Down the Rabbit Hole - Issue 2 - MAR

Down the Rabbit Hole

Issue 2 1st August august

Feat: Lisbon Tom mckenzie Mckenzie Nonkeen

COntents: Contents: Editors Notes: Hello and welcome to the second issue of Down the Rabbit Hole! We, at Mad Alice Records, all hope you enjoyed our first issue and are excited to see more of what we have to offer you.

In this issue we have an exclusive interview with the Newcastle band Lisbon. Read the interview to find out what plans they have for the future and what their opinions are of certain topics.

We have an exclusive review of the new Tom McKenzie album for you to read up on. If your into folk you should definitely check it out. If your not then don’t worry, we have a review of the new Nonkeen album. An electronic album that has come from Germany.

The rest of the issue is packed with our spotify playlists, Top 5 of the month and also our Gig Guide. We hope you enjoy reading the issue just as much as we enjoyed creating it for you.

Happy Reading, Editor, Rachel Colley.

Mad Alice Records.

Contents: Production: Drum Mic’ing - 3-5 Interview: Lisbon - 6-8 Reviews: Tom McKenzie - 9-10 Nonkeen - 13-14 Playlists: Film Songs - 11-12 Motivational Songs - 11-12 In Review: Joshua Burnell - 15-16 Love Zombies - 15-16 Cut Chemist - 17 BadBadNotGood - 17 Top 5: Top 5 of the month - 19 Gig Guide: August Gigs - 20

Production:

Mic’ing: Mic’ing When it comes to recording drums, the amount of microphones used is usually the highest amount for any other instruments recorded, which on average are around 8 microphones used. This can mean using the majority of the microphone inputs and this restricts what you can use for other instruments. But there is a way of cutting it down to 4 microphones using a technique created by Glyn Johns.

Glyn Johns was an audio engineer who has worked with bands such as The Eagles, Led Zeppelin, The Who, The Rolling Stones and Eric Clapton. He started his career assisting The Beatles and made his name as a recording engineer when capturing John Bonham monstrous drum sound.

It all starts with the first microphone. This is placed 3 to 4 feet directly above the snare and should be pointing down towards the kit and capture a nice spread of cymbals, snare and toms as it should be doing the job of an overhead. Remember if the cymbals sound too abrasive to move the microphone up, also if the toms aren’t being captured nicely to point the microphone more towards them. Finding the sweet spot can take a while, but once its found, this microphone doesn’t need to be moved again.

The next microphone has a completely different placement to the usual way of placing microphones.

Place this microphone to the right of the snare, near the floor tom, try and keep this exactly the same distance away from the snare as the original microphone as this reduces phasing issues and makes the kit sound a lot tighter. When you stereo pan the two microphones this should give a really balanced sound, with the snare right in the centre and the cymbals and toms sounding punchy and clear around.

Drums:: Drums: The third microphone is used on the kick and doesn’t have a specific placement if I’m honest, just near the resonant beater or onside the drum. As long as it sounds and compliments the other two microphones it should be fine. The fourth microphone isn’t actually part of the Glyn John technique, but I feel adds to the sound, and that is one for the hi-hat. This should be placed again the same distance from the snare as the other microphones, but should be facing the hi-hat.

Remember to place it slightly above the hi-hat or you risk getting the sound of the hi-hat clashing together, which does not sound nice.

Although that is the basis of the Glyn Johns technique, it is a very experimental placement, so feel free to alter where the microphones are if you find a nicer way to record the drums. Also, do not be afraid to add more microphones if you feel you need them, maybe to help bring out the toms or cymbals. Feel free to let us know where you find sweet places to place microphones within this technique.

Lisbon:

Lisbon: This month we were able to have the pleasure of interviewing the Newcastle band Lisbon. On their Facebook page they describe themselves as ‘Alternative Pop’ which can certainly shows in songs such as ‘Natives’ and the Game of Thrones inspired song ‘Khaleesi’. Read on to find out more about the band’s thoughts on the music industry, discussing their discography and the future for Lisbon: First off, thanks for agreeing to this interview. Your first song ‘BLUELOVE’ was released in 2014.

