I haven’t checked the dates, but I think we recorded all the backing tracks for The Unwinding between 2012-2014, with the addition of Simon and Lex working together to lay down barebone tracks for many other songs since then with the intention of me overdubbing them and then doing a mix. So what is the hold up? I know Simon is deeply frustrated by me “dropping off the face of the earth”, which is essentially what I have done. There was a bit of to-and-fro’ing between places that has obviously caused delays, then me investing a huge amount of time in playing competitive MTG (which I stopped as soon as Covid turned up and ruined everything).
There was also the band I started in London with Dan Clancy (of Painting of Ships fame: they’re still going). This band, A Thousand Knives, was more of a Raconteurs type experiment while Simon and Lex were unavailable. T*** had fucked off by this point so there was no pressure to be working on anything at that time, around 2012. I was still in London at the time and was walking randomly one day towards London Bridge station when I bumped into Dan in the street. We had one of those “we should do something together” chats, which you always know means you won’t do anything together, but in fact a couple of months later we were in the rehearsal studio that Amy Blue used and loved which has now gone in Balham. Tom Parr, who came to the very first Amy Blue show and was a longtime friend of Simon joined us on bass. We had no drummer, and only 3 songs, one of which was not a song. No words.
I wrote something called “Turns Out Yr Wrong”, a 3 chord wonder, for Dan because I wanted him to smash out some chords on his Tele. It’s a grim, bitter little number about someone I knew at the time who was a complete cunt who would not shut up, and was creepily sycophantic towards people she felt she could get things from. The song took on different power and meaning later on, but after finding a great drummer called Stu, who I’m sad I didn’t stay in touch with, we recorded perhaps 4-5 demos without vocals with the intention of doing a gig later on.
When the gig swung around, I buggered my ankle by falling down the stairs in my house in Anerley. The gig was on the other side of town and I texted the other 3 to just run through the numbers and I hoped I would be in good enough condition to play at the gig itself which was probably a week later. It got back to me somehow (I forget, it was 10 years ago) that they didn’t do anything with the songs, and I was incensed that we had spent 6 months working hard to prepare for the gig for the three of them to not even bother to rehearse the songs for the show. So I, rather spitefully, took the huff. Shortly after, I fucked off out the UK for 6 months and washed my hands of it all.
Amy Blue were (and still are) a going concern, so I was working on some new things in the countryside with a new amp and no neighbours to annoy. One song, ‘Stabbed In The Back’ came out of this, and was to be played live with ATK II and recorded twice by AB. It is one of the few finished tracks for The Unwinding.
We have always planned the album to be much broader and longer than our previous. Plus, recording ideas, jams, and partial songs and then using these as the basis for our album became very exciting for me as we had spent a long time playing the same song over and over again in the 00’s which Simon and I were bored of, causing conflict with all the weekend bassists who came in to play who were reticent to try anything new. The only person who had the chops for jumping into the deep end was Tom, who after ATK joined us for some sessions and we got some great takes recorded on songs without names.
We’ve also been doing some song-swapping, such as me singing on Simon’s song ‘Low Low Low’ and him doing vocals on ‘Secrets’, which has transformed from the original riffy thing I came up with to something much more sinister, very fitting for the record.
The record has probably been much harder to work on because there has been a lot of soul searching and growing up and life changes going on behind it. There have been several occasions where I found the thought of getting up in the morning very difficult, and my motivation has been low when it comes to doing anything at all, let alone write and record songs. I’ve been stuck in a loop of reading JG Ballard, Michael Moorcock, history books, watching documentaries, and found myself getting sucked into watching every single Hammer and giallo movie ever made (of which I should write two books and/or blogs). Plus, Destiny has taken up a lot of my time since I gave up MTG. Moving to the country has been a struggle; not being able to see my friends or family. I am disconnected and lonely. It would be good to channel this into something, but the honesty of such feelings makes it more difficult to capture now. Instead, I have been trying to avoid it by working on black comedy for my friend’s ears only: 2 albums (one about Corona, one about Trump), plus 2 audio books (one about Corona, one about Omicron) which came out of fits of depressive-creativity on an up day.
On a down day, nothing happens. At all. Maybe just walking the dog.
The irony is I already have enough songs for the follow up record as my brain doesn’t just STOP. There will always be new music. I am glad to not be playing live anymore as I said in my 20s that I never wanted to see fat 40 year old rockers on stage. And yet McCartney is headlining Glasto or something again this year. There will come a time when all of the legends are gone and whatever is left will not be rock or feature guitars. As for what I’m listening to these days? Last week: The Wall. Last night: Secondhand Daylight.