Golden Fleece gig report

Great gig at The Golden Fleece on Thursday. Lots of enthusiastic applause from people who didn’t know us from Adam, and surprised shouts of ‘It’s prog!’, and ‘More prog!’. One impressed guy who came to talk to us afterwards said he that he had been walking past the venue on the footpath and heard us and just had to come in and watch. So it was a great night, well, except that I was a bit invisible because of the small stage, I felt like one of those hidden musicians that so many big-name bands use these days. Ellie joked to the audience that I was in the ‘Tony Banks Relegation Zone’. It was quite amusing to see that everyone who walked to a position where they could see me gave a big grin as if to say ‘Ah, that’s where those keyboard sounds are coming from’.

We had a nice support band, The Silhouettes from Derby, young guys who played indie with a ska influence. They had a really good drummer, who Ellie our lead singer was very taken by, mind you I thought he looked about 8 years old which made his performance even more impressive. (We missed the earlier acoustic acts as we had to go get some food after the sound-check).

We also finally got to meet the Nottingham legend that is Will Robinson, founder of I’m Not From London (promoters and record company), who seemed a very affable and unassuming guy. Mick our bass player commented that he wasn’t at all like your usual loud-mouthed, cigar-smoking promoter, but in my experience Nottingham promoters are generally all low-key, genuine people, and nothing like the usual stereotype.

Anyway, thanks to all who turned up, to Mick and Ed our rhythm section for playing brilliantly again, the sound guy because he was doing a good job (although a broken monitor meant that I couldn’t hear Ellie’s vocals), and Will Robinson and The Golden Fleece for having us on.

Coralspin at The Golden Fleece, Sep 2013

Maze Aug 13 gig report

Great gig at The Maze in Nottingham last Friday. Thanks to everyone who came along, and the other bands, especially the people who provided the gear share, and The Maze for having us back again (and The Maze again for continually supporting new original music).

Ed and Mick were sensational once more, plus Mick wore his cool red shoes which we love. I tried out my new keyboard stand, which was very solid (apparently someone said I looked like I was at the deck of the Death Star).

Here are some photos:

Coralspin at The Maze, Aug 2, 2013

Coralspin at The Maze, Aug 2, 2013

Coralspin at The Maze, Aug 2, 2013

Coralspin at The Maze, Aug 2, 2013

Epileptic Gibbon ‘Best of 2012’

Thanks to Ian at Epileptic Gibbon for using one of our ‘extra limited’ tracks on his podcast recently (no. 106, or stream here). As I have mentioned here quite a few times, we didn’t use much limiting (sometimes referred to as compressing) at the mastering stage of our Honey and Lava album, because we felt that that destroys the dynamics (ie. the contrasts between softer and louder sections, not just in terms of the overall dynamics of the song, but even from moment to moment).

However, this means that our tracks sound much quieter at the same volume level than the usual modern track. In regards to our album this is no problem, as all you just have to do is turn the volume up. But on a smaller radio show or podcast that doesn’t have a built-in limiting or compression function (like commercial radio stations do) it is a problem, because it means that our tracks sound much lower in volume, and hence more feeble, than the tracks around it. So we have made available versions of our first album tracks that have been more heavily limited for use by radio shows and podcasters (just contact us to get them). Ian is the first podcaster to take us up on this, and so we’re very grateful to him for doing so.

Ian’s show is well worth a listen, he has more off-beat tastes than the usual prog show and finds good material that is otherwise overlooked. In fact, it’s something of an honour to have been included in his best of 2012 round-up (well, some of the best of the rest of 2012), seeing as from his perspective we come from the ‘AOR-pop’ side of prog.