How I Made Diamond Studios

For issue 4.1 we spoke to rehearsal room about their role in the musical community. Joe of Diamond Studios came back with such an interesting story, we chose to publish it here, in full.

How I Made Diamond Studios

By Joe Short

The initial idea to start a business based around music came from two very different backgrounds. Mine was office based working in the Civil Service from straight from school for the next 15 years. and Will (Richards) my future business partner, exactly 10 years my junior, was a Uni student in the last year of a music technology degree at Leeds College of Music.

We had met the year before in 2000, when he auditioned as a drummer for my band Masterthief, a goth indie keyboard led folk sort of band with dance undertones.

Will fitted in straight away and the next year we spent rehearsing and recording at various establishments around Leeds like Old Chapel, Sponge, Jam, to name a few of the better ones and even Riverside Studios in Ossett.

We had varying experiences of rehearsal studios. Each one was different in its own way. Some were cold, some were tatty, some were badly organised, some had poor equipment, some had none, some were huge and dark, some tiny, some you were in fear of your life from knife wielding scallys trying to get hold of your equipment , some had a bit of parking. Few were sound proofed. They all seamed to be in dodgy areas. Prices ranged from 7 to 10 per hour.

The thing that struck me though was that very few had any customer service to speak of. There was no help advice or assistance with PA systems or broken equipment. There was no real interest in the customers, what gigs they were doing, what equipment they were buying etc. There was no connection to the local music scene. It was a bit like this is your room (cellar dwelling) can you pay me now and if you need or have forgotten something then you should have thought of that, now fuck off. No we haven't got any drinks for sale, your majesty. We used to just go to the most reliable place in the end so we were guaranteed a rehearsal when we all turned up.

My experience of musicians having been in bands, especially from my own band members is that they are the most forgetful people I had ever met. Our guitarist once had a nagging thought all the way in the car to a gig in London. When we got there he remembered he hadn’t brought his guitar. He would invariably leave his mic in the clip in the rehearsal room, never to be seen again, and once he ran off from practice saying he was late for whatever, and we later found his shoes. Hunting for a lead that actually worked, drum stick or plec used to absorb quite a lot of every practice time too. I have later found out that this is the norm with a lot of musicians

A plan was hatching, born more out of necessity than anything else as we had used up all our favours rehearsing in various band members bedrooms, kitchens, garages etc. The thought of having your own permanent space to rehearse is every bands dream, but it rarely comes cheap.

We wanted to have somewhere of our own which we could rent out to other bands, but make it a nice space with decent gear with someone friendly and helpful available all the time to look after every eventuality.

It was on holiday with Will just after he finished Uni that we talked about it a lot more. He was unsure of his future. He wanted to go into recording but we were both skint, and eventually he moved back down south to work at Comet. I carried on in my safe job in Leeds and thought nothing more of it for 6 months.

When Will rang me to say he was quitting his job and wanted to move back up North to set up a small recording  and rehearsal studio, and if I could get hold of a couple of grand, he would borrow some too, I said OK immediately.

I was at that point in life when something life changing needed to happen otherwise I could see myself ending up like some of my colleagues seeing their days out waiting for their retirement. It was a good job, adequately paid. Good terms and conditions. 30 days annual leave, security, flexi time, special leave for bereavements or unforeseen circumstances. Even so I would never go back to that kind of job now. The bitchyness and back biting were worse. Arse kissing undermining promotion seekers sucking up to unintelligent and resentful bosses.

By now I was living in Wakefield for some reason, and had fallen in love with it. Everything was friendlier and closer knit. Strangers would spark up a conversation in the street and in the bars and be genuinely interested in what you were saying. It was a lot more down to earth than Leeds. Everyone appeared to be into guitar music, or know someone in a band. This was a big culture shock for me because I found Leeds people to be generally rude and the City was too big to be friendly. The Wakefield Music Scene was cool. There were always friendly familiar faces and I found that they were genuine and were able to speak their minds. Maybe I was lucky, but I now know that wasn't the case.

