It`s always such a pleasure to review a kick ass single. Nothing makes an A&R happier than new music. But a kick ass single coming from a band that we adore here at Vanadian Avenue is even better. We have such a soft spot for Lower Loveday. We met them for the first time in February 2018 when the band performed a blinding set at Birmingham O2 Arena during the final of SoundWaves Music Competition. They did not win but being placed in the final five was still a great result.
Since that night at O2 Academy – we have been big fans of this West Midlands quarter. We have interview them on our blog twice (HERE & HERE), they played for our first showcase in London at legendary Nambucca, we ventured together to Salford to watch Freeda and Kashmere play and generally plotted for musical world domination from our corner in the Middle Earth.
Lower Loveday received backing from BBC Hereford and Worcester and BBC Introducing West Midlands
It is a privilege to watch a band develop and reach new heights. And believe us in the past two years Lower Loveday have had many accomplishments. They supported Only The Poets, APRE and Rory Wynne, received national airplay on BBC 6 Music (from Tom Robinson nonetheless), their music has been used by ITV (on Good Morning Britain) and have been championed by both BBC Introducing Hereford and Worcester and BBC West Midlands.
If that is not enough for ya, then add this to the mix. Their newest single “Chains” was produced by famous Sugar House in their studio in St. Helens (Merseyside).
Sugar House consist of a freelance engineering and producing duo – Lee McCarthy and Ady Hall. Having worked with artists such as Pale Waves, Viola Beach, Mint, Glass Caves, The Empty Page or Larkins, they have built a solid reputation on the indie circuit. They contributed towards songs that made it to the national playlists on Radio 1, BBC 6 and X Radio and some of them went into Top 40.
Digital sleeve for Chains single
“Chains” is another banger that Sugar House mastered and if the demo of the song was picked up by ITV, then the finished product will be welcomed with open arms at BBC Radio 1 in no time. It is a power pop indie, with dazzling guitar hooks and strong rhythm section. It is almost impossible to resist dancing to the song. We have seen it first hand on live gigs and it is perfect for jumping around while holding hands with other fans. But it will also be a favourite of every kitchen disco around the country.
While musical side of the song remains upbeat, there is a dark undercurrent showing itself in the lyrics. “Chains” tells a story of a man pondering his future in a world that is far from welcoming.
Says the band: “The song was written from the point of view of a young man, reaching adulthood and deciding what to do with his life. Having had so much fun throughout his university years, the real world doesn’t seem as good as it is made out to be. The punchy beats and thunderous nature of the song, provide the perfect backdrop for the big, melodic chorus of a man calling out for help”.
“Chains” is a second single released by Lower Loveday in 2019 and follows up its older sister “The Fire That Burns Inside”. It was released digitally on all streaming platforms on August 30.
Local press responded to the single in a most amazing way – an interview with the band has been published in Worcester News, Hereford Times, Malvern Gazette and Droitwich Advertiser. Please see the galleries below:
It`s a strange feeling to be writing a blog about Throwing Muses` front woman on a night when VMAs are on. It almost feels like the 90s. Back in the day MTV was a rock channel and Throwing Muses were in heavy rotation, leading guitar revolution across charts and Z Rock network. Times may have changed but many things stayed the same. Kristin Hersh is still touring, recording exciting albums (last years`s “Possible Dust Clouds” is nothing short of a masterpiece) and still being independent. Perhaps even more now than when she was on 4AD.
Being life long fans of Kristin`s music, we have been thrilled to speak to her about her new record, extensive tour of UK and creative process behind her songs. Lets leave the Moon Men to some emo kids and mumble rappers. There is so much life outside the Top 40.
Ladies and Gentlemen – the one and only Kristin Hersh!
Kristin Hersh and her band members on stage
Hello Kristin! In March this year you have played an extensive UK tour with over 30 gigs across the county. How was it? We hope you received a warm welcome!
Kristin Hersh: Best tour of my life in every way. Not making this up. Van life plus my favourite musicians in the world and musically literate crowds. Rob from 50 Foot Wave and Fred from Throwing Muses made this power trio a super group, of sorts.
The first time they called us that, we laughed, and then immediately adopted the term ‘cause it made us feel like super heroes!
You have released nine studio albums with Throwing Muses, the latest in 2013. “Purgatory/Paradise” came out in an unique form: 32 tracks accompanied by a book full of lyrics, images and additional material. The scale of the release prompted fears among fans that it would be the last album for the band. Do you think there is still some music left in The Muses or are you definitively putting the project to rest?
Kristin Hersh: (laughs) Throwing Muses is in the studio right now. If Muses songs show up, so do we.
Lady with a guitar – Kerstin Hersh has always been a role model on indie circuit
Besides music you are also a published author. You have written and illustrated children book “Toby Snax” and penned two memoirs (“Rat Girl” and “Don’t Suck Don’t Die”). Was writing a natural step forward from making music and crafting songs?
Kristin Hersh: I love prose. After a lifetime of speaking music—a language not everyone is fluent in—I get to communicate clearly. Though my writing style verges on prose – poetry, so I guess the communicative effect is watery. It`s more like music than conversation.
In an interview with Guitar World you once said “We’re morally bound to not participate in the traditional recording industry because we disagree with it.” And yet, your newest studio album “Possible Dust Clouds” was released on a label, the old fashioned way. What convinced you to sign to Fire Records?
Kristin Hersh: The old fashioned way is corporate and anti-music. I traded Warner Brothers my first solo album in exchange for my band’s freedom. The new paradigm—like Fire Records—is staffed by people who’ve been too moved by real songs to play the insult-to-music-and-women fashion game that took over the recording industry.
For the purpose of this interview we really tried to find one review of “Possible Dust Clouds” that was not positive and we failed! Pitchfork called it a “glorious return” while Guardian described you both as “uncompromising” and a “true innovator”. Every online review is full five stars. Do you regard this record as the best of your career, cause your fans and music journalists seems to agree on that.
Kristin Hersh: I probably think every record I make is the best of my career! But I’m also baffled by songs. They tell me what to do and I have to listen, so production technique is necessarily reinvented in every session. Until I hear back from smart journalists, I really don’t know what I’ve done.
Kristin Hersh – the legend herself
It took about five years to record “Possible Dust Clouds” and unlike your previous album you did not play all the instruments. This album welcomes many guests and even uses field recordings. How do you remember working on this particular record?
Kristin Hersh: I wanted a chaotic sound, one that mimicked the feel of live shows. Live recordings are usually just recordings that suck, so you have to parse the elements of a show: group high and loud noise plus movement, in order to bring that about. I invited a few friends whose playing is very muscular so that I could warp timing and tuning in the high and low overdubs around our performances. Weak playing would sound ineffective with this treatment but here it sounds noisy and fluid.
The album has been promoted by several singles, including LAX and now Breathe In. It is one of our favourite tracks on the album. We would love to learn more about this song.
Kristin Hersh: “Soloing throughout” is a term we use to make fun of guitar players who won’t shut up, but that’s exactly what I did I in this song. Played my leads with a screwdriver and I don’t shut up until the song ends. My son Wyatt played drums and my fiancé, Fred Abong, is on bass. It’s a little trio of a family, really. So there’s a sweetness in all that noise.
If you are not touring solo or with Kristin Hersh Electric Trio, you are working with 50FOOTWAVE. Can you tell us something about this project as British audience may not be familiar with it.
Kristin Hersh: 50FOOTWAVE is my noise rock trio out of LA. We’re run as a cooperative, with everyone donating their time, from engineers and musicians to videographers, to allow us to give music away.
You have always been very open about your struggles with mental health. And music industry is having this big conversation right now about supporting artists. Looking at things from perspective of somebody who spent four decades in the industry – do you see any changes? And if so are they positive or negative?
Kristin Hersh: I haven’t been all that open, really, since I have no mental health issues. I was misdiagnosed schizophrenic and bipolar and only recently cured of PTSD and concurrent dissociation, which isn’t technically a mental illness. I answer questions when I’m asked, but I shy away from linking any illness to art.
And I think supporting the arts is a very individual decision since they’re all industries now and subject to marketing techniques like bandwagon appeal, etc. I’d love to see people playing their own music, for example. That’s a way to support the arts.
Last (infamous) question – if you were able to change music industry to your liking what would you do? What would change and what would remain?
