Monday, 28 January 2013

A Tale of 8 Tottenhams

Unit 16, 17, 18.

MillMead Business Centre, MillMead Road,

Tottenham Hale, London, N17 9QU.

That's the address of Bally Studios. Tottenham Hale. As opposed to Tottenham. Not Tottenham Green, or Tottenham High Road. Tottenham Hale. Sometimes people ask, "why is it called Tottenham Hale, as opposed to Tottenham?"

Well, for a start, it was not really my choice. When I took over the business in 2005, that was the address. I did not really question the "Hale" part, I just accepted that it was part of the address. However, it is an important distinction, and it says a lot about the area in general. Tottenham Hale is very different to Tottenham: Tottenham as a whole is an incredibly varied area. In fact, it is pretty pointless asking "what is it like in Tottenham?" You may as well say, "what is it like living in North London?" Or "how do you find living in Haringey?"

Haringey is quite possibly the UK's most varied council borough. There was a show a few years ago with Kirsty and Phil from “Location, Location Location”, and they said it was the most varied in Britain, and I'd be inclined to believe them. In recent years, Haringey Council has been famous for a few things. If I am being honest, not all of them are good. The "Baby P"scandal happened in Tottenham, and it was the shooting in Tottenham of Mark Duggan that sparked the nationwide riots that happened in August 2011. The Broadwater riots were also in Tottenham in 1985. However, Haringey is also home to some of the finest parts of London. Highgate and Muswell Hill are in Haringey, and a three-bedroom flat in either of them will set you back at least £500,000, (unless you get a fixer upper) You can also get a three-bedroom flat in Tottenham for £165,000, despite them being in the same borough. Haringey straddles both ends of the social and financial spectrum, and Tottenham is also an area that has a feel of a collection of smaller areas, all banded under the same name. A 5 minute walk can take you through 3 of the areas, some of them are that close. Some are better than others. I've lived and worked here for 8 years, so I have a pretty good understanding of the area. And it is this huge variation in the different areas that makes it so intersting. For every mention in the newspapers that Tottenham will get for the London riots, there are also hidden gems, such as Bruce Castle....


http://tottenham-summerhillroad.com/bruce_castle_museum.jpg

which is in Tottenham! As is the All Hallows Church, which dates back to the 12th century

http://upload.wikimedia.org/wikipedia/commons/9/93/All_Hallows,_Tottenham.jpg


Yep, also in Tottenham. I always think that Tottenham can be best summed up by the fact that on the high road, just before you get to a one-way system, right next to the Kwik-Fit and new affordable homes that are being built, and directly opposite the Chinese takeaway and 3 separate hairdressers is a monument that dates back to 1600, slap bang in the middle of the road! And I mean literally, the cars and buses have to drive around it....


See, Tottenham can be funny like that. The vast majority of my time living and working in Tottenham, I look back on with a fondness that actually shocks most people.

“Where do you live? “

“Tottenham”

“Oh God, really? Wow, what's it like?”

Yeah, I've had that conversation a few times. Hence this blog post. Despite that impression, I've lived here quite happily. I used to live up in Foyle Road, Northumberland Park, Tottenham, in a fantastic Victorian property with great features, big back garden, and great bus links, before moving to Bream Close, Tottenham Hale, which was a few minutes walk to the station, and next to the Walthamstow fisheries

So here is a little guide to all of the different parts that make up Tottenham. Some of these boundaries I have drawn are unofficial, but are recognised by many people who live in Tottenham. Also, it is just my personal opinion about the areas, so do not be surprised if anyone else disagrees with me. However, they are all honest accounts of a part of London that I hold very dear to my heart. They are also very honest. I have had to point out the bad parts as well as the good parts. The only point in the blog post is to inform people honestly about the area. If I were to cover up the worst parts of the are, then it would be misleading. In fact, some of the best aspects of the area are actually in some of the least desirable areas. As I said, Tottenham is funny like that.


In coming weeks, on Monday of every week, we will be loking at each of the different parts of Tottenham, which are: 

1.) Tottenham Hale
2.) Northumberland Park
3.) Bruce Grove
4.) White Hart Lane
5.) Seven Sisters
6.) South Tottenham

7.) Black Boy Lane/St Ann's
8.) Bruce Castle/Lordship Lane



  

Wednesday, 9 January 2013

Happy 150th Birthday to the London Underground!

Happy 150th Birthday to the London Underground!!

Today sees the London Underground celebrate it's 150th birthday, and looking down my Facebook timeline, it seems that a lot of the people that I have befriended over the last few years share my love of, in my opinion, one the world's greatest engineering feats: one of the most groundbreaking projects ever undertaken, and also one of the most endearing and evocative parts of one of the biggest and greatest cities in the world. It has almost become a cliche, that the London Underground, much like the Thames was in the 17th and 18th century, is the lifeblood of London. In fact, I think that this would be doing it a disservice. I believe it is not only the lifeblood, but also the city's beating heart.
It was the Tube that opened up possibilities in life to me, and allowed me to discover London over the last 15 years. My business relies on the tube, and on days when there is a tube strike or maintenance on the Victoria line, my business is routinely 40% down in takings and 85% down in profits. Days like this, whilst a major source of annoyance and an economic irritation, simply serve to show exactly how reliant we are on the London Underground. A few weeks ago, on Boxing Day, Arsenal had to cancel their home game against West Ham when the London Underground staff went on strike, and the network ground to a halt. When the London Underground stops, even multi-billion pound sport stops. One of the greatest testament to it's success is how much businesses routinely base their operating hours around its limitations.
http://upload.wikimedia.org/wikipedia/commons/6/6c/Baker_Street_underground_station_-_DSC07030.JPG