The idea was that we would find some business premises where we could also live. We decided on Wakefield because I convinced Will it was the right environment, and because at that time there were only a few other Studios in Wakefield. There were none at all that I recall in the Ponte/Cas area. Living above the studio would ensure we couldn't fail as our overheads would be kept to a minimum

We ended up at the current site. I think the grassy areas outside sold it. Nearly every other box was ticked including a months free rent. On the downside the building was completely open plan downstairs and up, and with no prior building experience between us it was a daunting thought having to build a three bedroom flat, three rehearsal rooms and a recording studio with a total budget of £4000. Complete madness! The scariest part was signing a 6 year lease and I remember Will saying to me over a congratulatory pint afterwards at the Queens Arms what the fuck have we done. He repeated this several times over the forthcoming months. I had quit my job by now and my last ever pay day was at the end of the month. After that there was nothing coming in but at least we had a roof over our heads.

Initially the flat consisted of a roof over our heads. We were living upstairs in 3000 square feet of storage space. The previous occupant had partially moved out so he still had rows and rows of shelves containing plaster casts of prosthetic legs and feet. All weird shapes and sizes. There were reams of different kinds of rubber materials and rolls of leather. We were basically camping in a small corner of a spooky factory, and we didn't hang about running past the mad shaped feet when going down to the main toilets with our towels and toothbrushes. For privacy we staple gunned some material to the ceiling to separate our sleeping areas and the overnight toilet was a bucket. We lived like this for at least six months. The previous tenant was still paying the majority of the rent for upstairs which made it bearable.

The four grand went on materials for the three downstairs rehearsal rooms which we estimated would pay all bills and a weekly wage of a couple of hundred pounds each if used to full capacity. Happy days.

All together we used about 100 sheets of 15mm plasterboard. Two layers walls and ceiling. 150 m2 of soundproof rockwool. 300 metres of four by 3 inch timber. 75m2 of flooring, and a lot of blood and sweat and tears. We had to work for a month for the plasterer to get it finished.

At this point we took out a loan for £5000 to buy PA systems mic stands, mics, monitors, drum kits and amps.

The first room opened in March 2002 and we averaged 5 bookings per week. We soon realised after working night and day for 3 months that we would have to get jobs, and complete the rest of the work on the studio and the flat in the evenings.

We signed on at the local agency and we were soon working in various jobs from hospital porters to supermarket distribution centres pickers. Later I got a job as a trainee joiner and eventually learnt how to build things properly.

The constant building work continued for another 5 years when eventually the flat and recording studio were completed. As the rehearsal rooms got busier we bought more equipment and invested everything back into the business, building more rooms as necessary. We both had full time jobs by now and worked long hours. It was the people and the atmosphere of the place that kept us going.

We had met so many good friends and people from all genres of music. On a typical weekend we would have death metal in room 1, an indie band in room 2, a covers band in room 3, a solo sax player in room 4, a singer song writer in room 5, some teen agers starting out in room 6,  some  old rockers in room 7etc. The great thing was they would all come out of their rooms and chat with each other afterwards and share experiences over a coffee and a can of pop. There was a mutual respect, a friendly atmosphere and a buzz to the place that I can’t say I have felt anywhere else. I can’t say if this is only a Wakefield thing, but I am pretty sure it is.

The business is definitely a lifestyle choice. I have long since given up the idea of making any money out of it. If you do have a good week, you can guarantee a couple of amps will break down or a bass drum skin will go through. There is always something to maintain or repair.

Only a small proportion of this is through misuse. I think that I am lucky to deal with a nicer side of society. When we read about the lack of respect that people have for each other these days, I have found that musicians in general including the younger end have been the best people I have ever met. They have a common goal, they are being creative, working together and they can get a sense of achievement from what they are doing. They have a spark of personality. Funny, crazy, intelligent, full of dreams and life force. And then there are drummers!

There are lots of bands that I am extremely proud of mainly because I have had the chance to see them growing up over the years into successful song writers or superb musicians. I can say I remember you when you couldn't really play. Seeing them develop as a band is quite satisfying in a way. I am not saying they wouldn't have done it anyway, but I think the environment where you spend your creative time is very important and I am happy to have helped them along the way in some small way. I also try to get along to support them whenever I can. 

