Back in 2017, at the end of September, the nights were growing longer. Nestled in the centre of Falkirk there was a small, brief, but memorable alt. rock/punk scene playing its first showcase in Behind the Wall. It was (and still is) called RIFF. The explosive music night was driven by Dolly, the indefectible frontman of Falkirk punks Thirteen.
At the end of the night, when the satisfied crowd disbanded under the watchful ushering of the bouncers the bands involved had a chance to huddle around a table, count the ticket money and plot the next event.
At that point it felt like the start of something new.
A second successful night followed, then the momentum fell away. Thirteen regrettably imploded, leaving Dolly to pick over the remains of what was a successful era for the band.
Over the months and years that followed Dolly sought and found new personal for the band. Then came the lockdown. This didn’t stop them; instead, they headed to the studio to lay tracks for what would become ‘Ego Trap’.
Press play on the CD, and the guitars leap out, they have familiar tone that had me expecting Axl Rose to start screeching ‘You Could Be Mine’, but Dolly bursts in with his trademark vocals and Thirteen come alive with their own classic, high octane take on punk.
It’s an excellent production from Bryan Ramage, the pace is relentless, the second track, ‘I Am the Fire’ sparks off a flurry of snarls and guitar screeches. ‘Pearls and Piss’, perhaps the highlight, is uplifting. ‘How did to come to this? Drowning in Pearls and piss!” asks Dolly.
‘Trampled Flag’ offers a well-judged change of pace before the EP concludes with the squalling menace of ‘Thirteen’. This is a statement from the band; “I will never tire” asserts Dolly, “We are Thirteen” replies the band.
This is a great record; created and recorded throughout the most challenging of years. What once was the Spirit of Resistance now appearing to be the Spirit of Resilience.
‘Ego Trip’ is Spirited call to arms for all the Punks, Rock and Rollers and we know that they are out there in Falkirk, they’re just waiting for the shout. This could be it.
Photographs Neil Henderson, Sweet P, Kevin Byrne and various.
Don’t you just love countdown list? Yeah thought so! We’ve been rating our recordings and now we reach the top five records that we feel represent our best work. This is all to celebrate the forthcoming release of ‘Everyday Heroes’ EP.
So now that the teacups are running dry and the biscuits are nearly eaten we’ve finally agreed what are our favourite recordings are. All albums are on Spotify, just hit the links. Feel free to follow us so you get notified of our new releases.
Our second album. By this time we were enjoying the freedom of college and the fact that we hadn’t started full time jobs. We drank a lot of beer writing this and probably forgot more songs than we recorded. Nine songs survived.
The front cover sums up the album. Drink and Firkins. We were having a riot. The band was young and we had had a successful couple of years thanks to Whapper Stormer and the vibrant local music scene. This album is messy, it was recorded in two different studios and on three different desks. I remember standing in Firkins asking a guy from Central FM what he thought of the new demo which had Culture Creature, Summer High and Today Was Insane (which never made the album) He didn’t think it was as good as the previous tape (The Rain, Vancouver and Chameleon) I was gutted, raging and walked away.
But the assessment was correct, Firkin didn’t hit the heights of Whapper but it is a fun record that captures a great time for the band. We threw discipline and care out the window and had a laugh.
Big highs, a couple of lows, probably an unfocused time for us but from the practise room point of view it was the best time ever.
It was crazy, taking beer glasses and a carry out down to the room on a Wednesday night. Sometimes we’d drink more than rehearse.
Not as good as Whapper but has its moments. Culture Creature is an absolute classic. Loads of songs lost during this boozy period.
Excellent album, long way down is a totally underrated song in my opinion. Wasn’t quite as boozy a time for me as I was the one driving. Some good vids made then though that are fun to look back on.
Greg drove all the time…He’s one of the most patient people I think I’ve met. He put up with our antics for years. We need to get these vids onto YouTube or something.
Stu returns after a break and we write songs for fun and record in Derek’s old flat with our friends ever present cases of beer and Subways.
All of us apart from Greg gave this the same score. One More Solo was plain good old fashioned rock. We were celebrating getting back together and it shows on this record.
The original master was bad though; in fact i don’t think we mastered anything back then. The bass swamped the record and there was these lovely ringing guitars at the end of nearly every song that Derek was a big fan of.
It was a great time for the band, we still believed that we could make a go of our music career ao we gigged this record quite intensely. We met some great friends on our travels. Its a good record and a wee bit or re-mastering has helped to clear it up.
The remastered version is better. Just think we’ve played the songs on this record so often that they lost out a bit to the other albums on my list.
We haven’t played Waiting On the Sound Of Your High Heels that much.
Not! Great album. Love being back in the fold. Hanging out with my best mates and writing recording and gigging. Remastered version a lot better
Our debut was always our favourite recording over the years, until the Decibels arrived!