What has been your most memorable moments as a band in the last two years?

Playing T in the Park was amazing and we hope to be back there very soon. Another would have to be when we played a few shows supporting our boyhood heroes Little Comets, which was unreal. Recording at legendary studios such as Rockfield and Abbey Road have been great as well.

You’ve stated on your social media previously that your new song ‘Shark’ is a metaphor of what you think of the music industry. For those who have not yet listened to ‘Shark’ what are your thoughts of what the music industry has become?

The song shows our growing frustration with the music industry, and how our opinion has changed and matured from seeking approval from certain ‘Sharks’, instead creating music to make us happy. Quite honestly, some of the fake promises and utter nonsense that some of these sharks spout can have quite detrimental effects on the mental state of a person, and we wanted to show our anger with that by releasing this song.

Linked in with the previous question, do you believe that it is becoming more difficult for musicians and companies to get themselves into the music industry?

Definitely - with such a large availability online to get free music these days, it appears that it’s much harder for bands/artists to reach the higher levels in the music industry. It seems to be a lot harder nowadays to get investment into your band, which in turn makes it very hard to get out of the blocks.

Without money it’s a long and difficult road.

For ‘Shark’ how was your production different to that of ‘Vice’? Did you improve on any aspects in the production department?

We recorded the song in the same studio, with the same producer. Naturally there were some changes due to the dynamics of the song, but the process was incredibly similar.

A few months back you released the music video for your song ‘Vice’. What experience was that like for you as a band?

It was honestly the most fun we’ve had making a music video. Normally it involves freezing cold water or sprinting for miles. We had a good laugh making it and it didn’t take long at all.

Your discography is mainly filled with singles, apart from the EP you released in 2015 ‘Life is Good’, is there any plans of future EPs/albums in the works?

We won’t be releasing an album until we have a big enough fanbase to receive it in the best way possible, and enough resources to distribute it properly. We’ll continue to release EPs and singles until the time is right.

What has been your favourite song to write and produce so far and why?

For me it has to be Vice. The initial writing for this song occurred at my house with Alex. After tracking some bass and drums, Joe and Varty brought their melodies to the table. I think we recorded it two weeks later at Eve Studios with Dan - it was a special experience.

Lisbon: What have been your highlights on your previous tours?

Meeting other bands that are doing the same thing, it’s a really good way to meet new people. We’ve made some good mates being on tour. Another thing is that we always seem to produce stupid little songs/chants that you honestly wouldn’t understand. There is always a large element of FIFA taking place and that’s always a good laugh. But to be honest it’s what we love doing most – playing our tunes across the country in front of thousands of brilliant people.

What bands do you believe deserve more spotlight then they are getting? Want to name drop some here and explain why people should check them out?

I know far too many bands that deserve more attention than they’re getting, and strangely there are far too many bands that are getting far more attention than they deserve. That’s the way the business is moving these days. Everyone should check out a band called New Carnival who are finally getting some well deserved attention. Marsicans from Leeds deserve more than they’ve had also. Newcastle is currently a shelter for underrated acts as well so everyone should go to gigsnortheast.com and search for a few hidden gems too.

What cities would you love to be able to go to on tour?

Prague, Paris, Budapest, Dublin, New York, Tokyo, Hanoi – we wanna see the world and doing it as a band would be a breathtaking experience.

What is the future for Lisbon?

We’re going to keep making music that makes us happy, that we feel represents the real us. This is our lives at the end of the day, and the only way to fulfill this life it to do what makes you truly happy.

Thank you to the boys of Lisbon and their manager for agreeing to partake in this interview. If you are interested in anything that the band have discussed regarding their music or if you are intrigued to hear what ‘Alternative Pop’ is go and search them on various streaming devices and have a listen. Also, go and support them on their social medias.

Tom Mckenzie:

Tom McKenzie: Mckenzie: West Yorkshire singer and songwriter Tom Mckenzie’s self-titled album ranges from acoustic folk to more melancholy, loss-based tracks. With a focus on catchy acoustic guitar work and extremely open lyrics, this album establishes Mckenzie as a breakout artist with real potential for a swift upwards climb.