The London Underground also acts as a marker in the sand for its era. Compare the intricate and ornate curved brickwork at Baker Street, with its intimate low ceilings and narrow walkways that were as much loved in 1863, when they were built, as they are now, and you are taken to an era when the train was the most glamorous of all forms of transport. To arrive in central London on the steam train was to arrive in style, and the station's beauty reflected this. Whilst the route from the train to the station's exit may have involved more stairs than necessary, the blow was softened by the gorgeous architecture and European style arches. Compare this to the modern logistical cathedral-of-bareness that is Canary Wharf tube station. Only 9 stops along on the same Jubilee line, but a world away in style and practicality. Here, minimalist, wide open expanses and multiple escalators take precedent over ornate and intricate architectural flourishes. In 1999, when the station was built, the need for quick transport, getting from A to B in the shortest amount of time and the prevention of overcrowding was infinitely more important then any reason to linger at the tube station. Times change, and with it too, so do our needs, and the tube stations that we build reflect this. In this way, our tube stations say more about London society then most of us realise. 
 


Much of our love for the London Underground stems from the fact we recognise its imperfections and plan our journeys around them. You only have to take the interchange at Green Park, and how many people avoid it like the plague, to understand this. But when you compare it to other cities transport hubs, it has a rare balance of style, substance, romance and practicalness that to me is unsurpassed. It also has some of the best names of transport hubs in the world. “Elephant and Castle” “Swiss Cottage” “Maida Vale” and “Picadilly Circus” trip off the tongue beautifully.

Much of London's definition comes from its tube stations. Tell a friend that you will meet them at Tottenham Court Road at 8 p.m. tonight, and it will go without saying that you mean the tube station, as opposed to the road. Even though the letters that came through the post box at home when I was growing up had Kingsbury written within the address, we had always considered that we had lived in Colindale, simply because the station was only a 10 min walk away from our front door, as opposed to Kingsbury's 15 min walk. This is illustrative of how whole swathes of London are defined by the London Underground system. Speak to someone in Pentonville, and more often than not they will tell you that they live in Angel or Caledonian Road. If someone says they live in Brent Cross, Marble Arch or St Paul's, you will think of the tube stations, as opposed to a shopping centre, the monument or a cathedral. Many parts of London are defined by the fact that they are not on the tube network. I once met an American woman, when I was about 19 years old, who had lived in London for approximately one year while studying. When she asked where I was going out that night, and when I replied "Cricklewood", she said "why don't you go out in London instead?" Upon telling her Cricklewood was in London, she said "Really? What line is it on?" Informing her that Cricklewood was one of the few places in London that was not on the tube network, she excitedly said "Oh wow, can I come along, I would like to see what that area is like!" Muswell Hill and Primrose Hill will usually have "the village-y feel" that many other parts of London do not have as a direct result of them not having a tube station. To not be on the tube system, is to be cut off from other parts of London, for good or for bad. 


I did not actually ever go on the London Underground until I was 15 years old, which considering that that was in 1998, looking back was quite surprising. Even though I lived in north-west London, I never really had a need to. I lived walking distance away from my school, and if any visits were paid to relatives who lived in London, then my father would drive. However, my love of London grew tenfold upon discovering the endless possibilities that life would throw my way, facilitated entirely by the London Underground. When I was looking for a property recently, South London was discounted, upon the fact that there was no tube stations there. Of course, the train networks run regularly. But it is just not the same. The beauty of the London Underground system is exactly how integrated into our life it is. There is no need to plan in advance, since the trains are so regular, and it seems to bend its services around your life. Remember this the next time you are downing the last half of your pint in one gulp in order to catch the 9:11pm from Herne Hill to Victoria Station, to avoid a 30 min wait for the next train. And this goes without saying for most Londoners. If you grew up in London, then much of your life is based around its arteries. When I was 16, one of my cousins from Ireland came over to London. Having spent his entire life on the farm, we decided to take him on the tube into central London. Upon walking down the steps into the station, he excitedly said to us "Wow, would you look at that, just as we are coming into the station, the train is coming along the tracks - what are the chances of that!!" It was only when we told him that the trains usually come every 3 mins, so in fact the chance of there being the train waiting for us when we got down to the station was approximately 1 in 6 that he said "but surely they cannot be that many people that you need 20 trains an hour?". When we got on, at Colindale, onto an empty train, his theory seem to be proved right. However, it was only when he was gasping for air at Euston, a few stops away from our final destination of Tottenham Court Road, that he understood exactly how much of the demand that the London Underground has created.


I still remember my 1st time going on the London Underground. I had an appointment at the Eastman Orthodontics Hospital in King's Cross, and I was as nervous about going on a train as I was as going to the dentists. For some reason I had always assumed that it would take a couple of hours to get into central London. Being a huge fan of the Britpop bands of the era, Blur, Oasis etc I had read in numerous magazines about Camden Town being the epicentre of everything that was great and, more importantly, cool, about music. However it was only when I was pulling into Golders Green that it suddenly dawned on me - Camden Town was only 7 stops away from Colindale. The night before I have calculated that it would take about 90 min to complete the journey. But here I was, 3 stops in and only 8 mins into my journey, and by my calculations that would mean that Camden Town would only be approximately 17-20 mins from Colindale. Now, I had barely met anyone in Colindale who had even heard of Blur and Oasis outside of a few close school friends,(bearing in mind these were the 2 biggest bands within this scene that dominated my life) and I put this down to the fact that Colindale was one part of the world, and Camden Town was, geographically as well as culturally, a world away. As I was approaching Chalk Farm, sense prevailed. There are probably 2 different Camden Town's!! There was this Camden Town, which I was approaching, which was probably the Camden Town that looks much like Colindale, with a Londis shop being something that someone would go out of their way to visit, and not a semblance of a guitar or record shop in sight; and then there was the other Camden Town, the one that was the Mecca for my greatest love. That was it! That can be the only explanation. 
 