I love this record. Three songs were recorded at Split Level in Edinburgh: the Rain, Vancouver and Chameleon. In terms of quality they’re above the rest of the record so in that regard it’s a bit uneven. However the songs were some of the best we ever wrote. This album also has my favourite lyrics; my imagination was firing on all cylinders then, perhaps with the exception of Downer.
One of our first photoshoots for our first demo
Drink makes you ‘cuddly’
It was what we team as ‘classic weird’ I would stick to vocals and Stu would take care of all the guitars. The four of us wrote together. I would sing the melody to Stu, it was a time where i could keep melodies in my head for months. Stu would create a riff from it. I was fascinated by that.
You always remember your first!
Although this album was written in the mid 90’s it would be in 2004 that we would record 7 songs to fit in with the three from Split Level. Just For Today was an early example of progress we were making at recording our music.
The classic Weird album. Still sounds amazing. Timeless. It was so easy to write those songs. Happy happy days.
The first professional recording we did at a proper studio by the chain smoking Neil on a reel to reel whilst muttering ‘the rain..in Spain’ to himself over and over. Was an exciting time.
And Neil added the delay effect over my wahwah guitar in the verses then I bought a delay pedal to replicate it live
Haha yeah I forgot about that, then he sang ‘trousers that keep you alive’ and I’m at the back shaking my head because he’s mocking my diction. It was a very exciting time; it felt like we were living the dream.
The second coming. 4 years after Quiet Act, finally back on the gig scene and about to have our most successful phase some 17 years into our career. Weird Decibels 1 was a defining album for us.
There isn’t much between WdB1 and 2. There would’ve been a bigger difference if WdB1’s tracklisting had been better, WdB1 would’ve been a clear number one.
Ahh the WdB1 tracklisting debate. I stuck firm with this one. Psalm was a statement of intent. It was some 4 years after Quiet Act and we were nowhere on the local scene. Psalm had everything, big guitars, epic drums and bass. The intro is on an old acoustic, similar to Battery by Metallica. The acoustic linked Quiet Act with Weird Decibels 1. The song builds to one of our biggest crescendos. Stu played about three solos while I sang my heart out.
I’m worried about the concept of an album these days. I hope there is not a time where bands stop putting out collections of songs. An album is an experience for me, a beginning, a middle and an end. WdB1 had that.
I see the point that the other guys made about not starting with Psalm but I couldn’t see it any other way. The album starts big and ends big with Industry.
One thing I will say about my favourite recording is that the vocals are loud in the mix and a little harsh, if I had the time I’d have a wee go at mixing this album again.
I like the scope of WdB1, Jemma Burt added piano, keys and violin to three or four tracks but it adds so much to the album, it gives it a lot more texture than it normally would have. Derek and I rated this our favourite recording, there are a lot of solos, guitar riffs and vocals on this album.
WdB1 was also a great era for us. We ventured out of the practise room and started to head out to Glasgow playing some cracking gigs around the city. We shot our first music videos which were watched a few times. Until this time we were a largely ignored band so it was a highlight for us.
Wdb1 is a fabulous record. No acoustics just huge epic rock. So many great songs and still play many of them in our live set. I stand by the track selection although we never really play Psalm live. Love all the videos we made for this record which opened up new listeners to the band. I don’t think Steel had aged too well hence why I rated the album my 3rd favourite.
It’s true what Stu says we do lean quite heavily on this album when building sets. We’ll need to write more!
This album had a limited edition release with hand written lyrics around excellent artwork by pabs which I really enjoyed. I also started making t shirts to sell at gigs with this album cover which seemed to be popular. Good songs which were well received when we played them live.
Our latest album is voted our favourite recording. At 33 minutes it’s a short, sharp burst of rock recorded at our biggest location yet, the grand Springfield cottage.
I voted this my 3rd favourite recording, I like the record, its two years old now so i’ve had more time to reflect on it. It’s probably the best sounding record but it was hellish getting there. Recording the drums in Springfield was a good move. It gave the drums the room sound i was looking for. After the drums and bass things went a bit askew.
Whatever technique or mic placement i used on the guitars I could not get a decent tone for the distortion and spent ages during recording and at mix to get it to sound good. I used to use the Rode for the guitars as I liked the bright tone but the industry standard SM57 gives me more control of the sound. With the Rode I was always cutting a lot of frequencies so I guess it took me awhile to get round to using the SM57; I’m stubborn that way I just wanted to try something different.
I always thought numbering the albums (like Led Zeppelin) was a mistake as it felt like we were essentially doing WdB1 again. We scrapped a few songs at the start and hired a cottage to write, This was new for us and it saved the album. It turned out really good
An album full of excellent songs, some stronger than others but very fun to play. I feel we’re pushing ourselves a bit which can only be a good thing for future recordings.