The album opens with the cheery track ‘Over The Hills’. This song is very chilled out and gives off some indie vibes, it’s a short, sweet and romantic summer classic. ‘Jigsaw Puzzle’ is very similar in theme.

Mckenzie’s well-fitting vocals ‘let’s play jigsaw puzzles til the sun comes up’ and ‘I’m a jigsaw puzzle, you’re my missing piece’ are accompanied by Noah and The Whale style acoustics. Unfortunately, these are the cheeriest tracks on the album, but luckily Mckenzie captures more mournful and melancholy themes very well. For example, ‘September’ begins with a slower beat and the chorus spends a tad more time in a minor key. This song reminded me of The Kinks cover of ‘Sunny Afternoon’ – possessing a similar mix of chirpy vocals and solemn acoustics. ‘Little Bird’ features gentle guitar which sounds almost isolated when compared to other tracks, Mckenzie’s repetition of ‘Do you miss me?’ puts a firm staple in this track as a breakup song – yet none of these songs about relationship breakdown show bitterness, but genuine care.

Rather than the angry riffs or wailing vocals that often accompany music based on breakups, Mckenzie’s acoustic tenderness and calm vocals make a refreshing difference.

‘Start Again’ has one of the more interesting openings on the album, the rhythmic plucking of the guitar is quickly joined by Mckenzie’s descriptive lyrics: ‘I was close, concentrating – hitting high as I waited – restless nights, summer days in a haze’. This song is reminiscent of early The Hoosiers, and changes up the album’s sound a bit. ‘Give It A Go’ is a song that focuses on a developing relationship, as the relationship develops into something serious Mckenzie admits (with some tonal similarity to Morrisey) ‘I’m not as cool as I might seem. I still feel like I’m sleeping and it’s all a dream’. This is one of my favourite tracks on the album as maintaining a positive relationship isn’t sung about as often as the start of a relationship, it’s a lovely difference this album has from regular romantic ones and its also demonstrated really well in the earlier track ‘Jigsaw Puzzle’.

‘Sleep Well, Goodnight’ ‘Walk Away’ and ‘All Summer’ are both the saddest songs on the album, their use of harmonies is gorgeous and Mckenzie’s lyrical talent for creating personal imagery really shines through. For me, one of the most significant songs is ‘Something New’, which rather than a romantic entanglement focuses on a decaying friendship, Mckenzie sings ‘it takes two to stay friends’ and describes the growing apart people all experience at some point in their lives.

Tom Mckenzie’s album is very lyrically talented, and the bare simplicity of this album’s acoustics really paints a picture of human honesty. I’d give this album a 9.5/10 – the mix of cheery summer tunes and heartfelt emotional tracks is achieved very well. ‘Tom Mckenzie’ is released 15th August, make sure you check it out!

Playlists:

Playlists:: Playlists: Zoe My favourite film songs playlist ranges from ‘You’re The Inspiration’ by Chicago (used in 2016’s ‘Deadpool’) to Dick Dale’s ‘Pulp Fiction’ classic ‘Miserlou’. Adam Ant’s ‘Goody-Two-Shoes’ makes an appearance as ‘Hot Fuzz’s’ opening track and Billy Ocean’s ‘Love Really Hurts Without You’ qualified for its use in ‘Filth’s’ closing credits. ‘All I Want is You’ (Barry Louis Polisar),‘Hiding Tonight’ (Alex Turner) and ‘Everybody’s Gotta Learn Sometime’ (Beck) all appear from the more indie films ‘Juno’, ‘Eternal Sunshine of The Spotless Mind’ and ‘Submarine’. The Rolling Stones are taken from the Scott Pilgrim soundtrack, 10cc from Snatch and Blue Swede from Guardians of The Galaxy.

