Hurley was sick! I got to learn a lot and we had all the freedom in the world to do whatever we wanted. The people at Hurley were really supportive of our band and it’s really because of their people that we were able to make the record that we wanted to make.
SJ: It is impossible to sustain a career without touring, but it has become difficult to make money on the road due, in large part, to the current economic situation. With that in mind, what changes has Saosin had to make for touring to become more lucrative from a business standpoint?
CR: We pretty much did the obvious. Went back to touring in a van and cutting back on the amount of people we chose to bring with us. We’ve always been penny pinchers, as are most of the bands touring today, so it’s really no different. The only difference is the luxury of having a bunk to sleep in and a couple lights on stage.
But what it really boils down to for me is the music. People come to see us play and it shouldn’t mean dick what we look like or how we travel. If you pay 15 bucks to come to a show, get your money’s worth. Have a good time, kick your friend in the face, and sing along. Don’t waste your money standing in the back of the room in your cool guy hat and your dorky indie style trying to compete with your friends on who looks the coolest. No one gives a crap how cool you look at a show. Just put on your game face and have a good time.
SJ: Considering the decreasing trend in record sales, what is your take on the effect of music file sharing?
CR: It’s not going away any time soon, so live with it. Use it to your advantage. But if you download a record and you really like it, support the band in one way, shape, or form: go to see them live, or buy a t-shirt or their CD at a show.
Myspace.com/Saosin
SJ: On so many levels, the music industry has witnessed a tremendous amount of change over the past several decades, and has seen an extreme decrease in overall sales. What changes do you foresee occurring in order to keep the industry afloat?
CR: I really don’t have an answer to that question, because I think it’s a question that may not be answered for a long time. I can’t even think of a way to help the industry stay afloat. Labels created 360 deals so they could take a cut of everything, and they’re still struggling. That’s a nasty contract to be in, but at least your band is a partner with the label. If they’re doing bad, then you’re doing bad. And right now, I don’t even see that as being a sweet deal.
SJ: So many musicians are taking a more hands-on approach with their music, from production to distribution, and everything in between. Do you see yourself taking on any new roles outside of your vocal responsibilities, with Saosin or any other projects?
CR: I see myself being surrounded by music for the rest of my life. I’d love to gain some knowledge about producing and engineering and managing and all that crap, but for now, I just want to create and help create music. I’m just lucky enough to have some amazing friends with amazing talents to help me achieve my goal of staying creative. So I guess to answer your question, yes, I could see myself doing something else, but it’s definitely in the distant future.
