Hey Everyone, Harry Here.

Well what a time we had! Going up to Crooked Rain Studios in Leeds, we worked with our favourite producer and all round awesome dude Bob Cooper. Before we went into the studio we had a bunch of songs, around 20 and then we slimmed them down to the best 10. That alone was a hard process, getting rid of songs you feel are some of the best and having to let them go. Maybe next time ey!

So on day one, we jumped on to the motorway, with google maps on, we headed over the hills.

On the first day, we set up the drums. As soon as I walked in I noticed bobs super deep kick drum and I thought 'YES', excitement ensued. The studio also had a cool vibe, I can't really put it into words but it had an atmosphere that feels creative. I noticed Bob also had some awesome ideas for mic placement for the drums. We had all the doors open with Condensers all over the shop. To have options, but not too many options is a great place to be, a couple of tweaks and mic placements and we were ready to go. Isaac steamed ahead. I Think drums took around two and a half days and then it was onto guitars.

This was my favourite part, testing every amp/pedal combination under the sun to find that Meaty, nasty sound. We chose the Marshall Jcm 800. God dammit why does expensive gear have to sound good! Youtube channels along the lines of Andertons tend to try and debunk the old thought process that expensive gear isn't always the best; Not this time! I came away from the studio with such a large mental shopping list of gear, its not even funny. My favourite combination on the record has to be the Russian Big Muff being fed by a Keeley Oxblood pedal, then straight into the Marshall. The sound literally blew my socks off, and I entered a new world of what tone possibilities there can be.

Now for the other guitars we used the Oxblood and the Zvex Mastotron for the second fuzz sound. For the clean tone we used an orange head with an OCD on some, and OCD Clone on others. We also used the blues driver in places.

Before we went onto guitar solos, we tracked the Bass. The process for the bass was pretty straight forward; Record it clean and then re amp the bass sound to a bunch of pedals for some options (I believe it was a paladium, Sansamp VT, danelectro and possibly a loveless). Lloyd is always prepared when it comes to bass parts, It makes his section incredibly short, but efficiency is key.

Then onto vocals, this was the most unnerving part for me. It probably is for most vocalists. I tend to push my vocals too hard at rehearsals and ruin my voice. But in the studio things were different, I think being able to hear my vocals clearly helped me save my voice. I can hear the intricacies and sometimes going 110% isn't always best for hitting those notes. Its more about control, I love to scream though! I hope for the next record we can get even more harmonies onto the songs. After this album I've developed a real hunger for harmonies and I don't know why. It's just awesome creating chords with vocals if thats a thing, I ain't no Mariah Carey but my gosh. (The Mic we used was BLUE Bluebird Condenser)

Then it was onto tracking the guitar solos, well you couldn't really call them solos in my opinion. Being in the same room as a JCM 800 cranked was a blast, there was so much energy coming out of the speakers. You just get sucked into this world of noise and its amazing, I did have to wear ear plugs though (sorry guys I don't want to go deaf, I'm not hardcore I know. Unforgivable.). The feedback possibilities in that room really made the solos.

It seems that every time we go into the studio, its my birthday. So Lloyd and Isaac bought me a Star Wars R2-D2 cake! That was nice and I turned 24! Getting on a bit now ey? Towards the end it was a little bit of mixing and some other bits of tightening up the record in general.

Overall I'm super proud of what we've done. We cant wait for people to hear it, but we have to do it right. We need to get everything in order before we rush it out. It will change peoples lives, most probably ours. But not yet, Let's do this properly. Thank you to Bob Cooper as well as Roxy Gillespie from Louder than War for being on board from the beginning, your support and kindness is always appreciated. Thanks to my girlfriend Catherine for being supportive and always understanding of my endless need to pursue sound waves. Thanks to Lloyd for being a very odd human being, just joking, he's my main person and has been by my side forever, I love him. Finally thanks to Isaac, a bundle of joy and the best drummer in the world.

Thanks also to: Corrin Davies, Rachael Edmonds, John Peneveyre, Chris Hogan and everyone else who has been supportive of everything we do.

Recording our debut album!

Harry Corbett

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