Voice Of The Underground
PRESENTS
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PROXIMITY |
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Proximity had been together less than a year when they decided it was time to go into the studio. Proximity's independent debut EP Won't Stay Down was released in May 2001 and sold over 100 copies in the first two weeks. With the addition of Mark Olivares on bass, Proximity has an even bigger, more exciting and full live sound. The members of Proximity have their eyes set on bigger things but, at the same time, they enjoy each show as it happens. They are ready for any crowd, any time. BallBuster: Introduce Proximity's current line up to our readers. - Mike Mitchell: I sing and play guitar, Mark Olivares plays bass, and Pat Maxwell is on drums. ========================= BB:How long has the group been in together? Mike: Pat and I got together around May of 2000. We've gone through a few different bass players since then. BB: In your own words, describe Proximity's sound and influences. Mike: When Proximity started I focused on writing back-to-basics, ballsy hard-rock with a modern and fresh approach. I was listening to a lot of Sabbath, old Soungarden, AC/DC, Pixies and shit like that. I've always been into a lot of different kinds of music, though. I listen to jazz pretty often and, although it's not very apparent in our music, it's definitely an inspiration. The main things I'm listening to right now are the Deftones, Radiohead, older Machine Head, John Coltrane and Charles Mingus. BB: Where did you record your current E.P. "Won't Stay Down"? Mike: We recorded at this studio just south of Milwaukee called Renwood Messenger. It's a cool place but the two guys who run it weren't getting along with each other most of the time. It was kind of a strange atmosphere. BB: What is the current scene like in your local area? How well does Proximity fit in with it? Mike: The scene is all right. We live just outside of Chicago and there's a big emo-pop-punk thing going on. Some of it's good and some of it fucking sucks. Of course the city itself has all kinds of shit going on. The problem is that just about every club is 21 and over, so the kids can't come and check out things out. That's a huge chunk of a bands potential audience. BB: What are the bands long and short-term goals? Mike: We just want to play as much as possible, in front of as many people as possible. Everyone in Proximity has music as their number one priority. It's not a fucking hobby for us. I've written a bunch of new songs since the E.P. was recorded, so I can't wait to get back in the studio and record a full length. BB: What would you say is your biggest gripe about the music industry? Mike: Oh, I don't know. The music industry differs very little from any other industry. It's all about the bottom line, marketability, profit margins, etc... This is the way it has to be, because as a record label, if you're not smart you won't last very long. Labels fold all the time. But you can't sell art the same way you sell cars or long distance service. Turn on MTV (if there is actually a rock video on) and you see a band that was probably pretty good before they got signed to a major. They probably had a good local following, a good reputation and plenty of attention. Back in the day a label would have basically thrown them in the studio, let the band blast through their set, and hopefully capture the sound that drew everyone's attention in the first place. Now you have bands that are groomed by A&R people for months and months before a deal is even offered. And once the band is signed they are fed through the fucking assembly line, dressed correctly, given the trendiest haircuts, hooked up with the "hottest" producer until they don't even look or sound like the band that got signed to begin with. They wind up sounding like fucking Limp Bizkit or Creed or something. Anyway, when a label signs a band, they should have enough trust in that band that with a little guidance and adequate support it can find it's own audience without pressure to be the "next big thing." Too much money is spent on getting bands into heavy radio rotation (they've found plenty of ways to get around that pesky payola law) and not enough attention is given to niche marketing and simple grass roots operations. BB: So, have you had any label interest? Mike: You know, we're still a young band so I really enjoy getting things done on my own. There's something really satisfying about getting your c.d.'s into stores and booking shows all on your own. I'm sure I'll eventually start looking at labels, but for now I'm enjoying the complete independence. BB:Anything you wish to add? Mike: I'd just like to say thanks and keep up the good work!
http://www.proximity-sound.com
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