I rated this my top album as there is not a weak track. It’s our best sounding album recording wise. I had an absolute blast recording my rhythm and especially solo parts (with Bo recording)
Pabs and Stu. Victory coffees
the sun shines through the pop sheild
went with the sm57 for stus distortion it could handle the pressure!
Many many pedals
This was used to record both the bass and the drums at the same time.
The reason we picked this place was for this set up
A stunning and breathtaking property
Yeah I remember Greg recording the solos for me, I had had enough. I set up the mics, got the sound then said to Greg can you do it? Im done… Then I went for a walk in the freezing cold. Derek had went home early he was missing his family. So I’m standing at the end of a farm road, fed up, in the distance I hear Greg and Stu finishing the album and I’m thinking is this it? That was then, time has passed. I think we’re gonna do it again.
Once More with Feeling and Medicine kick arse and love playing those songs live. Plus it was the best lodge we have used to record. Very happy memories. A fantastic album and looking forward to you guys hearing our brand new EP coming soon.
Recently, in October 2017 RiFF was born. The first showcase night saw a collective of four bands playing harder edged songs. Throwing hair that (for some) was slightly longer and wilder, to a loud chorus of music that had a bit of attitude. We were trying to show Falkirk that there was a heavier scene waiting to be discovered. That night there were a few nervous glances at the door; would it be a success? That question was answered pretty quickly when punters started to wander into Behind the Wall. There were fans of the bands present but there were others, genuine hard music lovers who had waited years for a scene like this to fire up again. The place was packed and every member of each band that played that night were buzzing. So it was this success that RiFF 2 was aiming to emulate; another night where the legions of rock, punk and metal lovers would swarm to BTW with their regular punters throwing confused glances towards the many tattooed and pierced music fans heading up the stairs for some colourful mayhem. This time Greg and I went to watch, drink beer and listen to our fellow RiFF bands scream, sing and shred. It was like old times for the both of us; 20 years ago during the 90’s in the Martell on a Thursday night we would be doing the same thing. By nine the doors opened and a decent crowd took their places; staring at the stage eagerly awaiting the first of the bands to appear, RiFF does not tell the crowd the running order of the bands. The message here is to stay and watch all the acts, not just your friends and family. Come and discover something new. Greg and I did just that. It was also nice to see many band members from the first RiFF showcase back to support the fledgling cause.
The Drop kicked things off. The trio were the first of three new bands to join the RiFF collective. Driven by a distorted bass, drums and strong vocals; the Drop’s lack of traditional guitars was not a problem for their sound. Their hard driven rock impressed the crowd and the powerful vocals had me thinking that I wanted to listen to Rage Against the Machine all over again.
One band that is on a rocket propelled trajectory is Sianar, currently impressing much of Scotland with their music. Somehow they managed to fit 7 musicians onto the small stage and they played an excellent forty minutes of rock; full of swirling guitar solos and dueling vocals. Kristian, on lead guitar, appeared not to be distracted by impending fatherhood. He had us on stand by to step in for Sianar should his other half give birth on the day of the showcase. It was good to see the band play on home turf.
RiFF veterans Thirteen picked up the third slot of the night and launched into a roaring set of punk. Tune after tune hitting the audience like a prize fighter. They also flung a cover tune that had me chanting along, by this time Greg and I had few pints under our belts and getting into full flow. Thirteen never disappoint: Dolly likes a snarl when he sings, Craig leaps in the air to slam home a chord on the bass and Greg is one of the best drummers in Falkirk at the moment. His energy behind the kit was felt by the audience adding to a rather brilliant performance.
Not to be undone by Mr Breens masterful performance, Brian now shirtless, took the sticks and pounded the kit into submission for Shatterhand; driving the music veteran’s powerful anthems home. It was the first time I’ve seen these guys, it was a commanding performance from the four piece whose experience lends itself to producing a tight unit. Shatterhand have been around long enough to know how to overcome the hurdles that bands face and it was great to see them in fine form at RiFF. The late hour was not on their side, but the hardy souls that stayed to the end were rewarded by a set that had an urgency about it. The audience had little chance to catch their breath as the four piece launched from song to song. They gave everything to the show and I thoroughly enjoyed it.
Having been a member of the audience for this RiFF showcase its was a little harder to gauge the success without the hard evidence of counted ticket stubs. But from what I could see there was no denying that once again BTW enjoyed a busy night and there were far more of the RiFF community members supporting each other. At the start there was a swell of people turning up to support RiFF, packing out much of the stage area and it was great to see that most of the audience stayed all night, (a rare occurrence for local gigs); hopefully the venue appreciates this. The RiFF community is alive and well. This gig proved the first showcase wasn’t a fluke, it was a sign that there are music listeners that want harder edged bands playing in Falkirk. Too see them come back for more was fantastic, let’s turn it up and let the rest of the town hear it.
