As the Springfield bags were unpacked and I sat in the home studio I had an optimism about the forthcoming mix sessions. We seemed better prepared; all the tracking seemed to have gone well. There was still a lot of recording work to do but I’d be able to edit the drums and bass.
I looked at the small screen of the Korg D3200. It’s a horrible tiny basic green lcd display that is your eyes for the whole project; a bit like a Nintendo Gameboy. A flicker of envy passed through me as I yearned for the bigger monitors of a typical DAW setup. Maybe I should go on Tipping Point and win some cash.
Editing is horrible on the Korg so discipline is needed at the tracking stage to make sure you are not wading through silence trying to reach the recordings. The drums generally edited well and sounded pretty good. The bass had a few problems with tone so some EQ cutting was required. It turned out to be quite drastic and reminds me that I need to sharpen up on my micing techniques.
My concerns about Stu’s distorted guitars were justified. There was a good tone in there but it was laden with low mid eq. This was the biggest mistake I made, I wrestled with this frequency and tried to shoehorn it into the full sound. There was a creeping dread that I’d have to ask Stu do redo the entire distorted guitars.
Mastering?
Mastering is a topic in itself. To say Weird Decibels 2 is mastered would be stretching the term. It does have light compression, some subtle stereo track EQ changes and some limiting but it was also done by the same guy that mixed and recorded it, (me). I can understand why people say that you do get too close to the sound.
When Derek texted to say that he felt the album sounded poor on his headphones I had a small fit. I knew he was right but wished it had been spotted sooner. The summer months had been a rain filled wash out but I had still spent them in a small room hearing the same songs many times over.
My mood dipped, I didn’t notice it at the time, others did but I did not see a problem. I soldiered on with the record trying to find out what was causing the album to sound muddy.
When I cut into Stu’s guitars it did the trick; his tone was still there but the rest of the album had opened up. Of course it knocked the mix out so that had to be done again. Then it had to be re-mastered all while I heard my son and my wife downstairs playing and possibly wondering when I’d join them.
Snappy singer. pic Gary
Now I was getting snappy; frustrated that my normal life was getting in the way of the album (even though I had spent half a year on it). I missed the deadline, we wanted the album out for our 20th anniversary gig at North Star. I shouted at the guys that night; moaning at them for trivial things.
Deadlines are pointless unless you are Guns and Roses. When its ready, its ready.
My wife had asked me to take a step back from it; I reluctantly agreed to take a couple of weeks off but that turned into three.
The Cracks Begin to Show
Things got worse; I awoke on the 11th of November 2015 and read some messages; I had been trying to get the practise room keys to record some vocals. I tried to get in touch with the band to get the keys but nothing happened and I couldn’t record the vocals. It was a small irritance but it infuriated me. I just wanted to get the album finished.
21 years of band history could’ve been finished by a stupid disagreement. Thankfully it never happened
I quit the messages, cut myself off and walked to work convinced that I had quit the band.A sense of mourning had crept over me as I listened to Spotify while walking through the Quarry park. It was a weird feeling.
Stu was a constant presence in the studio. Not sure what he is seeing here!
The guys laughed it off; Stu visited that same night and we sat over a coffee like nothing had changed; the dude was there and I was impressed with that. So we mastered the album. A few weeks later it would be done.
At 33 minutes Weird Decibels 2 is our most compact and focused album. It has its flaws; sometimes I think we are better live and there is no shame in that as many bands are the same.
It’s a quiet album by today’s standards; so sometimes it suffers in the ‘loudness wars’ but I think it sounds fairly good overall. This full album was recorded for around £500.
I should bite the bullet and let someone else record our stuff; think of all the spare time I would suddenly have.
The problem I have is that I love challenge of getting that sound; when an acoustic guitar sound crisp or the drums, as in Weird Decibels 2, sound like they are recorded in a grand room. Then the test of putting it all together.
Maybe I’ll leave the mastering to a pro….but how did the pros learn?
You can read about the Springfield session here parts one, two and three . Looking back I’d happily go back there again with more knowledge and perhaps record only the drums and bass along with basic rhythm guitar parts. Time was never on our side and this was often when the mistakes were made.
The recording desk.
Released in the UK in 2006 the Korg D3200 was and still is a classic multi-tracker. By chance there was a music auction where my wife Kirsty works, I put a cheeky bid in for it and it was mine.
In reality it is a fairly basic machine that’s delivered reasonable results. We recorded the album on the desk highest sample rate of 48kHz and 24 bits. Higher quality that a CD but it falls short of what you can achieve on a typical DAW running Pro Tools etc. (digital audio workstation).
The beauty of the Korg was how cheap it was and the number of mic inputs, 12, for simultaneous recording. This allowed us to have 10 mics on the drums and a couple on the bass.
Rightly or wrongly the Korg was used for recording, mixing and mastering. This album as not recorded with Pro Tools etc.
Substantial planning went into preparation for the album, its predecessor had taken nearly a year to mix and master. We were determined not to make the same mistakes, to a certain extent we didn’t, we just made new ones.
From the early mixes I could hear that the drums sounded great in the big room. I had the option for a direct sound or allow some room spill to add a bit of air to the album. The bass came out fairly well, with a mixture of cabin and DI. To this day I’m not sure how effective it was but I found a good sound quickly.
Happy with the drums and bass I had a listen to Stu’s guitar and here was where I realised that I had made a big mistake.
Bad Angles
One of the many mic setups. We should’ve called it a day after the drums and bass and came back to this fresh.
I remember the afternoon that I turned to Greg and asked if the Stu’s guitars sounded too bassy. As he tapped the A and B buttons on the Saturn controller trying to break Derek’s numerous Athlete King records he didn’t seem to think so but to be fair he had been playing the bass all day. I had tired ears as well but something wasn’t sitting right. Against my instincts I decided to keep the mic in place (it was probably too close to the grill) and recorded his guitars.
Greg beats Derek’s Athlete Kings records AGAIN
Back in the studio I wrestled with this frequency for weeks; the mixes were starting to build though. Then came in the indecisiveness.
The vocals recorded at the lodge were a mixed bag. Some sounded really good while others sounded weak. For months we would take the desk down to the practice room and re-record them. Then one afternoon while listening to the ever present influence; Nevermind I heard Kurt’s doubled vocals and decided that would be the key. Eventually double vocals would play a big part in WdB2
Overdubs were next. A few parts of acoustic guitar were added. Sitting back over the whole project there were a few songs that, to my horror, started to sound poor compared to others. Quoted didn’t feel right at all.
I removed the ‘Springfield’ vocals and my guitars and completely re-recorded them in the home studio much to the delight of my neighbours. I had nothing to lose with Quoted so I free styled some distorted guitars in the style of Nirvana; then I added a voice changer to the vocals and recorded the newly written lyrics. Mixing this song was fun, a few automation tricks were used to enhance the middle of the song to build up to the crescendo
Greg had made a mistake just before the end, I couldn’t cut and paste a clean part so I left it out. The part without the bass sounded brilliant (no offence Greg!), it added so much to the build when the bass comes back in.