Kristin Hersh: I would take fashion, money and fame out of the equation. That would leave us with actual musicians. I’m not sure that there are any musicians or songwriters in the recording industry. Rock stars and people who want to be them should never have happened. Music? Will always happen.
Was it Tony Wilson who said that Manchester kids have the best record collections? Well, it would explain the wide spectrum of influences heard in the music that`s being played across town – from metal, prog, psychedelia to indie, rap, hip-hop and dance. Citizens of Mancunia don`t like to limit themselves to just one genre and prefer to mix styles until they arrive at a mixture that will make everyone dance. On tables even, what do you think tables are for, heh?
INEGO is a perfect example of how versatile and creative musicians in Manchester are – they will serve you a wonderful sonic plate of strong beats, rock and dance inspired tunes and before you know it – you are at a merch stand buying a tee. Welcome to another entry in our ongoing series “Hello Manchester” – showcasing local talent. We sat with the band to talk about recording at famous Magic Garden studios, their double A side single and forming a super group with Noel Gallagher.
Band logo
Please introduce yourself to the readers of Indieterria. Where are you based and who is in the band?
INEGO: We are an indie disco rock band from Manchester. We are made up of Toby Belshaw (vocals/ guitars), Pete Mackenzie Hodge (drums / vox), Steffan Guettel (bass / vox), Dan Myers (guitars / vox) and sometimes David Trott on the keys.
Tell us something about the project – are there any goals that you managed to achieve?
INEGO: In the last few years we’ve had the honour of working with audio wizards Gavin Monaghan and Joe Murray at Magic Garden Studios in Wolverhampton on a number of different releases including the EP “What You Waiting For?” (2015), double A single “Exiled Love” (2017) and most recently the “They Want You”/”Nobody” single which we brought out on a limited run of 7″ vinyl which was a first for the band.
In May 2019 we’ve just successfully closed a kick-starter campaign to help us record a full length album at the Magic Garden and we’ve been completely blown away by the support of our amazing fans !! So it’s now officially happening and the future is very exciting.
There is still loads we want to achieve as a band and we always want to play new places and festivals! We just want people to listen to our music.
One really cool side note is that the King of Manchester Ian Brown has a copy of our 7″.
What inspires you? What artist or genre had the biggest influence on you?
INEGO: Being based in Manchester it’s hard not to be influenced by bands such as New Order, James, Oasis or The Stone Roses (just to name a few)! But we’re just as much influenced by music from the other side of the pond as well bands like Fleetwood Mac, Foster The People and Chic. We also like dance bands like Daft Punk and more recently Parcels. We try to fuse all of these influences together to create something fresh. In full musician cliché – life is definitely the main inspiration behind our music. We’re had a lot of ups and downs as a band, but you pick yourself up, keep going and fight for what you believe in! We try to write music that hopefully makes people feel good, join in our live shows and just generally have a good time because that’s what life is all about.
It`s all about the music – and we want to hear about your current single. Is there a story behind the song, where and how was it written.
INEGO: “They Want You”/”Nobody” is our latest release and it’s a more focused indie-disco-funk-rock-sound and should act as a good pre-cursor for the upcoming album.
We want to create music that people can dance to, so that you come to a show and leave your problems and just have a good time.
“They Want You” has a nostalgic 80’s multiverse theme that runs throughout – it’s somewhere in between a training montage from Rocky 4, Stranger Things and The Untouchables! We were talking about Eleven a lot when we were recording it.
“Nobody” is more of a straight up funky disco rock dance track that is heavily influenced by both Chic and Daft Punk but also has a touch of the North West about it. It`s definitely got a Mancunian Parisian thing going on.
If any bookers or promoters want to get in touch – what is the best way to contact you?
Imagine you can record an album with any artist, dead or alive in a studio of your choice. Who would be on your record?
INEGO: Going to go for the all out super group – Noel Gallagher upfront, Reni on the drums, Bernard Sumner on synths, Nile Rodgers on guitar and Bernard Edwards on bass produced by Daft Punk and we’re going to record at Real World Studios or Rock-field if that’s booked up.
More than happy to just make tea while everyone does their thing but will play tambourine if needed or maybe even a bit of guitar
We absolutely love the Manchester scene these days and cant wait to bring you more features on new bands and singles. Stay tuned. If you need us we will be at the merch table getting ourselves INEGO tee. What else?
Neville Staple is an artist who does not need introduction – a legend, an original Rude Boy and a musician that soudtracked the last four decades for millions of people around the world. His work with The Specials, Fun Boy Three and Special Beat puts him on the front-lines of 2 tone ska movement. In short, ladies and gentlemen, rude boys and girls – we had a pleasure to speak to Mr Staple about his music, 40th anniversary of ska, charity work and his degree.
We would like to start this interview by congratulating you. On July 10th you were awarded an Honorary Doctorate from Arden University in recognition of your musical career and involvement in the community. Well done Doctor! How do you feel?
Neville Staple: Thank you so much. I feel great actually. I am a rude boy who came up from the street, who found opportunities and ran with them, who realised what talents I could bring to the table and brought them. Its all I had, so I used them. I have had over 40 amazing years in entertainment and music, so to be honoured by a very new and classy university like Arden, is brilliant. With all the awards I have gained over the years with albums, singles and other production work, this is extra special, because it is very personal to me and guys like me, don’t get such things easily, without really stepping up. Yeah, I am very proud.
It’s the 40th anniversary of The Specials this year. Did you ever imagine when you joined the band that four decades later you will be still making music and touring?
Neville Staple: Before the Specials I was an entertaining, I won dance competitions, performed with the Ray King Soul Band and toasted lyrics with Messenger and Jah Baddis Sound Systems, so I was always going to have a life in music, I reckon. But I probably wouldn’t have believed I’d still be making music, producing albums and soundtracks, or touring the world, all these years later. It’s great and keeps me young!
2Tone Ska movement are credited with defusing racial tensions in Thatcher- era Britain by mixing reggae and punk. Music journalists rightly point out that even the chequered patterns used by the movements (black and white squares) symbolized the unity felt by musicians at that time. It’s hard not to draw parallels between that period and “hostile environment” now. Do you think music can again heal the divided society in the times of Brexit?
Neville Staple: One of my recent songs, “Put Away Your Knives” has led to a lot of people coming forward and looking at more solutions to knife crime. People contact my wife Sugary and me about the issues they face, or the projects they want to set up and lots of other stuff. So, if that is the power of just one song, then yes, I do believe that we can always make a difference, through music. “Politician Man”, “The Border” and “Road Block” on recent albums, also caused a lot of dialogue with fans, who recognised issues from their own lives, or communities or from the news. Even “Way of Life” was written about our friends who sat in a bar, having a drink, when the Borough Market and London Bridge ‘terror attacks’ took place. That song is about their night of dread and the conversations that took place afterwards, among families and friends. I still prefer to address society through my music.
Your friends in The Specials took on the current politics and Windrush scandal in a song “Vote for me” with bitter words about tearing families apart. You also seem to tackle that issue. In a video to your single “Return of Judge Roughneck” you and the band are seen in the dock for “serious crimes”. You also re-recorded one of your old hits “Lunatics Have Taken Over The Asylum” and it sounds like it was written yesterday. Do you see yourself as a political commentator or rather as an artist holding the mirror to society?
Neville Staple: Mostly an artist holding a mirror to society, but perhaps a little bit of both. Judge Roughneck definitely knows a lot about what is wrong in society and especially about those who exploit or hurt others. So, he condemns them all (could be politicians, bankers or violent attackers), but because his hands are tied (or maybe he colludes), the guilty do not get properly punished, they get probation! So, they are still free to do what they do. That is definitely a mirror of the society that I see every day.
You work very closely with your wife and manager Christine Sugary Staple. She supports you on tour and you appeared with her on the “Rude Rebels” album. Many people would fear being business partners with their significant others. You seem to enjoy it. What’s your secret?
Neville Staple: Being soul mates is the secret. She is my right arm. She has been there through good and bad, happy and sad. She is the heart, strength and support to all what I do, and I try to be the same to her, and she manages the band and me. We worked on Rude Rebels together and she is so talented in the studio, that is easy to work with her, and she did a lot of work on my other recent albums and singles. We also have great fun on the road. She is an original rude girl so knows how to deal with an original rude boy (laughs) Perfect match!
