Monday, January 30, 2023

May Tour

Yes, I'm hitting the road once more, in an attempt to get you to part with some cash and watch me frantically flail my arms onstage, trying to reproduce various worriedaboutsatan records for your pleasure and amusement.

Anyway... the tour will be announced in full very soon, as I'm just waiting on one or two stragglers to either confirm or deny whether I can come visit with all my various boxes and keyboards.

For now, you have three cast iron opportunities to come see me play:

5th May at The Triangle, Shipley (tickets here)

6th May at Just Dropped In, Coventry (tickets here)

7th May at Cafe Kino, Bristol (tickets here)

- the Bristol show is the latest to be announced, and will be on a bank holiday Sunday, so don't worry if you saw 'sunday' and thought 'good grief, no-one's going to gigs on Sunday you idiot'. It'll also be the farthest south I'm going, as London didn't work out this time, so if you Londoners fancy a road trip, Brizzle is your best bet.

It'll also coincide with a new album as well, which is nice!

Tuesday, January 17, 2023

Behind the album: FBNA edition

Well, after numerous years and a several delays, Falling But Not Alone is out now:



I've written before about how this album had a bit of a torturous time of it, but wanted to expand on that, as the album itself is full of little stories. For a start, the record is a bit unlike other satan albums. Usually, I'll sit down in one stretch of time, and come up with enough material to fit on an album, then call it a day and box it off. Sometimes though, older tracks will pop up on newer albums - Twin, for example, was added to Time Lapse, despite being a few years old at that point, but it fit sonically with the rest of the album, so it didn't sound too out of place. In fact, Twin and FBNA's opening track 'All's Lost' were recorded at the same time, way back when, but just never got around to being released. I think at one point, the band had an idea to release them as a split double A-side single, but it never happened in the end, and they were shunted into the vault of unreleased tracks, which we tended to dip into when we needed something.

All's Lost was originally an instrumental, until I approached Manchester based electronica act She The Throne for a vocal. I've known STT for ages, and we even did our last tour as a duo with them back in 2019, before covid hit and satan went solo, so was thrilled when Alison agreed to put something on it. Both this one, and the aforementioned Twin, both had plenty of singers attached to them over the years as well - last time I counted I think 5 different singers were attached to do something on them at one point or another, but it was only when STT sent back a take that anything ever happened on it. To that, I am eternally grateful for them. Go check em out, they're amazing (and wicked live too)



Goodbye From A Slowly Sinking Ship is one of the newer pieces on here, and I finished this one off when I moved house in early 2020, just as lockdown was happening. That gave me plenty of time to focus on music - you'll have no doubt seen the amount of records that came out on the satan timeline around 2020-21, and this was part of that relentless recording period. I'd had a rough idea to replicate Shift, the 2018 EP we did for the same label that was putting this one out: Wolves and Vibrancy. I wanted a long, meandering, mainly synth based track that sort of ebbed and flowed, and I think I sort of nailed it. The main synth lines are cut up and re-pitched bits from various sample packs I'd started to buy around this time, which was a lot of fun.

Hours Pass was actually an off-cut from Time Lapse - the album mentioned a little earlier. Come to think of it, there was another off-cut from that album in the form of Conservatory, which only resurfaced as a free download on my Soundcloud page. Anyway, when I submitted TL to n5MD, the label that put it out, I sort of panicked and thought they'd want a huge sprawling album, so wanted to give them as much material as possible. When Mike gave his initial thoughts, it was to cut Hours Pass (which was a very late recording in that process anyway) and Conservatory, and replace it with Mingels. It would also help time-wise, as I think the record was running too long for vinyl at that point. Anyway, it worked and Hours Pass just sort of fell into the vault.

The last track, 'Hang In There, Baby!' (reference for the title here) was the last thing I did for this album, and I think by this point I was a bit strung out after so much writing and recording that I was doing at the time. I just about squeezed enough of my energy into it though, and wanted something that sounded quite nostalgic, and something that didn't have a guitar on it at all, so I cut up some pianos and played some glistening 80s synth over it. Was very cathartic, and sounded so nice to play - I could've sat for hours and played the same three notes again and again, but that wouldn't be very commercially friendly lol.

