twentyfive

So… we knew at some point this year, things were going to get a little tight financially. To keep working on our project we need cash to eat, pray rent, love until we turn over enough profit to be fully self-sufficient.

At the beginning of our quest, we figured a combination of income streams would be the reality. We’d have to consider every opportunity to keep us in the game; sales, licensing, sponsorship, grants, fan-funding, live performance, merchandise, studio hire, tattslotto, Kings court commissions, donations from Steve Jobs… taking on second jobs.

About 3 weeks ago, things got tight. Really tight.

Much to the dismay of our creative souls, taking on a second job became the reality…

So did persisting with our goal. We still have 25 chances to score a hit… 11 down, 14 to go. 

Lunch time generally means a trip to Sammy’s Bakehouse in Newport for a selection of delish I-shouldn’t-really-but…OK temptations.

I’m driving from now on.  

At some point, that neither Nick or I can quite recall, our plan to write a laid back electronic Portishead-ish track for Lisa Spykers (our singer for song 15) took a 180 degree turn.  

Spaghetti western, all of a sudden was the order of the day. 

27/6/11

Apparently one of these has just been spotted over London… 

We laughed, we danced, we drank whisky, and six hours later we had what we wanted… Gold.

Pure. Disco. Magic.

Monique Brumby is the disco diva in town. No meat suit required. And it’s not Friday.

Our string section bears an uncanny resemblance to a bright red Swedish keyboard complete with tiger stripes. Amazing. 

And that meant one thing… a killer bass line. 

We nailed the writing of song 16 pretty quickly. This was ideal as it gave us plenty of time to nut out the very best parts for each instrument. 

The bass part in a disco track can make or break the song. Think Disco Inferno. We play everything live, no programming. It took around 3 hours for Nick to work out the bass part that he wanted to play on the track and record it.