However, upon pulling into Camden town station, I instantly sensed that this might actually be THE Camden Town. A man and woman, maybe in their early 30s, and with matching brightly coloured Mohican hair stepped onto the tube, craning their necks to duck down so that their hair would not get caught on the door. The man was wearing a Sex Pistols T-shirt, and had a bolt through his nose. The woman was wearing a Ramones T-shirt, and had approximately 10 to 15 safety pins in each ear. There is no way that either of them would have been seen dead in Colindale. But here I was, 20 min away, and a world away, thanks to the Tube. That day, after going to the orthodontist, I decided to take a trip down to Central London. It is no underestimation to say that finding out that I lived within 40 min, door-to-door, of a road in central London that had approximately 10 guitar shops within 30 seconds walking distance was one of the most exciting moments of my life.

On 7th July, 2005, I, like most Londoners, was horrified by the terrorist attacks that took place on the London Underground system. The fact that the London Underground was chosen was, in some sort of sick way, a testament to the regard that even terrorists would hold the London Underground in. Nothing can be more iconic, be held as close to people's hearts and to strike fear into the entire spectrum of London's residents, then to choose it's beloved transport system as the target of an attack. At the time I was just setting up my recording and rehearsal studio complex, Bally Studios, in Tottenham Hale. My blood ran cold when I remembered a phone conversation I have had a few weeks earlier.

"Mr Mulvihill, we are going to need you to come down to the Moorgate office of the Princes trust on 7th July, at 9 a.m., to go through the meeting with the mentors, to help with any questions that you have. Is that okay?"

"7th July? Is that the soonest that you can do?"

"Well, we have either 7th July or 14th July, so if you want to get it out the way as soon as possible then I would recommend the 7th July"

"Someone I was speaking to said that you also had 30th June, the week before, can I not come down then? I am desperate to start the business as soon as possible "

"No, I am afraid not, as all the places for that day have been taken. I can always let you know though if anyone cancels? Is July 7th good for you then?"

"Yeah, go on then, I will see then!" With that I put the phone down, and it was 10 mins later I received a phone call, from the Princes trust, informing me that somebody had cancelled their session on 30th June, and would I like to take it from them? I gratefully accepted the unexpected vacancy, and was glad to have sped up the process by a week. However, maybe as a result of only discovering the London Underground later in life, I took the train from Tottenham Hale to Liverpool Street, and from there instead of going west to Moorgate, I accidentally went east to Aldgate. Checking back over my ticket a few days later showed that I had got the train from Liverpool Street to Aldgate at 8:48am, and the revelation in the news that one of the bombs have gone off between Liverpool Street and Aldgate at 8:50am terrified me. It terrified me for a few hours, but then afterwards I just got on with it, much like the rest of London. Bearing in mind that when the London Underground was being built in the 1860s and when machines that dug the hard clay earth away to allow the tracks to be laid broke down, workmen simply ran to a nearby shop and grabbed metal buckets and used these to scrape away the soil instead; it shows how the network's history is book-ended by a make do and try-to-make-the-best-of-the-situation attitude.
http://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Lancaster_Gate_tube.jpg/300px-Lancaster_Gate_tube.jpg



However, even this did not stop me travelling on the Underground, and I can honestly say that in the many years since those events, the thoughts of anything else similar happening have rarely crossed my mind, if ever. The London Underground is tough, and resilient. It has survived through 2 world wars, acts of terrorism, economic crisis and come out stronger than ever. The service is better than it has ever been and passenger numbers are officially at all-time highs. It's only weaknesses seem to stem from its unprecedented success. While transport for London have the headache of trying to accommodate Crossrail, and redevelop Tottenham Court Road station, both of which are universally seen as essential to solve the problems of overcrowding, we must never forget that the only reason that these problems have come up in the first place is because of the unprecedented success of the London Underground. Not even the most insanely optimistic person could have imagined in 1900, when Tottenham Court Road station opened to the public, that just over 100 years later, nearly 40,000,000 people per year would be using the station, and this was a number also reflected that many people go out of their way to avoid the station due to it is overcrowded nature. Tottenham Court Road is a shining example of exactly how the very point that people make to supposedly show the weakness of the system, in fact only backs up its unrivalled success. Where else in life can a service be labelled a failure because too many people want to use it?


There is no doubt though that in order to satisfy the demand that has arisen for the London Underground that expansion work needs to take place. Much as the London Olympics was deemed a massive success, helped in no small part by the staggering number of people who relied on the system, in order for the city to grow, so too must the network. The fact that successive governments have supported each other proves that even politicians, who are known to want to prevent throwing good money after bad, can agree on its virtues. As we celebrate the 150th anniversary of the London Underground, we as Londoners have a lot to thank it for. And though we might grumble about the price, complain about its lack of 24 hour use, and bemoan the overcrowded trains we so often squeeze onto, the fact that today we are investing billions of pounds into continuing and expanding the fine work that was started 150 years ago, with trains that are better than they ever were, and passenger numbers that are consistently growing, simply proves how right they got it, by starting the network, back in 9th January 1963.
http://lovingapartments.files.wordpress.com/2012/10/wurm91.png

Tuesday, 1 January 2013

Ballys Favourite 50 albums of 2012

Bally's Favourite 50 albums of 2012

We thought that 2012 was pretty damn great year for music, and when it came time for us to do our usual list of our favourite 20 albums, it grew into a top 30 albums list.   Then a top 40 list.   Then a top 50.......


Our rules for the list were the same as for previous years

1) No bumping up friends albums into a higher position just because they are our friends (although this year, 11 bands we have worked with made the list,  but we stuck to the rule strictly.)

2) We can obviously only include the albums that we actually listened to, and even then, we had to listen to it 10 times at least.

