No Ta PR: All Mouth and No Brass.

So since I've embarked on this new voyage of apparently interesting anecdotes I figure I'd drop some science on the perils of trying to work with pseudo creatives, or as their better known; con men. I say men, our antagonist for this outing is in fact the female of the species (since were going across the board with Liverpool references here).

I, like many people born with the albatross of growing up in a small town with the ability to articulate yearn for something more, like an intellectual Disney Princess (analogy applies more to some than others, you know who you are). So with my literary accoutrements, love affair with the tech and occasional ability to pull an idea out of thin air I made the life choice that Digital Media would be the thing to take me to my golfing and/or crippling arthritis days.

Now, before I go on I will impart some absolutely imperative advice: If you decide that something like this is also your game, you're probably younger than me and making all the bigger ball ache of moving my career along. But seriously, in spite of the forthcoming tale of uselessness and woe I can't stress how important it is to get as much experience as you can. You will not be paid, you will be extended to your last iota of good will and you will make your body weight in tea infinitely multiplied, but it all pays off in ways you could only imagine when you finally get your seat at the table, so keep at it, and other PMA trimmings. 

Business and creativity go hand in hand, in that they're both short hand for yarn spinning contests. So you can only imagine the characters you will meet in a life dedicated to the business of being creative. I had done my time for the greater good of a reasonable amount of PR and Digital Media firms when I landed on a boutique firm based amid the cream of Liverpool's places to be. A new, young and brash business had opportunity written all over it and after some selling of ones aforementioned skill set I'd finally found my seat at the table, I was in. 

Like all responsible businesses there was a trial period to make sure that I wasn't all talk, challenge firmly accepted as I've found that my true aptitude for something is more exposed under fire than cultivated. I took no time aquatinting myself with clients and was even fortunate enough to catch a few bones pitching to new ones, this all felt like your good trainers, However like your good trainers eventually they fall to bits from under you. 

Time passed, as in like Gone with the Wind. Whatever ideas of a probationary period had long gone out of the window and it was now beginning to cost me both time and expense to keep up with the apparent brains of the operation. A woman who emplored the Mussolini method of being hip, adamant in her convictions but ultimately a second string someone or something else. 

I'll make a small caveat to my advise from earlier; If you find yourself in a position where your independent business owner/employer is spending £1000 on a dog during office hours, yet you're not having as much as your expenses covered, leave.

This tale of whimsey and uselessness does have somewhat of an anti climatic ending, but with big lessons learnt. After presumably collapsing under the weight of her own ego (no rubenesque jokes here, were all above that) my would be employer took the earnings of a half baked and less than half finished job and ran, never to be seen or heard of by these eyes or ears again. 

One more equally required string needed on your bow is a Konami code like ability to take positives of any situation, good, bad or an over priced mutant that pisses all over your desk, its all lessons in the circle of life (because you can't have too many nods to Disney).  

One for the Old Man.

So this was the last picture that the previously inseparable Family Hall posed for, Me post gig watching someone or other (hence that hair) about to see the man child to my left do what he does best with proud parents bookending the fruits of their labour (and loins).

To say I miss my dad would be a crushing understatement, he was the archetypal culture snob that handed down the tools to me for what I craft here on a nearly daily daily basis now. 

Miss you pop. 

Ageing By The Numbers.

Another fifty two weeks on the earth successful with a complete head of hair/face of teeth.

I've never really seen the massive fuss in celebrating birthdays, they always felt a touch too self aggrandising for my liking, after all my part in proceedings was minimal at best.  I've seen the last few anniversaries of one's arrival being my own particular brand of passive, but as I'm edging ever closer to the cut off point for a life of absolute responsibility I figure I'd celebrate turning twenty eight in style.

It only took two posts to be back on the topic of music but I assure you this will be brief. Sick Of It All couldn't be more of a misleading band name if it tried, as after a tenure as long as mine living and breathing they remain significant and exceptional. Most bands seem to give up on their quest to see how many ways you can slice aggressive, movement encouraging music and settle into their own brand of mediocrity, but the New York natives continue to be the benchmark of Hardcore well and truly into their fourth decade as a foursome.

You could throw a rock and hit a band with beat downs out of nowhere, so when in doubt, always seek the source. As for tomorrow? Lads in trunks hitting each other, what else.

The New Mistress.

So I've not been totally dormant during my divorce from music. One door closes and another one tells you you're more than capable of banging on about men kicking each other to an audience of potential tens of thousands. In spite of analogies somewhat falling to the wayside that's exactly what I did with the help of my long and suffering best friend and the good people of Fab Radio International, and thus The Sunday Falsies came to pass.  

