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  1. 3 points
    Hey man, thanks (I think!?) for all that - not quite sure if it was questions or statements, but I'll do my best to clear up as much as I can - and hopefully in a manner that is constructive to this thread rather than just banging on about myself. And yes, Dan G/Dan Weapon/Dan Atom are all one and the same...although I'm sure the even older residents of this board will more fondly remember me as Dan Loaded (my first band)! And Cloud I presume? And yes, I still reside in Aberdeen many years later. I'll give you the horse's mouth abridged history of the band throughout my reply if you were interested (or even if you weren't haha). Firstly, thanks man, and in hindsight I'm super glad we did those videos - a fantastic keepsake as much as anything! I'm also not hugely embarrassed by them, which is nice 10 years later. Also the Kokura video was shown on MTV2's headbanger's ball which although means nothing in the scheme of things was awesome for me and Ben on a personal level as we'd grown up with that show. I slightly disagree in that no one gives a fuck about music videos though...whilst that's true as far as TV channels, streaming on youtube (and spotify etc) is valuable these days. Anyone can knock up lyric videos, but I'd always far rather watch a professional performance/concept video. Streaming wasn't a consideration back in 2008 when we did our videos though - we just wanted to look as pro as we could, get our music out there in a different medium, and do what bands we respected were doing! Hahaha "Discourse and indecision", but yes it did sounds like 'Tescos' . Not sure which guitarist you were referring to, but assuming you meant Jamesy? He sort of left on mutual terms, but in fairness was more ‘persuaded to leave’ rather than decided to leave himself. Jamesy started the band and was absolutely the driving force behind MMW in the early days - he got us so many quality support slots, tours and was generally the fire behind it. I never had any intentions of ‘making it’ and all that – I just liked playing guitar and hanging around with mates – but Jamesy had real drive and point to prove. However he’d be the first to admit he wasn’t the most gifted/technical guitarist. He also wasn’t that into metal and his initial vision was more of an emo/screamo/punk band, but Nick and I were far more into progressive metal, which is what it eventually became musically. By 2005 Jamesy was far more interested with his work at Moshulu putting on gigs (he entirely stopped playing guitar in that Summer) and we realised we weren’t going to get any better if this continued, so parted ways. He often wound people up (both inside and outside the band!) but I believe his heart was always in the right place, and he had ambitions far beyond what anyone else in the Aberdeen music scene had. Or at least he tried harder to make them come to fruition. Ben leaving was an entirely different matter. It’s unfair to air it in full in public, but essentially he quit after having a minor disagreement with Nick that was completely unrelated to the band. They made up a couple of days later, but I think Ben was too proud to ask to rejoin, and we figured this was our opportunity to replace him with someone better. I remained good friends with him at the time, but like you say our biggest criticism was the vocals so we saw it as the opportunity to improve with our second album. At this stage Scott Bowden was playing bass, and we were the tightest we’d been...me, Nick and Scott had some real chemistry. I was writing some really tech prog-thrash at the time and believe we could have done a killer second album if we found the right singer. That was not to be however, as we couldn’t find (or didn’t try hard enough) to find a replacement, and I was taking way too long to write new material. If Ben had never quit, I reckon we’d have continued the band for another 5-10 years, though I doubt we’d have gone on to ‘achieve’ that much more than we did. Ah, good old Ben - AKA Ben Quik, Bladeola, Highroller, Wolf.biker and a few other guest accounts after his various bans. Ben was never the best singer/screamer in the world, but I think at the same time he got the most amount of abuse on accounts of his online antics. And to be fair he really was an arse on here – but goddamn it was hilarious. I’ve re-read so many of his 12-15 year old, uh, ‘discussions’ and every facet and flaw of his personality is laid bare on this site in some form. You don’t need a degree in psychology to see that he just needs to be loved; he’s got a very fragile ego, insecurity issues that rear their head as arrogance, he struggles with criticism and has a startling lack of self-awareness. The latter was especially transparent when he’d come on here using an anonymous account pretending not to be Ben and getting busted by everyone 2 posts in. He was a good friend though. He did so much for the band, and was a hard worker… he bought his own mic(s), drove the band everywhere, put in a shift loading gear, was great at helping out and getting on with