3) The list was compiled on 20th Dec.  Frustratingly, we heard a few other albums after the list was compiled that we thought should have been included, but by then we had already started the countdown on Twitter.  The best was Martin Rossiter's "The Defenestration Of St Martin", which we would have put in the top 10-15 at least.   

Well, here they are!  We've also compiled a Spotify playlist with all of the albums on it here:   



Top 10.
  1. Mystery Jets – Radlands

    A truly coming of age album for Mystery Jets, recorded in a home recording studio set up in a country house by the Colorado river in the Westlake area in Austin, Texas . Southern USA influences run through it, most evident on the Gospel tinged “Sister Everett” and the country-esque “Take Me Where the Roses Grow”, while still retaining their signature sound in “Greatest Hits” and even straying into Bee Gees terratory in “The Hale Bop”. A great hangover album, (much of the first half of the album, despite being very strong, barely gets out of 1st or 2nd gear), this album was pushed into first place by the run of songs from “Take Me Where the Roses Grow” to "Lost In Austin", which is amongst the finest run of songs in years.  A classic case of a laid back, and less-is-more approach paying off spectacularly.



  2. Michael Kiwanuka – Home Again


    The best debut album of 2012 and a close contender for album of the year. Bill Withers and Terry
    Callier are the most obvious reference points, but there is also a strong Nick Drake vibe running through the album, particuarly in songs such as “I'll get Along” and “Tell Me A Tale”. A soulful, laid-back-to-the-point-of-vertical album, full of incredible melody lines, emotion and the maturity of a long established artist, this is the album that should have won this years Mercury Prize. This generation's “Five Leaves Left”. 



  3.  Tame Impala - Lonerism


    You know when people say that Oasis sound like the Beatles? Unless there was a Beatles song that had 15 guitars on it that I have missed, it's pretty clear they don't, and it's a lazy association. However, if the Beatles were transported from their 1968 Magical Mystery Tour period to the present day, and their time machine landed them in the home studio of Dan Snaith from Caribou, this is the album they would have made. Marks of Todd Rundgren and the Flaming Lips are all over the album too. The most immediate album of 2012, an album you can that feels familiar on first listen, as well as being one you can immerse and lose yourself in, and still discover hidden qualities on the 20th listen. It is testament to the strength of music this year that it is only number 3. In most years, it would easily be number 1, and deservedly so. “Be Above it” is a fantastic opening track, “Mind Mischief” sounds like a song that should have been on The Beatles Antology 2, and the whole album has a feel of a fantastically produced album, that adds great style to songs that would sound great on an acoustic guitar. A rare case of an album absolutely hitting the mark on both style and substance.



  4. Jake Bugg - Jake Bugg
     
    Only 18 Years Old, born at the height of the Britpop scene, and already with a number 1 album to his name, this is an album that Eddie Cochran or Buddy Holly would have made if they were 18 in 2012. There is a feeling of the songs not being written to fit an album, (in the same way that Devendra Banhart's first 2 major label album do), with the style veering from rockabilly, to country, folk and everywhere in between. Lo-fi and spare production values, with most of the songs sounding like they could have been recorded on a 4 track recorder. If he ever decided to do a Syd Barrett and retire from music, he'd make a good living from songwriting. There is a refreshing honesty to this album, with strained vocals and his Nottingham accent evident throughout. It's an album that a teenage lad probably wrote in his bedroom, and is in the same vein as the Arctic Monkeys debut, in that he writes in a fantastical manner about the mundane events that a British teenager would come across. Brilliant lyrically, musically and delivered spectacularly.


  5. Of Monsters and Men – My Head is An Animal
     
    The album that took me by surprise the most this year. It's lyrical content isn't immediately obvious, but seems to be rooted with strong mythological content throughout, and the tight production means that the album has a strong uniformity. It's basically an angsty pop album, veering in mood from levels of positive giddiness, to wallowing weariness. From Iceland, and barely into their 20's, they have made the most coherent album of the year. The most obvious band comparisons are Bon Iver, Arcade Fire and Mumford and Sons, and their album combines a multi-layered sophistication, and the production is great throughout. Co-Self produced along with Jacquire King, (Tom Waits, Modest Mouse) this is an album that reveals itself slowly, (Little Talks is the only obvious single) and is strong throughout. The lazy would compare them with Bjork, on account of being from Iceland. The truth is that they wouldn't be too far away from the truth;.If she was asked to write an album to fit into the drive time Radio slot, it could possibly sound like this.




  6. Gaz Coombes - Here Come The Bombs
     
    The debut solo album from the Supergrass frontman, on which he plays all the instruments. If this album had come out in 1998, it would have fitted alongside “In It For The Money” effortlessly in style and quality. If every album released this year was whittled down to it's best 5 singles, this album would have been the best. Hot Fruit could have slipped into IIFTM, “Generator” sounds like a song left off of “I Should Coco” (it would be one of the strongest songs on that album) and “Whore” could have been recorded on the same day as Richard III, despite the 15 year gap between the two songs. It sounds like the album that it is; a first album by an artist who has established himself in a sound, but has a sense of liberation from going solo, and decides to take a few risks and push the boat out. Certain sections of this album may not have worked within a band setting, as they are so sparse that there simply isn't enough content to go around the various members, but there is a also a depth to this album quite unlike anything he has ever done in the past, and is has a lot more texture and production values than you would expect.  “Break the Silence” beats MGMT at their own game, and all in all, it is the most underrated album of the year by far.