So to make this brief I'll get the hard sell out of the way early. Two hours every Sunday 3-5pm GMT we talk to the people behind the ever fluctuating world of professional wrestling, with a big emphasis on WORLD. There's endless possibilities beyond Attitude era WWF. Enjoy our interview with the mastermind behind CHIKARA, one of the most unique and talent riddled independent companies in the world; Mr Mike Quackenbush. 

And maybe join us on a sunday sometime.  

Start as I mean to go on.

So, as you may or may not have seen, my glorious return to music blogging has been less regular than a Brock Lesnar title defence (wrestling analogy, get ready for a lot of those).

For quite a while I've justified my lax attitude to writing in the name of bettering ones self in other aspects of my life. 'Priorities' is a word easily used as a way of making someone or something low man on the totem pole. Without getting too much into the schtick of paying lip service, I do and always will love music, to say that I have blanket lost interest would be above all else, false.

However, it wasn't until a very candid conversation on Christmas Eve that I finally realised the real reason as to why STTR had come to a grinding halt in its quest to champion local and unsigned music, which to be equally as candid is simply this: it bores me.

Context: The recipient of said conversation was herself a local unsigned musician, based in Liverpool (that for some reason, she seems to spell L O N D O N on her social media outlets). A product of the Liverpool institute of Performing Arts, an institution who's lasting legacy is undergraduates bellowing shrill requests for The Time Warp at uninterested DJs because THEY'RE THE ONLY ONES DANCING. 

Actually, what it has succeeded in producing is a slue of musicians that didn't need an excuse to be arrogant waifs all the bigger platform to polish their self penned turds because it costs mum and dad their life insurance settlement every semester. 

I do loath people that use terribly unoriginal and weather worn stereotypes to wholesale lambast an entire city and its inhabitants, but Liverpool needs to have a serious word with itself about its 'independent arts'. Independent to the point where it's become that glad handed, no one outside of the city bubble limits (waits for some god awful, scouse purist 'wool' comment) couldn't give a salty shit about it.

So, as the title may give away, STTR will be what industry professionals call a 'lifestyle piece', taking a leaf (not the cathedral of tea drinking for any Liverpudlians reading this as they sharpen their pitchforks) from the city's independent mantra and use this as a place where I talk about my allegedly ultra interesting life. 

Because lets be honest, if this was still about local music it might as well be a Silent Sleep fan page. 

Hipster Tax - The Alternative Price of McFashion

It seems to be common place that things can just be ingested into the mainstream. It would seem we live in a paradoxical society which embraces nostalgia yet has no respect for legacy, that the origins of something is beyond inconsequential all in the name of being ‘cutting edge’. Its all fair and well trying to be educated and diplomatic about this issue, but the brass tax of it is simply people couldn’t give a fuck about anything, they’re just interested in looking good and being a cut above the rest.

When I was growing up, I suffered for my cause. I took on the ridicule of my peers and my superiors all in the name of exploration, searching beyond was presented to me as ‘normal’. Wearing a band t shirt was once considered at threat to society punishable by being branded a social outcast, a viewpoint rooted in the simple human idiosyncrasy that we fear what we don't know, fuelled by unwanted and unfounded mass media attention. Now not only is is socially acceptable but the nature of expressing your tastes through fashion has become diluted beyond the point of recognition. This is a difficult issue to tackle without treading into the realms of snobbery, but I think you should defend something you are passionate about when some choose to abuse it. 

The example I always find myself using as a 'go to' is The Misfits. 

The Misfits have the unique accolade of becoming something much greater than its initial components. It wouldn't be unfair to brand The Misfits ascetically as a gimmick in any musical context. But consider the notion that they cut their musical teeth being fully embezzled in the Hardcore Punk movement of the early 1980s, responsible for some of the most vocally and physically opinionated and hard to please fans music will ever see.  No one in the world would be considered foolish to think that The Misfits wouldn't have lasted too long in such a high standard environment, but amongst their compatriots and the millions of people around the world who have embraced them they are considered one of the most influential bands alternative music has ever produced. 

Tell all this to the girl in Topshop wearing the famous Skull logo T shirt, or that faceless neanderthal  on T4 with a 'Walk Among Us' shirt on during some equally faceless 'music festival'. Not to judge above my pay bracket but I bet dollars to donuts they look at you like paint drying.

I am perfectly aware that some of the responsibility lies with the bands, they don't necessarily have to shill their merchandise. But these bands have spent years scraping together every available penny they could muster all in the name of making music, so I think you'd have to be pretty unsavoury to deny them the opportunity of the pay cheque. Plus, if they can take advantage of the morons willing to shell out hard cash for one of these shirts (or various other pieces of merchandise) all in the name of social politics then more power to them. The availability isn't the issue, if anything we fully embrace the idea that you can walk through the hight street and pick up such items, the problem is when they are used as tools of ignorance and arrogance. 