The Morningday Effect
Its morning and I have coffee and I must mix
It’s hard to explain exactly what happened halfway through the recording of this album.Springfield was weeks behind us, the drums and bass were in place. The guitars were touch and go, the vocals were hot and cold.
I was getting fed up with the shouty vocals. Morningday had done reasonably well and for some reason I tried to merge the two music paths which in reality should have remained separate.
The albums balance began to veer towards quiet vocals peppered with acoustic guitar. Medicine was the biggest casualty of this.
I was unhappy with the my original distorted guitar, it swamped the verses and sounded awful so I recorded an acoustic guitar and some guitar vocals and sat with that for a while. On it’s own it sounded OK but within the album it didn’t sit. Weird Decibels 2 was becoming unfocused.
I remember walking out of Camelon Tesco with a couple of bottles of red heading towards Stu and Lisa’s for a wine night, I had my headphones on. The album just didn’t sound good at all.
This was a real low point. The money spent on the cottage, the hours spent recording, re-recording and mixing seemed to be in vain. Every time I saw the guys they’d ask how it was going, it was hard for me to admit that WdB2 wasn’t working. But it’s amazing what just a few changes can make…
I ditched nearly all the changes I had made. The Medicine acoustics were scrapped and replaced with chunky Soundgarden like distortion that was like the original riff but more control. I added double tracked vocals at a higher octave and screamed my lungs out for the ending.
Feeling choruses, the vocals were shortened and more punchy. Sorted
I took the decision to drop Smash the Glass entirely (it is now a B side to Kill it Kill it), the band supported me on this…just.
Curtain hits the cast, end vocals doubled up to epicicity (new word)
Suddenly the album, albeit short, was now leaner and far more focused.
Then there was the Dancer…
The dancer changed a few times, clean guitars were replaced with finger picked acoustic, subtle backing vocals were added. Stu’s acoustic pedal recording didn’t fit so I sample it, delayed it, reversed it and made it sound like rain to fit with the lyrics. It worked. Stu then dubbed acoustic over the verses.
Stu, is a patient guy. Most of the time (has the odd fall out with cars). Here he is laying the new guitars for The Dancer
The ending vocals were doubled. The Dancer went from filler to single.
Setting a deadline was a mistake.
Mixing was still in full flow, mastering was near. I felt happy to announce a deadline date. Something I hadn’t done before. It was mistake and cost us nearly six months and I almost walked away…
We started creating Weird Decibels 2 in March 2013 you can read about the first session here. We got many things right when creating our new album but one of the few mistakes we made was the title, Weird Decibels 2. The name put an expectation on us to write an album every bit as good as its predecessor. So when the pen hit paper and the guitars were strummed we were unaware that we were writing the same album all over again.
The three songs from this session were Left/Right ( a father son politically themed song), Rain Parade and Feet First my description at the time?
‘They are quite dynamic, influences so far point to The Pixies, Alice in Chains and Soundgarden. We’re not going quietly!’
Despite our early enthusiastic approach none of these songs would ever be recorded.
In April 2013 we had another update (read here) and at this point I start to voice concerns about our new songs, in particular Feet First which I thought was ‘too commercial’. A creeping doubt was emerging that we were not writing particularly strong songs, sure we enjoyed them but they didn’t have the ‘look around the room and grin’ feel that we have when we stumbled upon a great idea.
‘The Stalker Song’ made an appearance here, written about a young man who falls for a woman he sees on the bus. This song would be quickly apprehended and sent down the lost ideas vault.
Here is a wee description I noted at the time.
‘So here we have a guy who gets the same bus every day and at the next stop is a girl who gets her bus everyday. He falls in love with her, he feels like he has known her all his life. He’s a loner doing the same thing day in day out. She simply fills her commute with the usual check on her smartphone. One day he follows her home. I’m not sure where to go from here, my character isn’t a violent guy, just lonely but he has really strong feelings for this girl he doesn’t know’
Stu and Derek show beer and guns.
Jemma Burt and Craig Elder were approached to appear on the album but for various reasons this wouldn’t happen. I guess this was a mixture of time and the desire for the four of us the be the nucleus of our 20th anniversary album.
Derek added his insight to the writing of the album you can read that here. He also shares his concerns about the changes that needed to be made but there is no hiding his delight at starting a new album
As the summer of 2013 moved in and the sun hung in the sky (highly unlikely) we wrote more songs.
Another song, inspired by Alice In Chains, called ‘Miss Asphyxia’ had been floating around for weeks and is first listed during this practise.
‘Small Hands’ would appear in June, by July I was really excited by it. I has asked the guys if they had received my email of a new idea in a 3 / 4 timing, Stu was the only one who listened to it. I carried on regardless and played a hyper riff that I had named ‘Kill it! Kill it! A few minutes later it was our latest song. I described it as my new hope for Weird Decibels 2, we all looked around the room and grinned.
By September 2013 writing was becoming stagnant, however Stu had a new riff that we were attempting to put some music to. At this point it remained untitled. We also agreed on no deadline for the album, perhaps aware we were nowhere near to recording it.
As the masks and costumes of Halloween were don October was the month we made a big decision. We ditched nearly all the songs from the first 6 months and we agreed that the practice room was no longer a place of creativity. it was a dark moment as we sat in silence on the old couches, cold creeping back into the year.
The Marvels
We had decided to keep just Miss Asphyxia and Kill It! Kill it!. Now that we were back to just two songs I had doubts another album would ever happen. So we sat and looked at each other and said. ‘Lets book a wee lodge, take some guitars, a shit load of beer and see what happens’.
Oakley Writing Sessions
Just 20 minutes from our home town is a beautiful little cluster of cottages nestled within the grounds of a stately home. This grand building stands in Oakley a small settlement just outside Dunfermline. So with heavy hearts we headed to Fife.
The lodge was wonderful; with an open plan living room and a fridge nearby it allowed the band to sit in ample space facing each other with our guitars ready to see what tunes we could write. (Blog)
Derek had brought the keyboard as he was keen to try something other than the drums. He had suggested we head up to the lodge without any ideas, basically a blank page.
Beers keep out the cold
Well I tried to do that! However I had a couple of ideas floating around my head; I wanted us to hit the ground running and build on any momentum.
We arrived the Friday night and I set up the desk and loosely placed a few mics around the room and set up the Blumlien microphone technique to capture the room sound.
With the headphones places I could hear that we had a nice sound so we grabbed a beer and launched ourselves into writing; well I say launch. We had a beer or two and talked about television and monty python quotes.
Friday 31st January 2014
Little Thoughts Lost which we wrote with some keys over the top. the song on the recording hasn’t change much. I Hear the City was also born on that crisp night, slightly faster in tempo back then other than this it hasn’t changed too much. Derek had suggested ending on a G but Stu said this was too happy!
By now we were for more positive about writing our new album and after a few Tsingtao’s we had another go at City this time more in line with the album tempo and it turned out pretty well.
Towards the night we engaged in some more joyful band banter then wrote another song called Hit me. A depressing little number that did not really make it past Oakley.
After a round of applause for Stu’s beard and a word from his sponsor we scooped a few more beers.
