VOICE IN THE ATTIC

Artist: Voice In The Attic
Album: Superheroes (Single)
Review by Alex Henderson

Horror films have influenced a wide variety of rock music, but different rockers have used the horror element in different ways. While the grindcore area of death metal has been influenced by the graphic, cartoonish, over-the-top violence of slasher films (including the Chuckie and Jason franchises), goth-rock and gothic metal can be darkly romantic in a way that has a lot more in common with old Dracula movies or the "Dark Shadows" television series of the 1960s and early 1970s. In other words, goth bands are often going for nuance and plot rather than gore for the sake of gore. And there is plenty of nuance and plot on Voice in the Attic's moody goth-rock single, "Superheroes." But lyrically, the thing that sets this thought-provoking song apart from a lot of goth-rock is the way it draws on the superhero genre and questions that genre in the process.

"Superheroes" has a dusky, haunting, brooding, noir-ish melody that is pure goth-rock, and the song's hook is infectious. But in addition to being melodically appealing, the single has interesting lyrics and poses the question: who needs superheroes? In a press release, Voice in the Attic point out that superhero characters can serve as political propaganda tools and be used to promote "nationalistic propaganda." Yet the song does not flat-out condemn superheroes any more than it endorses them. Voice in the Attic express mixed emotions about superheroes, and Voice appears to be enjoying them and expressing reservations about them at the same time.

Superhero characters, past and present, aren't something one hears about a lot in goth-rock. Again, goth songs are more likely to be influenced by darkly romantic horror than superhero characters. Goths have been described as romantic people in an unromantic world, and that is a quality one has encountered in everyone from Bauhaus (a seminal goth-rock band) to Sisters of Mercy to Lacuna Coil to Black Tape for a Blue Girl. But with "Superheroes," Voice in the Attic are not afraid to do something unconventional with the goth genre.

Both melodically and lyrically, "Superheroes" is a very memorable contribution to goth-rock.
- Alex Henderson

Voice In The Attic is the recording alias of singer/songwriter BC Bogey. The name originates from Spider by Patrick McGrath, a novel about a schizophrenic man who hears voices in his attic. In Bogey's case, voice in the attic is used to describe his own inner voice which is used during his writing process. His second release, Shark Rider, is composed of four songs with simple yet quite telling, single-word titles. Each of the songs are titled after one of his main points he is attempting to get across in his songs. By looking at his picture, you would never guess that Bogey has the voice of a lion, but his deep voice pulls the whole recording together. Bogey has a sound similar to that of Pearl Jam's Eddie Vedder, though Vedder's voice is far less raspy than his.

"Pathetic" opens the EP. Harmonies are utilized throughout in the forms of oooh's and ahooo's. Bogey sings about being hung up on someone to the point where he has become a sad sight. He sings, "Call it pathetic, but to me you're magnetic." The way he allows certain words to resonate exemplifies the emotion behind the lyrics. Each of the four songs has at least something to do with relationships, love, and subjects of the sort.

In the case of "Safe," the topic focuses on an ending relationship. He transitions from singing "I guess that it is safe to say I lost my way the instant you went away" in the beginning of the song to "I guess it is safe to say I will find my way despite you going away" during the second half. The drumming pattern used has an odd resemblance to that which is used in Blink-182's "All Of This."

The third song begins with the amusing lyrics "The sign on the door says 'pull,' but you push, what's wrong with you?" The majority of the song consists of the lyrics "What is wrong with you?" The title of the song, even, is "Wrong." Having more of a hard rock sound to it than the other songs on the album, this one stands out from the others on the EP. Halfway through the song, the regular rhythm breaks in order to make way for an impressive guitar solo. Towards the end, Bogey creates a sound close to symphonic orchestra rock with his use of numerous instruments and layered vocals.

The fourth and final track, "Ground" is the shortest song on the EP. It is a slower song that uses a piano as the only instrument. While the other songs use a range of instruments, this song contains only a piano and violin. The simplicity and solemnness of the harmony does well to parallel the emotions reflected within the lyrics. He sings, "The fragile thing that was a heart lies trampled on the ground." The song ends with the words "Trampled on the ground" being slowly repeated for the last 45 seconds.