The toughest pill to swallow amides this generation of vapid hipster types is their inane arrogance to try and shun away the people true to the cause. The idea that a chosen few dictate what is and what isn't. The same people that a meer ten years ago looked at you from their nose for being what they are trying oh so hard to be now. You need only look at the legion of Converse, Vans and TUK you see in every day 2012 to understand my position on this. 

We obviously don't expect everyone to understand the inner workings of alternative culture, our cause isn't one of didactically claiming this is something only for the initiated, we openly embrace anyone to get into the bands, fashion and lifestyles that comes with the endeavours we put our name to. We simply ask that instead of using it as a crutch, you actually embrace the culture and the history that brought it to your doorstep. 

Return with Hints of a Heel turn....

Thirteen months is a long time saying nothing what so ever.

Having said that, my hiatus from spluttering my opinions on here for you all to see hasn't been uneventful. Taking a moment to self indulge; life is pretty okay now, I moved back to my home town while we have the new family home renovated. It's given me the opportunity to reconnect with the people that have managed to tolerate me for way too much time then anyone should.

To less of a degree than I would have liked, I've done some self improving and furthering ones career aspects, I have come very close to hitting the big one and I've been taken for one hell of a ride, something that warrants it's own post which is very much on its way.

Above all else, the last year or so has reminded me of something I very much believed in my youth: not to suffer fools. While I don't totally buy into the ethos of 'if you're making enemies you're doing something right' I do very much buy into the notion that being opinionated is tantamount to speaking truth to power; we might want to, but like hell we actually do.

Not that this is anything new hear, I've hardly ever been one to mince my words, I'm just saying expect sharper and larger quantities.

It's good to be back. 

RESCUEOLOGY - The Week That Was.

So true to form I've not been doing a whole bunch of upkeep with my brainchild here. 

Whats remotely reassuring is that I've had my eyes, ears and other attentive appendages in other endeavors that although not directly, helps towards the cause.

 For example, the last seven days are were as followed; 

Incase you're not following me on twitter (@SonToTheRescue) I've been doing quite a lot of contributing to media outlet Liverpool Live. When I say contributing, throwing myself at any possibly opportunity to contribute is more apt. 

Threshold festival rolled around far quicker than I had anticipated this year, as as its primary media outlet, LL gave me the platform to step up and do something beyond throwing my opinion at unsuspecting musicians. What started as a pitch to produce and present a series of podcasts showcasing the best of the weekend expanded into sound tech and on-screen personality in a matter of minutes. Truth be told I didn't even have to think about wether I wanted to take on the extras, I was there to work and I did. 

I cant implore you enough to check out LiverpoolLive as a whole as well as its ongoing coverage of Threshold 2013. 

So while the ongoing post production of Threshold is (as we speak) going on, thursday came something in truth had been something I had prepared for for mot of my adult life. 

My dad was someone who lived for nothing but music. If you read this blog at all you know I avoid terrible clichés like I do my ex girlfriends, but his live revolved around the music he kept close to him and the subsequent lifestyle that came along with it. Its this notion that brought people together from all corners of his life to say goodbye to him. 

So while I continue to work on my other commitments, I hope you all don't mind if I take some down time to collect myself. I have a few idea circling that have been on the back burner for a long long time now that only feel apt at this point, and when theres something to talk about, you'll hear it.

In the mean time, ears to the floor 

SonToTheRescueCast Episode 2 - Bankrolls Don't Build Biceps

Episode 2's Featured Artist - Well Wisher

SOMETHING YET TO SEE THE LIGHT OF DAY - 'BYE FATASS BYE'

Since the publications this was going to appear in have apparently fell through, here was an article I wrote post Red State talking about Kevin Smith bowing out of filmmaking.

INTERVIEW - THE BIRTHDAY SUIT

Its takes an exceptional amount of fortitude to commit yourself to your art. Musicians that spend their lives trying to make it are all too common and those who do quite the opposite. Having once reached the apparent promise land once before with the massively influential Idlewild, Rod Jones has re-embraced the indie spirit with The Birthday Suit, who's new album drops next week and were cool enough to talk to us. 


How did The Birthday Suit come about?
It was really born out of my second solo album. When I started to write it I realised that it was sounding more like a band record and so I needed to get more people involved. some of the musicians had toured my first solo album and some were friends from Edinburgh who i knew would fit in.

What I really like about you guys is from you how put yourself across you've very much relished in the opportunity to build The Birthday Suit from the ground up as apposed to riding the coat tails of Idlewild. Is it an active decision to keep things more DIY? 
I think I was always keen to have our own identity. Obviously it made sense to make idlewild fans aware of the new band but I feel it a totally different entity which needed to grow its own fanbase aswell. The DIY approach was really just about keeping control of what we do and doing things at a pace that feels comfortable. Its alot more work but it all on our own terms which is definitely refreshing.  