Saturday the 1st of Feb 2014
Four cracking cooked breakfasts wolfed down and coffee slurped we were ready to get the writing caps on again. Kevin Byrne was on his way, camera and mandolin in hand we chapped on the door and was welcomed into the warmth of the lodge as the fire crackled in the middle of the room.
Quoted Not Voted arose from the fumes of alcohol on Saturday afternoon, this is the weaker version which lacks any significant verse vocals this was the 4th song we had written,
Digital takeover, one of those nice riffs we could never finish was attempted on this day. Curtain hits the cast offered a little humour as I tried to play the intro riff (which we’d later drop) several times much the amusement of my fellow musicians.
Oakley: I Hear The City, Digital Takeover, Little Thoughts Lost, Curtain Hits the Cast, Quoted Not Voted, Hit Me.
Heights Session Saturday 22nd November 2014
setting up the heights sessions. pics Greg McSorley
Heights: Smash the Glass, Almost Beautiful, Car Crash, Once More With Feeling, Away Home.
A few months of practice passed and we polished off the work from Oakley. We had a desire to go back to another lodge, possible the same locale but time, money and real life would get in the way.
Undeterred we decided that a Saturday up at my place with the studio set-up would be a suitable option.
That morning we attended the funeral of our friend Chris Mason; a huge influence on the band. Afterwards there was a sombre mood to the writing. We turned the LED lights blue in respect of the colour of lights Chris had on his Christmas tree which he never took down!
Derek on the keys
Later, while Stu was watching his beloved Alloa getting thumped by the mighty Bairns (Falkirk FC), we set up and cracked open our first beers.
Again I had a couple of ideas floating around my head. Both The Dancer and Almost Beautiful were sketched by the time Stu arrived. Now that we were all together the songs would be finished. The Dancer sounds intense during these sessions and we lost this feeling for a while; luckily we got it back for the final album version.
Away Home was a long song, it didn’t make the final cut. Its another brooding song with a slightly different structure to the fast punchy pace of Weird Decibels 2.Perhaps this would’ve survived during a different time in our writing career.
Car Crash was another nice sounding song. Sadly it didn’t stick, it had a Americana feel which I guess we are not ready for. The version recorded has a nice mouth organ piece over the top of the guitars.
Stu arrives to write!
Deeper into the night Stu and Greg launched into a jam, it was a heavy riff and I struggled to get a melody for it, I sang in a different style and sounded alien on the take. Indeed it would be many months before I cracked it. That song would become Once More With Feeling.
The Shore on My Soul and It’s Who You Know, final writing. January 2015.
As usual I fretted about the lack of songs for the album and I played the guitar for days recording every single idea I had. I brought two ideas down to the room. One song took an age to write another happened instantly.
What started off as Shore on My Soul would eventually end up being Medicine. It developed over a number of months; the ending just grew into a jam and remains one of the best endings we have carved out of our sonic landscape.
It’s Who You Know had the grins from the start. We built this song on a wee into riff and i was amazed that we could still write songs like this quickly. I really felt that this was the last song we would write for the Weird Decibels 2 sessions. We were happy with what we had; a couple of years hard work, a few false starts but now finally we had an album to record.
What a year its been for both Weird Decibels and Pabs solo music. Many highs and to be honest a few lows but a great year.
January.
As the bells sound for the new year and 2014 turned to 2015 I remind myself that in February it will be 20 years since we first stepped into our Grangemouth practise room. Simply unbelievable.
2nd January
The band head out to Linlithgow to choose a lodge in which to record the new album. We chose Kelso simply for the massive room that would allow for a great drum sound. What an inspired choice it was to be.
26th January
Tommy gives us a wee play on the Third Class Ticket ahead of our show at the Buff Club; he has supported us all year and his show goes from strength to strength.
31st January
We play the Buff Club in Glasgow. This was one of the strangest gigs we played! Look at the stage! We enjoyed it although it wasn’t our best performance.
February
8th February we turn 20 years old. We forget that this is an achievement; I guess as we’re all good friends it seems normal that we play music together.
19th February
we get a nice article in the Falkirk Herald to celebrate our time together. James Trimble has done us proud over the years.
21st February
We release the single version of Easy Way; never heard before until now. This was the version we sent to Bracken records which would never be released. Look out for more rare tracks in 2016 and beyond. There are loads!
28th February to 6th of March
The reason we picked this place was for this set up
A stunning and breathtaking property
This was used to record both the bass and the drums at the same time.
We record some of Weird Decibels 2 over a week in Kelso. Here is the story part onetwo and three. This was one of the best weeks in the bands history.
March
Live at the Tolbooth Stirling
March 6th
Pabs plays the Tolbooth in Stirling. A fantastic night for our singer who was lucky enough to be supported by friends and family as the headline act didn’t bring many people!
April
We continue to record parts for Weird decibels 2. Mixing starts; this turned out to be a long drawn put process despite our attempts to avoid this. Pabs went back onto shifts which helped but eventually he went back to day shift and juggling mixing, family life and work became difficult.
28th May Tommy Clark is first to air the new single on the Third Class Ticket.
29th May. Our new single its Who You Know released to the world. It went down very well; its since been remixed and will sound even better on the album.
June
6th June we discuss the possibility of a deluxe version of Weird Decibels 2, over a few beers naturally… We had written so many ideas and recorded many practises as we wrote the album.
1st November shooting starts for the new video for Kill it Kill It released next year. Thanks to Kevin Byrne, Ruari Pearson and Chris Wilson.
2nd November our new range of tees are launched!
7th November we reveal our favourite song that we have recorded. A surprise result!
7th of November we play a fantastic gig at North Star with Buzzards of Babylon to celebrate 20 years together.
13th November Weird Decibels, like all fellow bands and musicians, are shocked and saddened by the awful events in Paris, including the massacre at the Bataclan where the Eagles of Death Metal were playing.
18th November Weird Decibels and Pabs solo work are nominated for best song, acoustic (pabs) and best rock act alongside many other talented Falkirk hopefuls for the first AMiF awards. Still time to vote!!!!!
18th November Pabs and Stu lay some new alternative takes for Weird Decibels 2.
December
The famous cover now all over the world!
‘we tried to get it out for the 20th anniversary gig and it became a rush. I wasn’t paying attention to the sound and was determined to get it released.
Derek had listened to the masters on his earphones and voiced his concerns, I lost it! I was fed up, I wasn’t spending time with the family, work was hectic and I was coming home to mix. I nearly canned the whole lot. I walked away from the album and the band.
Stu came up to visit and we had a coffee and a blether. I returned after three weeks and felt great. I could hear all the problems with the sound and EQ’d them out. Now the album has the clarity it was missing. ‘ Pabs.
Pabs takes a three week break from mixing; comes back fresh and sorts out the frequency problems that had been causing issues. Album now sounds epic.
5th December Our first album Whapper Stormer appears on all digital platforms including Spotify.
Pabs voted it in 18th place out of 20, Stu N/E (didn’t vote for this) Greg 9th Derek 7th
stu rocking out in the studio flat
A real favourite with Greg and Derek, Trying To Grab Hold is one of the most laid back tracks we ever put down. Reminiscing is something I find myself doing on a regular basis; the early days with the band were a riot and sometimes I wish we could turn back the clock and change some of the decisions we made.