Though Shark Rider consists of only four songs, the EP is a good representation of the talent Voice In The Attic has for both writing lyrics and for performing songs. He utilizes a unique mix of alternative, rock, and indie sounds within the album, and uses his voice as an advantage to his music in a way that adds a distinctive flair.
- Alec Cunningham

Voice In The Attic is the recording alias of singer/songwriter BC Bogey. The name originates from Spider by Patrick McGrath, a novel about a schizophrenic man who hears voices in his attic. In Bogey's case, voice in the attic is used to describe his own inner voice which is used during his writing process. His second release, Shark Rider, is composed of four songs with simple yet quite telling, single-word titles. Each of the songs are titled after one of his main points he is attempting to get across in his songs. By looking at his picture, you would never guess that Bogey has the voice of a lion, but his deep voice pulls the whole recording together. Bogey has a sound similar to that of Pearl Jam's Eddie Vedder, though Vedder's voice is far less raspy than his.

"Pathetic" opens the EP. Harmonies are utilized throughout in the forms of oooh's and ahooo's. Bogey sings about being hung up on someone to the point where he has become a sad sight. He sings, "Call it pathetic, but to me you're magnetic." The way he allows certain words to resonate exemplifies the emotion behind the lyrics. Each of the four songs has at least something to do with relationships, love, and subjects of the sort.

In the case of "Safe," the topic focuses on an ending relationship. He transitions from singing "I guess that it is safe to say I lost my way the instant you went away" in the beginning of the song to "I guess it is safe to say I will find my way despite you going away" during the second half. The drumming pattern used has an odd resemblance to that which is used in Blink-182's "All Of This."

The third song begins with the amusing lyrics "The sign on the door says 'pull,' but you push, what's wrong with you?" The majority of the song consists of the lyrics "What is wrong with you?" The title of the song, even, is "Wrong." Having more of a hard rock sound to it than the other songs on the album, this one stands out from the others on the EP. Halfway through the song, the regular rhythm breaks in order to make way for an impressive guitar solo. Towards the end, Bogey creates a sound close to symphonic orchestra rock with his use of numerous instruments and layered vocals.

The fourth and final track, "Ground" is the shortest song on the EP. It is a slower song that uses a piano as the only instrument. While the other songs use a range of instruments, this song contains only a piano and violin. The simplicity and solemnness of the harmony does well to parallel the emotions reflected within the lyrics. He sings, "The fragile thing that was a heart lies trampled on the ground." The song ends with the words "Trampled on the ground" being slowly repeated for the last 45 seconds.

Though Shark Rider consists of only four songs, the EP is a good representation of the talent Voice In The Attic has for both writing lyrics and for performing songs. He utilizes a unique mix of alternative, rock, and indie sounds within the album, and uses his voice as an advantage to his music in a way that adds a distinctive flair.
- Alec Cunningham

This one man band is ably backed by BC Bogey, a German born multi-instrumentalist and former opera singer. The band, Voice In The Attic has a haunting sound that is screaming its way to your airwaves. The latest EP release, "Shark Rider" is getting attention in all the right places.

This four song EP is a sure win off the wall rocker. If you're looking to get your rock on this is the place to go. Each track has a contagious beat with a quirky sound. BC has an interesting style belting out edgy lyrics that are complimented with his signature musical styling. He has a couple up tempo songs that do their part in waking you up and getting your attention. There are also a couple moody slow tunes that put you in a droning trance. This EP has something for everybody.
The beauty of music is everyone has their own interpretations of what they think art should be. "Shark Rider" is a cool off beat head turner with Bogey's answer to rock n roll written all over it. This is a fresh new idea of what music should be with the potential of changing how we all celebrate life and living.

Voice in the Attic's name may have come from a schizophrenic character in a book who heard voices that weren't really there. But, BC's voice is here and needs an audience with an open mind and a desire to let their hair down.

(By: Rebecca Hosking)
- Skope Magazine

BC Bogey, the artistic talent behind the project Voice In The Attic, is trained in opera, has played in heavy metal bands and considers music to be about "vocal communication, mouth to ear, from one human being to another. It’s what I call the humanizing approach." Bogey's humanizing approach to music consists of using takes that sound less perfect but preserve the original vibe. This can be heard clearly on his EP Shark Rider, where each track is unique in its sound and character and gives forth the artistic vision of organic, humanized music.