All though your career, you had a chance to work and perform alongside the biggest names in the industry: The Clash, David Byrne, The Go-Gos and even Bananarama. If we can ask you to name an artist you never got a chance to meet or collaborate with. Who is “the one that got away”?
Neville Staple: Following Amy Winehouse’s appearance beside me on stage, which was brilliant, we then looked at plans to do some recordings. I was gutted that I never had the chance to do it. But out of today’s current artists, I still love to mix up different genres and the rough with the smooth, so I would like to meet and work with Bastille, to do a sweet and cool, driving track, with a rude spin; or definitely with Stormzy, to do something edgy and catchy, deep and inspiring. We could let people see that elders and young people can unite and create great things together. A show of unity and respect, with an important message. Yeah, good things!
After leaving The Specials, you reinvented yourself as a solo artist. Recently, you have been touring successfully with your own assemble, The Neville Staple Band. Can you please introduce your band members to us? Who’s joining you on stage?
Neville Staple: To be honest, I have never not had a solo career of some kind, in over 40 years. And the Neville Staple Band actually celebrates its 15-year anniversary this year. I put some of my own band tours on hold, when I did the most recent 2009–2012 reunion with the Specials (there have been at least 3 reunions with recorded albums and tours over the years), but I was still doing NSB shows in-between the Specials tours too. I have also always done DJ shows too, since my sounds system days. And before the Neville Staple Band 15 years ago, I had Neville Staple and The Hitmen, and Special Beat, Today’s Specials, plus the Legends of 2Tone Band, that I fronted and toured all over with. I have never not had a solo career or other collaborations going on.
My current band has Sugary up front with me on vocals, doing some lead and some backing; Joe Atkinson on both keys and piano, Sledge Armstrong on bass, Matty Band on drums, Billy Shinbone on guitar, Spencer Hague on trombone and Drew Stansall on Saxophone. These guys are the best. True and loyal friends too.
Your newest single “Put Away Your Knives” could easily be classified as a protest song about the epidemic of knife crimes sweeping through urban areas such as London, Birmingham or Sheffield. The song is dedicated to your grandson, Fidel Glasgow who tragically lost his life in 2018. The song will collect funding for Victim Support. Can you tell us more this track?
Neville Staple: It is a protest song. It is a song to say enough now. Enough! Someone has to say it like it is. Stop running around with knives, stop killing each other. Think of your future. One day you could become a dad yourself. Who the hell are your kids going to look up to? You there? You with the big knife hidden in your clothes? I don’t think so! Or you over there, yeah you – the guy who just shot a 17-year-old kid, because the kid upset the puppet master from your endz! It has gone too far! Everyone needs to step on it. My wife Sugary says, every parent, every school, every auntie, uncle, grandparent, politician, neighbour and local organisations, need to step up and get involved. If everyone took a stand and said ENOUGH NOW, ENOUGH, and did their bit to make a change, no matter how small, in their own community or family, we could win this. Don’t just wait for it to happen to you or near you. Stamp it out before it does. People are left devastated, with too many parents and grandparents are burying their young families. We have to make a stand now.
“Put Away Your Knives” and your other recent single “Working Hard Everyday” were mixed and engineered by Tom Lowry at Planet Studios in Coventry. Tom has worked with, from the legendary Kumar Sanu, to Spectrum and the Specials. How do you remember working with him? It must have felt like visiting an old friend.
Neville Staple: Tom and I have been great friends for so long. We worked together from when we first set up studio space. I had a record label of my own and I used to produce artists at Tom’s studio back in the late 80’s onwards. It was there that we produced Johnny Zee, Stereo Nation (aka Tarzam Singh) and Lieutenant Pidgeon. We have never stopped working together and being friends. I even flew Tom over to the States in the 1990’s, when I was over there recording and producing, to help me with some of my engineering and production work. Even now, with both Tom and Sugary in the studio with me, it`s like a night out with great friends, where you all support each other and just get on really well. He’s like family to me.
You are shortly due to hit the road that will take you all over the UK. What can we expect from your newest shows?
Neville Staple: I will be performing my hit songs with the Specials and classics from my career.
I always have a party with the fans. They love to sing along, jump, skank and stomp with us. No two shows are the same and they are not like being sat at home with an MP3 on. What’s the point of that? We prefer to make each show energetic and individual to match the audience on the night. We could be performing a show with thousands, or a smaller venue with hundreds, but will still give them the best night ever. Come and see!
The last questions at Indieterria are always a bit of fun. You are the original Rude Boy and we have to ask – if you could do one naughty thing and never get caught, what would it be?
Neville Staple: I would steal back all the rights to my own song writing that I unwittingly signed away to others many years ago, or I would hack the tax system and give every hard-working individual, a 10- year full tax rebate!! (laughs)
There is nothing better than to interview a poet. They are the people who understand life, who know their scene and who quietly put into words what we cannot even express. In a way, they are chroniclers of victories and struggles of life. It was Czesław Miłosz who said that the poet remembers and it is very true. So it was a true pleasure and privilege to speak to Manchester`s finest spoken word artist and poet – Karl Hildebrandt ahead of Musicians Against Homelessness gig on 21st August at The Night People.
Karl is known not only for his extraordinary poems but also for his active involvement in music and his charity work on a local level. Proper stuff as they say in Mancunia.
Mosh Pit Poet Laureate – Karl bringing poetry to the gigs.
You are a man of many talents: multi – instrumentalist, spoken word artist, poet, roadie and a stage hand. Please introduce yourself to the readers of Indieterria.
Karl Hildebrandt: I’ve had a love of music and words since an early age. Bother listening and eventually playing. I’ve always written words. Just never had the nerve to do it live till about 5 years ago. “Mancunian Gobshite” sums me up to be honest.
Dark and witty poetry has won you many notable fans: Denise Johnson, Dave Haslam, MC Tunes to mention a few. You take daily conversations, occurrences and fleeting moments and turn them into heart wrenching observations. What inspires you?
Karl Hildebrandt: Life inspires me. I tend to brain dump either on paper or my phone. I see the good and the shitty bits and write it down. In the last 8 months or so, my prose has become a lot lighter than previously. I am happy and in love.
You have been performing at concerts, open mic nights and jam sessions earning yourself a nick name “Mosh Pit Poet Laureate”. Do you see spoken word as a part of a regular gig? There are still many people out there who think poetry belongs in libraries, not concert halls.
Karl Hildebrandt: I think poetry and spoken word is becoming a bit more popular. A pot of acts are putting words over music. I am, but I prefer the purity of just getting up to “shout at the traffic”. If people hear you, they’re listening.
Looking out for inspiration.
For a while you have been in a band The G-O-D with Chris Bridgett (Dub Sex) and Simon Wolstencroft (Ian Brown, The Fall) as a bassist. Do you think this project will make a come back?
Karl Hildebrandt: No. Chris has a new project called Cold Water Swimmers, who are amazing. And Simon is busy doing what Simon does, being Funky Si. In the San Pedro Collective.
Please tell us about your involvement in San Pedro Collective – another musical project that you are a part of. San Pedro just released an EP that gathered rave reviews in the music press. Is that true that one of the songs was inspired by your mother?
Karl Hildebrandt: The San Pedro Collective is the brainchild of Manchester’s finest maverick, Rikki Turner. His vision to bring artists and musicians together to create something unique for the eyes and ears is genius. The Demon Sessions EP is being rehearsed for live work. Gigs are coming up. And the next single will be dropping soon. And yes, inspired by me losing my mum, but it’s a paean to loss of any kind.
If you had to chose one particular poetry movement to identify with, which one would it be? Beatniks, Modernists or maybe something more old school like The Cavaliers?
Karl Hildebrandt: The Beats. I hate structure within any art form. Be it music, poetry, art or whatever. I feel hemmed in by conformity. Burroughs, Kerouac and Ginsberg helped me understand you can be honest about writing and not worry about what you’ve written. Never be afraid to create.
You are also known for your charity work, often contributing to incentives as Musicians Against Homelessness. Can you tell us about this charity and its work?
Karl Hildebrandt: MAH was set up by Alan McGee and Emma Rule to create a platform for musicians and creatives to raise both funds and awareness for homelessness. In the North West we have Andy White and Angela Moore, co-coordinating gigs and events. Both top people as well. I’m also doing some spoken word for Action Against Hunger at Moovin Festival for Deborah Faulkner-Moscrop and I’ve done stuff for various other charities. Give it – you get it back.