Rachel This month I decided to choose the theme of motivational songs. These songs put across a strong motivational message and this included the likes of Patent Pending’s song ‘It’s a Good Day Today’. Other songs that have been featured in this segment include Enter Shikari’s ‘The Last Garrison’, ‘Dying to Shine’ by She Pulled the Trigger, ‘Wolves of Winter’ by Biffy Clyro and the classic ‘Eye of the Tiger’ by Survivor. These all have different ways of putting the carpe diem across but they achieve this individually. I decided to change the genres a bit by placing ‘Survivor’ by Destiny’s Child and ‘Good Time’ by Owl City Feat. Carly Rae Jepsen. I decided to put a couple of longer songs on the playlist with ‘Seize the Day’ by Avenged Sevenfold and ‘Knights of Cydonia’ by Muse. Lastly, I decided to go with ‘Carpe Diem’ by Green Day as the last song.

Nonkeen: TITLE

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Nonkeen: This electronic album from the group that is located in Berlin, Germany was released July 15th. Even though it is classified as an electronic album this can be seen to be a broad term for it. It can be stated that it is more of an experimental album with, as the description on their Bandcamp page states, the exploration of sounds such as post-rock jams and rolling jazz breaks. The group also creates sounds that the listener will most likely not have heard of before. Sounds that don’t exactly make sense and are hard to decipher.

Along with these strange noises that are added through the album, there are odd instrumentals and sounds (such as people cheering) that are constants in the album. This may leave the listener uncomfortable at first but once they get to the mid-way point of the album the sounds start to become something that the listener will get used to. Something that the listener will become to appreciate and will become accustomed to. The non-instrumental sounds also give the listener a feeling that this album was recorded outside or in a busy crowded room. This makes the album have a feeling of being organically made somehow.

There are no vocals throughout this album, apart from the erratic sounds of people applauding and cheering and saying undecipherable sentences. This album solely depends on the sound of the instrumentals and the electronics that make up this album. There is enough diverse sounds throughout and this helps the listener to forget that there aren’t any vocals. The production of the sound of this album also helps this notion because the sounds and instrumentals that are used flow well together and, even though at first listen it may sound jerky, after a while of becoming used to the album the listener will become to believe that the sounds and instrumentals fit well along side one another.

There are some long and short tracks on this album; the shortest being only eleven seconds and the longest being around the six minute mark. This makes for an interesting contrast for the listener since there isn’t seemingly any solid structure to the album. However, even though the listener may at first few this as a bad decision on the artists’ part and also one that makes them slightly uncomfortable in listening to it, like the artists’ decisions to include various sounds, the listener will come to appreciate the short abrupt songs since it allows the listener to have a break from some of the longer tracks on the album; the short tracks are cleverly put to good use on this record.

Overall, going into this album maybe slightly daunting at first to any new listener but once it has been listened to several times over the listener will come to love the quirkiness and the unique qualities that this album has to offer. If you are interested in getting into an electronic experimental album then this one by Nonkeen is definitely one for you to try out.

In review:

In Review:: review: Joshua Burnell I’ve only recently discovered Josh and his music style, and from the first song I loved it! Very heavily folk yet he leads a new style of folk that I had never heard before.

The sheer amount of instruments used throughout the album is amazing. All of them played tremendously well and sound brilliant! The musicians that performed on the album have most definitely been cherry picked as at the top of their game, its one of the strongest points of the album. The whole album is one narrative and is strung across all the songs in the album, and really grabs the listener and drags them in as you listen more and more.

Its not just the album as a whole that made me choose this, its also for his showmanship as his album launch show was one of the best I’ve seen from an upcoming artist. It was bursting with energy, which he carried from the album; the crowd’s interaction really got absorbed into Josh as you could tell he was really enjoying it. Although the show was full of energy you could really feel how personal the whole show was, which made especially brilliant when you think of how many people were there.

Love Zombies I heard of this band through one of my best friends when she became addicted to their music. She was looking at them through BandCamp and that’s when I decided to take a listen. What caught my ear was the infectious sound of the guitar and Hollis’ talented vocals. They are able to use a genre that’s been used so many times before but they are able to create something unique with it. This definitely made me intrigued to find out more about them.

On a previous project that I had been working on, before I began working with Mad Alice Records, I was able to ask Hollis a few questions about the messages of the bands’ songs. What I received were some very interesting answers; the bands’ songs have specific meanings associated with them. Some are easier to figure out than others. This made me even more intrigued than before and I decided to take a listen.