Schooled in Dusseldorf, Germany at the Robert Schumann Hochschule conservatory and then at Cologne University, this creative artist has honed and perfected his craft with unbridled skill. The 4-track EP Shark Rider begins with "Pathetic," a melodic piece with vocals that are at times a bit pitchy, but Bogey’s raspy voice carries the tune well. The lyrics are thoughtfully written and the overall composition of the song is skillfully done. The sound quality is professional and the haunting cadence will make a home in the hearts of listeners.

"Safe" is an extremely lyrically sound offering and Bogey's vivid imagery and heartfelt words will make this a fan favorite. With touching emotion and a candid delivery, the lyrics are what carry this song. Bogey croons about the human condition; loneliness, heartache, and hope. A piece of music that anyone can relate to, this song will touch the hearts of many. "Wrong" shows the more risqué side of this artist. The rhythm is slightly edgy and the guitar solo absolutely screams. Everything about this track is done with exceptional skill, from the composition to the performance to the delivery to the sound quality. This piece clearly showcases the talent and creativity this artist harbors.

"Ground" is the most melancholy piece on Shark Rider, and also the shortest. With haunting piano work and Bogey’s signature gravelly vocals, listeners will be left with a sense of deep profoundness. BC Bogey, otherwise known as Voice In The Attic, has indeed fulfilled his artistic vision of humanizing music. His craft goes beyond simple words and melodies. There is honest emotion tied to his music that reaches the depths of the human condition and brings a spark of life and of hope.
- Rhonda Readence

BC Bogey's haunting, even soothing, singing style is the strength behind Voice In The Attic's latest release Shark Rider. His style is similar to lead singer Jeff Martin of Windsor, Ontario's The Tea Party, where his deep, yearning voice is front and center. The four tracks that make up Shark Rider are energetic rock tunes accompanied by raucous electric guitar backing, strong acoustic guitar lines, and a fervent, robust rock undercarriage. When Bogey is singing at a slower pace, his yearn-filled bellow bursts at the seams with emotion, and when he bellows out the louder stuff he sounds even more poignant.

"Pathetic" opens up the album at a bit of a slower pace, but Bogey's voice immediately grabs the listener's attention in an instant. Smooth guitar lines and brisk, half-paced drum work give this semi-ballad the appropriate weight, but the focus is truly on Bogey's singing; expressive, sensitive, and heartfelt. The wavering rhythm and cymbal crashes partner with Bogey's wailing near the finale of the tune, giving the song a dreamy, wistful play out.

"Safe" is in the same style, yet the song's character has a tad more drum work and "crunch" to it, with more of a rock underlay. The pace of this track is faster, and Bogey's vocal work merges well with the fluency of the music.

The next track entitled "Wrong" has Bogey repeatedly asking the question, "What's wrong with you?". This time, there's a slicker, greasier rock sound to the music. Excellent guitar work and drumming give this tune an edge. The music encompasses the redundancy and repetition of the lyrics, but the flow of the song is catchy and even evocative.

The last track of the quartet entitled "Ground" opens up with a subtle piano riff and Bogey's best sampling of his vocal might. Here, his voice is spotlighted and sounds as powerful and as forceful as any track of the four… too bad the song plays just under 2:30. Actually, the disc itself is only about fifteen minutes long, leaving you to want to hear more, which is truly a "good thing".

BC Bogey had some great help on this EP. He had assistance from musicians and sound engineers that worked with Kelly Clarkson, One Republic, and Seal. The production and overall sound is crisp and potent, which is what one would expect when those kind of names are associated with the people who helped make your album.