2017 is a year I will quite happily brush under the carpet. I’m thankful for music, Weird Decibels, the fact that we are still recording, writing and playing music around our day jobs and family.
So as the 2017 Curtain starts to fall upon the Cast I thought I’d look back at our year.
Pics. Sweet P Photography. What Eddie Sees. Juls Sampson.
Rock On Tap. Great night for us at the Artisan Tap. we were a wee bit worried about playing a gig so soon after the Christmas wallet apocalypse however our concerns were unfounded as it was a busy night
12th Jan. We release some footage of us playing in our trusty old practise room
Weird Decibels drop a wee hint…
We had a look back at the many years we’ve had in our practise room, this proved to be one of the most popular posts of the year.
Weird Decibels performing at The Dobbie Hall 2017.
Here’s what reviewer, Stuart Ritchie, had to say:
“Weird Decibels are reminiscent of the early punk movement, especially The Clash. They played a bulldozing set of songs filled with no-nonsense Wah-Wah-drenched guitar solos, heavy sounding riffs, and a rampaging juggernaut tempo. ‘In the City’ sounded like a louder heavier ‘Suffragette City’. The singer tried to get the crowd to put the hands in the air but, most were afraid to spill their pints. Overall, a great effort and showing.”
When you live all your life in Falkirk it’s hard to gauge what people outwith the town really think of our place. As far as 2017 goes Falkirk is having its ups and downs. The high street is struggling but they are trying to rescue it, the football team were humbled in the playoffs then plummeted near the foot of the championship. People come to visit though, the Kelpies and the Wheel are now ingrained in Scottish tourism.
So what about the Falkirk music scene in 2017? Just a few year ago you could argue that it was on tired legs. The last couple of years have been very promising, people would describe it as recovering. Now as we reach the end of the ‘teenies’ I would assert that we have a vibrant scene, there are now a number of excellent bands and events. Here then, is my personal experience of the Falkirk scene; bands I have seen live, played a gig with or albums I have bought. There are many bands that I have missed so any recommendations are more than welcome.
The year started of with an almighty bang as Blind Daze played alongside us at Rock On Tap as part of the excellent One Weekend In Falkirk. These guys play loud, behind the mega sound is a very accomplished band. I caught their soundcheck at RiFF (more on this later) and their guitar work is excellent, finely crafted solos weaving through the tight bass and drums. They are a nice bunch of guys and it was a pleasure to play with the loudest band in town. We were also delighted to have our long time friends Buzzards of Babylon on the bill; they impressed a lot of the locals with their gigantic tunes.
The next night, as One Weekend in Falkirk continued Greg and I went back to the Artisan Tap to see more live music. Callum Baird played a fine set of acoustic folk, he had to nip away after his set as he had a gig in Linlithgow the same night, He’s toured extensively and is one of Falkirk’s hardest working musicians.
Fuzzystar are not from Falkirk but I couldn’t help but being blown away by their bittersweet music. They had a mixture of distorted and clean tones with strong lead guitar. Its was great to learn that they will be returning to these shores at 2018 Shuffle Down. They will be well suited to the Dobbie Hall. A fine band.
I have often said that Shuffle Down is perhaps my highlight of the local scene. 2017 saw it arrived at the Dobbie hall for a third year and there was more a focus on local bands than ever. We had the pleasure of playing this time, it was a fantastic experience. There were many great acts on, Miracle Glass Company,Fly Jackson and Pronto Mana were my personal favourites. There was a strong showing from Fairweather and the Elements and despite tachinal nitches Ghost Writer were good as well. All the bands seem to energise each other. Cannot wait until 28th April 2018!
There was an edge to Fly Jaclkson at Shuffle, my fav show of theirs to date. Pic Gregor Boyd
Ghosts on the stage. Pic Gregor Boyd
Musicians Against Homelessness raised money for the chairy with a number of bands playing at Behind the Wall, including the impressive, youthful trio, SHIVA.
pic eddie mceleney
RiFF was another big highlight of the local scene, 4 bands (again including ourselves. Could be a pattern here…i’m not bias honest!). It was a pleasure to play alongside 13, The Nebulosity and Blind Daze. It was amazing to have these bands come together to achieve what was a successful and busy night. Look out for a showcase in 2018; I hope the RiFF community grows as Falkirk needs a sub-scene of harder edged bands
The Local Records released in 2017 that I had to buy.
There have been many recordings released by local artists this year, I haven’t bought nearly enough and I am looking forward to seeing what I find in 2018. Noise Noise Noise is a great place to pick up CDs from local bands. Just head near the counter at the back of the shop and you’ll find an impressive array of local produced CDs.