If you want something that is undeniably in the rock genre but has different influences and an infectious pop sound. This band is definitely on the rise and is starting to gain more and more attention. When you listen to them you can hear why they are becoming more and more popular; the raw talent of this band is undeniable when you click onto one of their songs. I’d suggest you start with ‘Be Honest’ or ‘Bummer’ if you are new to their music. If you want to listen to any of their music you can go on their BandCamp page

In Review:: review: Cut Chemist I was a bit sceptical when I first saw that the album I was reviewing for the week, ‘The Audience’s Following’ was actually a ‘ten-year anniversary fan club edition’ of Cut Chemists ‘The Audience’s Listening’ – hence the name change. Out of concern that I wouldn’t get the ‘fan club’ lark, I listened to the album pretty hesitantly. Cut Chemist’s tracks are cut and mixed with samples and swatches of audio from other popular songs and interviews. The new album combines his original demos and B-sides, creating quick progressions from reggae dub to R&B hardcore rap, alternative rock and any nameable genre. ‘The Audience’s Following’ sounds like bumblebee from transformers tripping acid – yeah, it’s pretty unique.

Researching Cut Chemist provides some pretty cool information – he started his DJ career at 11 years old, for one. At 14, Cut became the founding member of rap groups Jurassic 5 and Ozomatli. In 2007 he supported Shakira (a pretty odd choice of support act, if I’m honest) on her ‘Oral Fixation tour’. He was also booed off stage after his cut ‘n’ scratch performance. He has appeared in cameos for Jennifer’s Body, Up in the Air and ironically, he appears as a chemistry teacher in Juno. His live performances are insane. A quick YouTube search for Cut Chemist garners tonnes of results in which Cut is to be seen rapidly switching records from his deck and attempting to keep up with the challenging set he has created.

His new album features one song in particular I really fell for. Titled ‘The Break In’. The song opens with a jazz form quickly interrupted by a narrator who announces that the track is to be interrupted by a ‘special bulletin’. The track is quickly filled by a (presumably fictional) interview between an unnamed woman and Cut Chemist - the song is very similar to Easy-E’s ‘No More ?s’, except, Cut Chemist only answers his interviewer in the form of audio clips from other songs or media. The blunt humour injected into this track really grew on me, especially the lines: ‘whats your inspiration for this new record?’ ‘Green. Money’ ‘Do you have any final words for our listening audience?’ is answered succinctly with ‘if you don’t like the product, keep your mouth shut.’

BadBadNotGood Featuring a mixture of gnarly Sax’s, pumping synths and hypnotic drums, BadBadNotGood’s IV is actually a great album! Given their name and all. A jazz quartet who cross the realms of jazz and electronic to make a great hybrid.

My personal favourite track from this album is Chompy’s Paradise, which having such a great title helps loads. But it’s also a great mellow addition to this album, especially following tracks like confession’s Pt2 (I have no idea where part 1 is!) which has some crazy overdubbed sax parts.

You should definitely check them out after a long day when you need to relax and reflect for a little while before getting on with your evenings mishaps!

Top TOp 5:

Top 5: Video Game: Pokemon Go One thought has gone through everyone that’s ever played Pokemon’s head “what would it be like if I could catch Pokemon on real life”. Well thanks to Niantic, it’s possible with augmented reality! This game is seriously addictive, forces you out the house and makes you meet new and interesting people. It even tries to get you fit while doing it!

Tv Show: Mr Robot It’s very rare that you find a TV show that isn’t a remake of something older – and although Mr. Robot builds on elements of Fight Club and Bladerunner, it applies them to a fresh generation. The second season is now on Amazon Prime, and it features amazingly developed characters and a fantastic soundtrack.

Album: Charlie Hunter - Everybody has a plan Guitar and bass fused into one instrument in this fusion jazz 10 song powerhouse! Charlie Hunter is a pioneer of the 8 string Guitar/Bass, enabling him to play some funky basslines with interspersed lead and rhythm! A crazy amount of thinking. My personal favourite track is No Money, No Honey which is the catchiest tune on the album.