On the rare occasion that I have found someone abusing my equipment I take it very personal and feel the need to explain to them how much hard work goes into keeping the place open and providing decent gear. I think people need to understand sometimes what’s involved. They are usually ok afterwards.

Will eventually left in 2010, opting for a more regular lifestyle. The recording Studio never really took off. Everyone had home studios by then and to be fair I don’t think we pushed it enough.

I had serious doubts whether I could continue running the whole thing on my own. Working every night instead of every other was a big worry, but I have good people to help and I couldn't think of anything better to do. It is hard to walk away from something that you have invested so much time and effort into even though sometimes it feels like financial suicide and it is not a proper business in that sense. It is a lifestyle where you get to meet a lot of great people. I feel like I am providing a service to the local music scene, and feel like I am a little part of it.

The bloke in the building next to me makes plastic plates and cutlery. It is very successful and he is always pulling up in a new car or something. He always looks proper miserable though and I always wonder at what point in school did he say plastic plates, now that's what I want to do! 

The Clive Continuum

Clive Smith's final piece in his Continuum offering advice to young up and coming bands. Look back trhough the blog for the others, or wait til we compile them onto one page quite soon. Clive also has a column in Rhubarb Bomb the zine, and is on Twitter, though probably not for much longer (he says).

Knowing When To Quit.

There is this fog. It descends from time to time. Often I'll spend days in there. I'm long past trying to find a way out because you could be three feet from the edge and you wouldn't know, because fog is thick and dense and spooky. I just hang around waiting for it to leave. It never feels like it will, then one day, with little drama, I realise it's gone and I can circle round finding the horizon line once more.

Life's a struggle, kids. You aint special in your suffering. But perhaps if we had wider acceptance of each others gloom, it'd be easier for us all. Then, instead of getting heckles and people questioning the point of my art, they'd just let me get on with it.

I work hard. I try and point this out on Twitter all the time. I think it's important people know where I am and what I'm doing and what I think about it. But sadly, it all gets lost in the flotsam and jetsam of other people's nonsense.

Aren't some people addicted to the social medium? I will likely stop soon. It's important to know when to stop. I had a big problem with prescription drugs in the '80s. I'm not trying to sound cool, but it did help my music for a while, and certainly the gruelling live schedule I was hammering at the time. But I could see what it was doing to me - I had the self awareness to know I was becoming the thing I rallied against in my songs, so after two weeks, I went cold turkey. It was hard, but then so am I.

People are like that with their thoughts, flopping out of their brains like a tin of cheap dog food. They've made it normal to release their thoughts to the world without thinking. The Russians tried to figure out how to do that for years with their mindrays - now people have done it of their own volition.

I just want to sit home doing my rock and roll these days. That might make me sound old and dull, but that just shows how mental you are as a person. I don't need anyone's thumbs up, no big-shot coming to my show and nodding along. I don't need to be that try hard kid, that desperate wide eyed slave to cool.

I just write my songs at home, for me. And record them myself. I've been there and done that - playing the live shows, being chased by the women (and the men). I MADE IT, I'm TELLING YOU, I made IT. I refused to follow the 'proper' path, refused to do as I was told and didn't bother with convention. I didn't sell out by bothering to promote my records, or saying thank you to the people who helped me out, or doing anything that interrupted the sweet flow of my life. If I wanted a scollop butty, I went and got one, you get me?

I don't wish I was back in the eighties. I hate nostalgia; as dear Mrs Clara Smith will tell you - I never look back, never dare repeat history. But whilst I don't wish I was back in the 80s, I wouldn't mind it being the '80s again. Everything made sense then. People listened to me then. It was sunny every day. It was never foggy.