If there's one knock about this entire project, it would be the cheesy cd cover. It's a picture of Bogey superimposed and balancing himself on the nose of a great white shark. But, when the only aspect you really have to work on is the cover of your album, your future looks pretty promising. He has the chops, his music is appealing, and he's a fine writer. We'll just have to wait and see what comes next from Voice In The Attic.
- Mike DeGagne

AN HONEST VOICE OF OUR TIME, POET, ROCKER, THINKER, BC BOGEY'S "VOICE IN THE ATTIC"

Imagine a bright five year old boy who loved recording passages from books on his little tape recorder. When he became a teenager, he started writing lyrics and singing in a heavy metal band. By the age of twenty three, he was admitted at Robert Schumann Hochschule, a very prestigious Conservatory in Dusseldorf, Germany. They always said he would be a famous Opera singer but BC felt something different brewing inside his musical/poetic soul so he left the school and worked with Instrumentalist and Producer Wilfred Pechtheyden and they started a group TIDE. Their studio project produced "Autumn" and the cd was an acclaimed success. BC was at a crossroads in his life and wanted to learn more so he studied philosophy, geography and English literature culture. He graduated with honors from Cologne University and ended up teaching. Still something stirred inside that had to be let out. The unique combination of all BC's gifts of music, poetry and intelligence developed into an amazing artist whose voice, lyrics and style is honest, fresh, complex and absolutely BRILLIANT!!

Skope: Where did your inspirations come from?

Voice In The Attic: My inspirations come from either my own experience or from things I've read about or seen in movies or the news media. Often, fact is intermingled with fiction throughout my work. As an example, the name VOICE IN THE ATTIC on the one hand refers to me being a singer who owns a recording studio in the attic of an old house but also to a schizophrenic character in a novel who thinks he hears voices coming from the attic of a boarding house. Furthermore, it is a tongue-in-cheek allusion to 'toys in the attic'. So there’s usually more than one layer of meaning in my music and writing.
As for the subjects of my lyrics I'd say the only rule is that I must be emotionally involved with what I'm writing since writing song lyrics isn't the same as writing an article or an essay. In fact, the word "lyrics" is derived from Greek lyra for lyre, indicating that poetry and music have been inextricably intertwined for a long period of time. For me music and lyrics are two sides of the same coin. I could never write "gaga ooh la la" lyrics. It's probably meant to be ironic and clever but it isn't. It's just plain stupid. One of my cardinal rules in song writing is that if you've got nothing to say you should rather shut up.

Skope: You have a classic rock voice and look like Jim Morrison as an example. Tell me how you got into music and about your cds and what you're working on now?

Voice In The Attic: Thanks, I take that as a compliment. Let me begin by answering the last part of your threefold question. I'm currently working on two new songs that will be released as singles at the beginning of next year. One is called Over, the other one Ablaze. Maybe Morrison is a good example to further illustrate my point on song writing and storytelling. One source of inspiration for me is classical mythology, as it was for Jim, and in Ablaze it mingles with personal observations and snippets of Alice in Wonderland. The lyrics of the first verse goes, "I'm tumbling down another rabbit hole / They say that pride comes before the fall / What did I win? Less than I lost / So let it spin and let us count the cost" before it turns into a Dionysian love chant in the chorus: "You and me / We'll set the world on fire / You and me / Ablaze with desire". The last verse finally invokes the god of wine and ecstasy when it urges the listener "to feast / On Dionysus' heart". I would call the song's mood 'conspiratorial': it's a romantic little love tale urging listeners to transgress the boundaries set by society. It's about anti-compliance, and maybe also about anti-complacency: be radically true to yourself, follow your primal instincts and do what you feel is right.
Which brings me to the first part of your question, how did I get into music. I was born too late to be part of the movement toward social equality and liberation which was the 60s and early 70s that shaped the sound of bands like The Doors and was shaped by those artists' bravery and experimentation in turn. Yet I was born in the mid-70s and my parents were still genuine hippies at the time. Us kids were encouraged to try out every musical instrument we wanted and though I never learned to read lead sheets, I discovered my environment acoustically. Later I did learn to read and write sheet music but found the technique distracting and abandoned it. Music comes through the ear. It isn't always easy for me when working with musicians who are not as 'instinctual' and wish to strictly keep to their rule books.
About my recordings, one example to illustrate my point about 70s-style experimentation off the beaten path would be that for Shark Rider I tuned down my guitar strings to what I later learned was a modification of 'Drop B' tuning. - Diana Olson

What project are you currently promoting?