The second verse; ‘summer breeze whispering we were laughing, watching the red sky fade to black, then we would gather, around a fire and talk about this and that’. Im convinced that I’m recalling the time that Greg, Derek And I went to T in the Park at Strathclyde in the mid 90’s We had camped in a site away from the festival and there was a group of revellers around a fire passing around a guitar singing various well known songs.
I sat, drunkenly swaying, one eyebrow raised, awaiting my turn while taking in the folky atmosphere. When the guitar reached my eager hands I started belting out a song we have long forgotten called Brilliant at the top of my wayword voice. A silence descended over the rest of the circle
In my self absorbed gleeful bliss my eagerness grew; I was about to hit the second verse when the guitar owner promptly asks for his guitar and storms off! The three of us laughed our hearts out that night.
Like I say it was good times and Trying To Grab Hold is looking back at these days that seemed a bit less complicated.
This was another song recorded at Derek’s flat, at the end of the track you can hear me leave the vocal booth made of egg cartons. You can hear Derek explaining to Gav McVicar that we were always looking to try new ideas. I kept that in to give us a sense of those recording sessions.
Yet another split opinion between the band. Early favourite Vancouver was rated highly by myself and Stu. Vancouver is somewhat surprisingly is pegged down at 9.
One of the first three songs we created; Vancouver is about Kurt and Courtney, the John and Yoko of my generation. I remember being obsessed with Nirvana and Kurt Cobain. Like millions of others I watched his helpless dive into a heroin abyss.
It’s strange starting a band only to hear your favourite artists moan about how much they hate the fame and fortune they have found. I guess we’ll never understand what it is like to see the music world from these lofty heights.
For the lyrics of Vancouver I imagined this world; placing myself in the shoes of Cobain and others. The song is called Vancouver because it was an easy place with which to rhyme with other cities like Hanover which I could rhyme with hangover. Then it was easy to link it in with ‘the Camera the microphone it’s blown your cover’.
I love these lyrics, some of my best, even after all these years I still have a fondness for them; I just don’t write like that any more. It was another melody that I had in my head. I would sing it and Stu would play the tune.
Backing vocals from Derek
The line ‘you try to make yourself look bad, but you only look better.’ was an observation made about artists those days. They would descend into deeper trouble and yet still manage to look cooler in the eyes of their young impressionable audiences.
Vancouver was recorded at Split Level studios, this was our first proper studio sessions and one of our best. Neil the engineer did a really good job with the production. It was brilliant walking past the massive desk into the vocal booth. I felt like we had arrived!
Vancouver was a live favourite in the early days; it was always well received at gigs. It was a setlist regular for the first few years before we laid it to rest; I do recall us getting a bit tired playing it which in hindsight is no longer a concern I have; If we are lucky enough to have someone love our songs then I’ll play them . A truly wonderful Weird Decibels song.
‘I love the rain cause it’s got loads of wah wah and a huge end and it’s a classic.Takes me right back to the martell gigs.’ Stu
Stu loves the Rain. The recording at Split Level worked out really well
First there is the splash of the cymbals, then Stu & Greg launch into the riff before I sing the word ‘The Rain’. Once again we have a band divider. Another surprise as the Rain, an early favourite for top track drips in at 8. Recorded in at the same sessions as Vancouver, the Rain is one of the most refreshingly original songs we have ever created.
The lyrics were written during the massive rainstorms of 94 when the Dawson mission near the Carron Works was flooded. A religious building at the mercy of the heavens (well the river Carron).
In 95 I was only 18 and I guess that I leaving high school to go out into the mercy of the big bad world was worrying me so I went for another two years to Falkirk College. It’s a huge change especially when, like me, you don’t have a plan for the future.
Back then I wasn’t aware of the magnitude of my lack of direction and how it would effect my future. This explains the chorus ‘Stored in houses known as clouds, leaves the clouds and hits the ground.’
Throughout the verses are lines that have little relation to each other that, ‘the rain’. I’ve always liked walking in the rain and I remember the velux window in the ceiling of my room in my old house. When the rain fell it was a beautiful sound.
‘the rain, a beautiful sound on the window pain, a musician who has no composition’.
As Greg and Derek maintain a nice groove; Stu lets a nice lead flow over the lyrics. Neil at Split Level added a little FX onto the guitar which gave the guitars a liquid feel.
There is a pause in the song for a middle 8. Then it builds to the double distorted guitars and loud vocals.
Educational Suicide, Vancouver and the Rain became the original three we wrote at our first practises. They were played relentlessly during the early years and gained attention from Central FM who were excellent at supporting local acts back then.
Eventually as we tried to move away from the early dominance of Whapper Stromer we would stop playing them. A classic Weird Decibels track. Makes you wonder what came on top!
Amazingly we recorded a full band version of Glass People here; no one has heard it yet…
The finale of Whapper Stormer Glass People is one of our longest songs; originally a full band track, the album version features Stu and I on acoustic guitars for the one and only time in the history of our 7 albums (and our upcoming 8th).
Glass People was written in my head over many Saturday nights at Pennies, the run down alternative disco that was hidden away down the old Coasters ice rink. We had wonderful times in there. Every weekend we would head down and join our music community. All the songs of the times would play and strong friendships were forged.
No matter where I went I always found that there were people I could ‘see through’; there was a big act hiding the real person under the surface, hence Glass People.
‘It was a rainy night,for the night I was going to witness
people who are desperate, to escape all that lies before them,
all are congregated, maybe not at church but a place we can worship
our freedom and our choice, the only play where I can let go for recreation
but I noticed , I noticed something spectacular.
Glass People’
For the few hours that Pennies was open every weekend we did feel like we could be ourselves. Most of us didn’t really embrace the night clubs in Falkirk, it just wasn’t our scene.
Glass People was the first guitar riff that I had written for the band. The chord progression, Dm, open F, C to G was easy to play!.
At the time of Stu’s hiatus we bumped into each other in Behind the Wall. After a few pints we reluctantly accepted that the band may never get back together so we decided to start working on a ‘best of’ acoustic album. The first track we recorded was Glass People. During the wintery recording session it snowed, we strolled through the falling flakes to the off licence to collect a carry out. We returned to the studio and cracked open a fresh beer. Stu then laid the most incredible acoustic solo for the end of the song and the album.
Luck had it the band got back together; we gathered all the recordings, old and new and tracklisted Whapper. When we all sat and listened to the acoustic version of Glass People we all looked at each other and agreed. It had to stay on the record.
The band version of glass people can be heard on our bootleg and there is another version floating around somewhere.
A rare picture of us doing a lost recording for the Falkirk hospital.
Scored highly by Derek and myself the incredible Now I Can See His Eye breaks in at 6. This, often ignored, track of Whapper is another of the more imaginative songs we have written. I would be lying if Now I Can See His Eye wasn’t written without any substances… Singing about yellow brick roads, eyes in the ceiling and the rather obvious lyrics ‘ the sky the sky , it’s just a trip a little day out’,
Greg and I fell into a good group of friends who wandered slightly off the straight and narrow. You do experiment with life when you are young and I look back fondly at the parties we used to have, but we could’ve easily slipped into another way of life.