I remember one long weekend in Grimsby, kind of a celebration of Maggie's win for government. Clara and I were walking the docks (I was looking for potential song-titles in the ship names) and there was this mist hugging round our feet. It was really strange. The rest of the day was glorious, bathed in sunlight. I'd forgotten til I started typing this here, but we were making up from an argument we'd had the previous evening. She wanted me to stop with the music. Not completely, but being away from home so often, sometimes for weeks at an end, whilst I worked on drum sounds in Lobley's shed (he had a sleeping bag I'd use). Life on the road was causing problems for us. She couldn't see it made me who I am.

By coincidence, I came across an old school pal of mine, working down on the docks. He was loading up his ship, was sailing to Spain, then an exotic holiday location. We reminisced about the beat-combo we had back at school, Clive Gets Caned, and laughed a lot.

An hour later I was setting sail with him for a tour of Spain. I looked back to shore as the ship left, Clara there, mist around her feet, tear in her eye. Even then, she wouldn't stop. "Don't go Clive" she said. I wish she'd understood, but she just kept on. She didn't know when to stop.

Of course, that Spain tour led to me meeting flamenco legend Hose Guitario, who influenced my work heavily for many weeks. You have to keep moving forward, whatever the costs.

That's why I am the success I am. But the truth is, you do have to know when to stop. Give that some thought right now. You have to know when to stop. Because let's face it; you aint ever gonna catch Clive. You aint ever gonna beat me. So stop. No-one likes you anyway.

Clive Smith

Vicugna Pacos Review

Vicugna Pacos

Fur Blend

Philophobia Music

                On their Soundcloud page Fur Blend claim to have invented an "original sound". Now, call me cynical but I've heard this claim before and 99% of the time what has been created isn't "original", and about 95% of the time what they have created is utter dogshit. Fortunately for Fur Blend, while I failed to discover that elusive, original sound that popular music is crying out for, they succeeded in not being utter dogshit (I would be happy for them to quote me on that for any future press releases).

                I think, perhaps, what they meant to say when they described their music as original, was eclectic. Eclectic is a horribly over-used word by music reviewers and press agents but I'm not getting paid to write this review and pressing shift F7 always seems like cheating to me. But at least it is the right word.

                They start their EP with a fantastic track called Valley Girl. They sound like a proper band, possibly from Oregon, and, having never seen the band live, I would guess at least one of them has a beard. More importantly though, the guitar lick is top and so is the chorus.

                At this point I thought I was in for an EP of slacker stuff, but like flicking a record player from 33 to 45, they stepped on the accelerator and drove to Punk Town. The next two tracks, No Use and Pretty Good B-Side, hint at the garage-rock sound that became popular at the start of this millennium. This could be the source of their influence, or it could be from The Buzzcocks et al, but either way it is done with gusto.

                The final track of the EP, Speeding Heart, is one of those acoustic numbers with some faint strings in the background and some mournful lyrics about the passing of time and such like. It's the kind of song bloody loads of people love nowadays, but I only tend to hear this music if I accidentally turn on a rubbish "British made" drama and they have some melancholic sounds over the top of someone walking through a park while looking sad because they've lost a winning lottery ticket. You know the sort. Not for me I'm afraid, despite the nice harmonies, and I preferred Fur Blend when they kept their amps plugged in.

                Stay young is my advice. At all costs.

Stephen Vigors

WF Bands to play Long Division

Throughout March, Long Division held four warm up gigs consisting of bands / performers from the WF postcode. The aim was to find some great, new local bands to play this year’s event.

We were thrilled with the response and all the gigs were huge fun, purely because the stuff we were seeing and hearing was genuinely fantastic, and different too. The diversity on display was a credit to the city.

We said that there would be a minimum of four performers that made it through to the festival. It ended up being five. We’d have liked there to have been more, but the amount of slots is so limited (70 sounds a lot, it’s really not) that this is all we could manage. But Chris at The Hop and myself would be happy to work with them all for other shows and events.

It sounds cheesy, but it genuinely was a tough decision. In the end Chris and I had one personal choice each, then looked at what types of spaces needed filling in our schedule. There were a couple of amazing performances, but they didn’t make it because they didn’t quite fit with Long Division. Maybe we’ll look to change Long Division around a little last year to accommodate them.

Anyway, thanks to all the bands that played, and here are the five bands that will be playing Long Division on June 8^th.

