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I have a little live ep out. It was recorded at a recent gig in Surrey and it will only be available for another week or so.

Stoney silence during the music, people listening to my introductions, laughter and applause where I expected. Last weekend’s house gig was amazing.

I’d been asked to play in the house of a bloke called Tim, in Muswell Hill, North London. The gig, to 20-odd people, the majority of whom didn’t know my music, was probably as near to a classical concert as I’ll ever play. The audience listened in a manner I’m largely unused to.

It was a great gig, but it got me thinking.Should audience members always behave like that? If you’re at a gig, should you shut up and listen?

This summer’s gigs have run the gamut. I’ve been the centre of attention and a background accompaniment. I’ve launched my album to a friendly crowd and played to punters who don’t know me at all.

Playing support to Jon Hunt there was a real mixture of people who had come to see me and people who hadn’t.

This gig was interesting. The audience started off loud and not really listening. By the end they were listening. In large part this was because a nice audience member asked them too, but also because I capitalised on that by playing a very different kind of song – an old folk song. The change in mood helped.

Now personally I don’t mind what the audience wants to do – within reason. And if I’m not putting on the gig I’m not in a position to dictate anyway. Choosing different songs gets a different reaction and that’s fun to explore.

In fact I kind of lean towards the idea that audiences can do what they want and it’s up to the performer to win them over.

But… clearly some people really want to hear every note. Others want to have a chat.

So what do we do? Should we tell the chatty people to shut up?

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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.

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Here’s the text of my latest newsletter, with the fanpage password redacted. You need to sign up for that.


Hello you!

It’s just under two months since Fit The Fourth was released. Good things have happened since including:

1. Prog Mag Review

I’m a ‘batty steampunk wizard’ apparently. I quite like that. More info here.

2. Launch gig!

I played an acoustic launch gig. It was great fun, none of the audience threw anything, and the support set from fellow Bad Elephant Jon Hunt was great.

Over on the fan page I’ve put up a zip file with recordings of most of my set from that night. You can download and hear far, far too many songs about Seven Bells John. Including a one man version of Seven Bells Redeemed. Not quite sure how I pulled that off.

I’ve also put up lyrics from recent releases as some people who bought CDs at gigs might never have seen the digital only lyrics sheets.

The password for the fanpage is [REDACTED]. Here’s the link.

3. Competition?

Oooh, shall we have a competition? If you want a free CD (don’t tell David from Bad Elephant Music!) reply to this email with an explanation of what the new password is about. No using google, that’s cheating! I’ll pull a winner out of my hat. Deadline is Weds 5th August.

Thanks for listening you mad, lovely people. See below for gigs and other stuff.


August 8th – House Concert
August 22nd  -The 5th Surrey Steampunk Convivial Link
Elsewhere – There should be gigs in other parts of the country later in year. Stay tuned!

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So yesterday I launched my album Fit the Fourth by putting some people into a little Chapel in Bethnal Green and singing songs at them.

There’s a list of things that have gone wrong with acoustic gigs that I was keen to avoid: dodgy sound, no seating, a dodgy or random set of acts, a lack of coherence to the night, silly ticket prices.

None of these things went wrong yesterday. The sound was good, the venue was different and had seats in it, it makes total sense to have Jon Hunt and myself on the same bill, there was no money involved (apart from the sound guy’s well-earned fee and the CDs people purchased). It was a proper little show and it worked.

I’m very glad it did because it’s the first time I’ve organised a gig.

That’s not entirely true, I’ve organised many a school concert. Trying to organise forty or fifty teenagers in various different acts and sort out sound, lighting and stage management with too few staff is considerably more stressful than this was.

It is the first time I’ve organised a gig of my own music, to launch an album that’s out on an actual label (well, Bad Elephant Music​). It’s the first time I’ve been top of a bill and certainly the most people ever to turn up to see me play who didn’t have to because they were my friends and family.

It’s the first time I’ve played 45 minutes of music where almost every single song was about the same character. It was the first time I’ve attempted to play a one-man version of one of my 20 minute songs that was never intended to be performed in that fashion (I think it worked!).