Ghost Writers well produced Legends is a great record; it has good pacing with an exciting range of dynamics throughout. 13 put out a strong EP ‘Spirit of Resistance’, its a solid punk outing from the ever busy trio. The Nebulosity remastered their 2015 C+ album this year and its definitely worth a listen to their brand of heavy alternative rock, their music goes places you don’t expect and they are a pleasure to watch live. The Sonic Blues released ‘Something Today’, produced by Greg Breen it has a DIY ethic that I really like, it gives the album a personal touch that can often be missed from over produced recordings.
I have to mention the mighty Rabid Dogs, they released a rare recording of their live North Star show from June last year titled ‘The Best Party in Town’. I fear we will no longer see Rabid Dogs live so if you can, try and get your hands on this record.
The annual AMiF awards are another fine way to discover local talent. Pleasure Heads, SHIVA and Bootsie Blues all have great music (the latter having their track Song For Insomniacs streamed over 10000 times on Spotify). 2017 also saw the arrival of Sianar and Bitter Alice and they have a promising year ahead.
At the end of 2017 Razor Cuts had just run off a print of its 4th edition. It’s packed full of stories, poems, interviews and music reviews. I even managed to get an article about the old alternative nightclub Pennies included. Derek Steel is the passionate editor of the magazine, he is keen for submissions from budding writers email email@example.com with your creations.
There is so much happening in our town now; 2017 has been a stellar year. There were so many bands and events that I couldn’t attend so this look back is only scratching the surface. So if you believe in new year resolutions try to find a wee place on your list to support the local scene, you won’t be disappointed.
We’ve just ‘dropped’ a track; right now people all over the world can listen to our brand new song ‘Take the Blindness From Your Eyes’. This is a far cry from our first ever recorded release. A three track demo tape recorded and released in 1996 on cassette tape. I remember to this day when we drove home from the studio putting the tape into the car stereo and being blown away at hearing our first record.
The Rain, Vancouver and Chameleon were recorded at Split level studios at Ingliston, Edinburgh, it was a great experience for a young band. The reel to reel tape spun at the back of the mixing room as we laid down our the tracks that we thought would break us into the music scene.
The tracks were all mixed down to a DAT tape master and we nervously took this small cassette (which we couldn’t play on normal cassette players) to a duplication service called Chow Productions. While they could print out several copies of the tape artwork and print on the cassette they couldn’t duplicate the music from the master; so they printed off a batch of blank cassettes with our artwork. We had to get the DAT onto a CD and manually recorded the three songs onto the printed cassettes. This was done by a specialist who was able to convert the master DAT to a CD.
Our first demos would be packed in padded envelopes with a typewritten letter explaining who we were (an early version of a bio I guess). There were computers around in 1996, it’s just we didn’t have any. I got some addresses for record companies out of the NME and Melody Maker listings and sent off the package envelopes with the demo tape and hoped for the best.
CDRs became mainstream around the late 90’s early 00’s. The studios we were now working with handed us a shiny disc with our new demos. The world of home studios and doing this for ourselves was still a couple of years away. We would get these CDs duplicated then, in a similar way to the tapes, we would package them in a padded envelope and send it off to record company addresses that we found in NME and Melody Maker however this time we had a PC that we could print of letters with pictures.
As the 2000s surged into middle age we now had our own studio gear and were recording our own demos and albums. The first self recording was Cold Home Street which we burned to CDR. After this we upgraded to digital multi track but CDR was still the format to send stuff to the ever silent record companies.
By the time we were recording One More Solo the internet was screeching (kids won’t get this ) into existence and loading up at around 500k, MP3’s were creeping in and the ipod was taking off. Bebo arrived and we were now sharing our music in a more direct route to our followers. Back then it was customary to let listeners hear 30 second previews of the track and they would buy the full MP3 in a frenzy of rapid Weird Decibels anticipation. They didn’t. However some people were still buying music but there was no doubt that the free tier was on the way and Radiohead’s In Rainbows, pay what you want, strategy was an interesting experiment. To be fair bittorrent, the pirate bay and napster had already set (arguably illegally, but record companies were still in the stone age) new ground rules and while they were now being dismantled by the ever eager record companies (who were still not calling us) the music distribution models had been changed. Many listeners were no longer paying for music.
Riot Act and Quiet Act were never sent to record companies, they were uploaded to the internet however CDs were still very much important to print as we had a fanbase that wanted them, we still have some if your interested. Shop Bandcamp
After a lengthy pause between Quiet Act and Weird Decibels 1 the music industry was changing rapidly. Spotify had arrived 2008 to try and muscle in on iTunes. It did in spectacular style. We were slow to adapt.
Weird Decibels 1 was released in 2011, demo tapes were now a long way off however we were still printing limited batch CDs. We tried to make WdB1 more attractive by offering a tiered approach to our music. You could listen free on Bandcamp, buy the normal CD or order the limited edition CD with added an artwork booklet, which we sold out of.
