So it’s time for my annual blog post, in which I will tell you about some of the music I enjoyed in 2013 (because I always forget loads of things). I’m not going to do it in any order of preference (couldn’t make the choices) and it’ll be a mixture of full-lengths, EP’s and songs (because anarchy).

Foxing – The Albatross

This was only released in November (through the consistently awesome Count Your Lucky Stars) but it’s been on my music playing things constantly since. Within 30 seconds, I am sold. Enamoured. Dedicated. I almost promise it my firstborn. The Albatross is an unbearably gorgeous record, uncomfortably raw in its sadness. The glow of winter permeating from opener Bloodhound into everything after.

Highlights include Rory, a three-minute ode to unrequited love asking simply, ‘So why don’t you love me back?’ The vocal delivery is perfect, the near-break in the notes, the desperate climax. And if there’s anything left in the husk that is now your being, in come the fucking trumpets. Bit By a Dead Bee pt.1 starts all warm, intricate guitars reminiscent of Animals-era This Town Needs Guns, gradually getting moodier until about a minute and a half through, when it all gets a bit bleak. In a good way.

Crash of Rhinos – Knots

It was COR’s year, really. A pretty incredible and well-deserved 2013 it’s been for them. It had been coming for some time. Their 2011 debut, Distal, is one of my very favourite releases of the past 5 years. I didn’t know whether I’d feel the same about their new record. I’m a bit like that, admittedly. There’s something about the first time a new sound collides with your brain that is really hard to replicate.

But with Knots? Nah. Feels like the first time, as it were. It is a departure from the last record, but manages to retain everything that made it stand out; not just the impressive musicianship, but the personalities in the songs. Highlights: the driving melody of opener Luck Has A Name, personal favourite Mannheim (THAT guitar tone) and Interiors, a track that is for sure going to be a live favourite. As lame as it might sound, this is the record COR were always destined to make. There is not one weak track.

This isn’t a formulaic, emo-nostalgia affair. Knots pushes the genre forward rather than looking back, whilst acknowledging its influences. And the fact they’re a UK band (East Midlands represent, yo) in an often US-dominated genre is significant. It’s here, it’s now and it’s ours. And until today… it’s free (PWYW).

Beyoncé – Beyoncé

Another real late entry to the game with a carefully executed surprise release in December. I’m aware of the dodgy ground that putting a major label pop record in here leaves me standing on – poser, or throwing it in as a giant ironic curveball. Let me clarify: I love Beyoncé. And this is her best record yet.

Sure, there’s is some classic Bey in here, Pretty Hurts and the glorious singalong that is XO, but otherwise, it’s dark, sexy and aggressive and that’s always where I’ve preferred her. Drunk In Love is perfection (the Ike Turner bit of Jay-Z’s rap is bullshit though, for the record.) The retro, girl-group playfulness of Blow will be in your head until the end of time. But, Flawless wins everything. When the snippet appeared earlier in the year, I knew this was going to be it. But with the addition of badass feminist Chimamanda Ngozi Adiche’s excerpt, well… Bow Down Bitches indeed.

Going to have to be iTunes, innit.

Run The Jewels – Run The Jewels

Recommended to me by the forever rad @bonersaurjr when I was binging on P.O.S, it is undoubtedly the best rap record of 2013. I find it a bit difficult writing about rap music, despite having been listening to it way before I discovered punk, but anyway. The lyrical dynamics at play between El-P and Killer Mike make for a record that genuinely pushes the envelope and I swear to god the beat from DDFH left an imprint on my brain. Job Well Done comes in like a kick to the face. The whole record is just relentless.

“Producer gave me a beat, said it’s the beat of the year. I said El-P didn’t do it so get the fuck out of here.”

They gave it away for free, too. Go get it.

The Wonder Years – The Greatest Generation

I was surprised at quite how much I listened to this record. I like pop-punk, and I like their other records, but it’s not my usual go-to kind of stuff. That said, TWY are undeniably one of the most important bands in mainstream pop-punk. They do it with substance, real heart and as great musicians.

It could be a circumstantial thing, I mean, it’s a record that speaks to a 26 year old navigating the world with all those messy feelings of indecision and insecurity. It’s about growing up with fucking nothing, and wondering if you’ll be ever be able turn that into a person who might, one day, make an impact on something or someone.

“I keep a flashlight, and the train times, but you wouldn’t understand.”  

