Where the Wild Things Are

"Stay, don’t go. I’ll eat you up, I love you so.”

Quite a memorable line from Where Wild Things Are, so memorable it resonates. Resonates especially with Trenton Woodley, lead singer of Hands Like Houses.

In the song "The Definition of Not Leaving", Woodley quotes this particular line. And explains his connection in a recent interview with Sights of Sounds Magazine:

"I liked...the idea of the innocence of childhood which can be extended to anything. We are just human beings and while we learn different behaviors we’re still the same like, conscious soul. So I think I love the idea that this kid is just exploring what’s in front of him and he still wants to belong, he wants to rule, he wants to run, he wants to just experience everything. That idea of 'stay, don’t go, I’ll eat you up, I love you so' is just kind of reflective of not necessarily a negative side of humanity, but a side of us that is self-driven. You know we see the world through our own eyes and feel the world through our own senses? That’s kind of what it is. 'I’ll eat you up, I love you so,' is just me being who I am in my life. It means that it may have negative effects but I still want to love and be loved."

With this view on life, soon after signing with Rise Records, Woodley and the rest of Hands Like Houses approached a broader horizon of opportunity than just the city of Canberra, or even Australia. The horizon extended to America.

Jump starting themselves, they already had a fan base. Yet, credit goes to the 2012 American Warped Tour for solidifying the American fans. Not only is it a great place to launch a new album, according to Woodley, the lessons learned, the friendships gained and the fans interaction are the most rewarding part.

"It is a great way to interact and we like being out there and enjoying it on our own terms."

Rhythm guitarist, Alex Pearson adds:

"[This] was the first tour where we really got a chance to have “meet and greets” [air quotes]. Anyone can come up and talk to us but it just gave us the possibility for people to line up and just have some time to talk...We try to be as approachable as possible, and it’s the hardest thing to convey to people...When someone meets like either of us and they just sit there and don’t know what to say, but we are actually normal people."

After solidifying a fan base across the ocean, and a summer spent in our "foreign country", Hands Like Houses returned home. Capitalizing on their Australian Warped Tour, more fans recognized Hands Like Houses.

In 2015 the band hopes to return to the American Warped Tour. But who says you have to wait another year and a half to see them live?

No one!

Hands Like Houses were given the opportunity to headline an American Tour that begins May 6th.

And this is the song that hooked me...

This Is War

My eyes are opened.

Distrust, corruption, destruction are all under the radar. We turn a blind eye. Fixation is not in the equation, until Jared Leto took the courageous step to unveil the interworking of Record Labels.

After watching Artifact a documentary of 30 Seconds to Mars law suit for 30 million dollars with EMI’s record company, the corruption finally comes into view.  Not to say there have not been other law suits for artist being undermined—I could name numerous others, some even being with EMI—but Leto, the lead singer of 30 Seconds to Mars, documented the process.

It began with Leto, his brother Shannon, percussionist, and guitarist Tomo Miličević, deciding to break away from EMI. The original deal made in 1998 consisted of creation of five records. In California, though, even if the deal has not been satisfied, but has extended over seven years, which it had, the band has every right to breakaway. 30 Seconds to Mars knew this.

EMI on the other hand refused to accept their loss. Suing for 30 million, the band would still be in 2.7 million dollars of debt after paying.

With this in mind, Leto wanted to take this to court. In front of a jury, who would side with a musician opposed to a record label who obviously holds all the cards? Any label holds the cards. They have control of the money, even if they don’t exactly know how their industry fully works—the reason it is crumbling, and it has been since rock bands started in the 50’s and 60’s. In essence, the labels have been taking advantage of their musicians. For those who don’t care about the money and more about the music, and for new musicians who don’t necessarily know how the music industry works, this is a visual:

Credit to: Artifact Documentary Produced by Bartholomew Cubbins

The record label gives $250,000 as an advance to the artists, who then make the album. Say the album sells 500,000 copies at ten dollars. That’s five million dollars in revenue. But the record label takes 85% cut, removes the $250,000 advance, and all the money that has been given throughout the process of making the album—producing, marketing and touring. Leaving the artist $425,000 in debt, this carries from one album to the next.

This is not every case, though. The music industry has begun to fall as teenagers and others scam the internet for “free” music; therefore, record labels have created a new deal called 360. Instead of allowing the money from merchandising directly support the band, record labels are capable to collect money from every facet in which money is given.

Which is why I believe 30 Seconds to Mars should have stayed independent. They would be funding themselves, which they did during this law suit—creating a recording studio in the basement of a Hollywood Hills house, buying their own producers & technicians, marketing themselves. I have to have an omnimax view, though.  Leto brought it into perspective with one, simple, but not so simple statement. “Name one band that is independently labeled that has continued worldwide success.” Miličević could not answer.

Not to say people have not made it big over the internet because it has happened. But those people are sought out by the record labels. They’ve established themselves, and rarely turn down the deal. They are well aware of the opportunities that are available to them by taking the deal. Sadly, though, not everyone knows of the corruptness of the music industry.

If there is anything I wish I could’ve seen 30 Seconds to Mars create would be a new business. If they had taken advantage of their opportunity when EMI began to regroup by firing 2,000 employees, 30 Seconds to Mars had an opportunity to hire and create their own business. Their goal was to change music business, they did. But if they created their own record company with employees who had experience and be a welcoming, non-blinded business who clearly taught their artist and musicians of the interworking, eventually others would have to follow suit. There would be trust—no blackmailing, no suing, no undermining.

But 30 Seconds to Mars did a tremendous job in standing up for themselves. The long journey, stress-to-the-brim days, and sleepless nights paid off. After 211 days of disputing lawsuit a new contract was signed to terms written by 30 Seconds to Mars and accepted by EMI.

Although, 30 Seconds to Mars was never paid for their first two albums, their third album This Is War, inspired by the lawsuit sold over 2 million copies.