Posted by & filed under Gigs.


I have some live gigs booked

December 5th at the Art Cafe Winchester

Doors at 7:30pm. It’s free entry. Here’s a facebook event.

January 23rd 2016 at The Yellow Book in Brighton

This is a great steampunk venue. Doors at 7:30pm. It’s free entry. Here’s a facebook event.

February 13th 2016 at The Boston Music Rooms.

This is the ‘big gig’: an evening of BEM music including The Gift, Twice Bitten, JH and myself. It’s gonna be ace. Tickets are here. There is also a facebook event

I’m really looking forward to getting out of London for some of these gigs. I’m hoping to get to other parts of the country and keep up the pace of about one per calendar month (I know, that might not sound a lot, but it’s plenty when you’re balancing it around full time work!).

If you’re able to come along, please do, it would be great to have a nice turn out. If you can’t but you know people in London, Winchester or Brighton who might want to come, please let them know!

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I have written one or two songs the subject matter of which could be desribed as a tad dark.

What the Orderly Saw is about a hospital orderly interrupting some criminals and being shot dead

Nightfall is about the hunger for human flesh that we all feel. Go on, admit it, you want to taste long pork.

Self Made Man is about replacing your body parts with mechanical alternatives in a bid to escape whatever it was that happened to your wife.

Ironbark is 20 minutes long. On average, that’s one person dead every four minutes. “5 men know where the bodies are buried, here in Ironbark”.

Ghosts in my Dreams is about your guilt over the bodies you’ve left behind.

In Some of the Creatures Have Broken the Locks on the Door to Lab 558 everyone dies. Everyone.

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Sending out CDs. pic1

Can you get one? No. These are only going to people who open every email from my mailing list. Ha!

Posted by & filed under Fit the Fourth.

tomlimelight… of course also exists online.

‘Tom Slatter is a quintessentially British eccentric with a quirky imagination who has produced some of the most innovative progressive music in recent years.’

Now that’s getting quoted everywhere.



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I’ve been enjoying the new Iron Maiden album.

In particular I like how it sounds like a band playing together in a studio. There are little things, like the occasional fret buzz, or hi hat count ins between sections that another producer might cut out in the name of ‘perfection’.

I don’t think they’re playing to a click track – the tempos aren’t metronome perfect. In fact I’m just listening to ‘The Red and the Black’ and the tempo has sped up or slowed down a little three or four times since starting typing.

Rock bands should record like this.The only reason I can think for not doing so is if you’re Fear Factory and playing songs about evil robots. Then you can sound like a machine, cos it makes sense. Everyone else? Turn the bloody metronome off!

Of course, not having an actual band I am forced to use click tracks. Needs must. I try and leave little mistakes in and have changes in tempo where I can. When recording ‘Some of the Creatures….’ I recorded guide tracks that were deliberately loose and a bit rough around the edges timing wise – musical rather than robotic – and recorded the real parts with that as a guide.

Perfection isn’t all it’s cracked up to be.





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Doing some planning for creative projects over the next 12 months.


Titles have been redacted, but I have on my plate four albums of new music, two writing projects, and re-releases of my previous steampunk albums with bonus tracks n stuff. . smile emoticon (It’s me putting stuff on my plate. I needn’t do any of this. Is this excessive? It might be).

Posted by & filed under Gigs.

One of the things I don’t really have time to sort out is performing.

I can do day job, recording music, a bit of promo, and, well, life. But there isn’t the time to do all the work that would go into making gigs happen, not if I want to get the music recorded and released at a pace I’m happy with. So I am very happy that people ask me to play gigs. This is probably the best way to ensure you get to see me play – ask me to a thing you’re putting on. We need a room and some people, that’s all.

So coming up we have:

August 21st – Supporting JH at the Miller Pub, London Bridge 7pm. Facebook event.

August 22nd – The Surrey Steampunk Convivial New Malden, I think I’m playing around 9ish. Facebook event.

September 12th – House concert in London (dunno If that’s open to the general public yet)

July 16th 2016Eppyfest!

Plus hopefully some stuff in the pipeline for November will get sorted and I get to visit other parts of the country.

Recently I’ve also played in Durham, Weymouth, London thanks. All of these gigs have a. not cost me money b. had lovely audiences c. been great events that people have enjoyed.

Having spent quite a while playing shit gigs on the London circuit a few years back, I regard this current policy of playing stuff when nice people come to me with interesting ideas as a good one.

Posted by & filed under opinion.

The Fierce and The Dead, label mates of mine, just sold out of their new EP. And it hasn’t been released.  How on earth did they do that when things are so dire for musicians these days?

 After all, we keep on hearing how streaming business models are cheating artists, that no-one wants to pay for music, that albums are dead, that the market is awash with mediocre artists making it impossible for the good stuff to shine through.

Well you know what? I’m sick of hearing musicians whine about it, because I think things are great.

I don’t mean that I disagree with some of that analysis. Streaming isn’t being done right and if artists want to organise and do something about it, or just opt out and offer something different I have plenty of time for that. I also believe that artists need to be paid when they do some work (which isn’t the same thing as expecting to be paid just because you created some music that no-one else asked for).  I’d also add to the list the dire state of music education in the UK. Playing an instrument is more than ever a hobby for rich kids.

But the negativity needs to be balanced with a reality check. 

Twenty years ago there were bands signed to record labels. The labels invested in them and people paid good money for their music. They made a great living, many got rich. Plenty of people hanker after those golden days. Bands had it so good then.

You know what? Your band wouldn’t have been one of them.

Getting signed was a lottery, having a hit and making money happened at random. The chances of it happening to you were virtually nil. Actually making a living that way was precarious and in no way guaranteed. But that system was pretty much the only way to get your stuff recorded and distributed because of the costs involved.

Now you can record professional quality music for a fraction of the price. You can distribute it electronically and print up small enough runs of physical product that you can avoid boxes of unsold merchandise cluttering up your home. You can hear independent musicians from all over the world and connect with enthusiasts you never would have met twenty years ago. You can build an audience in the slow-cook real world way: one listener at a time. You can do it all without racking up debt or ruining your life.

Is it a problem that so many people are making music and releasing it? Are you kidding? How could it be bad that more people are discovering the joy of making music.

But it’s so difficult to make money as a musician

I don’t care.

I care about the actual injustices – streaming being a good example – but I don’t care about your lack of audience. If you’re in it to make money you need to give the public what they want. And what they want might not be music any more.

If you’re in it for the art then do the art, do it honestly and try to develop an audience in a sustainable way that doesn’t whine or beg or ask them to kickstart bullshit for you.

In previous decades I couldn’t have recorded any of my music and I never would have developed the small following that I have. It’s a small following that means eventually my musical endeavours break even, and I am very happy about it. I want to keep growing that audience. Maybe that way one day I’ll get the music into profit.

The Fierce and the Dead are doing a hell of a lot better than me because they’ve been working hard, putting on blisteringly good live shows, releasing amazing music and developing an audience. They haven’t been throwing music into the void then assuming that means they should get paid. They’ve found some success and they deserve it.

Now is the best time there’s ever been to be a  musician. Anyone who says otherwise doesn’t have music as a priority.