Voice In The Attic: The Shark Rider EP and two new songs called Ablaze and Over on which I've collaborated with a string ensemble and a female vocalist for the first time. In a strict sense, I am the sole producer but I've listed Kati O'Toole of StudioPros as my co-producer in the credits because she manages the mixing and recording process in
Los Angeles for me.

What song are you currently promoting?

Voice In The Attic: One of the new songs, Ablaze, will be made available in two different mix versions. The song came about when I reread Alice in Wonderland and thought that the experience of tumbling down the rabbit hole really is an initiation into adulthood. In my version, this process of initiation turns into an invocation of the Greek god of ecstasy, Dionysus. One version of Ablaze features female backing vocals which gives the song a dreamy, wistful quality. It really is a love song. As on Shark Rider, I am the producer but as before I have collaborated with a studio in Los Angeles on the rerecording of some of the instrument tracks and the mixing. The mastering was done by Grammy winner Adam Ryan (Rolling Stones, Foo Fighters) at Gateway Mastering in Portland, Maine.

What inspires your music?

Voice In The Attic: My own experience as well as things I read about or see in films or the news media. Often, fact is intermingled with fiction throughout my work. Storytelling is an important aspect for me. I'm an avid reader and my interests range from classical mythology through Philip Roth to scientific and philosophical treatises.

What are some of your musical influences?

Voice In The Attic: Tori Amos, Damien Rice, King's X, Mozart, The Tea Party, Foo Fighters, Ani DiFranco, Tracy Chapman, Heather Nova.

What obstacles have you faced in the music industry?

Voice In The Attic: My music has been very well received, although I haven't got thousands of fans yet. Basically, what it boils down to is the business aspect of the term music business: more often than not, it's all about the money when it comes to distribution and strong presence in the media.

What hard lessons have you learned while working in the industry?

Voice in The Attic: I have some inside information, so I know that when a new single or album by an artist is released on a major label and sells millions of units in a very short period of time that is because the majors employ people to drive around the country to buy back their releases from the stores. The same goes for downloads. The majors hope of course that they can generate real consumer interest with this tactics, because the psychological effect on consumers is that they feel like, 'How on Earth could I have missed this?' Sad but true.

Do you feel that artists really understand the business aspect of the music industry?

Voice In The Attic: No, most of us don't and in a way you can't spend too much time and energy on the business aspect if you want to make art. The old division between artist and A&R management where you would pass on the marketing aspects to people whose only interest lay in making money made a lot of sense. These days, if you're an independent artist you have many different jobs, which is good and bad at once. Its good because you own and manage all of your music publishing rights. it's bad because it may become too much for one person. As a solo artist I'm my own lawyer, manager, agent, promoter and producer besides being a fulltime musician. For a new project I write the lyrics and the music, arrange, record and program the instruments and do a rough mix. Next, I collaborate with session musicians at a different studio who will rerecord some of the instrument tracks for me while I instruct the recording and mixing engineers on specifics before the final mix is sent on by me to yet another studio for the mastering. Meanwhile, I give interviews, schedule gigs, cooperate with photographers and designers on press photographs, cover images and logos. I manage and update the content of the website and the social media network sites, sign contracts with digital and physical distribution firms, see to it that the mastering plant produces a glass master which will be replicated and packaged at a different plant, and do the marketing for the new product while already beginning to write and record the next songs. And round and round it goes.

What changes do you feel that need to be made in the music industry?

Voice In The Attic: People should focus less on the industry and more on the music itself. Often, you get the impression that the product - some would say, the service - doesn't really matter. On music fairs you might just as well be selling cars or any other kind of product and no one would notice much of a difference.

What direction do you see the music industry going?

Voice In The Attic: There is much confusion at present and no one knows which path the music industry will take, - Music Now Magazine

The music video of VOICE IN THE ATTIC's song 'Sometimes' will be shown at Filmhaus cinema, Cologne, as part of the Shnit Film Festival on Sunday 10 October between 5 and 6 p.m.

Shnit is an international festival, situated in Cape Town, Berne and Cologne. Over 3,500 entries were submitted for this year's competition, 80 of which were finally selected for screening at local cinemas. 'Sometimes', starring BC Bogey as Luigi Pepperoni, is one of them. - BBP

Skope: What does it mean to be an A2W artist?