If you don`t have a pen and paper, mobile phone is a great tool to record poems!
On 21st August you will appear at Night People as part of a fundraiser to fight homelessness. Who is on the bill and what can we expect from your set?
Karl Hildebrandt: The gig is on at Night People on Princess Street in Manchester. Top line up including acoustic sets from Thomas from The Blinders, Scuttlers, Afghan Sound Gang and Maddy Storm amongst others. And me, of course. I found a poem, a poem I couldn’t remember writing which will fit the bill. I supported Dave Johns (Daniel Blake) at Moston Miners and recorded it on the bus on the way home. It’s very, very sweary.
Imagine that one of your works is to appear in anthologies or school syllabuses, like John Cooper Clarke`s “I Wanna Be Yours”. Do you have a poem that you consider your major or most significant piece?
We can`t pass this opportunity. Do you think we can get a haiku out of you about Indieterria?
Karl Hildebrandt: Sorry, I struggle with haiku. I’ll get my mate Dave Norman to do one for you. Here’s one of my favourites though:
“The taste of rain
Why kneel?” –
Jack Kerouac
Proper.
You can follow Karl on the socials (you know those pesky online pages), but he is often found at the nearest Social or other boozer/venue in the neighbourhood.
We are proud to say that we will be attending MAH gig at The Night People so there will be a lot to report back! We are hoping to see some of you down the front.
It is with the greatest of pleasures that we present you today’s review. For the first time ever, Indieterria is hosting a band from Poland! And they are, in our opinion, one of the best bands to come out of our native country in many years.
Trupa Trupa has been present on the international market since the release of their debut album in 2015. Musically, they are closer to Fugazi and experimental shoe gaze mixed with wild psychedelic rollercoaster. This year Trupa Trupa played Off Festival and SXSW where they received rave reviews from Chicago Tribune, NPR and Rolling Stone!
Official bio: Trupa Trupa are Grzegorz Kwiatkowski, Tomek Pawluczuk, Wojtek Juchniewicz and Rafal Wojczal. They made their first international appearance in 2015 with the album “Headache” published by a British label Blue Tapes and X-Ray Records. A year later, they signed to French Ici d’ailleurs, where they released a remastered version of “Headache” on vinyl. In 2017, in cooperation with their British and French labels, the band recorded and put out “Jolly New Songs”, which was also published by the Japanese label Moorworks. In recent years, Trupa Trupa have toured extensively, playing at the SXSW, Primavera Sound, Iceland Airwaves, Colours of Ostrava, Waves Vienna, Eurosonic, Liverpool Sound City, to name just a few. In February, 2019 the band released a single “Dream about” via Sub Pop Records. The new album “Of The Sun” will be international cooperation between Glitterbeat Records (Europe & elsewhere), Lovitt Records (USA), Moorworks (Japan) and Antena Krzyku (Poland). Release date: September 13th, 2019. The band works with Paradigm Talent Agency in North America, South America, Asia, & Australia and ATC Live for Europe, and will promote the new album with tours in the USA, Europe and Japan.
Their single “Remainder” is KEXP’s song of the day and received a solid airplay on BBC through Stuart Maconie, Gideon Cole and Tom Ravenscroft. The band has been mentioned or interviewed in Rolling Stone Magazine, Pitchfork, Wire Magazine, Clash Magazine and many others.
We have sat down with Grzesiek Kwiatkowski, the singer and guitarist of the band to speak about the new song, his fear of people and why discussing history is so important in times of social divide.
Please introduce yourself to the readers of Indieterria.
Grzegorz Kwiatkowski: My name is Grzegorz Kwiatkowski. I am the singer and guitarist of Trupa Trupa.
Grzegorz Kwiatkowski: Trupa Trupa is based in Gdańsk, in the north of Poland. Except for myself, the band consists of Rafał Wojczal (guitar/keyboards), Tomek Pawluczuk (drums) and Wojtek Juchniewicz (bass guitar, guitar and vocals).
Tell us something about your new single “Remainder”? Is there any story behind it?
Grzegorz Kwiatkowski: Everything we do can be interpreted in many different ways that’s why there isn’t a single story behind this song. Wojtek wrote the lyrics so his interpretation of “Remainder”, his idea behind this track, is not the same as mine. I’m not even sure if I truly understand what inspired him to write it. I can only tell you what it means to me personally. And I think, when people start listening to the song, they realize it is a protest against denial, against conveniently forgetting about things that happened in the past. It is a song about Shoah (Holocaust), about human catastrophe.
Where did you record the song? Was it in your home town of Gdansk (Poland) or somewhere else?
Grzegorz Kwiatkowski: The song was recorded, along with our entire album “Of The Sun”, in Custom 34 recording studio in Gdansk.
The song comes with a black and white video that looks like it was filmed through a telescope. Can you tell us where it was shot and who directed it?
Grzegorz Kwiatkowski: The video to “Remainder” was directed by Nick Larson but Aleksander Makowski helped him a lot on the set so it’s rather a cooperation between the two of them. I have discussed the meaning of the song with them before the shoot and they seem to agree with my interpretation. The video too tells the story of a humanitarian disaster.
Are you touring? Where can we see you playing live?
Grzegorz Kwiatkowski: Yes. We work with ATC Live and Paradigm Talent Agency so we are really in great hands when it comes to touring. This fall, we will play in America, Great Britain, France, Switzerland, Denmark, the Netherlands and Poland. So far, we have booked four shows in the UK: in London (Sebright Arms on 27th of September), Brighton (The Hope & Ruin on 2nd of December), Glasgow (The Hug and Pint on 4th of December) and Leeds (Hyde Park Book Club on 5th of December).
Your new album “Of The Sun” will be released in September through Glitterbeat Records (Europe & elsewhere), Lovitt Records (USA), Moorworks (Japan) and Antena Krzyku (Poland). What can we expect on the record?
Tour poster
Grzegorz Kwiatkowski: Each song we put on the album is open to individual interpretation. For me, the record feels like a “Samuel Becket Lonely Hearts Club Band”. It is about time and nothingness. It deals with social issues on “Remainder”. And it is important to talk about these things. You see, few month ago, we wouldn’t be speaking about politics, but the mayor of Gdansk, Pawel Adamowicz, was murdered by a person radicalized by a right-wing hate speech. It was a huge shock for the entire country but it particularly strongly affected us. Gdansk is a city of freedom, (this is where the Solidarity movement started – Vandian Avenue), so the shock was even bigger. The band is now more aware of how the world around us has changed in the last couple of years, how bad it really became. We almost felt the history knocking on the door of our rehearsal room. I dedicated our SXSW shows to our murdered president.
I have always been rather afraid of people so that hasn’t changed. But now I realize, we live in a crazy, fucked-up Brexit-Trump times. Our reality has always been cruel and a lot has been done to cover up the brutality and violence. In the past however, people were more pretending, they wore masks. They were hiding their intentions. And suddenly, they feel empowered to say whatever they want. They do things in the most egoistic ways. Not all of them, but many do. They dont care about others. I feel this is a very risky situation. Evil can spread around faster than ever.
“Of The Sun”, Trupa Trupa’s new album will be released in September and we will be reviewing it as soon as it gets into our hands.
You can preorder your copy now fom Bandcamp: https://trupatrupa.bandcamp.com/album/of-the-sun
The band is also working hard at adding new dates to their UK tour so keep your eyes open for possible gigs in Manchester, Liverpool, Bristol and Birmingham!
We would like to thank Steve Hampson for his beautiful pictures taken during band’s rehearsal in Gdansk in July.
Support your (international) scene!
XXX
Rita and Malicia
We have been following The Blinders for more than three years now and it’s always a joy to see them conquer new heights and achieving their goals (and being on a roll as certain songs says). The band has been working extremely hard to be where they are now and their dedication has inspired their fans, industry professionals and countless bands all together.
Being ahead of the game is a hard task, but with a dedicated team, excellent ideas, and a bit of luck, everything is possible. And this blog will be dedicated to another of the band’s ideas that is going to revolutionize the DIY indie scene.
On July 26th, The Blinders notified their followers that to commemorate the first anniversary of the release of their debut album “Columbia” (September 21st), they would be releasing a double live album. Recorded during the sold out show in Manchester on 27th of April, the double vinyl delight will include the entirety of “Columbia” plus several previously unreleased tracks. The record will be released by Blood Records, a recently launched crowd purchasing platform for exclusive LP releases that is run by the same wonderful people who own Flying Vinyl.