Dean’s Choice: Jasmine Kennedy

Chris’ Choice: Boxing Klub

The Others: Crowds, jamiesaysmile, Thomas Wilby Gang.

Broken Bones Review

Broken Bones 

jonnythefirth

This has been out a while now, but it’s well worth mentioning because you might have missed it. That would be a pity.

The album is tagged on Bandcamp as ‘blues punk Virginia’ which may be the first time I have seen those words together in any meaningful context, but as I listened through the album that description proved fairly accurate, if a little limited.

By the time you reach 9^th track, No Heroes, the raucous guitars are accompanying a decidedly Virginian bassline and it seems that-  just like the barmaid in The Blues Brothers says- they do both kinds of music, “Country AND Western…!” That said, the lyrics remain stubbornly Wild West Yorkshire- “I went for a walk down Painthorpe Lane…” hardly Robert Johnson heading towards the mythical crossroads, but I like it!

Tracks like Pitbull Blues have a fuzzier, more bluesy edge; overall, this album displays a wide palate of influences: Dirty Jokes has a jangly 60s feel to it and Damages, the  longest track at just over five minutes, slows the pace down and builds to an anthemic chorus- but anthemic in a good way, yeah!

It is this variety that makes the album an easy listen and suggests that Johnnythefirth has some real potential sonically; they fuse and fade between styles comfortably yet never overdo it.

They are safely installed on the bill for Long Division 2013 and I would recommend trying to catch them live because this collection of songs feels as if they will be even more impressive out in the wild...

Matt Rhodie

Live At Leeds 2013 Preview

I have said it before and as I get older and more senile I will no doubt say it again; Live At Leeds is the beginning of the festival season and (fingers crossed on the weather) the summer, for me. It’s a distinct, seasonal marker on the calendar and I always look forward to it.

Naturally, city based festivals are close to my heart and Live At Leeds is great because Leeds is great. I just like spending time in the city; an afternoon into evening of drinking with friends in its fine bars would be enough, but then all this music too…

So, if I were scoring Live At Leeds out of ten, it’s like it almost starts on a five. For this reason, the actual line-up never bothers me too much. Or, it never worries me if there are no big draws, because the joy of Live At Leeds for me is discovering new sounds, being played to big and excited crowds.

That said, Darwin Deez is a definite attraction, especially as I only saw about five minutes at Long Division in 2011. His new album sounds interesting too; a little harder with the beats, a little darker perhaps. That should be a show to remember.

The other notable band is The Walkmen who are a band I’ve never quite clicked with. Every album I hear amazing reviews. I hear bits and pieces and like it. But I’ve never bought an album, and still think of The Rat when their name is uttered. It is perhaps because I’ve had little chance to see them live. This is their chance to impress and I hope they live up to their reputation. A raiding of Crash & Jumbo Records will surely follow if they do.

The rest of the top end – strong, but not to my taste. My eyes actually want to look at the bottom half of a Live At Leeds poster, to see what my new favourite bands might be called. The known names standing out are Dutch Uncles, Dinosaur Pileup, Sky Larkin, and Splashh but beyond that there is a plethora of unknown pleasures, waiting to be found.

And for those who have not been before, this feeling of discover is mirrored in the venues the festival uses. Spread across Leeds, we have venues ranging from tiny Milo’s to the established likes of The Cockpit and Brudenell Social. This is once more part of the charm. Some venues are a little too spread out but if we get that nice weather it just encourages you to spend time in the city. And although Brudenell is a little separate from the others, they’d be mad to leave out the best music venue in the North of England (I only limit it to that because I’ve not seen that many in the south, ok?).

These days, Live At Leeds makes full use of it’s Bank Holiday weekend, with The Unconference working as a networking / industry type event and their increasingly popular football tournament on the Monday seeing bands and labels square up to one another.

The bottom line is, for £22.50, I can’t see why, if you have even a passing interest in music, you wouldn’t go to live at Leeds. You can pretty much squeeze in 12 hours of music, if you so desire. The types of music, and the venues are pleasingly broad in scope and the atmosphere is always upbeat and optimistic.