  7. The Shins – Port of Morrow
     
    One of the most maligned albums of the year, (most press reviews were incredibly harsh on it) but unfairly so. I genuinely feel this is the best album of their career, and people who are pining for the sub pop days are cheating themselves out of a great album. “Simple Song” was one of the best singles of 2012, and while the album may not hit the heart as much as many other albums this year, it is still a fantastically entertaining album to listen to. And there is nothing wrong with that. They seem to be aiming for the stadium-full-of-lighters-waving-in-the-air vibe on many songs, notably “It's Only Life” (If Rachel and Ross went to a gig in an episode of Friends, and ended up copping off with each other, this is the song the producers would choose the magic moment to happen to). So if you're the sort of person who gets angered by bands who try to spread their appeal and set out to make an album to be consumed by the masses in industrial quantities, this album will probably do nothing for you. In the meantime, it's no skin off my nose, you are the one that is missing out on one of the better albums of 2012......



  8. Allo Darlin – Europe
     
    We thought that Allo Darlin's self titled debut album was pretty damn spectacular, and this second album continues where their last one stopped, both in sound and quality. Out of all if the bands on this list, Allo Darlin are the best example of a band that I genuinely couldn't imagine anyone not liking. In fact, if you were to say that you were not a fan of theirs, you'd probably be someone who would trot out the old “I don't like the Beatles...” line. So I'm sure that there are people out there who might not like them, but this album is so good that it is otherwise assumed you would be a fan, unless you state otherwise. The production on it is has a crystal clear, American-west-coast feel about it, and their songs simultaneously have a lightweight, breezy universal appeal to them, but at the same time, the album feels like a cult album, not dissimular to Weezer's “Pinkerton” or early Death Cab for Cutie while still in places sounding like The Beach Boys, Kirsty McCall, Real Estate or even The Thrills. Lyrically, the album is one of the strongest of the year, and it was pretty much one of the only albums this year that everyone at the studios loved, and whether it be tracks such as “Neil Amstrong,” with it's saccharine sweet and insainly upbeat optimism, despite it's quite meloncholic lyrical content ("They could name a star after you and you'd still be complaining,") or the beautiful heartwarming-despondency (if that is possible.....) of “Talulah”, this album is a triumph, and would have been in the top 3 on any other year from 2005-2011.



  9. Jack White - Blunderbuss


    This was the album that surprised us the least this year, in fact, you could have seen an album of this quality coming from a country mile off. Having built up a songwriting craft that is on a par with Bob Dylan's output from 1965-1968 with the White Stripes 6 albums, and having spread his wings with various musical projects such as The Dead Weather and The Raconteurs which, while being great acts, didn't reach the heights of the White Stripes output, mainly due to the lack of total control he could have over each of his albums, this feels like a natural progression. The fantastic album he produced with Loretta Lynn's Van Lear Rose is another obvious marker point. And this album is the accumulation of all of them. The snappy songwriting of the White Stripes? Check! The fantastic production values of Van Lear Rose? Check! The greatly improves musicianship of The Dead Weather/The Raconteurs? Check! One of the best albums of the year? Double-check!!




  10. Jason Lytle – Dept of Dissapearance
     
    Seeing as 2012 is the year the Grandaddy reconvened for their re-union gigs, you don't need many guesses to know what the starting reference point for this album is. If you liked Grandaddy, you'll like this album, if you didn't, you won't. It doesn't look to reinvent the wheel, just add a few more spokes in it. It is incredibly strong throughout, especially seeing as it is just his second album in 6 years, and whilst some parts of it feel like a parody of a Grandaddy album, it is a remarkably rewarding album. The lyrical content is kooky, as you would expect, and many of the songs have a familiarity about them that immediately makes you think he has re-worked an old song. If you're looking for obvious singles though, there are not too many of them, but that is probably because this album is more likely to be played as an album, rather than having choice tracks aired on radio. Much stronger than his first album, it is the album that confirms Jason Lytle as one of the greatest songwriters of our generation.

     


  11. Alabama Shakes – Boys and Girls
  12. Darren Hayman and the Long Parliament – The Violence
  13. Bahamas – Barchords
  14. Justin Townes Earle - Nothing's Gonna Change The Way You Feel About Me Now
  15. Leonard Cohen – Old Ideas
  16. Ben Kweller – Go Fly A Kite
  17. Keegan McInroe – A Thousand Dreams
  18. Regina Spektor – What We Saw From The Cheap Seats
  19. Spiritualized - Sweet Heart Sweet Light
  20. Bob Dylan – Tempest
  21. Antlered Man – Gifties 1 & 2
  22. M Ward - A Wasteland Companion
  23. Bruce Springsteen - Wrecking Ball
  24. John Cale - Shifty Adventures in Nookie Wood
  25. Howler – Give Up
  26. Sharon Van Etten - Tramp
  27. Richard Hawley – Standing on the Sky's Edge
  28. Frank Ocean – Channel Orange
  29. Beach House - Bloom
  30. Bobby Womack - The Bravest Man in The Universe
  31. Paul Banks - Banks
  32. Girls Girls Girls – Here Come the Bastards
  33. Darren Hayman – Lido
  34. David Lynch and St Vincent – Love This Giant
  35. Paul Weller – Sonic Kicks
  36. Tribes - Baby
  37. Best Coast – The Only Place
  38. Kyla La Grange - Ashes
  39. The Macabeees – Given To The Wild
  40. Melody's Echo Chamber - Melody's Echo Chamber
  41. Band of Horses – Mirage Rock
  42. The Beach Boys - That's Why God Made the Radio
  43. Toy - Toy
  44. Saint Etienne - Words and Music by Saint Etienne
  45. Alt J – An Awesome Wave
  46. Band Of Skulls - Sweet Sour
  47. The Sick Leaves – Breaking Away
  48. Graham Coxon – A+ E
  49. Fiona Apple - The Idler Wheel...
  50. Zulu Winter - Language

Tuesday, 23 October 2012

Interview of Bally Studios by Ukindietouring.com

We were recently interviewed by Rachel from  www.ukindietouring.com The first part of the interview is about the Studios, the second part about the music industry, and in particular the unsigned music industry

Here is a direct link to the interview:

http://www.ukindietouring.com/?p=1501

and below in a transcript to the interview 

We met Rachel through her coming to the studios with her band, The Dark Lights.   https://www.facebook.com/thedarklights

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Bally Rehearsal Studios might be tucked away on an industrial state in Tottenham in North London, but it’s seen some pretty high profile acts come through its doors such as Coldplay, Bombay Bicycle Club, Caribou and Snow Patrol. Founder Jimmy Mulvihill is no stranger to the music scene, having played in bands, promoted shows, recorded and produced bands and written for music press. So we were pretty chuffed when we got to have an in depth conversation about the studios and the state of the ‘industry’.