The Bastards, The Vultures, The Wolves is the best track, it comes in with this line, ‘I’M ANGRY LIKE I’M 18 AGAIN’ and I feel it in every bit of me.

And it’s better than Suburbia. Sorry.


Brave Bird – Maybe You, No One Else Worth It

It’s weird when you listen to a genre of music for a long period of time and notice how waves of influences creep in, and how those influences age. When the bands start sounding like the bands that arrived from earlier influences and it all comes full circle. That’s how I feel about Brave Bird. They sound like Brand New via The Promise Ring. Or The Promise Ring via Brand New. YOU KNOW WHAT I MEAN.

That isn’t to say it’s derivative. They’ve taken a different route for sure. But this is a record that sounds and feels young. It feels innocent, and vulnerable and it is amazing because of that. Scared Enough and Tired Enough alone could’ve made this one of the best records of 2013. The Worst Things Happen To Me is another highlight, them guitar lines that you can’t help but smile at. Also, Braid references.

 “In twenty years we won’t be sad.” 

TIOUOL – Release

So here’s something I got hold of this year, I think via one of the fine upstanding citizens that form @GPDRecords. This cut and paste job of great songs, at times featuring various folk from Dowsing, Into It. Over It. amongst others, is perplexing. No song seems to be what you expect of it, which makes for a fun listen. Stillborn In Love opens all sweetness and delicate harmonies, before descending into utter chaos, then later comes Travel/Re-Ritual, which sounds like a collaboration between Why? and The Front Bottoms. With all its crazy flavour combinations, Release is a record I might not fully ‘get’ but that just adds to its charm.

Wade – Full Fuck EP

Ah man, Wade. This EP seemed to come out of nowhere. And it just makes me so damn happy. I can’t think of any other EP released this year that is this fresh, enthusiastic and sharply executed. It’s poppy, it’s fast and has gang vocals delivered in Newcastle accents. It flies in the face of anyone who in 2013 still thinks emo has to be this po-faced, maudlin thing for Serious People. We know how to party.

“It never gets better. Just stranger and more interesting.”


Donovan Wolfington – Die Alone

I can’t remember how I stumbled across this band, but this has got to be one of the greatest openers on any record this year. It just comes at you, with this hugely danceable slice of indie-punk wonder, all crashing guitars and fuzzy melodies, screaming ‘AND I CAN’T WAIT TO DIE ALONE.’ Clever and comfortable in it’s simplicity, Stop Breathing is a great little record, so don’t stop here.

Angel Haze – Echelon

I can’t put the whole record in here because I haven’t had time to fully absorb it in its first few days of release, but if this song is anything to go buy this is going to be the rap record of 2014. You can look forward to reading about it in next years’ list.

I’ve been totally girl-crushing on Angel Haze since I first heard Werkin’ Girls from her 2011 New York EP. Her fearless approach to writing, backed up by monstrous flow, is why she’s killing just about everything. What is most admirable about Angel’s music is that she is willing to give every piece of herself to her songs. It’s not just about bravado, although Echelon has plenty of that, it’s always been about a bigger message.

Best of 2012: An arbitrary list of 7

Thanks 2012, you did some good music. Here are some of my favourites, in no particular order. Except the first one, I guess. That’s why it’s first.

1. Apologies, I Have None ‘London’ (Household Name Records)

For me, 2012 has been near-defined by this record.  As much as about sadness and struggle as it is about triumph (and tragedy – ho ho!) London makes me want to be more, do more.

The songwriting is undeniably stellar; bangers like Clapton Pond sitting confidently next to older classics like Sat in Vicky Park and Joiners and Windmills (personal favourite, always) in what translates live as an endurance test for your vocal cords.

London has resonated with so many people this year, and as such it feels like a record to be fully invested in. This is what UK punk rock sounds like in 2012, and I’m excited to see what happens next.

Bandcamp: http://apologiesihavenone.bandcamp.com/album/london-2012

2. Dikembe ‘Broad Shoulders’ (Tiny Engines)

Emo and basketball references; it was like a combined gift from a higher being when Dikembe ended up inside my ears. Being pretty late to the game on Chicago Bowls meant I didn’t have to wait long for the full-length.

This is the kind of music I eat up in spades, and probably the most predictable entry in this list. Like, if you were to draw up a list of Records That Kristy Would Probably Buzz For, this would so be on it.