In terms of your audience, was it the case where you had to build it from scratch or has there been a good transition of fans from your previous work? 
There have been a few fans who have come along for the ride so as to speak from idlewild but mainly its been a steady building of our own new fans. I don't expect crowds to be the same as they were with idlewild to start with as it is a new band and we are just getting going. It can be hard work sometimes but all the more rewarding when it pays off. 

With having a solid body of work behind you, how was recording the new album?
It was quite freeing actually. Knowing that I was getting more comfortable a a frontman and singing in this genre I felt able to try new things. I'm really proud of the results. 

At the risk of being blunt, something pretty shitty happened to yourselves this week regarding your last tour? 
Yeah. Its a difficult situation regarding money going missing from our past dates and us being left out of pocket. We are going to try and turn it round by doing a fundraiser gig in Edinburgh on 19th Dec at Electric Circus. http://tbsfundraiser.brownpapertickets.com/ Its best not to go into too much detail as it pretty boring but suffice to say it is pretty crappy when bands (not just us) are getting shafted by those they trust when its hard enough to make a living in music these days. (I'd like to say also though that Colin Keenan our agent was not the man at fault here. He was hoodwinked along with the rest of us, is a great guy and agent and we will continue to work with him at his new agency JL booking agency). 

What's next for The Birthday Suit? 
We are supporting the Xcerts in Scotland in Dec and plan to tour the UK again in march with a single release.

SonToTheRescueCast - Episode 1 - Listen or Leave

In an attempt to broaden ones means of throwing my weight around, for your delectation; podcast numero one.

INTERVIEW - ALI INGLE

Experienced acoustic artists know exactly what their preferred craft brings them, their unplugged delivery acting as an anchor keeping them firmly at the bottom of any gig running order. Though Liverpool offers a myriad of strictly acoustic forums, even this notion makes establishment difficult. Ali Ingle is proof that plugging away at something pays off. After a very warm reception to his debut EP 'The Man and The Monster' Ali spoke to us about whats on the cards for him next.

What have you been up to since the release of the EP?

Ive just been promoting it a lot. shooting different videos and lots of interviews. Recording the new EP And most importantly writing the next one after that

How was the shoot for 'Ribcage'? 

It was surprisingly easy. It's the first fully independent video i've made so i got to have a very easy approach to it. The scenes from the bulls perspective is literally me running round with a camera on a broom ! A lot of the time i hated filming on my own so id get people to come with me, but for when i was alone i had to just grow a pair and be like ' f**k you im being creative' aha.

How has it, as well as your other newer material been received compared to you're more established stuff from 'The Man and The Monster'? 

Ribcage has had a really warm response. i think the video helped to get people to listen and take notice but yeh im so excited/ nervous to hear what people think of the new EP. I think ribcage isn't a million miles away from the other songs on the new EP but i feel its all very different to the last EP on a whole.

You've done a very good job at cracking the liverpool acoustic scene, something from experience I know is a reasonably difficult task, whats been the best part about gaining this new found audience? 

Its just nice to have people listening whoever and wherever they are really. To know that its not all in vain is a relief. But  I know theres a lot of cliques in the liverpool music scene like most cities so its still great to get some recognition from my home city. 

Recently I wrote a post that at a point highlighted that acoustic artists are generally regarded as an after thought when playing with bands, has this ever happened to yourself?   

I know what you mean i think its because they are usually put on first at 8 oclock on most gig line ups. But ive done my fair share of early slots and i know its very easy to just chuck acoustic artists in an over done category. ITs just about making yourself different, so people cannot call you simply an acoustic artist. 

What would you like to do next? 

Well im releasing the new EP 'Magic In The Mundane' this month and ill be putting up more videos. I would love to do more things with filming and ive half arsedly started writing a book. But im gonna stick the whole music thing out for a bit and see how that pans out

'The Man and The Monster' is available on iTunes or though Ali's Website.

INTERVIEW - WE CAME OUT LIKE TIGERS

We Came Out Like Tigers are one of the best bands in Britain.

I realise that a statement such as that sounds immediately childish and uneducated. But after having these guys on my radar for the last few years, I only find myself more and more impressed with their output and am yet to see an argument to the contrary. Now that the dust has settled on their debut album 'Agelessness and Lack' I had a chance to speak to Singer and Violinist, Simon.

Its been just under 2 months since the release of your debut album, how do you feel about how its been received?

We have been overwhelmed by the response to this album, we couldn't be happier. We have heard loads of different interpretations of the themes and songs, some of which we intended and some of which we didn't, but it's amazing to see people connect so emotionally with songs we have written. It has really opened up new possibilities for us regarding tours and labels, things I can't announce yet but some of which are a dream come true for me. We never expected this to be anything more than a few songs between friends and the occasional show here and there, so to see people regard you as a 'real' band is indescribable.

I've seen you a multitude of times live and I genuinely believe you get better every time, how difficult was it to translate that energy to a studio album?