What is the history behind Bally Studios?

Bally Studios was started back in 2005 by me, Jimmy, and my partner Francesca. We had been putting on live bands and club nights in London for about 2 years at about 5 or 6 different clubs, so we were already friends with about 150 different bands. I was also playing in a band at the time, The March Hares and we were practising 3-4 times a week. I had also just finished a course at a sound engineering college.  We were putting a lot of effort into our club nights, at one point getting 20,000 flyers printed up and distributing them around North-West London for our main club night in Kilburn. The tipping point that made us want to set up our own studio was that we wanted a project that we have total 100% control over as opposed to somewhere we would run for 3-4 days a week.

We were turning up to the venue some days and the PA subwoofers had been lent out to another venue, along with the mixing desk! Another day we turned up to a gig we had flyered for 40 hours for, only to be told that the council had contacted the venue 3 weeks earlier to tell them to cease all gigs as they had had complaints from local residents about the noise and we had not been told. We thought that if we could use the contacts that we had built up over the last 2 years, keep up the hard work, and put all if that into something that was a bit more within our control, then we could make a great project. The difficulties we ran into made us determined that when we had our own project, we would inject as much positivity as possible into it.

At first, we went to set up a recording studio in Bermondsey, South London and found a “soundproofed studio complex”, but after about 2 hours it became clear that it was not soundproofed!  So we started looking for another location. While sifting through nearly 600 potential locations, one day in a guitar shop, I saw an advert for a rehearsal studio in Tottenham. I contacted the owner to see if I could use one of the studios in downtime and it turned out that he wanted to sell the existing business, which had 2 studios and a big storage room.  We would pay to take over the running of the building.  We borrowed money on credit cards and overdrafts, as well as deferring some payment for 6 months. We took over the studios in 2005 and immediately we converted the storage room into another rehearsal studio, split up the large office to create a 4th rehearsal studio and small office in 2006. In 2009 split up our giant Studio One into two different rehearsal studios, meaning that we now had 5 rehearsal studios.



We also recorded bands here and there over the years and set up a brand-new recording studio in 2010. We have now just opened an analogue and digital mixing facility in Muswell Hill.  We really put a lot of effort into making the studios as nice a place to rehearse as possible.  Thankfully we have not had to spend much money on advertising as so many bands are loyal customers, something which we never take for granted, especially with the difficulties we had at the start. We have also become good friends with a lot of bands that come to rehearse with us, which is a great social aspect of the job.

What makes Bally Studios different to other rehearsal studios?

I know it sounds like an advertising spiel, but we are genuinely enthusiastic and passionate about making the rehearsal studios as great a place to rehearse as possible.  A lot of rehearsal studios will have invested a lot of money at the start, and then take their foot off the pedal. But we have done it in totally the opposite way.  We only had 1 drum kit and 1 guitar amp between 2 different studios when we started, so we had to put a lot of effort in to compensate.

Thankfully, over the last 7 years we are now at a stage where we have 5 fully equipped rooms, with about 35 different amplifiers between them, but we still put the same amount of effort in that we did in the beginning. Each of the rooms get vacuumed daily, and we even shampoo all of the carpets once every 10 days!  Some rehearsal studios will try to make things just good enough for bands to come back, but we want to make the room as good as possible, if not only for the sense of personal pride we get, but also because we have been to other studios where staff generally wouldn’t put in as much effort as we would.

We donate money from every session booked at the studio to charity, like Guide Dogs and SoundSavers because we want the studio to really stand for something good, to benefit more than just the people running it.  This month there is a charity gig happening in King’s Cross that has been put on by people working at the studio, as well as featuring bands that come here to rehearse. We even had a little “collective” of bands between 2008 to 2011. We would introduce different bands to each other at the studio, and soon they worked out that between them, one of them had a van, one of them had a PA system, one had a drum kit and one of them worked at a live music venue.  So they managed to combine all of their resources and put on a few gigs.  We lent them guitar and bass amps for the day to help out. In London it is very difficult to find the sort of atmosphere where there is genuine community, we really do feel that the studios have a much more community-based atmosphere than other studios.



What’s your current thoughts about the music industry? Where do you think its headed?

Although it will sound a bit dramatic, I am not actually sure if there is too much of a music industry at the minute. Using the word “industry” would imply that it would have, on average, a financial and economic reward. Although, of course, there are bands that are making quite a bit of money, the vast majority of bands that we have come across are not. We have come across about 400 to 450 different bands in the last 6-7 years and we would estimate about 12 to 15 of them are actually living off of their music. Quite a few bands, I would say about 10%,  are meeting their costs, or making a massive dent into them, but not many of them are actually making a big enough profit to both live off, and to reinvest back into their band.  So while many bands are gaining followings and fan bases that even 10 years ago would have been extremely difficult to do, not many of them have actually been able to convert that into a financial reward.  So I would say that the “Music Community” is building all time, and the future looks positive for it, but the “Music Industry” is dying out. You only have to look at companies like HMV that are really suffering financially to see that in practice.
I know that might sound like semantics, but we actually think that it is something that not many bands stop to think about, the difference between the music industry and the music community.  Back in the 1980s and 1990s, it was not that rare for a band to be turning over hundreds of thousands of pounds, but then back then, promotional and distribution costs were a lot more. So the band would have a big turnover, but they would also have a large amount of costs. There was money swilling about all over the place, hence the music industry was at its peak.  If you suggested back in the 1990s some sort of system where people could listen to your music all over the world, on demand, without actually buying it, eliminating the physical format, I am not actually sure how they could have done it.  But now it costs about £30 to put your music on Spotify, and even £150 worth of Facebook advertising could mean that your band is put in front of 50,000 – 100,000 people. So even if the band is making a lot less money, relatively, with their costs being so much lower, it all evens itself out. So the financial aspect of the music industry is actually becoming less and less.