On a final, mixed note, Live At Leeds has come second in both of our previous Festival Of The Year awards. Two silver medals is an excellent record. But will this be the year it final steps up and claims gold? I can see no reason not, so if April is going to be as damp and snowfilled as the weatherman is suggesting, get a ticket to Live At Leeds and let it be your lighthouse out of this seemingly never-ending gloom of winter.

Dean Freeman

The Clive Continuum

“Punk Rock”   
(see also: "Awards", "Festivals" "Demos" "Respect" "Side Projects"  "Lyrics"  "Touring")

People say to me "Clive' (they say) 'you are a 65 year old man, isn't it time you knocked the old punk thing on the head? You've paid your dues, no one could have given more than you. Isn't it time you gave it a rest?"

This is mainly my wife, when she wants me to do the washing up. Or my pal, Lobley, when he's trying to persuade me to go on a fishing trip with him. I think he always hoped retirement would mean we could spend quality time together, not arguing about bass solos and brass arrangements.

But it's not something you can switch off. And besides, fishing can be punk. It's just not punk right now.

Because Punk is something that continuously evolves. And that's why I have continuously evolved. Most artists can't deal with that responsibility. They'd rather get a tattoo of a Chinese proverb and a spiky haircut and everyone knows the Chinese are the least Punk Rock nation on Earth.

It was Punk when John Lydon went on Celebrity Jungle People. It was Punk when he walked out. It was Punk when he did the butter advert. It was Punk he only did one advert then walked away, at the height of his fame as the face of butter. Can you honestly say you'd leave that behind?

And it was Punk when I combined Rockabilly Scat with Waltz-time Deathcore at the tail end of my Imperial Clubland phase. It was Punk when I went crawling back with a set of Sinatra standards. And here I am, twenty seven years later, performing a guerrilla gig every single day of the month when I should supposedly be doing chores or working like a chump, like what you do.

The only type of Obvious Punk I can stand is when the band is having a laugh. Punk is meant to have a sense of humour, of the absurd. It's these serious 'I am going to change the world' punks who are pathetic. You think the same three chords and some messy hair and a bit of shouting will change things? You're as bad as these pop stars.

They think they are rebels like Damon Albarn. Cult Robin Hood figures, who want to rob from the rich and give to themselves. Well I earnt my money pal, as well as my Punk Rock credentials, so don't steal from me. They'd think it was Punk to rob a bank, from ‘the man’, that kind of thing. They are wrong. A true Punk would storm the bank, waving a sawn off shotgun in their faces, grab all the cash they could carry, and then blow their own brains out. That'd show ‘em. These fashion punks don't have the backbone.

I feel like I'm shouting at a wall a lot of the time. This writings on a blog wall is the new way of that and it's just no good. People tweeter a joke they hear and think they are Michael Barrymore. I try and spread the real truth - not the ‘nod-wink, ha look at that’ reality most people prefer - and it gets me nowhere. I would be better off actually just shouting at a wall. Maybe people would pay attention to me then, instead of just walking past, eating their Greg’s sausage and bean pies.

I think Wakefield is the problem. So many people just bothered about wallowing in squalor, pretending they are living in some kind of Euro-Hippy squat. "Everything sucks!" Pretending they choose to be poor and helpless and that. Dressing scruffy is some silly code to them, "I'm part of the gang, I was rejected by society too." Yeah, because you are faulty goods, pal. If Punk is forced on you by circumstance, it's not Punk. Punk has to be a choice.

This is why I've been getting out to new places; Ossett, Purston Jaglin, Middlesbrough - to force this new choice on people. But it's tiring. I'll die like I lived - young and at the peak of my game. I'll never stop pushing things forward. But it'd be nice to know the spirit would be kept alive when I'm gone. Oh it'd be great to be out there with my pal, fishing the week away, or spring cleaning with Mrs Smith without a care in the world. But until these kids begin to even scratch the surface of understanding what Punk really is, I'm sad to say it feels like there really is no future. No future for you. No future for me.

Clive Smith