Now, as PR people, we do love good marketing, especially a really clever one. The first thing we saw on 25th of July, early in the afternoon, was a cryptic post with a large black and white picture of the band stading in front of the Ritz in Manchester (please notice Twisted Wheel poster on the right!) The caption read: “6 pm today”
Now, this kind of mysterious notifications are not for the faint hearted, as it could mean everything from the new album being announced to the band calling it quits. Our blood pressure went slightly up but after a refreshing cup of melissa tea (good for the nerves), we reached the conclusion that it cannot be anything bad, so we patiently waited for more information. And 5 minutes past six, we were rewarded with the following messages:
Live at The Ritz
We are pleased to announce that to mark the year anniversary of the release of our debut album, we will be releasing a double live album featuring the full set from our sold out show at the O2 Ritz on the 27th April.
It’s been an entire year since the insane debut album ‘Columbia’ from @theblindersband. To celebrate, the live set of their sold out @O2RitzManc show is now available on vinyl. This is will even feature some unreleased tracks! The vinyl is available to preorder on Monday 10am! 💥 pic.twitter.com/LPTYLqiU27
Soon, two promotional videos were made available to promote the album and they were seen more than 50.000 times on band’s combined social media (about 30k views on Facebook, 10k on Twitter and 10k on Instagram). Very good achievement with just a couple of Tweets and shares. Colour us impressed.
Official statements on Facebook accounts and newsletter followed to activate the fanbase:
The campaign finally went live on 29th of July and during the first 24 hours, nearly 260 copies flew off the virtual shelves. Pre-orders were opened until the 12th of August when they closed exactly at 10:00 am. In all, 1000 copies of the album were ordered and sold. Let us repeat that once again so it sinks in. It took two weeks for the band to sell 1k copies of a double live album. If that doesn’t make your jaws drop to the floor, then seriously your jaws must be either glued or wired. Those who preordered “Live at the Ritz” were told to wait 5 weeks for the delivery and in the mean time, more detailes were made available.
The record was mixed at Parr Street Studios in Liverpool (Elbow, The Verve, Echo and the Bunnymen, New Order, Pulp, The Charlatans recorded there among others) by Alex Queen who quickly shared the good news on Twitter:
Blood Records released the official statement upon the announcement:
“Following their bracingly thrilling debut album, ‘Columbia’, The Blinders continue as one the UK’s most anticipated emerging acts placing them at the vanguard of a generation of politically engaged British guitar bands. This exclusive, vinyl-only Blood Records release of The Blinders: Live At The Ritz features ‘Columbia’ live in its entirety alongside new unreleased material, pressed to 2x black 12″ LPs. The audio was professionally recorded, mixed and mastered from the band’s April sold out show at The Ritz to 1500 fans.
All orders will be signed (if you would like yours unsigned please write ‘unsigned’ in the delivery notes) and hand-numbered on a first-come-first-serve basis.
Customers will also receive priority access to tickets for a special Manchester launch event on September 21st as well as being automatically entered into a prize draw to win an exclusive piece of artwork.
Please note: Blood Records is a pre-ordering platform, providing the minimum sales quantity is met the records will be shipped five weeks after the deal ends.”
THE RECORD:
Back Cover and Side C and Side D
Front Cover plus Side A and Side B
The record in all its glory
Front cover (close up)
Front Cover
Side A (close up)
As stated above, it is a double live LP presed on a black vinyl. Running time is 60 minutes. “Columbia” was 42 minute long and we have 4 new, unreleased tracks added. Those who pre-order the album can expect a true VIP treatment: all copies will be signed by the band, buyers will receive priority access to record launch event and an automatic entry into prize draw for exclusive artwork. There will be only 1000 copies of the record pressed.
Personnel:
Thomas Haywood – vocals and guitar
Charlie McGough – bass
Matty Neale – drums, backing vocals
Max Grindle (bass player of Document) – harmonica on “Rat In A Cage” and piano on “Orbit (Salmon of Alaska)”
Thomas Castrey (drummer of Saytr Play) – percussion on “Where No Man Comes”
Recorded at: O2 Ritz, Manchester, April 27th 2019 Mixed: Parr Street Studios, Liverpool (May-July 2019) Mixed by: Alex Queen Live Sound by: James Higham Mastered by: Chris Daniels Art Direction: Nasty Man Creations Photography & Design: Sam Crowston Lighting Design:Mangata Collective Special thanks: Mark Payne, Chris Phillips, Dave Bonner, chris Exstance, Patricia Payne, SJM Concert, Jamie Wade & X-Ray touring, Flying Vinyl, Modern Sky UK and team
Tracklist: Side A Gotta Get Through
Brave New World
Wither*
Side B Free The Slave
I Can’t Breathe Blues
Where No Man Comes
Forty Days & Forty Nights*
Ballad Of Winston Smith
Side C L’Etat C’Est Moi
Hate Song
Lunatic With A Loaded Gun*
Rat In A Cage
Side D Et Tu/Berlin Wall
Brutus
Orbit [Salmon Of Alaska]
Swine**
* (previously unreleased)
** (not included on “Columbia” and released as a stand alone, double side single “Ramona Flowers/Swine” in 2017. The 7″ single was pressed in 500 copies only and is now a collectible item. More information: https://www.discogs.com/The-Blinders-Swine/release/10784923
Record release and the launch event timeline:
On 9th of August, the band revealed more details about their show that would take place on 21st of September. We have been told that there will be an exhibition, Q+A session and a stripped back set.
Pleased to announce the launch event for our Live at The Ritz LP. Taking place in Manchester, this September.
A week later, fans were electrified by another announcement – those who preordered the album were offered a chance to purchase tickets to the lauch event before everybody else. The band also revealed where the event would be taking place. Despite first bets being placed on The Night People (The Blinders’ favourite place in Manchester), a popular central location has been chosen – 33 Oldham Street.
Live at The Ritz LP – Launch Event
To celebrate to release of our live double LP and the 1st anniversary of our debut album, we’re hosting a launch event at @33OldhamStreet , Manchester.
Fans were asked to check their emails, follow the link sent to them and register tickets using their unique pre-order numbers. Due to limited number of places (33 Oldham Street can hold only 40 people in seated environment), the band used “first come, first serve” basis. The registration was closed on Sunday, 18th of August 2019 at 12:00 pm.
On 25th of August, The Blinders announced that the tickets will be available to purchase on Tuesday 27th of August, at 10:00 am.
Pleased to announce that tickets for the ‘Live at The Ritz’ album launch event will be on sale 10am Tuesday morning.
All users who registered for a ticket will receive a link via email. First come first served pic.twitter.com/xnwSnuWyYe
Modern Sky UK (The Blinders’ record label) released their own announcement on the same day, revealing that the event would be hosted by popular Manchester DJ, Shell Zenner (XS Manchester/Amazing Radio):
Tickets for @theblindersband Live at The Ritz launch event are now on sale! All those who registered for the pre-sale should check their email for their unique ticket link. Featuring a stripped back live set, Q&A with @shellzenner and much more, this is not an event to miss ✊ pic.twitter.com/zOtyqscj43
Tuesday came finally and the loyal fans of the band, went ticket hunting on the internet. As with the demand for the record, the tickets dissapeared so quickly that many were left disappointed! We are not sure how quickly they were sold out but it must have been less than 20 minutes. At 12:20 pm, the band released the following statement:
After speaking to the management, the band released another statement, announcing that due to massive demand for the tickets, The Blinders would host a matinee event on the same day, between 1:00 pm and 4:pm. Tickets were again released the following day and those who couldn’t purchase them on the previous occassion, could still attend the event, just in the afternoon instead of the evening.
Due to overwhelming demand, we have scheduled a matinee event for the 21st.
1-4pm
Tickets on sale to all who have previously registered at 10am tomorrow. Any user who has already acquired tickets will be unable to purchase again with the same email address. pic.twitter.com/pxh8lRRFeJ
On September 11th, another announcement was made. As Shell Zenner was unable to host two events, another special guest was invited to do the Q+A session with the band. This special guest was…the legendary DJ, Dave Haslam himself!