It was something that we were concerned about, as it is always hard to take a live show which is a multi-sensory experience and lay it down as a single audio track, but we were happy with how it turned out. Lyrically there are a lot of things on there that I am angry about, and these songs were all pretty new before we recorded them so even singing them into a mic in a studio, it still felt current and real and honest. To get this album out felt like a huge push, it is such a big undertaking and I have a new found respect for anyone out there that has recorded a full length, so I think when we went into the studio we were all aware of how important it was. Again, to get the chance to do an LP is a big deal, so I can say with confidence that we all pushed ourselves as hard as humanly possible to get the best from it all. Tom Dring at Vagrant Recordings who recorded us is incredible too, he knows heavy music inside out and was perfect to record with. I would work with him again in a second.

With everything that you've had your hands in producing (the music, blog and the zine) Its always had more than a smattering of your collective belief system and is always delivered without fear of consequence . Have you ever had any real negative backlash because of it?

Incredibly, so far, no. We are well aware though that being outspokenly anti-fascist (in both words and actions) can be a dangerous pursuit at times, as hard line fascism, racism and neo-nazism are often violent ideologies, and heavily rooted in gang culture and football hooliganism. I have seen anti-fascist fundraiser gigs be violently attacked in Liverpool, but we have had no attention of that sort thus far. We have been involved in activism for a while and I have seen the violent side of the police more times than I can count, but this has never encroached upon We Came Out Like Tigers. Regarding other issues, we staunchly oppose a number of magazines that use music to sell pornography and "lad" culture (read: sexism), and maybe for some bands that feels like a criticism of their own involvement in that world, there have also been times when we have called out bands by name for doing things that we think are wrong (TRC amongst others) which may eventually come back round to haunt us. Unfortunately, there are businesses out there that exploit young women for profit, something I see as abhorrent  (we have written a detailed reason why we oppose this in the booklet of Agelessness and Lack) and if opposing something that we believe is wrong will negatively affect this band then so be it, I would rather know I did the right thing by my own beliefs. I think a lot of people see politics in music as a trend or a way to market your band, but I am involved in a protest scene outside of music because I genuinely want the world to be a better place. I want to know that when fascists came to our town to exploit and divide people, that I did my best to stop them. I want to know that no industry that runs on the exploitation of women's bodies ever has the chance to profit from these songs, as they are far too important for that. I want to know that when we had 20 minutes of peoples attention at a show we did our best to tell people that our government is selling the NHS which will lead to worsened healthcare for the poor, ultimately leading to people's unnecessary deaths. If people view that attitude as some how negative or cynical then so be it, but it will never alter our determination to do the right thing for this band and the people around us. 

You never fail to produce fresh music every time I get the chance to see you, How does the newer material measure up to the older stuff? 

I believe that it is a big step forward for us. We are constantly striving to make that perfect album, something we may never achieve but you have to aim high! I hope that we never get to the point in this band where we think we are getting worse, if we do I hope we have the decency to stop! The songs on A+L for me are closer to what I listen to than ever before, lyrically I am more proud of this record than anything else. You always want it to be an uphill progression, and at the moment I believe it is!

Being from Liverpool, what are your feelings on the likes of Liverpool Sound City and other various institutions allegedly designed to give opportunities and showcase bands like yourself? 

That festival is a corporate enterprise that has worked out that festivals are big business at the moment, and will book any band that will make money, as you can clearly see from the bizarre line-ups each year. I have never viewed music that way and find it baffling that people do, so it is not something that we choose to be a part of. For bands that exist in a DIY  scene it can be strange too, every year we are referred to as an 'unsigned band', which although we haven't signed a contract in our lives, we have worked with 5 different labels so far. I think the people that organise such corporate music festivals, every city has one, and they all seem to model themselves on SXSW, they have obviously forgotten why they first listened to music. For me music is my everyday, I obsess over it, my head is constantly swimming with songs, my lifestyle is built around being in bands and buying records, I could not afford to lose sight of the support and happiness that my favorite songs give me, by cheapening it with a music festival set up to market an energy drink. 

Whats next for BRICKFACE?

I haven't written a zine for 18 months or so, but I want to get back into it soon. I think the next move is to release a one off zine that isn't Brickface, that will draw together a number of different zines and projects around the country to do a special one off publication, but it's super secret at the moment! Hopefully there will be another Brickface after that. There are a pile of bands that I want to chat to, and a zine is always a good excuse to do just that! 

and whats next for WCOLT?