Now I can See His Eye subconsciously speaks of this fear of following the wrong person into a chaotic lifestyle without much hope for a future. It also speaks of the desire to be successful with the band.’Now I can see the crowds and my friends stand beside me’.
Scored highly by Derek and propped up by myself and Greg, The Ending breaks into the top 5 tracks we have done. To be honest the verse and choruses of the Ending are fairly standard arrangements
I remember getting the idea for the lyrics when I visited Edinburgh museum; looking down from the high balcony to the floor below I thought of the lyrics. ’ I’m tempted by the rush of the ground as the season flow I will never now how many people I’d have hurt.’ Strange times…
It’s the ending of the song that has always been a pleasure to play. The chord change after the build. E C A, then it drops to G. When we first played it I had one of those moments where I’d look around the room and see everyone grinning (the last time was when we wrote the end of Medicine for the new album).
So the Ending has one of our best endings!
4. Easy Way. One More Solo. 2004 Greg’s favourite track.
Pabs 4th, Stu NE, Greg 1st Derek NE
‘I love (the) Easy Way as it’s a great energetic, heavy song which drives all the way through. Great fun to play.’ Greg
perhaps the coolest pic of Greg
Another top 5 track from One More Solo; loved by myself and even more so by Greg. Easy Way is a thunderous track with two versions. The album take above and the re-recorded single here. One of the best lines I have written is ‘I can see my future, I see it everyday!’ A lot of One More Solo speaks of being stuck in a rut.
We were approached by a small record company called Bracken records, this was to be the first record company interested in our material. We were asked to think about re-recording the song. So we duly tried to recapture the original One More Solo performance but it didn’t quite hit the raw aggression of the original. We didn’t hear from Bracken records again (not sure if they are still on the go); eventually an ‘unsigned’ band learned to live with the knockbacks as there are always high points around the corner; perhaps this is one of the reasons we have lasted 20 years.
The original is a powerful take; the sound isn’t the greatest but underneath the murky frequencies there is a frantic few minutes of rock. I really go for it on the vocals at the last chorus: ‘I tried ! I tried the easy way!’
A remaster has been attempted on One More Solo, but it had varying results on the album. Some of the songs turned out well. Easy Way was certainly one of those moment where we were all glad the band had got back together.
The first open string picked chords on the slightly out of tune acoustic, followed by Stu gently picking a couple of muted notes before Derek and Greg ease their way into the intro. Culture Creature is based on the darker side of the drug culture that hovered around our community. It’s surprising that one of our darkest songs has made its way to the dizzy heights of 3. (given that Stu, Greg and Derek are constantly telling me to cheer the f*** up!)
‘We wanted jobs, we wanted to escape, but we ended up like cars with no brakes’
We were all leaving school, some with hopes, aspirations and career plans others with an uncertain future. Culture Creature was strange phrase I used to try and describe people who were drawn into the late 90’s booze. music and drug scene. This transition from childhood to adulthood is such a difficult time for young people, as it was for us, not everyone made it. One of the perversions of life
It ends with the line
‘I’m the one blame, do I see my reflection?’
I’m sure I’m finally blaming myself for not trying harder during my education when I finally realise how important it was as I walked out the school gates for the last time. I almost felt like turning around and promising the teachers that I’d given a hard time I’d try harder! ( I wasn’t that bad to be honest)
Culture Creature was recorded during the 2nd session of songs at Split Level. As previously mentioned; Neil wasn’t quite on the ball this time, the sound is slightly thin. I can remember everyone being drained during the recording of this song. The vocals took a few takes; we played it over a few times and the song’s mood brought everyone down!
I left the vocal booth to see John Baines, our guest at the recording, looking totally despondent on the couch!
Despite the slightly wayward sound and the subject material Culture Creature has stood the test of time. It’s a haunting piece, beautifully played by Stu. It’s a reminder of what could’ve been.
At the end of writing Weird Decibels 1 we were fairly confident we had a strong set of songs for our album. Stu was playing around with the guitar as we prepared to rehearse. He played this really cool looping riff. I asked him to keep playing it; I simply held a E and the rest of the band joined in.
We kept playing the song and I started every line with ‘I wonder’ as I tried to find a melody. The line stuck and I fleshed out the lyrics. When we finished the basic track, Jemma Burt stepped in with the violin, it was a really nice touch that added to the mood of the song.
‘The bridge on which we stand has crumbled and untied, we can either run to our sides or repair it over time’.
I guess I’m thinking of relationships with friends and family, as we all get busier and more distracted by life we must try harder to stay in touch. This seems a bizarre thing to write in the age of social media and instant communication. In many ways this technology makes this worse.
Wonder is now one of our best known tracks with thousands of views on Youtube. The video was shot around our old haunts of Falkirk: Pennies, the doorway of the old Clydesdale bank (where we used to sit after the night out had come to an end) and Firkins a pub that used to be a meeting place for all the fans of alternative music.
The scrolling landscapes (influenced by the start of the film Lost in Translation) and drive by shots capture the mood of the song; a wintery grayscale hue over the places where we spent our youth. It’s a video full of memories; and famous sights of Falkirk which seemed to strike a chord with fellow Bairns.
Wonder found its way on many of our sets after the launch of Weird Decibels 1; it remains a favourite of our regular listeners. Its funny how at the end of writing sessions these songs can come along…
so
with 51 points out of a possible 80 its…
1.Speak
Dave and Stu. Not sure if they are playing chess and its Stu’s move…
Track 2 from our last album Weird Decibels 1 gathers the most points from our voting and is crowned our top track.
Speak to meee! Picture by Eindp Scotland
Written around late 2008 and early 2009 Speak has significant meaning. The riff, picked around a G bar chord, was around for a while and the song had been building into an upbeat rock number. It starts with the toms pounding through the intro, the riff, then the whole band launches a sonic assault. It was one of the first songs we had written for the then untitled Weird Decibels 1.
Songwriting came to be in my late teens, I grew up surrounded my the music that my father played and would always hear my mother singing away whilst making some delicious pancakes. Lyrics were my way of communicating. I’ve written many many songs, a lot bad, some ok and a few that I am proud of. Speak falls into the latter.
The sudden passing of our much loved friend Dave Broon brought my thoughts into sharp perspective. I no longer wanted to write about beery nights in Falkirk; now I wanted to make sense of my world and the lives that we lead.
The lyrics.
I was told you work, In mysterious ways I learned you were liberal, with your selection
I’ve been gifted a life, with wonderful people Why must you start, to take them from me?
So speak to me
Let me hear what you say
Speak to me
You built this world, in all it’s glory You gave us greed, to strip it all away
But I hope you’re there, taking care Offering refuge, for our weary souls
So speak to me Let me hear what you say
Speak to me let me hear what you say!
Speak video final scene
Speak was always going to be a single and like Wonder before it a video was released, set in our practise room that we’ve used for the past 20 years it’s a mix of live action and stop animation. It was a well received video.