So yes, once all these were packaged together and sent off to Fabian at the label, we had quite a few setbacks. The initial idea for the record was hatched basically once we'd done Shift, but we were busy with other stuff and never quite got around to it. Once the band became a solo affair though, I decided to make some time, as Fabian was very enthusiastic about working with me, and didn't want to let him down or take the piss - he was putting money and time into the band's endeavours, so wanted to repay him. 

However, things went pretty slowly - Wolves had a busy schedule, and vinyl wait times were pretty long, even then, so it was slipping backwards in the release timeline straight away. Then the mastering engineer who was supposed to work on it fell ill and couldn't complete it, so in came Aidan Baker of Nadja fame to finish it off, but then covid hit, and the pressing plants shut down for a while. Only when they started back up again did the album get the green light, but more delays (thanks Abba, thanks Adele) saw it pushed back to where it is now - January 2023, which is mad when you think it was 2018/19 when we first talked about it.

Right, anyway, hope you've enjoyed this little piece. The album's out now, and the shirts and vinyl are awesome and you should all go buy one! 


Tuesday, December 13, 2022

State of the satan 2022

I do one of these every year, so here it is for 2022: a rather dispassionate list of everything I've released this year, just in case you want to pick something up that you might've missed! A lot are pay-what-you-want, whereas others are just priced pretty cheaply. 

 

As worriedaboutsatan:

Sigourney Weaver Fanclub President (Single, This Is It Forever)

Bloodsport (Album, This Is It Forever) 

Celebrity Bloodsport: The Remixes (Remix album, This Is It Forever)

Glass Infinites (Album, This Is It Forever)

0207 (EP, self released)

Patterns (feat. The Anchoress) [Single, This Is It Forever]

Dude, You Might Wanna Put A Vest On (Single, This Is It Forever)

Live 2022 (Live album, self released)

 

As Marta Mist: 

I've Not Blinked Enough / Midnight Solitaire (Single, This Is It Forever)

Eyes Like Pools (Album, Sound in Silence)


As Gavin Miller:

Slumbertones #1 (EP, self released)


Remixes! All done as satan this year:

Message to Bears - Daylight Goodbye (worriedaboutsatan remix)

Arms & Sleepers - Come With Me (worriedaboutsatan remix)

Gallops - Death Square (worriedaboutsatan remix)


Also, a big shout out to Catherine aka The Anchoress, for making Bloodsport her album of the year in Prog Magazine!



Monday, December 5, 2022

2022 favourites

Time again, I suppose, to list some records that I've really enjoyed over the past 12 months. For reasons that I'm not particularly interested in going into on here, my music consumption sort of stopped for a little while, so this list is a little light, but hopefully someone gets a kick out of it.

The Broadcast 3 album mega-deal (Maida Vale Sessions, Microtronics 1&2, Mother Is the Milky Way) 




Andy Stott - The Slow Ribbon

HEALTH - Disco pt.4 II

Sunshine Life Emulator - Hatch Dream

Kuedo - Infinite Window

Can - Live in Cuxhaven 1976

Stereolab - Pulse of the Early Brain (Switched on Volume 5)

Moin - Paste

Oiseaux-Tempete - What On Earth

 Cryalot - Icarus

Vaal - Love Reversed

Backxwash -  HIS HAPPINESS SHALL COME FIRST EVEN THOUGH WE ARE SUFFERING

Monday, November 21, 2022

Falling But Not Alone, album #11

Finally, *finally* we have lift off on FBNA.

For those who've listened to me prattle on about the worriedaboutsatan mystery album pipeline, you'll have caught wind of me mentioning this 'lost' album, that was submitted about 2 years ago and was never seen again, due to a combination of Covid, mega schedules, and people being involved in accidents who were supposed to master it.

Well, all that is finally behind us now, as that album, which is called Falling But Not Alone, will be out early next year via Wolves & Vibrancy. Pre-orders will be open on December 2nd.

I'd told Fabian from the label that I'd love to work with him again after 2018's 'Shift' EP, but alas, events conspired to get in the way. I mean, first of all, the band's makeup changed somewhat, then I had schedules, then he had schedules, etc. so this whole thing goes back quite some time.