other bands – and in reality/on tour/offstage he almost never displayed any of the prima donna bullshit that singers often do. Given his on-stage and online persona, I’m sure people who never met him imagined him to be an absolute twunt, but that wasn’t the case at all. My view on the whole Scorge/Jake arguments is this: I've never really been one to attack other people unless provoked or attacked myself. Ben used to wind up Scorge/Jake and vice versa, which would lead to those two slagging off MMW and therefore me - so I'd jump in and take the piss/argue back (although I only went for personal insults... I don't think I ever ripped on Spike Pile Driver as a band even once, as for one I always liked Hog). Essentially they constantly called the music I'd written fake, image-based rinky dink pop music, with no credibility or integrity etc. I took that pretty personally given anybody that knows me is aware that a) I've spent 1000s of hours of my life practicing the guitar/writing songs, and b) I never had any desire to achieve anything in music beyond having fun. It just so happened that the music I wrote for MMW ('Metalcore' if reduced to its simplest form) became popular, and as such we got lumped in with a trend. But I'd been writing In Flames and Killswitch style modern metal stuff in Loaded circa 2001-2002 before it became the fashionable thing, and many years later the music I write and listen to is much as it was during the height of metalcore's popularity. One of the reasons I'm still proud of our album is because ten years on I don't think the majority of it has dated badly... sure there are metalcore breakdowns, but there are also loads of proggy time signature/key/tempo changes, guitar solos, synths, pre-djent meshuggah style grooves etc. Not just drop-C open riffs with a floppy fringe bollocks. Regardless of whether it was good or shit, it was a real honest bunch of songs that featured all our influences chucked in a blender! John Browne you mean? I know him well-ish... we toured with Fell Silent (his pre-monuments band) circa 2008 as both bands were signed to Basick records and had just put out an album. He spent most of the tour in our van, and stayed at my folk's house with us rather than the rest of his band. Funny-ish story - we gave him a bit of a metal schooling by playing Dream Theater's 'Metropolis pt 2' and Pantera's 'Far Beyond Driven'. He'd never really heard DT, and in tour van chat he said he didn't think Pantera were good... naturally we told him how incorrect he was, and got him to rescind his comment playing him 5 minutes Alone, I'm Broken etc. I'm pretty sure these days you'd hear him say how Petrucci and Dimebag are legends/big influences haha. Incredible rhythm guitarist these days to be fair. If I said it like that, then I regret it if I was mocking him... I can't really remember it but I totally stand by it! In fact I bought my first 7-string a year or 2 back. It's currently got the normal 6 string tuned down 3 semitiones to C# standard, with the 7th string tuned to F# (so it's like a drop-D relationship between bottom 2 strings). That's as low as an 8 string, but without the hassle of an extra string and hardly sacrificing any high end. You could get far better value for money on 7s rather than 8s back then, so unless you were a total virtuoso I reckon 8 strings are highligh unnecessary. Can't remember that Meshuggah quote but I've always really liked the band - especially Destroy Erase Improve and Chaosphere (I was ripping off that album for my own band Loaded back in 1999! Albeit artistically rather than musically...). If I was making a point about them, I imagine it was more that their riffs aren't necessarily finger gymnastics but complex in other ways. If you are genuinely interested I can tell you more about exactly why we didn't go full time and why there were further line-up changes... I've already gone on for so long though so will only continue if requested to do so! I honestly don't think I was ever really one to run my mouth or be an arrogant twat about the band (happy to be disproven with evidence if anyone cares enough) apart from the aforementioned flamewars with various members of Spike Pile Driver and Ascension. Funnily enough that mostly all stopped once we did that charity show for Hog and certain people were found to only be able to talk the talk, but not walk the walk... but let's not go there And don't worry - wondering what might have been really doesn't torture me at all! I picked up a guitar purely to play my favourite bands riffs, and I joined bands to hang out with my friends. I never, ever set out to do anything more than that.... but even by achieving very little (by other people's standards) MMW achieved things on a personal level that I could never have dreamed of! We had a vid shown on MTV, played the SECC twice, supported numerous of my all time favourite bands, were signed to a great label and released an album that you could buy from any shop... to name just a few. But far more importantly, had an amazing time with good friends, plus making so many more good friends/memories.