Sadly as the event date was getting closer, something that nobody could predict, has happened. Thomas Haywood became ill and The Blinders were forced to cancel many domestic and European dates. On 16th of September, the band issued the following statement apologizing for pushing both events to 2nd of November 2019:
ANNOUNCEMENT
We regret to announce that we unfortunately due to Thomas suffering from a bout of tonsillitis we have to postpone our event at 33 Oldham Street this Saturday.
Both events will now take place on Saturday 2nd Nov. All tickets remain valid for the rearranged event. pic.twitter.com/HmuwDyBEYl
To make it up to the fans for the unplanned re-schedule, the band along with Shell Zenner came up with a clever plan – they held a DJ set at 33 Oldham Street and the entry to the event was free. Matty and Charlie were to make an appearance and the doors were opening at 9:00 pm.
The Q & A for @theblindersband may be postponed but i'll still be spinning at @33OldhamStreet on saturday evening and I'll be joined by Charlie and Matty on the decks so make sure you come join us! I'll be spinning a Blinders inspired playlist, not to be missed!
We don’t have to tell you that the place was packed and people were queuing outside to get into the small club! Matty and Charlie arrived exactly on time and the party lasted until late. What was played? Everything from Manchester classics, to Abba, Britney Spears (“Toxic”), Whigfield (“Saturday Night”) and some unexpected bangers such as Cheeky Girls (“Cheeky Song”). Good fun was had by all. And some pretty good dance moves were caught on camera.
On September 21st, the debut album, “Columbia” turned one. The band celebrated the occassion by sending out the “Live At The Ritz” albums out to fans and making a tweet:
Today marks the year anniversary of our debut album Columbia, and what a year it’s been.
And the response to the album has been fantastic. It debuted at number 8 on the official UK Charts! This is the first double-live album by an indie artist to go into top ten on Vinyl Chart!
Thanks to everyone who got a copy of @theblinders Live At The Ritz. Happy to say that the record entered at Number 8 in the official vinyl charts this week! pic.twitter.com/jCIg95sNyt
That’s not all! Live At the Ritz made it into two other charts as well: Official Independent Albums chart at number 23 and Independent Breakers Albums chart at number 4! We have screens to prove it!
Music Week 30.09.2019 – both charts
Independent Album Breakers charts at number 4 – 30.09.2019
Independent Albums chart at number 23 – 30.09.2019
We have received our copy as well and we absolutely love the album. The release comes with 2 black vinyls, packed into a single sleeve. It would be much better if it was a a gate fold – but hey we cannot complain! The design is similar to the “Columbia”, each copy is numbered (our is 128!) and signed by all three band members with a lovely silver marker. We have taken a couple of pictures after unpacking to show you how it looks like:
Front cover
Front picture – close up
Signatures
Back cover
Liner notes
Release notes
Inner sleeve and Side B
Inner sleve and Side C
Inner sleeve with vinyl records in it
Both records in inner sleeves
Black vinyl
Both records unpacked
And what do the fans say?
The reviews are universally positive. Just see the reactions that can be found online:
“Live At The Ritz showcases the band’s talent and proves that if you haven’t seen them just yet, then now’s the time to do so. The Blinders are only going to grow from here” – Katie Macbeth for Indie Is Not A Genre blog https://www.indieisnotagenre.com/the-blinders-live-at-the-ritz-review/
“Two years on, they are inevitably a better live band. Tighter, harder, and wiser, this live album is a no brainer of a purchase. If you have never seen or heard them, we cordially invite you to the hoodwink society”- Mike Adams for Travellers Tunes https://travellerstunes.com/features/the-blinders
If you havent ordered the album in the summer, then you may be happy to hear that “Live at The Ritz” is now available on digital platforms. On 29th of November, The Blinders announced that the double album is ready to be purchased in mp3 form from all good platforms. The announcement was made with a brand new exciting video:
Live at The Ritz is now available to stream everywhere.
They are one of London`s best kept secrets, a band that took classic rock influences and dragged them into XXI century. Holding to their DIY ethos with pride, their amps turned up to 11 and writing songs that will make you shake your booty – Bexatron offer you a whole package of rock and roll fun. You will not regret this ride. Get on! We sat down with Greg Radcliffe to speak about their beginning, gruelling recording sessions and touring Canada.
Band logo
Your bio introduces you as “an octane pop punk with a glam coat” from the heart of London. What an intriguing way to describe a band! Please tell our readers who is in Bexatron and how did the group start?
Greg Radcliffe: Bexatron consists of BeXXX on vocals, Belle Star on drums, Adam Adorjan on bass and me on guitar. I had been for looking for a singer to front a band which eventually became Bexatron for months. I bumped into BeXXX in Bruno’s Cafe in Soho in London.
I thought she looked the business and asked if she could sing. She said yes. The rest is history. I knew the boys already so when they heard her sing, they jumped in.
The band has been compared to rock greatest (Blondie, Joan Jett, The Pretenders) and lauded for bringing uncompromising rock with a charismatic female leader back to the frontlines. God knows we missed it. Do you see yourselves as saviours of rock from repetitiveness and mediocrity?
Greg Radcliffe: We’re not saviours. We are more pioneers of a genre of music that we like. Putting our own slant on it. We are constantly avoiding repetitiveness and mediocrity. I would say 75% of what we do ends up on the cutting room floor.
Bexatron has released their debut album “Hey You” in December 2018 and a stand-alone single “Dirty Disco”. One of the things being mentioned in every review is how the records brings generations of guitar music fans together. It`s like you found a secret formula between classic rock antics while sounding fresh and appealing for young audience. What`s your secret?
Greg Radcliffe: There’s no secret (laughs) You hit the nail on the head. All the aforementioned artists, we have been disciples of. We are just spreading the word through our own interpretations. I guess that what keeps it fresh.
In an interview for Vents Magazine you described the recording sessions as demanding and not without difficulties. Tell us where “Hey You!” was created and how do you manage to face gruelling recordings with such energy and positivity?
Greg Radcliffe: “Hey You!” was created in Soho, Kilburn, Hackney, Barcelona. The recording was gruelling but we thought to stick to our guns and make the record ‘WE’ wanted. It could have easily ended up on X Factor. Underneath the songs are basically pop songs. However, we didn’t want that one-minute wonder sound. We’re here to stay.
You are now back with a new single “I`m Trash” – an angry track directed at the modern life and how powers that be can make us feel small and insignificant. Where did the inspiration for the track come from?
Greg Radcliffe: We wouldn’t say “I`m Trash” is an angry song. It’s reflective of, as you mentioned, modern day life and the society we live. The song like the whole album is pretty much based around London past and present.
Bexatron live shows are legendary – audience dancing, singing lyrics back at the band (in a slightly off-key manner) and generally having good fun. You just recently smashed it at Camden Rocks. How was it to play a home coming gig?
Greg Radcliffe: Camden is our spiritual home. It`s always nice to play to a packed Camden Assembly at 2 pm on the hottest day of the year.
The band is soon off to play your first tour of Canada. It seems like a natural step considering the amount of radio airplay you received there. What can your overseas fans expect from your shows?
Greg Radcliffe: I think our audience in Canada expect to see the fourth dimension. So far, they have heard it from their radios or phones and seen it on TV screens. Now they are going to get the real deal up close.
Talking about support from radio stations. Amazing Radio has been championing you a lot these days. So does BBC Introducing. Do you have any DJs that were instrumental for your career that you would like to give a shout out to?
Greg Radcliffe: All’s been pretty grass roots radio wise. We need to mention Spizz on Resonance Radio, Peter Fox on Foxy Radio, Dave Renegade on Dark Hearts of Camden Radio, Gwen Ever on Deal Radio and Stuart Clack on The Premium Blend Radio. There’s many more, but the reason we’ve given them a shout is that they have all been to our gigs, not just spun our tune.
When all the touring obligations are completed, and you have some time for yourselves – do you plan to take longer holidays or rather just bury yourself in the studio again?
Greg Radcliffe: No holidays, we will just keep on promoting “Hey You!” through till festival time 2020. You can expect our next offering in October 2020. As we’ve already said 75% of our stuff ends up on the cutting room floor, but we’ve already got a fair whack done and start shaping it up when we get back.
Last (in)famous question – imagine that you can play any legendary venue in the world for your most dedicated fans. Where do you take them?