It was, in short, a bloody good night and I am very happy with it.

There will be recordings in a few days. You have been warned.

PS. I love that the picture above makes it look more like a lecture that happened to include a guitar.

Posted by & filed under Fit the Fourth.

Jordan Brown, bassist extraordinaire for the the band The Rube Goldberg Machine played bass on a couple of tracks from my new album. Here’a blog post he wrote about the experience.

The world of prog music is an interesting ecosystem.

By definition progressive rock grants total freedom to the musicians to create (hopefully) interesting musical concoctions aimed at stimulating the cochleas and subsequently the synapses of the listener For my tastes a lot of stuff out there is a bit too abstract, formulaic or cringe – worthy. Or a combination of the three.
Tom is a very interesting artist. It seems to me that he has a very developed vision of who he is as a musician: A sci-fi storyteller with a penchant for odd time signatures and soundscapes.
Those of you who are not in the know might be already rolling their eyes – what pretentiousness!
To those people I say Mr. Slatter pulls it off like a boss and then some.
He can write great melodies, has a fine ear for arrangement, knows how to employ the principles of functional harmony (gasp!) and can capture the imagination of us prog – heads and geeks with his words.
Dude’s tres cool. The only way he could be any cooler would be if he wrote a concept album about William Adama riding a Shai – Hulud to Rapture. If you got all three references you need to get out more.

When I’ve heard he was recording his new album “Fit The Fourth” I contacted him on Facebook and asked if he could please consider having me as a guest on his album; he gracefully accepted and sent me the demos of “Some Of The Creatures Have Broken The Locks On The Door To Lab 558″ (the title is so long that Bandcamp charges him double) and “Far From The Shore”. He also sent me some instructions that I can’t help but quote:

“Lab 558: This one’s a straight rocker for the most part, but have fun with it and don’t feel confined to root notes except in the middle 4/4 chorus where it probably needs ’em. That counter melody in the intro that I currently have on electric guitar might work on higher register bass. There’s also room for twiddliness on the melodic figure that precedes the drums coming in. The middle section (That’s why the sky’s falling down’) can also be more free”

“Far from the Shore: Imagine that you are adrift on the salt baked remains of what used to be your ship. The last fresh water ran out days ago and there’s no land in site. You started hallucinating at some point in the last few hours. The sun has beaten and burned away what’s left of your reason, but you’re happy because you know at some point soon you will slip beneath the waves and breathe through the new gills you have grown”

Now that’s the kinda stuff that really gets me going.

True artists don’t waste any time with technicalities. They want emotion and it was my plan to provide meister Slatter with some bass action he’d be proud to hear on his songs.

For all you audio nerds out there: I recorded my basses through my trusty NEVE 1076 straight into my Focusrite Forte and did all the editing in Studio One V2. If memory doesn’t fail me I also provided a parallel distorted track made with Guitar Rig.

So I receive the bassless demos and think: “Now what?”

Things look nebulous from here. Not the songs, there is enough there to have a clear idea of all the movements and parts in the composition.
As a guest bassist, my main aim is to enhance what’s there and make sure I don’t play against anything else. Writing a bassline at this stage of the production is like a game of chess. Most of the stuff is already there, so you kinda know the coordinates, but it’s possible that some of the stuff in there could be a place-holder that will be re recorded differently.
It’s also probable that parts of the arrangements will be developed texturally (spoiler alert – they did), the only thing is I don’t know how.
That’s where you start projecting in the future. Bass frequencies carry a lot of weight both from the sonic side of things and the harmonic too. If I play something that implies a different chord, I will ruin the harmonic motion that Tom expects; that could be a calculated risk, but it’s the first time we work together and I have to play nice.
If I play too much it’ll sound a mess. If I play too little I fail to meet the guidelines dictated by the XIX century book “De Res Progressivae” by R. Wakemanious.

This prog, for Chris’ sake. Chris is Chris Squire BTW.