We are planning a split with a band we are all excited about, we are touring north Europe with Ruined Families in March, then Ireland with Hammers in April, then back to central Europe in summer, and that's as far as the plans go! We are wanting to release something that is heavier than previous things, and also perhaps do an EP that is a lot quieter... Things aren't set in stone though so I don't want to say too much. I have never been as proud of anything as I am about being in this band, we aren't perfect but we do our best at it, and I hope we will continue to put everything we have into every release. Apart from that, the NF have announced that they intend to be in Liverpool this weekend, so we will do our best to make it difficult for them, there are some exhibitions I haven't seen in the Liverpool Biennial yet, and I'm sure there must be a Critical Mass coming up soon... Live radical

Rather than write about this album, I simply implore you to listen to it. 

'Agelessness and Lack' is available though Dog Knight Productions via the WCOLT Website. 

A Lesson in Verisimilitude for Candidate 23.

I know I always walk a fine line of arrogance when I write something on the premise of 'my greater knowledge'. I've spent most of my life in or around bands and while I understand there’s no written code of ethics and conduct how to be in and around musicians, when it boils down to it we're all in the same boat and you would think that being even remotely supportive or even curious about each others endeavors would be paramount. While I also understand that performance is always based on confidence and self-awareness (more commonly known as ego) there is a distinct difference between having self-belief and flat out thinking you're a cut above the rest. 

Candidate 23 are the latter. 

My first encounter with these gentlemen was at their EP launch earlier this year. My admiration for what initially looked like a well put together and VERY well funded outfit turned into a dose of distain very quickly with my first conversation with their manager. I had been Moonlighting at The Studio in Widnes as a 'pretty much could do whatever needed to be done' guy, that night I was overseeing the nights sound. One of the opening acts that night was a band by the name of Limited Edition, a band with members no older then 15 but could play far beyond their years. The conversation with manager man took me a while to compute; he kept asking me to make LE's guitars quieter and to 'hurry' with their sound check. The first time he approached me I assumed he had a vested interest in the band and was just trying to give me the impression he was earning what I can only assume is the handsome fee he's receiving from the parents involved. However it didn't take long for me to decipher what he actually wanted me to do; make the support act sound terrible. This was galvanized by his second approach to the sound desk again asking me to hurry proceedings stating, "We don't want the emphasis taken off the headline" 

So it was pretty clear this guy had some kind of Mussolini complex. What i didn't realize is the extent of how much of his Kool Aid the band itself had already consumed. 

Fast forward to the present and another encounter with these gentlemen. Now, all though I realize the behavior you have displayed, in my experience dictates you won't listen to me for a femtosecond. But since the best way to tackle ego it with ego, listen to someone who's been where you're trying to go, done what you're trying to do and knows better than you; 

With all the earnest in the world I have never seen a band with such a false sense of grandeur. You may have the back line, entourage and attitude of Van Halen, but guess what? You're not Van Halen, you're a local band just like the rest of us, you're  not getting any gigs that couldn't be done with persistent networking by anyone willing. While I don't doubt your ambition to make it, it would put you in good sted for now if you acted like a local band. For instance; rather than sitting in a 'private room' that I can only assume you either expect or someone demands, actually watch some of you're  piers. Yes that's right I said piers, because it may shock you to understand that no one you play with is in awe of you. Especially if you're  taking so long faffing around with your equipment other artists can't sound check.  

Secondly; I keep hearing this 'They were played on Radio 1' gimmick regarding you're  claim to ideas of grandeur. Not to play devils advocate, but if I were you; the fact that labels haven't come knocking already, I’d take that as a very clear message. 

Truth be told, I don't think they're bad people when it boils down to it, individually they seem like reasonably nice lads. The reality of this situation is Naïve starry-eyed kids and parents willing to invest in their dreams are having smoke blown up their arses by someone who realistically has no real experience of the music industry. And when someone promises you the world in a field you don't really know anything about, a 'private room' and a stage riser seems to be the right path to stardom. The highlight of this was the 'private preview' of C23's EP for friends and family before the previously mentioned night with Limited Edition that to the trained eye wreaked of a very self-indulgent 'aren't I speeding all your money well' showpiece on behalf of C23's management. 

Though I know this will be taken as either a personal attack or sour grapes (take your pick really) there’s no doubt this band is a pretty tight unit and could actually do something, they just need to lose their Peter Popoff. 

….Oh and Speaking of overacting evangelists;  Mr. front man, I understand your trying to convey that your 'feeling the music' on stage, but lay off a little. Chris Martin still exists.

Changing The Direction Somewhat...

So in true STTR fashion I've spent some time thinking about how I can accentuate what I do on this page and the the name in general. In recent months I have endeavoured to become apart of local music projects (since I'm lucky enough to be somewhere that has a multitude of these, or at least I thought i was lucky) So, not to be one for quitting while I'm absolutely nowhere, I've decided to expand my intentions to not just praising other artists, but I wish to help them in a more hands on way. 