We also had to consider a growing number of formats including WAV, FLAC and ACC. Streaming was now a growing force; downloads still made us money though. We finally made the jump to streaming via a digital distributor. We could now effectively be our own record company.
Roll forward to 2016 and Weird Decibels was printed on CD and sold less than WdB1 however most of our top stream tracks are from WdB2 . Now we could see who was listening to our music, a slight nod of pride arose when we saw significant activity in South America and other far off lands.
Of course we were still behind the times, many artists were now ‘dropping’ tracks, no hype no fanfare, just uploading songs for people to listen to. Vinyl had also made a massive comeback. This appears to be out of our reach at present. The mastering techniques involved and the cost of printing are out of reach. Hopefully this will change.
So here we are now, we’ve dropped a track but now it’s getting harder to reach audiences without paying for promoted posts given that we’re not paid in the first place! Facebook isn’t helping, people are fed up with it, so we need to find a new way to reach an audience. Until we figure that out feel free to enjoy our new song.
Just a wee note, when we sell a CD at a gig it’s a huge thing these days. The money made from that single purchase can takes us months to raise on streaming services, So if you like a local act buy a CD!
Dear fellow bands please let us know what your first demo was!
It all started on June the 26th; it was a Monday night, Dolly Robinson of 13 asked for local musicians to meet and discuss the possibility of a showcase for Falkirk’s harder edged music. A handful of local musicians wandered into the pub looking around for other band members that they had not yet met.
Peter Gilbert and Nathan Paterson both from Blind Daze, Alan Costello of the Nebulosity, Bob from the Star Inn, Craig Hayworth and Dolly from 13, Rory from Eindp photography and myself sat around a table in Behind the Wall’s conservatory. One of the things I remember Dolly saying was “I don’t want this to be another pub gig”, he had a vision for a showcase for a number of bands.
The venues that were being suggested were bigger than I imagined. The Warehouse and the Loft upstairs at Behind the Wall. I was thinking of smaller, more intimate venues akin to the Happening club, somewhere were 40 people would make the place looked packed. We settled on Behind the Wall, I felt that this was ambitious for the first RiFF showcase. Start small I thought, then build a scene.
One thing was clear from the first meeting that all the bands were heading in the same direction, some felt ignored by the local scene and others felt there was no scene. I was in the middle. We’ve played some great gigs in Falkirk recently and been to see many great bands. One thing that was missing was harder, in your face, alternative music.
We departed from Behind the Wall all with various tasks to carry out. The date was set, September 29th 2017 upstairs in the 180 capacity Behind the Wall. Now we needed to get a crowd through the door…
Rikki Tonner of Afterglow offered much needed advice, Bob from the Star Inn offered help, The Bunker offered gear. It was looking good for the setup. We set up the usual social media pages and I contacted the Falkirk Herald, James Trimble was happy to be on board.
A few weeks later I was back in Behind the Wall. Craig Hayworth and I stood outside the pub at 11am like a pair of keen drinkers waiting for our first pint when we were actually waiting on James. He arrived clearly happy to get out of the office, notepad in hand, pen at the ready.
Alan Costello bounced in the door just as we were starting the interview, slightly harassed having just awoken after a shift he was keen to be part of the article. We repeated the RiFF community’s philosophy that RiFF bands will support each other whenever possible. It was a pleasant chat over a few coffees.
Everything seemed to going well but the tickets were slow in selling. I hoped that the old tradition of an article in a newspaper would help raise awareness.
The bands worked hard to spread the word. It was now just a couple of weeks to go, more people were starting to commit. Craig reported an increase in sales at Noise Noise Noise. Word was getting out, people were sharing posts. Maybe, I thought, we’ll reach 50 or 60 sales and the place will at least look busy.
Now with just days to go, we had more of our fantastic supporters wanting tickets, again Craig said that tickets were selling. We put all the figures together we were looking at around a 100, Now I was getting excited, was this really going to work? Was this going to be more than just a pub gig?
The Night Of The Showcase
It was a bright September day, reds and ambers now appearing in the trees. Time had flown since RiFF was created back in June. Greg came to pick me up around 3 and we headed off to the Bunker, a rehearsal studio in Bonnybridge. Daniel McGibbon was most helpful giving us the backing. Two amps, a bass cab and a full drum kit. Greg recalled his Tetris skills and we managed to carefully pack all the gear into his car.
After fighting through the Falkirk traffic we finally arrived at the venue. Upstairs we were greeted by a cheery Jim Dunbar, he was busy setting up the rig. Blind Daze drummer Craig Scott arrived to help and together we set up the room for the showcase.
The other bands started to arrive and we had a brief soundcheck, the stage was set. I stood at the door with Craig Hayworth; I was getting slightly obsessive about the door opening. Bang on half 7 the first people started to arrive. They didn’t have tickets…they were happy to pay at the door and I saw those guys stay the whole night.