From the echoes of “always in motion”  throughout opener Nothing. Stuff. to Not Today, Angel, with its quiet introspections reminiscent of Jesse Lacey at his best, Broad Shoulders packs more energy and amazing guitar lines than you know what to do with. An all-round incredible debut.

Bandcamp: http://tinyengines.bandcamp.com/album/broad-shoulders

3. Everyone Everywhere (Self-release/Big Scary Monsters)

The second self-titled Everyone Everywhere is comforting. It’s autumnal, it’s cable knit and hot chocolate, it’s the sound of choosing the couch over the club, of getting older and being comfortable with it. As Death Cab For Cutie would have it, the sound of settling. The youthful, naive anguish traded in for the quiet stresses and frustrations.

“I wanna smash things, I want a coffee.”

I feel that.

Bandcamp: http://everyoneeverywhere.bandcamp.com/album/everyone-everywhere-2012

4. Apart ‘Gray Light’ (Mayfly Records)

Sold to me by the awesome Tight To The Nail by describing it as ‘Touche Amore meets American Nightmare’, Gray Light got me at a weird point of my year and perhaps because of that grabbed me a little bit harder. It also became my workout record for a good while, and records that contribute to my health get extra points.

Gray Light quite literally picks you up and throws you, and on more than one occasion. Play On, Soft Pipes is an absolute monster; one of those heart-stopping, goosebump-inducing, OH MY GOD I HAVE TO GO BACK AND LISTEN FROM 1:59 TEN TIMES IN A ROW kind of songs.

 “I’m so tired of carrying crosses, losing sleep and counting losses.”

Bandcamp: http://apartsc.bandcamp.com/album/gray-light

5. Title Fight ‘Floral Green’ (Side One Dummy)

Title Fight have emerged as one of my favourite bands of the past few years, and seemingly without the courtesy of informing me. They’ve snuck in through the back doors (steady on) and pulled a complete blinder with Floral Green.

It all could’ve been so different. They could have gone down that murky, trodden road of heavy-ish pop-punk but instead they released their most accomplished record yet.

Floral Green is wonderfully put together, relying much less on the more accessible tracks in the way their previous records arguably have (but Secret Society and Leaf are both massive, alright). Merging emo and hardcore in the most seamless way possible with tinges of 90’s alt, coming out sounding a bit like Jawbreaker, and in turn shouting “Your move” to everything else.

Bandcamp: http://titlefightmusic.bandcamp.com/album/floral-green

6. Joyce Manor ‘Of All Things I Will Soon Grow Tired’ (Big Scary Monsters)

Of All Things I Will Soon Grow Tired is a contradiction of sorts, because it sounds like music made by awkward people for awkward people but actually ended up making Joyce Manor the Cool Band of 2012.

This is a record that makes me feel 15 again, a bookish outsider whose trousers were always too short (which at 5″4′ is pretty impressive). There’s plenty about this record that shouldn’t work – I mean – Video Killed The Radio Star? Who genuinely thought that was a good idea? But it works. The whole damn thing works. This is precisely what it would sound like if Morrissey dropped all the dick-ishness and started writing songs for a punk band (i.e. awesome).

Bandcamp: http://bsmrocks.bandcamp.com/album/of-all-things-i-will-soon-grow-tired

 7. Loma Prieta ‘I.V.’ (Deathwish Inc)

This record makes things hard for me. It makes it super-fucking-hard to be nostalgic about screamo bands that aren’t together anymore. It denies me the comfort of living in the past because it is precisely what a hardcore record in 2012 should be; aggressive, passionate and immediate.

Standout track Uniform is an emotional assault, sounding like a massive nod to ‘There are Objects and Objects’ by A Day In Black and White. High praise indeed.

“I will never change, I will never change”

Deathwish: http://www.deathwishinc.com/estore/product/DW131v.html


Things and Stuff

Hello. I still exist.

So, in the way of an update – Coffee Mug Records is Fucking Dead. I won’t go into the details, but would like to take the opportunity to anyone who got involved and showed support.

“What’s next?”, you might ask.

Well, I’m going to update my blog more than annually. Promise promise promise.

So, I’m now a contributor for Punknews, interviewing bands. My first interview (up soon) is with the awesome Watch Commander, who you should definitely check out if you like good dudes playing good music.

I recently went to Birmingham, for two reasons. I met with Nick of BOI records to discuss new music-related projects. There’s some cool stuff in the pipeline. I realise this is vague but there will be more in time. Patience = virtue.