We think it is a great thing, as the main point of the recording industry was to generate the profits needed to get the music to as many people as possible.  To make it self sustainable. But now you don’t need the money to do that. In the same way that people used to be paid as telephone exchange operators, to connect one call to another, technology made that job obsolete. So whilst the music industry is declining, on the whole, it is only because the barriers that needed the financial clout to overcome have been removed. Therefore there isn’t a massive need to make as much money, to the benefit of the music community.

Of course we can only comment from the angle of the mainstream rock, indie, blues, etc, guitar based music industries. Another point is that there really is no such thing as one music industry, because the different genres of music are run so differently. We are good friends with a lot of recording studios that are based in the same building as us, and they mainly concentrate on Rap, R&B and House music, and they seem to be operating on a 180° opposite angle as most of the bands and record labels that we meet. They seem to put a lot of money into short-term acts, singles, and music videos, as opposed to most of the bands that we work with, who all have a 3 to 4 year plan and operate on making their money from albums and touring, with singles and videos being loss leaders. So again, as opposed to there being one big industry, there seems to be about 50 different smaller industries being run under the big umbrella classification of music. So while we have strong opinions on the mainstream guitar based music, we would not hazard a guess about how the other music industries operate.



What makes a band stand out to you?

When we meet bands with a view to recording them, first of all, we always look for a band that actually knows what sort of music they play. It is quite surprising the amount of times that you ask a band “so what sort of music are you into, what does your band sound like?” and then they will reply “oh, a bit of everything really!” If your band really does sound like a bit of everything, i.e., It mixes jazz fusion with folk, has African drums in it, has a heavy metal undertone, can be played in nightclubs, has hints of power ballads and reggae side-by-side, etc., then I guess it could be described as “a bit of everything.”  Unfortunately, it does not really help to narrow down what sort of music the band makes, so it is not really that helpful when a band gives that answer as a reply.

We really like it when we ask a band what sort of music they are into, and they are very direct.  To us, it shows that the band realises exactly where their market is, who they will appeal to, and how they can go about building their fan base. After all, if the band does not even know what sort of style they are, how will they know who to appeal to?

So if band says something to us like “we sound very British, with very clean guitars, melody lines a bit like the Beatles, but with the subject matter a bit like The Kinks, in that we write a lot about London, but also, when we play live, we tend to be a lot less restrained than we would in the studio, a bit like The Who,” something with an extremely clear direction, we think that it’s great. It means we don’t waste time experimenting in the studio, and the band can have a much more productive session.

We also really like it when a band realises that until they have one person to handle their marketing, one person to book gigs and another to raise money for the band, they are going to have to do all of those jobs themselves. It is really great to meet a band who is willing to roll up their sleeves and take on all of those jobs with gusto. We have had a few bands that have done very well at the studios, Caribou, Bombay Bicycle Club, Kyla LaGrange, Neil’s Children, as well as bands we have also worked with in the past like Mystery Jets and Enter Shakari, and you could see at the time that they were really willing to throw themselves into doing everything they could to build up their fan base, and it is really great to see these bands get the rewards that they deserve.

Needless to say, a band really needs to love what they’re doing. When speaking to all of these bands in the past, most of them, when you asked them about their band, were grinning like cheshire cats, thrusting their demos into your hand and waxing lyrical about past gigs and past recordings. So when you ask a band about how things are going for them, and when they start complaining about how hard it is to build up a following, or when you ask them where their next gig is and they say, “oh, somewhere in South London, I think it is in a few weeks time, I’m not sure”, then it is hard to really get excited about bands like that! If they cannot even get excited about their own band, and their own gigs, how can they expect anyone else to?!?

So I really love it when a band both has talent, is really passionate and bubbling with enthusiasm about their band, as well as being clear about what music their band actually plays. Enthusiasm is infectious, so in order for something to stand out to us, that usually happens when the band itself is proud of their music, and makes us want to hear their band.  Needless to say, the music has to be great too, but we find that that will take care of itself, and doesn’t need to much analysis.



Future plans?

We were looking at opening a second rehearsal studio complex in Bow,East London, this year. We have had a little hiccup with the funding, so instead we put the money we had into the mixing facility in Muswell Hill, and from this we hope to make enough money to self fund the 2nd rehearsal studio complex in Bow. It makes sense, as we currently have about 115% – 125% demand compared to the amount of space that we have, so not only will it be great for the business, but also it will be great to open our doors to as many new bands as we can, and hopefully meet some more great people.

Apart from that, I am currently working with a publisher about getting a book published, called “Headliners Must Provide Backline” which hopefully should be out early next year, in 2013, which is a look at the financial aspects of the unsigned band industry. We are also toying with the idea of opening another 2 rehearsal studios at our current premises. The main reason we have not done this previously is because we are keen to trade under the VAT limit, so that the session fee is kept as low as possible, but we feel that at some point we will need to start adding extra studios, to satisfy the demand we have, so hopefully we will be taking the plunge with that sooner, rather than later.

Anything else to add?

