{"id":4998,"date":"2012-02-29T00:45:38","date_gmt":"2012-02-29T07:45:38","guid":{"rendered":"https:\/\/mmusicmag.com\/m\/?p=4998"},"modified":"2012-02-29T00:45:38","modified_gmt":"2012-02-29T07:45:38","slug":"uh-huh-her","status":"publish","type":"post","link":"https:\/\/mmusicmag.com\/m\/2012\/02\/uh-huh-her\/","title":{"rendered":"UH HUH HER"},"content":{"rendered":"

\"\"UH HUH HER\u00a0<\/strong><\/h1>\n

Post-label living means unprecedented artistic freedom\u2014and maybe a second job\u00a0<\/strong><\/p>\n

\n

Life without a record label has its ups and downs. After parting ways with Nettwerk in 2009, Camila Grey and Leisha Hailey of Uh Huh Her decided to go the indie route and self-release their sophomore album, Nocturnes<\/em>. While creativity was never in short supply, funding was. \u201cWe were running out of money, so I was like, \u2018I need to get a job!\u2019\u201d says guitarist and keyboardist Grey. \u201cIt\u2019s the reality of it.\u201d She found a plum one, playing keyboards for American Idol <\/em>star Adam Lambert on his world tour.<\/p>\n

Although fundraising slowed the production process, the duo was prepared to take its time\u2014again, both a positive and negative development. \u201cThe good news about being on a label is that there are deadlines,\u201d Grey says. \u201cObviously when you\u2019re indie and financing everything, it takes quite an effort to get something out into the market expeditiously.\u201d That said, not having a timetable also allowed Uh Huh Her to work with producer and Emmy-winning composer Wendy Melvoin. The band met Melvoin at L.A.\u2019s Henson Recording Studios and passed their work in progress on to her. \u201cShe took a liking to it and offered her help,\u201d says Grey, who co-produced the album with Melvoin. \u201cAnd we were of course jumping at the chance.\u201d<\/p>\n

Its label-free state also allowed Uh Huh Her to follow its muse while making Nocturnes<\/em>. \u201cI stopped listening to pop music, because I got fed up with it,\u201d says Grey. \u201cIt\u2019s great, but my ears just got tired of the same monotonous sound coming from the four producers that are dominating the market right now.\u201d Instead, Uh Huh Her took their cues from early \u201990s dream-pop and \u201970s rock bands like Pink Floyd. Led Zeppelin\u2019s John Bonham provided inspiration for the drum sound\u2014indeed, the duo rented the kit he used on that band\u2019s \u201cWhen the Levee Breaks.\u201d<\/p>\n

\u201cI was like, \u2018I want to go back to what made me want to do this in the first place,\u2019 which is really experimental, beautiful music that\u2019s different and albums that you can listen to from front to back,\u201d Grey explains. As a band not looking to make a pop crossover, Uh Huh Her have managed to make independence work for them. Says Grey, \u201cIt\u2019s a lot of work, but if you have the means, the fan base and the\u00a0relationships, it pays off.\u201d<\/p>\n

\u2013Amanda Farah<\/p>\n

<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

UH HUH HER\u00a0 Post-label living means unprecedented artistic freedom\u2014and maybe a second job\u00a0 Life without a record label has its ups and downs. After parting ways with Nettwerk in 2009, Camila Grey and Leisha Hailey of Uh Huh Her decided to go the indie route and self-release their sophomore album, Nocturnes. While creativity was never […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[6],"tags":[2864,10156,3138],"_links":{"self":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/4998"}],"collection":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/comments?post=4998"}],"version-history":[{"count":1,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/4998\/revisions"}],"predecessor-version":[{"id":5000,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/4998\/revisions\/5000"}],"wp:attachment":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/media?parent=4998"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/categories?post=4998"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/tags?post=4998"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}