During my time in Birmingham, I was invited to sit on an industry panel to assess second-year Music Industries degree student presentations on their Music Promotion and PR module. Beyond the excitement of being asked, and the surprise of being considered someone who might have something useful to say, I was humbled to be given the opportunity to support some up and coming thinkers and doers. Some of them even gave me biscuits. This had no bearing on their mark.

I will be at Crash Doubt festival in Lincoln this weekend and am beyond stoked. So many good bands and people.

So yes, things and stuff.

Record Not Commodity meets Walnut Tree Records

First off, hello! Happy 2011 n’ that.

As a welcome back after going AWOL for a few months (sorry!) I caught up with Tom Beck of Walnut Tree Records, who kindly agreed to give us an insight to running an independent label.

We think that understanding how and why independent labels are run will inspire others who might potentially go down this route. With so many different approaches to putting music out, it’s worth considering the options, with particular focus on a few key areas.


On choosing artists to work with and making first contact:

I signed Paige and Bayonets through finding their Myspace profiles and liking them enough straight away to want to go and see them play. From there we kept in contact and eventually decided on a release. With Portman, Waiting For Sirens, and Burn The Fleet I ended up working with these bands through association – they either knew me or other bands I’d worked with and contacted me to see if I was interested. The most recent two, Tiger Please and Cuba Cuba, came about by contact with their manager. I’ll be honest and say that I didn’t know of either band before he got in contact, so that shows you that it is worth contacting labels if you like what they’re doing. I can’t speak for all of them, but the ones I’m friendly with are always on the look out for new bands to work with and you might be right up their street.

There are always bands that you’d like to work with that end up not working out too. In the past I’ve either been priced out of releases or found that bands have contacted me with their current EP that they’ve just released themselves and then ask me to get involved. They’ve done the hard work themselves there so I often find that they only need my help to get a bit more exposure.  It takes a lot of the fun out of putting music out for me, so I’m often not involved.

On putting a record together:

From there it’s all about working out when the tracks are recorded/how long the release will be/when we’d like to put it out/what packaging we should use. I normally let my bands worry about the recording process and the number of tracks, but I have my say on the release date and the packaging. Physical releases aren’t commanding as much attention in 2010 as they were in 2000, so you have to be realistic with the numbers you press and the expense of it. I’m a big fan of physical releases but it’s foolish to expect to shift 1000 of a brand new band without some serious money going into their promotion or great press expected from the band.

Anyone who has been following my label will notice that I’ve opted for hand made releases for the past year. I’ve done this for two reasons really. The first being that I like being creative and getting involved in the physical products – it’s much more rewarding for me than packing everything off to a manufacturer and just waiting for the releases. Secondly, I just couldn’t afford to fully press every release I wanted to work on – especially when there is a fairly steep price for a minimum order of 500 and marginally more for 1000 copies. These releases would not shift 1000 copies for a few years though, so it makes sense to limit the amount I spend on them. Tiger Please ‘Seasons’ and Burn The Fleet ‘Burn The Fleet’ were the exceptions here though, both were expected to do well and are proving me right currently. A release like ‘Seasons’ is a full product – the music lends itself to great artwork and special packaging and it’s worth the expense.

On distribution:

Distribution of the releases is an interesting issue. So far only one of my releases, Portman’s debut album, has been taken on by a distributor. I talked to several about Paige, Bayonets and Tiger Please releases but I just didn’t like the conditions attached to the deals. I found that they expected the releases to be priced too high, and that I’d need to them match that price online or to not sell the copies myself. I didn’t want to give up that control. Part of the success of Walnut Tree Records is my pricing and my personal touch to everything. I take care of the online sales, and my bands then take care of their own sales at shows. This mix seems to work well so far, there’s a lot of respect between the bands and myself.

On the dichotomy between independent and major labels:

This is an interesting question for me – as I’m currently sat responding from my desk at the largest record label in the world, so I have experiences from both sides. I’ve never purposely set out Walnut Tree Records to be an independent till the end, if the situation called for me to move the label onto the next level with the right conditions then I’m sure I’d go for it.

Working at a major label has shown me that it can be a completely different game, worlds apart from my hand made runs of 100 copies and personal notes with orders. Both have their advantages and at the same time will always have their drawbacks.  Even though I’d ‘sell out’ in the eyes of some, I don’t realistically expect the offer to ever arrive anyway. Having worked at the major for almost the exact same time I have run my indie label, I’m not the fashionable in demand type that gets picked up.  I’m also not going to worry too much about that.