VOICE IN THE ATTIC: It means a lot to me. Browsing through all the options for features and reviews my sonicbids Electronic Press Kit gave me, I thought "Being featured on Skopemag would be great. Let's give it a shot and apply for their A2W feature" – and got selected! There are many music mags but few serious publications. Skope is one of them. So I'm proud to be here!

Skope: What are you currently promoting the most via an album, tour, single etc?

VOICE IN THE ATTIC: Shark Rider, the new EP. It's available from all major online mp3 stores and there's a physical product coming soon as well, a limited digipak edition I'm currently working on with a graphic designer.

Skope: Does it bother you when fans download your music without paying?

VOICE IN THE ATTIC: Well, John Lennon once said: "Music is everybody's possession. It's only publishers who think that people own it." Lennon's right, of course, and I'm all for giving the fans freebies. But the problem is that you need money, obviously, to do what you do best. Unfortunately, the Lady Gagas of this world are sending out the wrong signals by giving away whole albums for (next to) nothing. Consumers get the impression that songs are fruits dropping from trees, which is not true. I've written (and recorded) more than 30 tracks in the last months, only the best of which are on the new album. And the production of Shark Rider, involving musicians, engineers and producers from two continents, cost thousands of dollars. That's peanuts for corporate businesses, but independent artists must shoulder the costs themselves. If you get absolutely no compensation for what you do, if you cannot so to speak 'harvest the fruits of your labour', the question is how long can you keep it up if you want to make music professionally. On the other hand, I can fully understand that people do not want to pay for something that seems as 'insubstantial' as mp3s or that they say music's a service not a product, see Lennon. It's both, which is the predicament.

Skope: What drives you everyday to play & record music?

VOICE IN THE ATTIC: I can only think of two motivations for doing that. One would be to write, record, produce songs targeted at the mass market because you want big time money. So what you do is, you analyze and imitate the sound, style etc. of a famous artist, sample bits of smash hits from the past, mash it all up and – voilà! – you're into the epigone business. Two, by contrast, is my way and that of several artists I adore. Heather Nova sings on one of her songs, I think it's called 'Not Only Human', "Life is something set to music / I can hear it when I'm sad / There's a chord in every muscle / Every kiss you ever had". That applies to me as well. You either express yourself in an artistic way because you sense that it brings you closer to the mysteries of the universe – or you don't. So the short answer to your question is, it's part of my personality structure.

Skope: Do you feel shows like American Idol and The Voice are legitimate and would you ever go on the shows?

VOICE IN THE ATTIC: That's a tough one. On the one hand I know people who have produced the first American Idol winner, and those guys are nice hard-working, serious musicians and producers, many of them Berklee grads. But this part of the industry is also a farce and a slap in the face of musicians writing their own material who are serious about communicating through music. And no, I would never ever go on one of those shows. Friends of mine suggested I ought to but no way. Hell, I was born in the 70s when music had the power to change societies! I believe it still has that power. Only, you must look – or listen – harder. It's not self-explanatory anymore. There's so much 'ado about nothing' these days and it functions like white noise blocking out the good work by serious artists who really care about their audience. Not all is dark, though: bands like the Foo Fighters prove that you can be hugely successful and maintain your credibility.
- Skope Magazine

Click "Listen Live" as well as "Request Song" then the "Click here to request a song online" link. We're under V. - iRadio (Indie 104)

BCB in Interview w Vents Magazine # 17, p. 33 - Vents Magazine

Rockford Live Radio feature VOICE IN THE ATTIC on their live talk shows (Mon-Fri 9 am cst) starting 4 April 2011. Access our featured artist site: click on the 'Alternative' tab, scroll down a bit and click on BCB's press pic - voilà! - RFL

BC Bogey in interview with Koeln Campus Radio (Note: Interview is in German) - Cologne Campus Radio

Note: Article is in German. - Koelner Stadt-Anzeiger (Cologne's leading newspaper on VOICE IN THE ATTIC)

BC Bogey in Interview with GFH Magazine - GFH