Greg Radcliffe: Hammersmith Odeon in London. Bexxx: CBGBS in New York. Adam Adorjan: Madison Square Garden in New York. Belle Star: The Rounhouse in London.
Some time ago we had a pleasure and privilege to speak to Gavin Monaghan, the founder of legendary West Midlands` studios – Magic Garden. The interview proved so popular that we were asked to go back and write some more about the studio and its personnel. And we are happy to oblige. Part of what we do at Indieterria is to highlight the assets that young and up and coming bands have at their disposal. And nothing is more essential than a good recording studio and talented producers/engineers. Bands, artists and those of you who one day plan to produce albums professionally – please meet Joe Murray. He is one of the best engineers in the country and he has a lot of incredible things to say about working with musicians, mixing and making the magic happen.
If that is not the best interview we did this year then we don`t know how to do interviews.
Joe Murray at work
You are second in command at the iconic Magic Garden Recording Studios. Please introduce yourself to readers of Indieterria.
Joseph Murray: Hey everyone. My name is Joseph (Joe) Murray and I’m here to try to answer these wonderful questions and hopefully not bore y’all to deathhh!
Gavin Monaghan – the owner of Magic Garden described you as a man of many talents. You act as engineer, producer and mixer. You and Gavin work very closely with each other. How do you divide the workload on a regular day in the office?
Joseph Murray: That is very kind of him as always. One of my favourite things about music is that there is no such thing as a regular day, which keeps things exciting and creative! I think due to how long and how closely we’ve worked together on mountains of records, we’re able to share the workload in various different ways to get the best out of the track and the band. So here’s a rough example of working with a random 3-4 piece band:
Step one: The Band shows up and before anything we have a look around and a general chat. The main thing is putting the band at ease and trying to make sure everyone`s comfortable and “vibing”. The band`s music is massively important and the recording will live forever, so of course there can be a few nerves here and there. I try to make sure the band knows I’m on their side and their music means as much to me as to them!
Step two: After all the gear is loaded in and coffees have been made, we’ll all gather in the control room and have a talk about the song and the vision for the track. It`s crucial to get an idea of where we’re heading.
Step three: Once we’ve discussed the in’s and out`s and any ideas on how we should track the record, there’ll be a little bit of mind reading between Gavin and myself and I will head next door to the live room with the drummer to get a better idea of what kit they are using. Whether they can use studio`s various shells or maybe they’ve brought their own or perhaps they just got their prize snare. I’ll then give all the drums a tune which is HUGELY important and often overlooked! The drummer and myself will have a nice in-depth chat about what they like and we will find two, maybe three snares to narrow it all down.
Step four: When we’re hearing everything back through the mics, we’ll then move on to start tracking against the vibey guide track Gavin and the rest of the band have put together. We’ll do this till we’ve got the “magic” and then I’ll spend a little while putting together the best of each take whilst the band get some sustenance or a nap.
Step five: Then it’s time for the big bad BASS, which 9 times out of 10 we will capture through a high quality direct signal and an amp for vibe. Having the direct signal means that when we’ve wandered into guitar land, we can re-amp the direct bass through various oddities and balance the mid-range against the real guitars.
Step six: And speaking of guitars – another bit of mind reading takes place and Gavin dons the chef`s hat and starts crafting the bands melodic elements. At this point, I`ll take what we’ve got so far into my mix room and start doing some session file housekeeping so that once Gavin has tracked the rest of the musical components it`s a matter of bringing it all together. From here I’ll start working on my Mix! Every day is completely different: some days I’m producing an electronic artist in one room and Gavin is recording an acoustic songwriter next door and on other occasions I’m mixing an album whilst Gavin’s producing vocals for another project. Every sessions is different so I’m open and ready for most anything (animal attacks included).
Joe worked with many established acts – here in the picture he is shown with Paper Buoys
About two months ago we interviewed Gavin himself and he mentioned that the studio was being refurbished. Can you update us on the progress of the works? How does Magic Garden grow?
Joseph Murray: The studio is always changing and growing, which again keeps things fresh we’re always on the hunt for the next big thing or a mysterious hidden gem.
At the moment, we’re putting focus on the benefits of a hybrid approach so far as getting the most out of the computer whilst also squeezing out the analog goodness of the hardware units. The main room is centred around two different analog consoles from two different eras to give us options and choices, when it comes to different genres or bands or even song by song.
One of the desks is a vintage 70’s German broadcast, which gives us great clarity, punch and in general just makes most things sound a little more lively. Then to the side, we’ve got a fantastic gem of a 60’s British desk which again gives us vibe, colour and some nice, rich saturation.
We’ve also got a stock of various preamps – for even more flavours. I find that if you can get the recording chain working WITH the sound from the start, life is just easier later. They’re all tools, like paintbrushes – some are great for huge broad tonal strokes and others are better for fine movements and just a little bit of highlighting.
Meanwhile in the “B” Room, we’ve focused on the finishing side of projects and put the emphasis again on a hybrid approach focusing on the summing side and making sure that the hardware used is as flavourful as possible. In both rooms we’ve got matched monitors to make it easier to transition projects and maintain the same vibe and vision. There’s also a vast microphone collection ranging from the standards to the weird and wonderful and that floats between the rooms
What we are trying to do via this blog is to highlight options available for people who want to break into the music business. And we not only mean artists or bands, but also future technical experts: producers and sound engineers. Judging from your experience – if somebody wants to find themselves on the other side of the mixing desk – where should they do?
Joseph Murray: I can obviously only speak for myself and my own experiences, so my advice would be… you should be prepared to work hard (and long) and make sure you love music. Luckily music is so multifaceted and there are so many moving parts that I guarantee there are jobs you’ve never even heard of.
I’ve always thought that the technical side of the recording process can come second and will be worked on for years and years and years… So as long as you’ve got the attitude and decent taste you’re onto a winner. I would also say to remain open minded, you could walk in wanting to be the producer but find that you actually enjoy the engineering side more or even the sound design aspect. Be fearless-ish.
Prepared for any weather.
What are the do`s and don’ts of your profession. If you were to pen a list of helpful and unhelpful habits of studio personnel, what would you include?
Joseph Murray: I think that attitude is probably one of the most important aspects to studio life. It’s long days, usually all in the same room. You’re dealing with people and it`s important that they know you’re on the same team and you only want what`s best for the song at the end of the day. Being able to write a good clear track sheet is always helpful, making (good or bad) coffee is always appreciated, in fact make lots of coffee. Take notes, ask questions, listen to e v e r y t h i n g .
For don’ts – each studio or professional will have a different view on what not to do but my main one is don’t make mine or anyone else in the rooms life harder and that`s about it.
You have been instrumental in creating one of our favourites albums of last year – “Columbia” by The Blinders. Tell us more about the recording process behind this record? Was it easy to work on it? Or maybe it was a truly dystopian experience?
Joseph Murray: That`s great to hear and thank you very much! It was a brilliant album to be a part of for many reasons. Firstly, I lurvve the guys and they’re great to just hang out. Secondly the songs were top notch and they’re performers through and through, which makes creating an exciting record a joy. The process for the album wasn’t too out of the ordinary and just felt organic. They’re a band with a collective vision and unwavering commitment to get to it. They each know what they like and what they want whilst also being collaborative and open to suggestions and guidance. We were able to develop the songs in such a way that I reckon got the best out of everyone!
A parent shouldn’t have favourites but we need to ask – which album you worked on so far is your pride and joy?
Joseph Murray: (laughs) Well I try to make whatever I’m working on at the moment be my favourite. I like the idea that for the time the band are in the studio with me I join them as an auxiliary member and in doing so it’s not about a personal ego or a personal preference, it`s about collaboration and doing your best for the band. We’re Family!
There are records I’m proud to been part of because of their musical or emotional significance, there are records I’m proud of because of my input and contribution and records that I’m proud to be part of because of the experience, so I wouldn’t say I have a favourite. It`s like being part of all of these different little tribes!
Besides working in the studio, we have seen you delivering am impressive stand up comedy sets at Musicians Against Homelessness gig in Birmingham in April. Was it one off or have you been doing it for a while now?
Joseph Murray: Ah, well thank you very much! That was actually my first set. I’ve never considered myself a stand up comedian, just a guy who spouts various amounts of nonsense and likes to hear people laugh. It was for a very good cause and as I’m a musician who is most definitely against homelessness how could I say no! If you’re also a musician who is against homelessness, I suggest having a look into what Musicians Against Homelessness do!