So this is a shout out, Im looking to build a portfolio, a body of work that can hopefully springboard me into something bigger and better. I figure I have a lot of talented friends, and there are a lot of people out there reading this, so If your a musician, artists, writer or anything for that matter that would benefit from some music and video production, some film production or some graphics please find me on Facebook or Twitter and we'll talk


All of this will be for the best price of all, FREE


SonToTheRescue Facebook
@SonToTheRescue

Bureaucracy 101: A Public Reply to a Not-So-Public Telling Off.

So, it would seem that feathers have been rattled and people of even a remote interest seem to know the score with this but for those who don't, heres the highlights.

I aired an opinion on Facebook. Radical, I know.  

This particular opinion questioned the employment methods of a local youth music project in my home town(which you can see here).

The key points I have maintained throughout the subsequent circus that has come from this is that I have been honest yet maintained diplomacy, but most importantly I have been open and public about my opinion, as I have been with any retort.

So it seemed a little out of context when I received a private message from the 'Project Leader'.  

I am really hurt, and genuinely don't understand why you have posted all that damaging stuff on your Facebook page - I know you (and all others who applied) must be very disappointed, but: 40 applicants, 1 job.
There genuinely cannot be (and wasn't) any favouritism, it had to be someone who had addtional skills and experience to those already possessed by existing YMWs.
And genuinely, the short-list, and the final decision, was taken by one of the directors who had absolutely no prior knowledge of ANY of the applicants.
Because it is a funded post, it is very tightly monitored and it has to be clearly documented how and why decisions have been made.
Disappointing too that others have joined in with slagging us off without any knowledge whatsoever of what was required, or how and why the decision was made.
You know how hard I've worked (unpaid, and often at my own expense) to get The Studio open again, to try and build opportunities to benefit everyone. It took six years.
You know I was looking to see how you could be supported to get into promoting and putting on events.
I only want to make good things happen.
It just makes me feel like... what is the point? 

Disclaimer: this is the message verbatim and I am happy to prove so to anybody who questions otherwise. 

Firstly, I find it interesting you believe it was a more worth while investment of your time to sit at home and lecture me (as well as others as they were happy to approach me tonight and show me your message) than support an event at YOUR venue that was not only for a good cause, but drew an impressive crowd, something rarely seen at The Studio. Its amazing what somebody with an actual ethic to promote can do.

Regarding the position; Though I was happy to respond to you on Facebook it would seem that I need to reiterate my position.

I am VERY aware that the quality of applicants was beyond high. Realistically I knew that there would be stiff competition and there was a reasonable chance I would not succeed. This was posted before I knew that the person in question had actually been appointed.

However, what you seem to be getting yourself in knots about is the idea that from an outside perspective it would appear that the person in question is well acquainted with both yourself as well as the people who said to me in person they would be conducting the interview, the same person who would be submitting the feedback to the person making the decision. By insinuating this as an unreasonable view point is to denounce ANY possibility that he would favour the person in question, which as an intelligent woman you should already know is ridiculous. 

As much as I appreciate your support in developing my career prospects, quoting me £320 for said support really lets your side down, don't you think? 

In regards to people 'slagging you off'. I hardly think people agreeing with a viewpoint can be demonised as such. Literally, people have approached me showing me messages from yourself berating them simply because they 'liked' the status. Coming from someone who spent years writing and self editing countless publications I can't help but find this a little rich.

If you should take anything from people agreeing with me it should be that perhaps its not just me that seems to believe something is a little off with your infrastructure, either that or they see the outside perspective you're finding somewhat difficult to grasp apparently. 

In short; Its an opinion, if you don't like it, don't read it. 

This isn't school, or North Korea. 

DEAFEN THE CREATURES - The Way The Noise Began

Its infinitely reassuring that somebody from my part of the jungle is not only making music, but is making genuinely impressive and frankly joyous music. 


I can honestly say with no jest that this was an absolute pleasure to find. From a technical perspective this is one of the slickest and well put together EPs I've heard in a long time. Put into perspective the embryonic nature of the band (they're just about a year old) the energy and chemistry produced from this four track offering is mind blowing. The thing that stands out to me regarding this is that all four members are truly talented in their own right, the fact they can connect their abilities in such a way is a testament to the quality of what they have produced here.  


This was somewhat of a no brainer regarding the variable that is 'would I like this?' Deafen the Creatures poses an almost uncanny likeness to a Ben Gibbard or Imogen Heap production, the same formula of haunting melodies fighting against super vibrant Postal Service-like duetting pop vocals. But this is FAR from pastiche.


Simply because of the methodic pace of the songs, the pop element is lost somewhat and concordantly will lose some listeners along the way. But frankly thats their loss. 


Be prepared to see a lot more of these here (band willing of course)

The EP and the bands back catalogue is available from the DEAFEN THE CREATURES WEBSITE

DEADDUKES - The Sky Falls On.

Massive thanks to the boys at MAKO RECORDS for letting me on to this little ditty. 