YouTube Video: Wintergatan Most people would recognise this channel as the guy that created the marble machine back in March, and I recently checked in with his channel to find a great reproduction of an old instrument the Music Box! He also throws in a modulin, which is a surprise when it comes in! Go and check out this video and his channel!

Instagram: Louis Cole (FunForLouis) When my good YouTube friend Lindsay Mead talked about a British guy who travelled the world discovering beautiful nature scenery I had to take a look.

Lious Cole did just that on his YouTube and his Instagram. This picture just screams adventure to me with the stars as the backdrop and the Wanderbug sitting there.

Gig Guide: August 3rd - Fibbers, York, The Damned + Dohnut, £20, 7.30pm.

August 4th – The Basement, York, Anne McCue + Dan Webster + Rich Hardcastle, £8 ADV/ £10 OTD, 8pm.

August 4th – BCB Radio Presents Kymberley Kennedy (Live in Session), August 5th – The Basement, York, Cherry Suede: Up Close and Personal, £13, 7.30pm.

August 5th – Fibbers, York, Chameleons Vox – The Magical History Tour w/ Desperate Journalist, Berlin Black, £17, 6.30pm.

August 5th – Lendal Cellars, York, Tom McKenzie, (Album Launch Day).

August 5th – Kymberley Kennedy, The Crescent, York.

August 6th – The Fulford Arms, York, Fully York Festival, Free.

August 6th – The Basement, York, Open Mic Night, Free, 7.30pm.

August 7th – Halesworth Town Park, Suffolk, Halesworth Big Gig, 5.30pm, August 9th – Glyde House, Bradford, Tom McKenzie.

August 10th – Fibbers, York, Lion Papers, Layke, Cry Baby, Borderline, £5, 7.30pm.

August 11th – The Basement, York, Kymberley Kennedy + Laura Kindelan + Special Guest Support, £5, 8pm.

August 12th – The Basement, York, Velvet Bliss Presents Part Time Miserables + Layke + Pure Vida + Warhol Superstars, £4 ADV/ £6 OTD, 8pm.

August 13th – Fibbers, York, Glasville, £12, 7.30pm.

August 13th – The Basement, York, York CD and Record Fair, Free, 10.30am – 4.30pm.

August 13th – The Basement, York, Guy Jones + Special Guests, £8 ADV/ £12 OTD, 8pm.

August 14th – Blues Bar, Harrogate, Kymberley Kennedy.

August 14th – Fibbers, York, Annabella’s Bow Wow Wow, UK Feds, £15, 7.30pm.

August 16th – Fibbers, York, Manifesto – presented by Tang Hall SMART C.I.C, £5, 7pm.

August 18th – Black Bull, Howarth, Tom McKenzie.

August 18th – Fibbers, York, Ming City Rockers, Naked Six, Eugene Gorgeous, Part Time Miserables, £5, 7.30pm.

August 19th – The Basement, York, Politburo + George Boomsma + Special Guests, £5, 8pm.

August 19th – Fibbers, York, Faux Pas, The Indigo Project, Dos Cervesas, The MallRats, £5, 7.30pm.

August 20th – Fibbers, York, Octopus, Grolar Bear, Public House Delegates, Accentus, £5, 7.30pm.

August 20th – Club 85, Hitchin, London, The Infernal Sea, £5, 7.45pm.

August 20th – The Basement, York, Part Time Miserables, + Boderline + Dos Cervezas, August 20th – The Cavendish Arms, London, Mindframe, Surgery Without Research, Ratbag, Worthy Victims, Rabies Babies, FLAK, £5, 6pm – 11pm.

August 23rd – The Ship Inn, Leeds, Tom McKenzie.

August 26th – The 1875, Bradford, Tom Mckenzie.

August 27th – The Gunners, London, A Night of Punk N Roll, 8pm – 11.30pm.

August 28th – Bedale, North Yorkshire, Great Northern Mod + Ska Festival, Day Adult Ticket £20 (Prices vary).