The record is itself a sort of half a compilation of tracks that got missed from various releases, and half a brand new thing (which obviously isn't brand new anymore!) The first two tracks, 'All's Lost' and 'Hours Pass' were tracks I already had lying around - All's Lost, by the way, had at one point about 5 vocalists attached to it, but it was only when I contacted Manchester's She The Throne, that a vocal ever got put on it. So props to them for that. That's also the oldest track here, which I think comes from around 2017/18, but got left on the cutting room floor for reasons unknown. It's a banger! 

'Hours Pass' was actually a late addition to Time Lapse, but got cut for timing reasons when n5MD put the album out in May 2020. 

The other two were late additions themselves, but ideas that I finally got around to finishing up when I moved into my current house in Saltaire. That was early 2020. So yes, this has been one hell of a journey, and I'm so glad it's finally coming out!

Go say hi to W&V (and follow them on Bancamp) here: wolvesandvibrancyrecords.bandcamp.com


 

Friday, November 11, 2022

big

Back when the band first started, I'd like to think I was very driven to try and propel satan forward as much as humanely possible - we'd constantly be playing live, always hustling and forever trying to get 'big' - get a label, get an agent, get a manager. I have to admit, those habits die very hard, but one thing that age brings is a sort of sobering brutality that 'big' isn't really the be all and end all of being in a band, or making music in general. If it's taken the arse to completely fall out of the music industry to realise it, then at least some good has come of it.

It's enough to just keep on making something. Sure, it might not sell as well as something else, or you can't get that big gig you want, but it doesn't matter. Those things have never really mattered. It's enough to just sit at a laptop and think 'what am I going to make this time?'

And I've had labels, agents, etc. and none of it ever really propelled me into being 'famous' - good labels find you, good people find you, you just have to trust that. 

If everything's burning around us in 'the biz', then at least take yourself out for dinner and have some fun. Book a show yourself, put a record out yourself, do something silly, I don't know. You might as well, because doing things 'the right way' has never looked or felt so alien and ludicrous. You've got a lot of technology at your fingertips - might as well use it, fuck it.

I suppose this all links into the current social media death spiral we're seeing, and as much as things like twitter and OG facebook have helped me, and the band, it's also oddly liberating to see these places disappear and wonder what will happen next. Are you up for another social site? or do you want to just run into the woods and never log onto a website ever again? Either way is perfectly valid, there's no wrong answer. I quite like the idea of being a little less online, but I'm also not naieve enough to think I won't be able to work without it, so it'll be interesting to see how people reset themselves. 

But yeah, anyway - just keep making stuff, because there's enough shit in the world, you might as well fight the good fight.

Tuesday, November 1, 2022

Live set 2022

This year's been a strange one for live stuff. In March I set out on my own for the first time as satan, and did a few dates up and down the UK. They were hard work, I'll not lie. Really fun, and was great to meet some friendly faces old and new, but having to book shows yourself, and in 99% of cases, having to promote the shows yourself (that means being the band, the promoter, the tour manager, the door guy, the sound tech, the driver, poster designer, PR guy, etc.) is a hell of a lot of work for one person with a full time job to take on. 

So after that, and having seen the changing landscape of live shows in the UK first hand, I thought I'd give it a rest and just do the few bits I had after that and call it a day for a little bit. I did a show for the Endless Hum in my hometown of Shipley, a slot at ArcTanGent festival, and a support slot with my dudes Gallops down in London. After those I was fucking tired. I'm old now you know! *Adam Curtis voice* but then, something happened. Well, it's not as dramatic as that, but I was offered a chance to support Mono in Leeds at City Varieties, to which I obviously said yes, and then finally was asked to step in last minute to a mini Endless Hum upstairs at The Triangle in Shipley, supporting French EBM act Leroy Se Muert.

Just before that last minute step in, I recorded the live set, as I realised I'd not done that yet, and with the fragility of booking things yourself and being the ultimate one man band, I figured it was in danger of being lost forever as I'd no doubt either move on to a new live set for next year, or just not play for a little bit.

SO... here it is, in all it's glory. A practice session recorded before that Triangle show, set to various shots of my studio or live photos from my escapades all year. Enjoy!