I decide to follow my instinct. I shall remain glued to the drum pattern when Tom sings and alternate between counterpoint and unison with some of the lead voices during the instrumental parts, while remaining reasonably solid. May Geddy Lee smile on me.

LAB 558

For this tale of things gone incredibly wrong in an underground scientific facility, I decided to play my fretless, because, why not? It worked for Mick Karn and Colin Edwin. I too want to join the club. Being a rocky, groovy tune, the key there is being tight; there is a lot of back and forth between legato and staccato. The guitars have hidden motions that derail ever so slightly form the drum pattern – how cool! I shall underline that. Oh also let me say with a bit of pride that I don’t time quantize my takes. What’s in there is what came out of my fingers. The unison at 4:05 took me a bit to learn and play but I think it sounds really cool.
In the coda there is a little fretless melody that makes texture with the reverse guitars. The inspiration for it is worth a mention.
I was wrapping up the recording when I had this sudden realization: probably the creatures were subjected to unethical experiments – that’s my animal right advocacy talking to my subconscious right there. Probably somewhere in the devastation of the uprising of the creatures there was a young one, scared to death and suffering. That was the inspiration for my part in the coda.
I also must admit that the young creature in my head looked suspiciously similar to Stitch from Lilo & Stitch. I am a weakling and I’d probably be one of the first to die in the event of a monster invasion.


A delightful story that seems to have stemmed from the pen of the best Lovecraft.
For this one I broke out my beloved Daphne, a P – bass / Music man crossover handbuilt by Rufini guitars. My soul mate, the apple of my eye, the cream in my coffee. Well, you got the point.
Recording this one took some time, it’s a multi part juggernaut that required different approaches. One of my favourite things is the metric modulation in the chorus where the pulse shifts from a 3 / 4 to a full on 12 / 8. That’s the good stuff in my book.
The verses are where I chose to be less conservative and basically barge my way in, playing the answering lines after the vocals. I thought if he didn’t like them I can still re record a tamer part. Looks like Meister Slatter loved them,tho, because there they are!
As a parting gift I decided to play double stops in the coda of the tune which blended nicely with the guitar voicing, giving the impression of a single big string instrument.

Thank you all for reading and thank you Tom for letting me be a part of your wonderful music; I surely enjoyed myself and I hope I did your songs justice.

Posted by & filed under Iamanerdymuso.

How best to conceive of the structure of a piece with no verse or chorus? It depends on the piece but in the case of Beyond Astronomy’s Reach by Emmett Elvin, I would suggest you imagine this:

There are two ostinatos. One is in 7/4 and centred around a descending F minor patern, the other is in D and in 6/4. The first is an anticipatory shade of light blue, the uneven rhythm making us feel unsettled. The second is a menacing angry red storm of building tension.

Two colours: 7/4 blue and 6/4 red. This piece moves between those two colours, using deft and insightful instrumental choices to pick out the textures and gestures within the broader swathes of colour.

We start with a drum beat in seven, with the rhythmic drive coming more from the cymbals, jazz fashion, than it does from kick and snare.

A loop of piano and wind gives us that descending F minor pattern,  building up over a F note drone the crescendos deliciously into the first rendition of our 6/4 ostinato. And it it is a thing of beauty. Honking brass and wind stab out the bass line while everything else builds up a layer of chords that reach a massive crescendo before giving way again to light blue 7/4 again.

Here the ostinato is joined by some lovely melodic F minor stuff before we get a second verse of the 6/4 ostinato. This time the main rhythmic material is provided by the acoustic guitar with the same chords building up around it. The drums take a short break, as do the stabbing bass instruments from the last time we heard this melody. The drumming here is ace.

Bass comes back in and we get a lovely electric guitar solo over the same backing. The guitar solo gives way to an equally good piano melody as the backing loops again towards the final tight, stabbed ending.

There are lots of pieces based around ostinatos. Beyond Astronomy’s Reach felt ever so slightly reminiscent of Mars of Holst’s The Planets, not because they share any material but because they both contain a rhythmic ostinato around which massive, menacing chords are built.

Bloody Marvels is a bloody marvellous album and this piece is ace.