  2. 3 points
    Krakatoa and Drummonds/Tunnels have to all intents and purposes stopped being venues for anything that isn't a tribute act or battle of the bands. There are still promoters around - we put a show or two a month on, and we generally get enough people in to pay the bands and keep a float for the nights we run a lil bit short. My experience, the scene in Glasgow isn't any better than the scene up here, it's just bigger with more bastards in it. We're putting on gigs down there ourselves now to save dealing with said bastards. I'm too old to care about making it, so I'm quite happy that the big boys from London aren't cutting about Aberdeen. Would be nice to get a venue the size of Downstairs back on the go, we're kinda missing that more than 50 but smaller than Tunnels kinda room.
  3. 2 points
    PROPAGANDHI - the albums Supporting Caste, Failed States & Victory Lap Propagandhi are the best punk band of all time imho - I say that as someone who comes from a metal back ground too. Great songs, super technical but never unnecessarily flashy/wanky, and incredible lyrics. They are probably the only band other than Tool whose lyrics I REALLY make a point to listen to and analyse.
  4. 2 points
    What about the X-Certs? Sure they live in Brighton these days, but they are from Aberdeen and spent their formative years plying their trade at all the venues here, back when there was plenty of venues to do so. Although the fact they had to move to Brighton to make-it says it all... Aberdeen music scene used to be great - but it was also very insular. Back when I was more heavily involved in it 10-15 years ago there were plenty of bands that built up strong fan bases in Aberdeen but who didn't often venture outside it. I'm sure there are many factors why, but geographic location is by and large to 'blame'. From my point of view, here's why: My own band at the time started to get a lot more serious around 2005 and we began playing a load more shows outside Aberdeen - frequently playing the likes of Glasgow, Edinburgh, Perth, Dundee and Inverness as well as using all our holidays from our jobs to do week or 2 tours of the rest of the UK. After a few years of doing this we were signed to a good label, had an album out in all major retailers and were starting to get mentioned in magazines etc - although let me state now I wouldn't so much as dare to say we even came close to 'making it'. However I would say we could have made a lot more of the band if we were based down south. The main reason is because it is a massive amount of effort and expense to play one-off shows outside Aberdeen (the fee you get paid probably won't even cover your petrol costs). If you have a job and bills to pay, it just isn't feasible to regularly take an afternoon off work to drive a 6-hour-minimum round trip to Glasgow on a week night. We used to do this as often as we could, but not enough to get to that next level. On top of that, from Aberdeen you can only really go South to find a big city to play - and even then there's only really Glasgow that is of major significance (Edinburgh's music scene/venues were nowhere near as good as you would expect from a city of nearly half a million, at least from my experience - and even though I'd say it's totally worth it, you aren't gonna make it from playing Dundee and Perth on a regular basis). Compare this to being from (say) Manchester, you have the likes of Leeds, Sheffield, Nottingham, and Birmingham a 1-2 hour drive away! Put simply, if you are from Aberdeen (and assuming you are talented enough to make it), you need to quit your job and go full time or relocate down south. And if you are dedicated enough to do the former, you might as well do the latter anyway. (This is just my experience, which is based on playing in the metal scene in the mid-late 2000s. I fully appreciate if this doesn't apply to other genres or eras)
  5. 2 points
  6. 2 points
    There are none. Dunno, I imagine we should ask someone who has... ...but that's just a guess. Locate the city 3 hours south and make it about 4 times the size? Oh fuck thank you, finally, that's all we needed. I jest. This site is dead though. You're too late.
  7. 2 points
    They're Japanese but are named with a Swedish word and sing in broken Swenglish. That's punk.
  8. 2 points
    Soda Jerk is right - Mush is best and those things are good but here are some more things anyway. War On Women are angry at us all and with good reason too. Gnarwolves say they're a gruff skate punk band and who am I to argue with that?