I run this label because I believe in myself and the bands and their music and that’s the important thing. As long as I have that belief in my ideas then being independent or otherwise is fine with me. If that means I can continue to sit and hand make copies, or design flyers and set up competitions then that’s great. In the time I’ve been writing this reply my employers have both spent more money than I will ever spend in the lifetime of Walnut Tree Records, but will also make more money than I will ever see. It’s just a completely different world at times, despite the fact that we’re both essentially looking for ways to promote music.

On never having enough time:

Even those fortunate enough to run their label full time will always need more time in the day. I’m not a greater sleeper as there’s always something I think I would be better off doing instead of sleeping. I have quite a few different ideas each day that I’d like to work into the label, some good and some bad – but I can only realistically give a few a go each month and even then it’s a struggle. I’m not going for the bleeding heart approach here though, I like being busy and having a life outside of work and my label but that does mean making choices sometimes.

And finally…

One of the things I’ve learnt from running this label is that no two releases are ever the same, no matter how much you’d like them to be. Sometimes you find that the whole process is really smooth and efficient, and the next release from that band will be drawn out and full of issues. There can be a number of reasons for that, though it’s rarely the fault of the bands. At least that’s the nice thing for a label to say!

You can find Walnut Tree on Twitter and purchase awesome music and merch here.

Massive thanks to Tom for his time and willingness to do this for us!

Why Punks Don’t Fileshare (as much)

Related to the last post-  there are types of music fans, in my experience, who are much less likely to fileshare.

Find yourself at a small punk/hardcore show and you’ll likely see a merch table. There will be 7” singles, CD’s, CDRs, tapes. Most of which have been self-released or through small, DIY labels who work closely with the artists, or that the artists run themselves. They’ll be priced a little over cost, and they will keep bands on the road.

The fans will chat with the bands and their friends about the songs and they’ll be excited to take something home with them, knowing that they’re helping ‘the cause’. They won’t upload them to torrent sites, at worse, they’ll put a song on a mix tape for a friend.

They’ll spend their money with the satisfaction that it is going towards watching the music they love reach more people and continue to thrive, not to keep a London A&R up to their eyeballs in skinny lattés.

I wouldn’t pay for a Lostprophets record either…

During a panel, ‘The New Breed’, featuring representatives from the newly established ‘success stories’ of the independent recording industry, a representative of Visible Noise (home to Lostprophets) told of a young fan who, during a meet and greet with the band, announced how much he loved the new album. Three months before its release. They didn’t seem best pleased, really.

Now, I am not here to defend or support large-scale filesharing. I can understand why labels and artists are disappointed when days before a release, the songs are leaked online. I also believe strongly in supporting hard-working artists and how record sales make both getting on the road and being able to eat whilst there, easier. However, in this instance, I can’t help but feel the point may have been missed.

See, in my humble and often incorrect opinion, the industry (both independent and major- although at times the only difference appears to be the scale of operation) seems to be falling down where it makes assumptions. In this scenario, the assumption is that the very enthusiastic young fan already has the album, therefore he won’t buy it- or- a sale has been lost. We can’t safely say that- it hasn’t been released yet. In those coming three months, he might have been salivating at the thought of owning it.

Three months in advance of a release is a long time. It appears that no-one considered (or at least out loud) that he didn’t download it with the intention of not buying it, but that he wanted to hear it before everyone else. He couldn’t wait to have it. I understand that young people enjoy being the first to show something off to their friends. No?

It’s also very likely that the opposite is true. He might have had no intention whatsoever to buy it- but- a failure to understand your customer’s needs, wants and behaviours is a failure of what it is to be a business and the recording industry is no different. The forward-thinking labels who understand the importance of pre-release content being available in some capacity, giving *some* content for free and developing relationships with their audiences are the most successful ones. Telling off young fans for liking loving your record is going to lose you money quicker than uploading your back-catalogue to Limewire.

Record Not Commodity visits Music Connected and AIM’s Annual General Meeting

Last week, I spent two very long days in London at The Association of Independent Music’s ‘Music Connected’ event and the organisation’s AGM. I’ll be offering thoughts (which hopefully won’t turn into diatribes- but I’m promising nothing) on the industry and an overview on what I took from a few days of being the only one who categorically cannot and will not schmooze. Enjoy.