This song has started many setlists; it is a very hard track to leave out, its fast pace and aggression help liven up our sets.
Like the majority of Weird Decibels 1 Speak was recorded at the 4th lodge we hired in Ettrickbridge. The drums were recorded in the practise room prior to us doing the guitars at the lodge. Speak was one of the few songs to feature doubled up vocals to enhance the chorus and it is something we use a lot more now.
Speak may not be the favorite track of anyone from the band, we all rated around the upper middle of our top 20, but the difference this time is that we all voted for it and has ended up as our number 1 song.
It’s not a complicated number by any means. It’s just balls out rock, a bit like AC/DC, which happened to be Dave’s favorite band. I wonder if the big man would agree with our top track!
Wilson is not happy high heels did not make number 1
Some facts about the top 50
The Top Ten had 2 tracks from Weird Decibels 1 the top two tracks! Whapper Stormer had 4 in the bottom 5, One More Solo had 3 and Firkin Outburst had 1 top ten track.
In the whole of the top 50 the breakdown from each album was
Whapper Stormer 9 out of 10 (possible) tracks
Weird Decibels 1 9 out of 12 tracks
One More Solo 8 out of 11 tracks
Riot Act 8 out of 12 tracks
Cold Home Street 8 of 13 tracks
Firkin Out Burst 5 out of 9 tracks
and Quiet Act 3 out of 11 tracks
I asked each band member to list their top 20 tracks the points were 20pts for 1st then 19 for 2nd and so on. This was all added up then compiled into a top 50.
Well if you have read this far then I must thank you! I hope you enjoyed this article.
Do you agree with the top 50 then? leave a comment or two below
Looking for inspiration. You won't find it there...
Welcome back dear reader! I hope you are so hyped that you tossed and turned as you failed to sleep; wondering what is the best Weird Decibels song voted by the band. Today we ease your suspense…as we countdown 30 to 21… Not long now!
Guy jumps off a cliff, suddenly wings grow from his back and he flies back to safety. This image would resurface as the cover of my solo album Fortune Favours The Brave. It was always a strange idea I had of people coming back from the brink; it’s more a song of hope than anything.
Long Way Down was recorded years after it was written; it was one of many songs we had written in 1997-98 for our second set of songs that we had to relearn and record. We laid the tracks in Derek’s flat during one of our many recording weekends. Most of the acoustics guitars would be laid at my old Steak Pie Studio. This tracks was put onto the Tascam 2488 at the time our best portable studio yet. Our sound was definitely starting to improve at this point.
The most requested and most played song at our live shows. It is also our favourite title. Waiting on The Sound Of Your High Heels (Baby). A balls out stab at some AC/DC; it’s about getting ready to go on a night out with your lady. Simple as that. It has become a celebratory song that gives us joy to play.
mmmm shine the light!
From the simple rock arrangement, to the straightforward lyrics then to the guitar harmony High Heels has stuck with us as many songs have been forgotten.
It’s the opener from One More Solo, the first song people heard when we reformed in 2004 and it set the tone for the album that we still admire today. The sound may not be perfect, a little bass heavy perhaps, but like most of OMS the feeling was there. A band happy to be together again.
So why so low in the list? Maybe we all thought each other would vote for it?
The finale of Weird Decibels nearly failed to make the album. It was one of the last songs we wrote for WdB1 and had not been rehearsed as much as the others.
We enjoyed the song, it was a little different to our normal numbers so we were keen to get it on the album. Problems arose when we came from the chorus back into the bridge; the timing wasn’t quite right on the recording so I programmed some beats to knit the song together.
It’s a rather disturbing song with bold images. ‘you get inside my head, you dig it with a spoon’,’lay it on the bed and rummage through’. Industry is inspired by Alice in Chains; it’s dark brooding mood builds towards a mainc grunge like solo before the end explodes into a wall of guitars (which were intentionally mixed too high).
The often used reverse fx on the guitar was used at the end; it fits the eerie feel of the song. Industry is rarely played live; although it does make the odd set from time to time. I’ll never forget the time a student from England asked to use the song for the soundtrack to her presentation. The images were disturbing…
If you listen to the Foo Fighters ‘All My Life’ you will hear where we got the idea for Home Sweet Home; the opening track to Riot Act. I often feel that One by One was some of the Foos weaker output and sometimes I feel this influence creeped onto Riot Act. We didn’t quite nail this album.
Home Sweet Home is another tale of drunken nights out in Falkirk; largely uninspiring lyrics that float upon a nice piece of music from us. The lyrics do hint at getting tired of the rain soaked Saturday nights in Falkirk ‘Punch drunk, given up, rainfall on leather jacket’.. I talk of aggression; ‘cigarette hung from mouth, you’ve a question will you ask it’; but both the acts (Riot and Quiet) suffer from a narrow narrative, however at the time they were fun albums to record and play.
Forward opens the second side of WdB1 with a long intro that builds nicely into the first verse. I always liked the riff for this song; very Therapy?. It was one of the first songs written for the WdB1 sessions and can be heard on Live Tonight Not Completely Sold Out (unreleased album from 2010). It is also one of the rare songs where I play a solo which helps build towards the end of the song.
The lyrics of forward take second place to the music but the song is about being left behind in life and the feelings of being lost.
Forward is still a favourite of ours to play live (especially me) as it has a good range of dynamics.
One of the strongest songs on Quiet Act, Breathing Space is one of those songs that would be interesting to hear in our normal distorted guise. I like the lyrics in this song, like Forward, (both songs were written around the same time) Breathing Space again talks of feeling left behind ‘And i’m trying, i’m trying to keep up’.
breathing space…derek chills out
The lyrics also speak of a need to get away from the busy central belt and into the remoteness of our wonderful country. This thought was probably influenced by the lodges we were using to record. They were such peaceful and tranquil places. The lodges idea came from my mother who hired a lodge for her birthday. It was in Mallaig; one still day we drove to Arisaig. I switched off the engine and walked towards the shore. Once the clicking of the cooling engine faded all I could hear was ringing in my ears as the vast landscape in front of me was silent. Breathing space.
This aggressive song bursts into the middle of Riot Act. Another tale of drinking and potential violence in Falkirk. I know exactly the pub I was thinking of when I wrote this. We played a number of gigs there when we were heavily into playing cover songs.
Riot Act… lard bombs aside it was a peaceful recording…
Although the lyrics have dated they are entertaining ‘You, you want a fight, well I say alright, cos you wear a bad tracksuit’.
Stu took his small Peavey practise amp up to the recording session (i can’t remember why) and I thought i’d be a good idea to use it for the little riff we use before we go into the last chorus. It worked a treat. Weekend was one of the best sounding songs on Riot Act, it’s tight and it flows well.
At 23, only the second lift from Whapper Stormer, is Show Your Face Soon. It is a lively teenage dream of finding the perfect girl; knowing that she’s out there somewhere (eventually I married her!).
I sang Show Your face at the martell hoping a lady would answer my call eventually she did…
Stu penned a beautiful rolling guitar riff over my melody; it was such a productive way of writing when we formed the band, Sometimes I wish we could write like that again but all my melody now starts from the guitar.