  9. 2 points
    Critical reception Brokencyde is widely panned by critics. Cracked.com contributor Michael Swaim said the band sounded like "a Slipknot-Cher duet",[20] while another Cracked contributor Adam Tod Brown commented on their song FreaXXX "I hate that song so much that I would hold it face down in a bathtub until it drowns if I could."[21] British comic book writer Warren Ellis considered Brokencyde's "FreaXXX" music video "a near-perfect snapshot of everything that’s shit about this point in the culture".[22] A writer for the Warsaw Business Journal attempted to describe their music: "Imagine an impassioned triceratops mating with a steam turbine, while off to the side Daft Punk and the Bee Gees beat each other to death with skillets and spatulas. Imagine the sound that would make. Just try. BrokeNCYDE is kind of like that, except it also makes you want to jab your thumbs into your eyeballs and gargle acid."[23] The New Musical Express stated in a review of I'm Not a Fan, But the Kids Like It!, that "even if I caught Prince Harry and Gary Glitter adorned in Nazi regalia defecating through my grandmother’s letterbox I would still consider making them listen to this album too severe a punishment."[24] August Brown of the Los Angeles Times writes: Good read.
  10. 2 points
    I was once decided to stay up all night taking eccies with a bunch of Aberdeen soccer casuals and couldn't play guitar during soundcheck the next day, so I just fucked off to my bed and let the rest of the band carry on. I was in the bad books for a wee while after that.
  11. 1 point
    Oh, hi. With Carson Wells, supporting Rod Jones from Idlewild's band The Birthday Suit at The Woodend Barn in Banchory. Beautiful venue but a bit bleak when 6 people show up (two of which were my Mum and Dad, on one of the only times they saw us). Sound was gash. The house bass amp that Huw was, for some reason, asked to use, kept cutting out, so he kept turning round to it mid-song. Given he was our lead singer at the time, all those 6 lucky individuals really witnessed was scratchy guitar and booming drums (due to the large, empty venue). This was also from our earlier years where our music was pretty rubbish/horrible anyway. It was just a noisy, hot mess that we've since agreed never to talk about that. And I said 'thanks to Rod Gilbert' whose someone else entirely.
  12. 1 point
    Brad Pitt was Vanisher: He becomes momentarily un-invisible just before:
  13. 1 point
  14. 1 point
    I think the gist of the original post was a call for collective action. We can see that clubs and bars are stuggling to survive, that the Council has limited funds and that the public taste is changing, with endless distractions available, without leaving your couch. There are a bunch of self-contained scenes- with (seemingly) little cooperation, between them. The Jazz promotions at the Blue Lamp, have been carefully targeted at an older audience (who might not otherwise attend bar gigs) and have been well supported. The Folk Club at the Lampie remains a fixture. Captain Tom Simmonds continues to promote great opportunities like 'Full Metal Haggis' and 'Live at Captain Tom's', despite the costs and frustrations. The Blues-Rock guys have brought bands to Aberdeen, in various venues and with reasonable crowd support. Krakatoa puts on the most diverse bills and should be applauded, for nurturing grass roots artists. The Tunnels and Drummonds run hot and cold- great places to play, or to see a band, when the planets are aligned....... the Lemon Tree has filled the gap between the Music Hall and bar gigs, for a number of years, with again, a huge range of performers. Should we be trying to create an umbrella 'scene', which encompasses the wide range of local talent and welcomes the underpaid visiting acts? Do we have an extra responsibility, as performers and ex-performers? Lots of great musical achievements have been the result of geographically remote communities hothousing their talent, before releasing it, into a wider world. Should we be banding together, to generate a more mutually supportive and educational performance environment, for one another? Do we need the benevolence of a Flash, a Captain Tom- or a friendly Councillor, to make things happen? Are there DIY routes, for a new breed, of young promoter? There are things that we can all do. Start by putting your money into businesses that support local music- the bars, rehearsal spaces, music shops and others. If you like a local band, make the effort to show up at their shows, to buy merch and music from them, directly. If you pirate or buy their stuff online, they make next to nothing out of it- which can be demoralising. Perhaps we can compile a directory of unused or underused venues? Shocking though it may sound, a gig can be really wonderful, even on a wednesday, in a room without beer. You might like to approach your local publican, cafe manager- or someone less obvious? I've played and seen some interesting gigs in retail stores, village halls, school halls, malls and arcades- as well as in big sheds, in the (city centre) street and private gardens. More questions than answers, I'm afraid. Yes, we do need our exisiting music promoters and fosterers- and we owe Tom and Flash (amongst others) a great debt. As the original Dead Kennedy might have said...'ask not what the Aberdeen music community can do for you, ask (yourself) what you can do for the community'.
  15. 1 point
    I can take or leave Failed States. I'd swap it with Today's Empires, and that'd be their 3 essential records IMO. Supporting Caste is just ridiculous though.