More people arrived, some with and some without tickets. Stubs started to pile up under the cash tin. Craig Scott came over to let Craig Hayworth run the merch, again we were all working for the cause. It was now around 8 and there were people streaming through the door. I looked around after tearing stubs and couldn’t believe that the place was packed.
Our stage time of 9 fast approached. When we stepped under the blue lights I could see rows of people awaiting the first riff to be played. I was stunned and excited. I picked up the guitar, looked at the rest of the guys and started Kill it Kill it. It was an immense feeling and I was driven by the crowd. Every Time I looked up I could vaguely see people appearing to enjoy the music. When we stopped songs there was a great cheer. It was a fantastic feeling.
It’s Who You Know
I Hear the City
The set flew by and it was hot. I’ve no idea how Greg didn’t pass out wearing his big patched jacket. My guitar cut out at Deliverance, three songs from the end, so it was back to old school Weird with myself on vocals and Stu doing all the guitar. Before ‘I Hear the City’ I tried to plug the guitar straight into the amp, passing by the pedal board. It worked and we finished the set with ‘Industry’ now becoming a regular finisher.
pic eddie mceleney
pic eddie mceleney
pic eddie mceleney
pic eddie mceleney
The Nebulosity stepped up next and they played a blinder. I missed the first couple of songs, although I heard them through at the bar as I waited patiently for a pint. The staff looked a little overwhelmed by the size of the crowd, (Derek may disagree with ‘overwhelmed’). However I got back to the door duties. I would like to say I could see them but the place was packed. Alan Costollo looked like he was loving it, flinging his hair about. The music was heavy, this was what RiFF is all about. Again the crowd was brilliant, they got a large response from every song played. The crowd were watching all the bands not just their own and this was fantastic.
pic eddie mceleney
pic eddie mceleney
pic eddie mceleney
pic eddie mceleney
The night now jumped into the second half, time was flying. Up stepped Blind Daze to deliver a solid set of rock with some really slick guitar play. Craig Scott’s drumming kept the band really tight it was a great performance and they clearly enjoyed it as much as the previous two bands. It was great to see most of the crowd staying. Peter Gilbert really looks like he’s enjoying life as the vocalist of Blind Daze and Nathan Paterson handles his bass duties with aplomb.
Remember when Dolly said right at the start he didn’t want the showcase to be just another pub gig. When he stepped onto the stage he must’ve felt a sense of achievement. He helped bring it all together and admittedly he had his ups and downs. When the ticket sales were low he wondered if the event should be cancelled given that the bands were paying out of their own pockets. This defines the ups and downs of being a musician yet to make a living out of the art. But he and the rest of the RiFF community stuck through, and together we all stood in the same packed room as 13 played with huge grins on their faces.
pic eddie mceleney
pic eddie mceleney
It was another fine set, a mixture of songs from their records and covers. Greg Breen is probably the busiest musician in Falkirk at the moment, now full time drummer with the band and of course he has the Sonic Blues going as well. Craig Scott really took in the event, he was bouncing all over the stage, (thank goodness we extended the size of the platform…). It was an excellent end to the night.
pic eddie mceleney
pic eddie mceleney
I was now a few beers in and had a slight sway in my step, last orders were shouted and the crowd slowly started to filter away leaving the RiFF community alone in empty to venue to try and comprehend what had just happened.
The RiFF Collective Look to the Future.
The ticket stubs were counted, 140 tickets sold; this was nearly a sell out. The RiFF showcase was a tremendous success. After all the costs were met the bands evenly split the money, it was a great feeling to get something back and merch had been selling as well.
Our attention now turns to future showcase events; many people in the audience commented on how they had never seen a heavy alternative music event for many years so perhaps there is a scene in Falkirk waiting to be uncovered. So now it’s all about timing and getting new bands on board. We’ll never know where RiFF could go, perhaps it will grow and local bands will have an opportunity to play shows of this magnitude. It’s a hard edged music scene Falkirk really needs.
It’s a night that Weird Decibels that will never forget; we were delighted to be a part of the first showcase and we hope that there will be many more, giving other local acts the chance to meet new friends and a new audience.
Once again RiFF members will gather around a table to discuss the next showcase with a new meeting planned for mid October. Who knows what the next showcase will bring but one thing is for sure the bands involved and the crowd that came to see us will never forget what happened at Behind The Wall on the 29th of September. It definitely wasn’t a pub gig.
Pabs ( a proud member of the RiFF community. Get involved.)
Harder edged music from the Falkirk area. The music that often gets ignored, hard punk, rock and metal and the three main genres that RIFF shares but there are many more that need exposure to the local scene. RiFF bands aim to support each other by attending shows, sharing and buying music.
Why Would I Be part of RiFF
If you play in a band it can be the most rewarding experience you will have and it can also be the most frustrating. You want to grow an audience, so you start to play shows. When you are in a small band and you play live, you will spend much of the night wondering who will come through the door. Some nights will be busy others not so.