The use of wah was well measured in this track; it suits the mood of the songs well. Greg and Derek have funky rhythm that adds to the optimism of this track. We used to write up to 5 verses; intertwined with chorus and vocal melodies. I have a particular fondness for this song. I remember when our good friend Rooz DJ’d at Dancing In The Dark. Show Your Face came on over the PA; it was delightful because if any Weird song was to be played it’d be The Rain or Vancouver. A delightful band effort.
A simple balls out rock number Riot Act is us simply having fun. It’s actually not a bad wee riff but the drums suffer from the room in which they were recorded. Riot Act was recorded in the first lodge we hired to make albums. We placed the drums in a small room with a low ceiling; basically doing everything you shouldn’t.
Derek really thumps the skins in this song so you can hear the dead sound of the room. That aside this was one of the laziest songs I had written. ‘You never tell me where you’re going, you leave me hanging at every junction’, basically me moaning about people forgetting to signal at roundabouts. Clearly I had writer’s block at this time….
Writers block is horrible but the one thing you learn about writing songs over a number of years is that it passes. Lyrics are a great way to communicate and when you lose the ability to do that it’s frustrating.
steamin!!!
I found some form when writing Weird Decibels 1; Power was one of the songs I enjoyed penning. It was written at a time when I was trying to sell our family home; however our house was deemed worthless as the surveyor had found Knotweed in the field of the landowner adjacent to us.
At that point I felt helpless to move my family all due to a landowner allowing this destructive weed grow in his land.
It’s a quieter song than most of the tracks on WdB1 however its angry; especially the last chorus. Our friend Jemma helped out with violins; it was exciting to hear new instruments on our records.
Friends Corner
Our recordings would not be complete without a friend popping in to say hello and offer support. DJ says hello!
Say hello to DJ! Sitting in at recordings at Dereks flat
We approach the top 20 of the bands favourite tracks; already gone is High Heels what popular tracks will stumble as we make our way to the top ten? Next up 20-11
The first pick from our acoustic album Quiet Act, Grand Day Out describes a day out in Edinburgh drinking with close friends. Indeed much of this album’s lyrics were about drinking; 6 albums in it was becoming clear that my song writing was getting lazy.
Grand Day Out is a warm upbeat song that builds to the sing along finale. At the time I was pleased with the sound. We were learning more about recording and thinking more about where the drums should be recorded; this album has an airy feel, more open thanks to the acoustic guitars and more subtle drums. Much like the album, Grand Day Out doesn’t change our musical landscape but it is good fun. It was recorded at a beautiful lodge in Gairloch near Baddachro. We had a grand day out at the Baddachro Inn. Pure heaven.
Another take from Quiet Act; this time a pretty obvious love letter! At its heart it is a simple two chord song summed up in the title. I really liked the way we recorded this song, it felt like we were making progress. Stu plays an effective guitar pick over the rhythm, we doubled his part and you can hear the slight differences in his takes panned left and right. It gives the track a kind of ‘sparkle’ which suits the lyrics well. The track ambles along nicely with Greg’s acoustic bass and Derek’s gentle drums giving it flow. Certainly one of our best sounding songs
Like Grand Day Out before it and most of Quiet Act, Woman in my Dreams is simple in its nature although I do feel the lyrics were stronger in this track than most of the album. Not everyone who listens to the band liked this direction… it would not be long before we switched the distortion back on.
Fighting with Forever sessions recorded at Dereks flat no beer in this shot?
Distorted guitars? Check. Screaming vocals? Check. Clearly this wasn’t from Quiet Act; One More Solo’s final third kicks off with this belter. It bursts in with a solid rhythm before we stop for some toms and guitar build before the song launches into an exasperated look at the formula of adult life, the lack of sleep and fear of getting left behind. ‘Night and day, it just seems the same to me’.
Fighting rolls along before the satisfying screams at the end; my voice barely held out for those as you can hear it burn out towards the end, hence the big FX.
We still play Fighting With Forever at practise but it hasn’t made our set lists for years.
Crazy head was originally on my solo album ‘A Twist and a Turn’; it had found its way onto this album as have one or two tracks over the years. The rattle at the start of the track is my broken acoustic guitar! We did mention the budget for this album, didn’t we?
This is a bitter tale of broken romance and blaming someone’s past for their actions. It is not a song we have played for years and it is very much of its time.
That old bridge is now the blue bridge on the Camelon bypass
From Firkin Ourburst one of the songs that survived the alcohol laden writing sessions that had an impact on our second album. We were flying high after Whapper Stormer, our first gigs had been a success, we had recorded our first demos and our friendships were growing. There was a Haddows off license across the road from the practise room. We frequented this place every week.
Often we would head home so drunk we wouldn’t be able to remember the songs we had written; All Good Things was one of the 9 that made the album (we recorded 10, Today Was Insane did not make the record).
This track was recorded on our 8 track years after we had written it, again at Derek’s flat during our mad recording weekends.
It has the acoustic/ heavy mix sound that we adopted after Whapper when I was playing more guitar but had yet to purchase an electric.
Lyrically simple there is no complexity to the song, it’s a good riff and has a slightly different feel to our usual tracks.
‘Summerhigh, a good day to die’ a lyric straight from Star Trek and the Klingons! This upbeat tune was one of three recorded at our second visit to Random Rhythms, a great wee studio hidden in the outskirts of Edinburgh near the airport. The first sessions, for Whapper, were excellent however this time the recordings did not reach the previous heights. The sound engineer seemed to have lost interest this time around.
Summerhigh sounds slightly thin but the performance was good that day, particularly from Derek who really enjoyed recording in that studio. I sing of getting older (despite being in my early 20’s…) and starting to realise that I had to take some responsibilities; however there was still time for days in the sun.
There is a good live version on our first bootleg, Central FM were very supportive of the local scene during the late 90’s, they had recorded the gig which was part of an all day festival. This Martell performance reflects much of the swagger we had then.
there is something amazing about rocking out in the remote parts of our land
Sometimes you get a little fed up of the town in which you live; then you go for a stroll look over the forth valley and think, it’s not so bad. Love Hate Thing describes those feelings when out at night. Much of Riot Act is based around nights out in Falkirk (or the aftermath)
Nestled near the end of the album Love Hate Thing starts to wind things down with its moderate pace; at nearly five minutes long it includes a build and a solo. Riot Act is a mixture of fast 2 minute rock and this more measured number.
‘Streets with no name, streets with no shame’ Its not a song we visit much any more. It’s perhaps overly long but not a bad number. 33 Beauty Queen Coldhome Street 2000
This was us doing the ‘live’ guitars. Made it up as we went along well i did…
Given the throwaway nature of Coldhome street it would be surprising if there was not a live jam on the album. That’s what Beauty Queen, the last track on Coldhome, was. The track was recorded in a small studio just outside the centre of Stirling. I believe we recorded the drums prior to Greg, Stu and I jamming the guitars in the studio. Much of the solo work and possibly the vocals are improvised.