Cant do a whole ton of embellishment for these gents as they seem to have negated the idea of putting a bio on any of their outlets (we want to know what you're about gents, make it happen!) That aside The Sky Falls on (or What a Day as it seems to want to call itself if you download the track from the bands Soundcloud) initially throws an american garage rock vibe out there, something along the lines of a more up tempo Death Cab track, which holds though out with a similar american indie vocal.


However, having listened to the rest of their online stuff it would seem that this song is an exception to what is a straight down the line modern indie/rock sound. which if I'm honest is a pity as I actually really liked this track, I can only hope this is the direction they're going in, either way check them out. 

VIDEO - WE CAME OUT LIKE TIGERS/ UPCOMING TOUR WITH RAVACHOL.

So figuring I've never posted this officially on anywhere, hers a very small very basic video i made for Liverpool DIY juggernauts WE CAME OUT LIKE TIGERS. 

I maintain with absolute conviction that this is one of the best live bands I've had the pleasure of watching, The truly unrealistic blend of to the absolute letter finesse absolute brute force is an intangible that still befuddles me, mostly because over time they get better and better 

The boys are out and about over the first week of April with Norwich scream outfit RAVACHOL (who's EP 'The Revolution of Everyday Life will be getting a review this week). I genuinely cannot stress enough how important it is you at least check this band out. 

INTERVIEW - 28 COSTUMES

Several million years ago in the year 1998, while singing stories of petty theft with his significant other and odes to John Hughes I first met Chris McIntosh. Inspiring a younger edition of yours truly to follow a similar path, it was beyond a pleasure that some fourteen years later I caught up with Mr McIntosh, now firmly part of the Liverpool music scene furniture he returns with his interchangeable menagerie 28 Costumes to talk about his recent endeavours and the latest offering from the Costumes.

Firstly, How are you? whats been keeping you busy since we last heard of the costumes?

We took a bit of a holiday in 2010. We all wanted to do different things for a while as we've been doing 28 Costumes since 2003 and it just felt like a good time to stop doing it for a bit until it stopped feeling good to not do it. Now it feels good to do it so we're going to do it again for a bit. There is almost certainly a more simple way of putting that! I (Chris) moved away to Berlin for a couple of years and Tony got himself engaged and bought a house. There are only really the two of us in the band now from the original line up way back in 2003 but we're always changing it. Right now we have Graham Jones from Voo playing bass, Andy Donovan on loan from Elle S'appelle (who are also having a bit of a resurgence) and Steve Carpenter, who used to play in Tokyo Adventures.

Its been 8 years since 'The Fake Death Experience' have you listened to it at all recently and if so how do you feel when'd you do?

I went a long time without listening to that record but I actually put it on last week to play it to some friends who had never heard it. It was weird really, it sounds like somebody else now, I guess we're pretty removed from it now. I sound really young on it and I'm not too fond of the way I sing...it's as if I wasn't sure how I should sing so I tried to copy loads of my favourite singers. My voice sounds different on nearly every track. I definitely still feel a sense of pride about it though and we'll still be playing some of the songs from that album when we play now.

I know you've spent a lot of time in germany and with Silent Sleep, how has that been as an experience and has if affected your mindset coming into this upcoming release from 28costumes?

I think so, yeah. I think everything you do, no matter how big or small, affects your mindset. Even the things that you may think of inconsequential eventually have some kind of consequence on the decisions that you make and the things that you do. Living away and playing gigs on my own in strange places, kindergartens and the like, really helped me on a personal level to realise that when you gig you don't always have to try and be really funny and charismatic if you don't feel like it, sometimes it's nice to let the songs be the good bits. I think if you're in the right frame of mind to be like that then it's great and it works, but I found myself kind of expecting people to expect loads of banter and hilarious story telling and that expectation sometimes sent me under. I think I feel quite comfortable with who I am now and I've probably turned into the person that I'm going to be for the rest of my life at this point so any of those insecurities that might have been niggling away in the past have probably buggered off now.

In spite of your hiatus you've still proven to be a reputable name in liverpool music, what do you think gives you that edge of longevity?

I think around the time when we were playing lots of gigs both in Liverpool and further afield, there was a really healthy cluster of really good bands playing around too. Elle s'appelle, Voo, Hot Club, Puzzle and Married to the Sea were, and in some cases still are, making really good music and playing live. I'm not sure if there has been too much since then to challenge that. There have been one or two bands for sure, but I think around 2008/2009 there just seemed to be a wealth of talented bands being really active, putting on gigs, releasing records, playing shows, touring not just in the UK but abroad too.

I don't think 28 Costumes were ever relying on a current fad or a specific genre that was maybe cool at the time, we just always wanted to make really good, loud guitar songs.

What should we expect from this LP?

Really good, loud guitar songs!

'This Band Has Eaten All Our Money' will be available for download April 5th from the Rekordmeister Music, Review To Follow