RiFF is a music community. All we ask is that you attend a local gig that is not your own. Not just RiFF bands playing, but any local music event that you find interesting. You don’t get a badge for attending loads of local events but you meet like minded people and many new opportunities open up.
So keep an eye on the RiFF Facebook page, like and follow the bands and if a RiFF band is playing try and get along to the show. You don’t need to go to every single one but if musicians supported musicians just a wee bit more then our scene would grow and more outside parties would become interested. Look at the success of the Fife music scene for example.
Additionally if you become part of the community and you set up a Falkirk gig the RiFF community will do their best to support a fellow RiFFers gig. (we’re not promoters. Occasionally we will organise a Showcase and the costs are met by the RiFF bands taking part.)
What bands are in RiFF (so far)
We have a number of bands that consider themselves part of the RiFF community. Punks 13, heavy rockers Blind Daze, the outer worldly Nebulosity and of course us (Weird Decibels). There will be more bands joining the community, there is no obligation to play gigs etc, just share your music, share others music and promote the scene. We welcome bands from not only Falkirk but elsewhere are well. RiFF has music, will travel.
What’s the Future of RiFF Then?
Time will tell! Riff needs people to be a success! The Showcase is the start and there may be more. The bands involved will play more gigs, the RiFF community will support them. Look out for a RiFF YouTube channel with music videos, future blogs, possibly Podcasts and of course keep an eye on RiFF bands releasing new music.
1st up is a live performance from VIIIAges and its fantastic they remind me of an earlier discovery DM Lied but their songs are more traditional than the pre mentioned band (that I love). The recording is wonderful; live energetic and knitted tightly by the prominent bass and slightly muted drums, The lightly distorted guitars are loud in the mix and on stage; you can hear the snare rattle.
This band have a new York feel, punky, edgy, the recording appears to be at a venue called Youngcamelot in Chicago Illinios who record the bands that play live. Its a fantastic idea; the whole feel of this record screams an underground music scene that we in the UK haven’t witnessed since our last US import of grunge.
This is different there is everything where. The finale New Era is a fuzz jam with a dominant guitar playing over a frantic bass. Stoney Pony has a strong riff laced throughout. The vocals are delivered with punky vulnerability reminiscent of Joe Strummer Stoney Pony shouts the crowd; that’s the name of it? answers the band!
The crowd play their part it sounds like a small but close knit group who back up the band with screams of ‘one more!’ as the step into New Era.
Fast and uncompromising metal Famine, from Germany, deliver a short sharp jab of crunch. Littered with samples of what sounds like physical pain and the odd quote the interlaced tracks on this album are short and brutal. There is not much in the way of information. http://www.wooaaargh.com/ the website takes you to a German site with similar artists and similar themes. This is guid though, that’s if you have a sick fetish for a short and sharp kick in the ears now and again. I love the guitar whammy bend in the riff played on the 53 second track ‘Stacks To Buy’. Try it.
Snappy punk wanders away from the slick sound I often stumble on while scouring Bandcamp. You can here the buzz of the amps, it sounds live and I like that. Its fast and it sounds underground. Their album starts strong ‘Time and Time Again’ and title track ‘Homeward Bound’ are impressive. These guys sounds young, it seeps through their music. The energy flows into your ears, gets the head nodding and the feet tapping. It sounds like one or two takes were played to nail this. Magic. Signed to Specialist Subject Records who seem to share the liberal feel of their music. The slogan, ‘Download Everything Free’ hits you when you navigate to the labels site. A two piece with Lou on guitar and Minty on bass and vocals. A quick look at the photos on Facebook shows you that the energy on their record evidently overflows into the gigs. New Year/New Start finishes the album with a nice acoustic texture, these lads from Bristol (nice city) have been a worthy listen tonight.
The third and final recommendation is from The Lucies, Houston Texas
‘I’m Afraid Of People Cutting Me Out Of Their Life’ is rather beautiful, a sleepy soulful song recorded and written by The Lucies, information is spare . This album is a self confessed lo fi experimental recording and admittedly the 2nd track is too harsh a change from the beauty of the first. If you can climb over this track the rest of this short record is rewarding. ‘Out Of It’ recovers with the title track, tape hiss and all. The beauty of this music is the spontaneous nature of the recording, the hit or miss. This is what is absent from mainstream music. The finale ‘Steamboat’ is a reflective wee song about a presumably drunk or high steamboat lizzy needing a lift to the infirmary. In the background you can hear a strimmer, an unassuming neighbour trying to get to grips with an overgrown lawn. It rips you out of the scene. You hear the artist sigh at this infringement. I smile because I’ve been here in my own home studio many times. That’s why I never record in the summer! That aside this is a great but vulnerable little album.