We mixed it on the same day, the engineer seemed to struggle a little and asked if we would mix the track. It’s quite a poor mix; the drums lack the impact needed for a live jam but it is a fun song with some daft lyrics. ‘oh my beauty Queen she loves technology, My beauty queen wants part in a home made movie!’
We all have a soft spot for Beauty Queen; perhaps because it was the song that was never finished. To my knowledge Beauty Queen has never been played live
Another album ender comes in at 32. A long slow burner of a rock track Stand For Your Rights is the first song we wrote when Stu re-joined the band after his brief hiatus. Big choruses , dueling solos and a big ending this was our first hint at writing about politics. I’ve always liked the line ‘if you stand for your rights you’ll die young but you’ll die healthy’ it’s a bittersweet statement.
Recorded onto the 8 track along with the rest of One More Solo it was fairly straightforward to record despite the number of different sections of the song. While we were laying tracks at Derek’s flat there was a biblical rainfall shower outside. I grabbed a mic, careful not to get it wet I recorded to the sound of the rain. It was so heavy it ended up sounding like static. My shitty Renault 19 was flooded where it was parked, pity it didn’t float away. I added a little bit of keyboard to give One More Solo the closure it deserved.
we always look for a recording location with a good pub. Ettrickbridge had the wonderful Cross Keys Inn
At number 31 the first track from Weird Decibels 1, a high point in our history, the album was a return to more meaningful lyrics and carefully considered arrangements (well most of it!). Crown is one of the many ‘character’ songs. I was fed up writing about getting drunk at weekends, to be honest I had little to write about so i made up characters. Recorded in Ettrick Bridge (nice pub here as well) we were on a working farm in the middle of the borders. Stunning.
Crown was the murderer, the guy who snapped. He had committed a horrific crime but still attended his mundane office work as normal. ‘Perfect smile it makes me sick, he shakes my bleached hand, i wonder what makes him tick’. I enjoyed writing about the meeting between the murderer and his perfectly groomed boss.
Crown also asks what happens in our town and cities that we don’t know about as people go about their own business.The vocals during the crescendo are ‘borrowed from a certain Mr Vedder and the song Jeremy. A similar story!
This concludes part 2. nearing the mid table now. next part has a rather big surprise for regular WdB gig goers…
Thanks to James from Indievous gigs and Eve Smith for the photographs.
Another gig break broken by a trip to the big city. Recording finished we finally set out to start promoting Weird Decibels 2.0. its been too long.
With the gear packed in the car we set off to the record factory; a venue at the bottom of Byres road in Glasgow, a place we had never played before. The venue is a basement buried under the street. It had a good feel to it. The smell of barbecued burgers and real ale circulated the warm August air.
The place was jumping for Paolo Nutini nobody paid much attention for Paulo Smitty. The Nutinis eventually dispatched to a bigger venue to see the Paisley lad, we were left with an empty stage. No gear no promoter.
We had received quite a comprehensive contract from the promoter prior to the show; basically pay to play with the explanation for the pay being the provision of a full back line a sound engineer and some nice lights.
The cracking lads of Avante turned up with… a full back line and a drum kit. So here we are two bands that have paid yet these lads brought their own gear. Still no promoter.
Sound check started, engineer seemed a bit lost. Avante were loud (all young bands are, we were once!), the sound guy had the charms of George Osborne eating a veggie burger. He spoke to everyone like we were kids.
You need to turn down, now that’s a fair shout but the explanation was hilarious. He explained that the neighbours will complain about the noise and they might come down and stop the show, also the drummer was asked to play softer!!! Avante singer couldn’t believe what he was saying, He replied well we play music and yeah its loud. Like it should be. However the sound man pointed out the flats were here first, a 100 years ago in fact. Why say that?? Bizarre, build a music venue under folks homes?!?
Our sound check was awful, the sound bounced everywhere but to be honest the big metal shutter was down so that wouldn’t have helped. Usual sound man lore, when its busy the sound will improve, yeah that’s fine…it did but then we turned our stuff down, to be fair the guy eventually nailed it.
We were on 2nd that was perfect as it gave our crowd the chance to get trains home back to Falkirk (the hardcore stayed!).
Set list
Kill it Kill It
Miss Asphyxia
I Hear The City
Speak
Crown
Little Thoughts Lost
Its who You Know
it was an absolute belter of a gig; from one of the worst set-ups to one of the best gigs we played. From the off we were all up for it. The venue was busy the sound tight and the performance confident. It was great to play new songs to our fantastic listeners. It was great to see some new faces along; some folk made huge efforts to come out and see us!
Kill it Kill it went down well; seems to me growing in stature as a song, other highlights were miss Asphyxia Crown and Little Thoughts Lost. Its Who You Know was up last and drained the band after half an hour of rocking out in rather intense heat. The single wasn’t the tightest (well I got a little list) but it still went down a storm
Post gig there were a few sweaty hugs (need to remember spare tees), out friends were delighted which is great as I need to know the people who have paid money to see us enjoyed it, its great to be back on the scene with our new album. Here’s to a few more gigs like this!!
THANK YOU to all our friends and family that came to see us, including some straight from their holidays in Spain! Many made the trip from Falkirk to a far flung corner of Glasgow, every chord struck, every drum hit, every bass twanged, every sweat drip is for you. Without you we would not be able to do this.Fact.
As the lead singer of a rock band you’d think I would recommend screaming Grohl type artists but you’d be wrong. Anyway now and again I simply dive into the internet and browse for music to see what happens.
First up is Tom Day from Melbourne Australia with Peaks. Lovely sonic landscape that almost has me lying on a sandy beach down under instead of contemplating switching on the central heating in the middle of a Scottish June…
Any band that calls their latest EP ‘Once More With Feeling’ is going to get my attention ( we have a song with the same name on our new album) Canadians Ought track ‘Pills’ is a slow burning moody rock out track that builds to a lovely crescendo at around 4:15 mins. The vox are slightly low in the mix but it adds to the singers almost despondent mood;if you click onto the ep link New Calm pt 2 barges in Tim Darcy sings freestyle as the guitars swirl around him.
new Calm pt 3 is chaotic in its start; nice to hear a band that is preprepared to play what they like. At 13k likes in Facebook clearly people agree! Touring Europe.
Waiting, the last track on the EP has shades of the brilliant bands Ride and Bell XI. A cracking track. For me the best and the song that made me hit ‘follow’.
Another artist from Australia these guys like the doom guitars and they are high in the mix. A bit of Alice In Chains in here.The heavy laden guitars are often interlaced with dreamy fx laden vocals. Like a heavy version of Pond I guess. Built On Guilt is fantastic.
And there we are; a night of surfing through Bandcamp, a lot of sludge in there it has to be said but i liked these artists. If you find a gem please share their music.
The band head out to Linlithgow to choose a lodge in which to record the new album. We chose Kelso simply for the massive room that would allow for a great drum sound. What an inspired choice it was to be.
We play the Buff Club in Glasgow. This was one of the strangest gigs we played! Look at the stage! We enjoyed it although it wasn’t our best performance.
6th June we discuss the possibility of a deluxe version of Weird Decibels 2, over a few beers naturally… We had written so many ideas and recorded many practises as we wrote the album.
weirddecibels.com 