In case it  hasn’t already come across, we genuinely feel that there has never been a better time to be in the music industry.  We have spoken to people in their 70s who still played in bands, and they tell us about how their dad saved up for 18 months in the 1950′s to buy their 1st guitar.  But now, the minimum wage is about £6 per hour,  and you can buy a Squire Telecaster for £120. Over 2 weekends of a minimum wage job, you could buy a good quality guitar.   There are even cheaper guitars that are available for £80 or so.
Guitar amplifiers are also a lot cheaper than ever. We recently bought a 100 watt Fender Performer for £100 on eBay, and that is a great guitar amp, definitely gigable. Digital stereo recorders are about £75, brand-new.   So for kids that are looking at starting a band, there has never been a better time, we feel, to start one.

The other day we had a 5 piece band, who were all about 16-year-old.  They paid £50 to rehearse for 8 hours, so between them it was £10 each. One of them had a guitar that cost him £150, another had a bass guitar that was about £200, and the 2nd guitarist had a guitar that cost him £20 on eBay!!  We provided all of the backline, including drums and cymbals, leads, etc, so for little over £1 an hour each, and an initial investment of about £370 between them, they had everything they needed to start rehearsing. Between them, all they needed was to work for 60 hours at minimum wage, 12 hours each on average, and they had everything they needed to start a band. For every hour that they worked at minimum wage, they could have 5 hours of practising!  If they clubbed together and each put about £15 in each, they could buy a digital recorder, and they were telling us they were hoping to record something quite soon, themselves, and put it up on Facebook for their friends to hear.

You could visibly see how passionate they were about how they wanted people to hear their band, and to them the possibilities were endless, because even though they were only 16 years old, they did not need a record label to get their music from A to B; from their instruments into other peoples ears.  They were saying that they could put up all of their recordings online and see which ones were the most popular, something which years ago would never have been possible. It is a really satisfying part of the job, that we see so many new bands all the time, and not only is being in a band a dream for them, it is something which is firmly within their grasp.

It is great being around people who enjoy themselves so much.  While some bands hope that the band will generate the funds so that they can live off of it, it is brilliant to see bands who see music as its own reward; something they can do that is rewarding socially, artistically and something they can pour their energies into, that both challenges them, as well as being incredibly enjoyable.

Even coming across blogs such as this one too, the internet means that people can turn their passion into really worthwhile projects, that people can find both entertaining, as well as informative.  So while we work in the music industry, to us, music is something we fell in love with first and foremost, and it is great to see so many bands and people who feel the same way as us, such as yourself!  We’ve spent about an hour reading through your website today, and we’ll be firing emails across to a few people tomorrow, people who feel as passionate as we do about music.  To us, that’s the best thing about our job.

Save Seven Sisters South American Indoor Market

There has been a bit of press coverage recently about the South American Market at Seven Sisters Station that is at threat from closure to make way for a 7 story mixed-use building of residential properties and shops. The council seem to
be strongly in favour of it, a lot of the residents, the majority, seem to be very against it.

We are based just down the road from it, and we think that one of the best things about Tottenham is how unique many of the shops are. Apart from a few banks and betting shops, the vast majority of business's here are small independent business's. Walk up West Green Rd, and there are independent Caribbean, African and South American shops, sitting side by side. There are no chain shops that we can think of in the whole road, and we think it gives the area a unique feel.

We're not against plans to re-rejuvenate the area. On the contrary, the recent building work in Tottenham Hale has helped to really improve the area in such a quick time, and we're massively in favour of it. The area has taken on a feeling of vitality that was sorely needed, and we take our hats off the the builders and planners, they have done a sterling job. Our only concerns are that, if you are going to dictate to the residents how the future of their area will develop, and not listen to their opinions and take them on board, how are people meant to feel that the area is theirs? In the aftermath of the riots, many people said that there was a lack of pride, and they were bemused as to why people would wreck their own neighborhood. But when the council doesn't take the views of the locals on board, it's hard for people to really feel part of the community. How can you feel pride for something that isn't yours?

As the writer of the article points out, "From a Colombian mini-market I bought chocolate from Argentina, coffee from Brazil and seasoning from Peru. Spanish was being spoken everywhere." He's right, the area has a great feel, that cannot be easily replicated. Add to the mix that building work will shut the site down for 3 years, if the building schedule goes to plan, in which time many traders will have re-settled elsewhere, along with confirmation that rent will nearly double when it does opens, we can't help but feel that an important part of the community could be lost.

If the council want the residents to be proud of their area, they should invest in it, as opposed to bulldozing it and starting again. We like a Pizza Express meal as much as the next person, but we can't help feel that it would be a case of putting a square peg into a round hole. Anyone who has spent any time in the area can see that the shops currently there are there for a reason, ie. they are in demand. The residents want them. Force these independent business out, especially in such an economic climate, and with the added costs of relocating and finding new premises, many small business's could go under. And where would they go, even if they could re-locate? Most business's in the area, us included, are run on a tiny budget. When Mill Mead Road was closed last year for 7 days due to the shooting which sparked the riots, it took us the next 5 months to financially recover.

Why not build the complex at Tottenham Hale? There is a large bit of land in front of the station, currently occupied by Maplins and KFC. These are business's that would actually benefit from a sleeker presentation, and modern facilities. When they started re-developing Tottenham Hale, 1 business, a storage depot, was occupying a few acres. Storage depots don't make the same community contributions that cafes and bars do, so it was easy to knock it down and start from scratch. The owners were compensated. Will the business's in the market be compensated?

At the end of last year, the Walthamstow Standard shut down, replaced by a chain supermarket, and with it, another reason to visit the area. We hope that the same doesn't happen to "El Pueblito Paisa". If the business's are affected, we hope they will be compensated and assisted, and suitable replacement units, within the local vicinity, are sourced prior to them leaving their current locations. At the very least, we hope that people will pop along to see the market while it's still here. It's right outside Seven Sisters tube station, and is barely 12 mins from Kings Cross.