Every sound engineer have their favourite tools to use. What piece of equipment you just have to have at hand?
Joseph Murray: I often will rant about how you can make a record anywhere using anything because it’s the songs that matter and a good song will always be a good song. That being said, it’s nice to have the luxury of your favourite tools and it`s more often a question of what you’re comfortable using. The most important thing for me is my ears and monitors. Everything else is a bonus. My desert island bag would probably have in it a particular snare we’ve acquired that I don’t know much about other than it sounds incredible and seems to just balance the rest of the kit really nicely! Not to compare myself to Van Gogh but if he didn’t have his favourite brush I reckon he’d still paint a masterpiece.
We know that working with Gavin is a dream come true – he is the Wizard of Wolverhampton after all. However, let’s pretend you can work with any other producer (alive or dead) on any album in existence. Who do you choose to collaborate with and what’s the title of the record?
Joseph Murray: I feel that music is always changing and evolving and growing, so I struggle to pick a favourite album or producer. There are thousands of records that I would love to be part of. Some albums that come to mind straight away are the Berlin era recordings by David Bowie, especially “Heroes” produced by Tony Visconti whilst Brian Eno and Iggy Pop were hanging around too. That would of been an experience, especially seeing Tony recording Robert Fripp creating melodic feedback just by walking around the room.
I also think being with Nigel Godrich recording “OK Computer” would of been amazing, to be at the genesis of this new turn in modern music.
There are so many more – Bob Marley`s “Exodus” (not just for the weather), The Beach Boys` “Pet Sounds”, Marvin Gaye`s “What`s Going On”, Wu-Tang Clan`s ”36 Chambers”, Beastie Boys` “Ill Communication” and of course Fleetwood Mac`s “Rumours”.
Thank you very much for talking to us!
Joseph Murray: Thank you so much for your brilliant questions and I hope my answers made some sort of sense! Keep It Loud and One Love.
There is an awesome playlist that showcases all the recordings made at Magic Garden on Spotify:
Yeah we know, we are so lucky to have such incredible studio in West Midlands and people like Joe and Gavin to take care of all the local (and not so local) artists. If you look for a place to bring your art to life – please get in touch with Magic Garden.
If you spent more than five minutes on social media in the last two years, chances are that you have seen this viral quote on how David Bowie kept the universe together. The Starman`s gone and everything is coming apart at the seams.
Band`s logo
It`s hard to deny that we are going through some very dark days and finding hope may seem like an impossible task. But we believe that there is a force out there that is much stronger than bombs, violence or any orange impostor (or his blond counterpart) in office. That force is art/music and we have plenty of incredible artists among us who do an excellent job at repairing the fabric of universe and keeping us all sane.
The beauty of art is that anyone can make it and you don`t have to have top 40 albums to contribute significantly to the eternal quest of balancing cosmic powers.
We want you to meet a brand new band that we recently discovered, who are incredibly apt at channelling the internal anxiety felt nowadays and providing sonic catharsis to listeners. They are called The Battery Farm and come from our favourite place on Earth – Manchester. Their debut single “97/91” is a powerful anthem of thundering drums, heavy guitars and haunted vocals. It fits perfectly in the new emerging genre of post punk revival, mixing semi spoken vocals with musical fury. The song will prove ideal both in the mosh pit or in the gym and fans of Idles, Bambara, Sons and Avalanche Party should pay closer attention.
But there is more to The Battery Farm than soundtracking the moment. Its the way they speak in the interviews, how they respect and champion other artists, their ethics. We sat down with their lead singer Benjamin Corry for an interview and the first thing he tells us is that kindness is magic. Among all the new bands that blow their own trumpet and proclaim that they are new Oasis, how absolutely amazing is to hear that there are artists who have a different approach to life.
This is our entire conversation with The Battery Farm. Worth reading. Every. Single. Word.
Please introduce yourself to the readers of Indieterria. Where are you based and who is in the band?
Benjamin Corry: Hello! We are The Battery Farm, a doom punk band from Manchester playing vicious, guttural punk music pulsating with rawness, honesty, pain and passion. We are Ben Corry (vocals/guitar), Dominic Corry (guitar), Paul Worrall (bass) and Sam Parkinson (drums)
Tell us something about the project – are there any goals that you managed to achieve?
Benjamin Corry: Me and Dom formed the band on the back of our old band breaking up. The whole mentality since we started has been to put everything together piece-by-piece and just see how far we can get. So with that in mind just managing to get the band together has felt like an achievement. The idea for The Battery Farm only came about towards the end of last year, but actually getting to the point of being able to have a functioning band feels like an achievement. That sounds well trite but it’s true. We played our first gig a couple of weeks ago, released our debut single on 15th June and played our first festival on 6th July (R-Fest in Manchester). That’s the kind of start I wanted for us and so that’s an achievement in itself. Things have started with a bang and looking at what we’ve got coming up it’s only going to get better.
What inspires you? What artist or genre had the biggest influence on you?
Benjamin Corry: Our lives and the world we live in inspire us and drive our sound and our words. The songs me and Dom write are borne – both musically and lyrically – out of the sense of desperation we felt at the end of last year, when we’d just about had enough of everything. These songs are an aural lashing out at ourselves, at the rest of the world, at the human race, at politicians, at the sense of life closing in around us. Passion and fear and anger and joy and desire for something better are things that inspire us. Human stuff. In terms of artists we admire, bands like Idles, Evil Blizzard, Radiohead, Witch Fever, Nirvana and Sleaford Mods bleed into our sound. Idles in particular are doing something remarkable at the moment; I think they’re the most important band in the world. Their music is violent and frantic and pulverising but at the same time is laced with the most beautiful empathy and compassion. I think the world needs more of that. Kindness is magic.
Its all about the music – and we want to hear about your new single. Is there a story behind the song, where and how was it written?
Benjamin Corry: “97/91” was actually written a couple of years ago. I stumbled upon an article about the murder of Suzanne Capper in the early 90s and the moral panic about it in the newspapers at the time. The article went into excruciating detail about what happened which stayed with me for months afterwards. One of the big factors in the story affecting me in the way it did was the fact that it happened in Moston, north Manchester, which is where I grew up. It sort of brought a horrific sense of reality to the whole thing – I know the street it happened on, I’ve walked past the houses, I’ve grown up with the area being a big part of my life. And it still informs a lot of my writing. To be able to envision it all so clearly made it all the more horrendous. That got me to thinking about why I reacted much more viscerally to this particular instance than I would have to the miserable horrors that go on across the world daily. The answer was because I’m familiar with the setting. It only felt real because I could see it. That is what “97/91” is about – that murder is a jumping-off point to explore the cognitive dissonance that is ingrained into people across the world that allows us to be passive in the face of the mass, grotesque violence going on in far-flung places every day. It’s a frightening, dystopian aspect of the human condition and it’s not generally something we’re aware we’re doing. I guess that’s the worst part. The song is a flailing at the worst things people are capable of. The world can be a fucking horror show, “97/91” is essentially a desperate scream in the face of it.
Are you touring? Where can we see you playing live?
Benjamin Corry: We’re at Night & Day Café in Manchester on 2nd August, then it’s our first out of town gig at Sound in Liverpool on 28th September for Low Flying Records’ Musicians Against Homelessness weekender. Low Flying have basically put together a huge MAH Festival across Merseyside. We’re on the Saturday and we can’t wait. After that we’re playing at Whittles in Oldham on 24th October. We have a couple more really good ones to announce but we’re not at liberty to discuss them just yet.
If any bookers or promoters want to get in touch – what is the best way to contact you?
Benjamin Corry: E-mail us at batteryfarmband@gmail.com, or we’re on Facebook, Twitter and Instagram as @hebatteryfarm
Imagine you can record an album with any artist, dead or alive in a studio of your choice. Who would be on your record?
Benjamin Corry: Elvis. Every time. I’m fascinated by him. That voice, that face, those eyes, that sheer, raw, uncontrollable presence and charisma. It’d be incredible to see what he could do with our songs and our sound. I doubt he’d like us to be honest, but this is my fantasy and in this universe Elvis bloody loves the punk rock.
That’s it. Here`s another band to add to our “Must See Bucket List”. And if you have a chance to catch them live – do so. With artists like The Battery Farm we are more than optimistic about the future of music, and even the universe.