  16. 1 point
    I play in a band that does okay. We do a lot of 'down and backs' when we need to - i.e. work, leave the city around 5pm, soundcheck, play the show/radio/whatever, return to ABZ the same night - and it's tiring. We are in a fortunate enough position that the band stuff kind of takes care of itself re: money and fees vs our expenditure but that has taken actual years of hard work to be able to be in that position. If we were trying to 'make it', we simply couldn't do the things we needed to do whilst maintaining our jobs in Aberdeen. All the relevant/important shows as far as Scotland goes happen three hours south of here - even to get a decent support slot with a touring band ('medium' touring bands don't come to Aberdeen for the most part and 'big' touring bands don't need to). We use a lot of holidays from work on band things which is absolutely fine because it's good fun, but the older we get and the more commitments we have individually the more difficult it is to co-ordinate. The fact is we're all into it and we love it so we continue to make personal sacrifices to manage the calendar but we are definitely more picky about the opportunities we take up, because we have to be to make it work. There's also the simple fact that playing too often in your home city can cheapen what you're trying to achieve there. Keep 'em keen and all that.
  17. 1 point
    The internet/streaming/downloading has changed things drastically. (Kind of the equivalent of what Facebook has done to this place - although I'd say that the decline of a music scene has also contributed) Regarding the internet; firstly - on the plus side, if someone from Aberdeen was supremely talented then there is a chance that with the right exposure they could get noticed. Of course this would likely lead to a best case scenario of a million youtube hits or spotify streams, so unless they were to start touring it's unlikely that any form of internet fame would lead to a financially viable/sustainable career. However on the downside, music is far more expendable now. People don't buy CDs or hang around record shops because you can have whatever song you want right here, right now, for free. There will always be people into music, buying vinyl and attending gigs, but that doesn't necessarily make it viable for venues to stay open. I don't think it's a coincidence that Our price, Fopp, One-up, Virgin and Zavvi have gradually disappeared over the years, with the music venues having done similar. If people kept going to gigs like they used to, venues would still be open and bands would still be playing them. Possibly this is down to indie and rock scenes not being what they used to, whereas computer-generated music is as popular as ever? Unless I am mistaken, this is the first time there isn't a form of band-based music that is a trend/in vogue right now... that hasn't been the case since rock music took off in the 1960s (classic rock, punk, hair-metal/new-wave, grunge, brit-rock, pop-punk/nu-metal, emo etc etc came and went...what is there now?) I'm rambling - but I'm sure there is a good argument in there somewhere.
  18. 1 point
    Also, as a promoter that brings a lot of touring bands to Aberdeeen, albeit on a very small scale meaning I'm no expert,...the prospect of getting a band touring the UK to come this far north is not exactly attractive. If they play here on a weekday there's likely going to be no cunt at the gig. So you have to convince them to come to Aberdeen on a Friday or Saturday. Meaning giving up on much bigger cities on a Friday or Saturday for the biggest turnout they can get in Aberdeen which will, in all likelihood, be smaller than the turnout they'd get in Edinburgh/Glasgow/North England on those days. The only reason I get bands to do it really is cos they know the gigs are a lot of fun from either being here before or hearing it from other bands. Nothing I do will reflect the scene that most people are probably looking for. But the DIY doom/grind/punk scene in Aberdeen is still doing okay, probably because we understand it has small reach and treat it accordingly. And none of us put on the gigs to make money.
  19. 1 point
    Stop the council shitting all over any decent venue.
  20. 1 point
    If you dig the sound of Mondo more than Dwarves, I'd guess you'd be more into noise rock rather than straight-up punk. Maybe stuff like McLusky, Fight Amp, Unsane, Godstopper, early-Helmet, almost anything released by Amphetamine Reptile.
  21. 1 point
    Leatherface - Mush. Took a while to hit me did this record - didn't like it at all in my teens, Stubbs' vocals take some getting used to, as he sounds like he gargles lighter fluid - but it was worth the persistence when it finally did. My pick for Best Ever Punk LP probably changes on a daily basis, but Mush would be #1 more times than any other. As would NOFX - The Decline. Polarizing band, who have been largely irrelevant for nearly 20 years now - The Decline being their last GOOD record, and it came out in 1999, and they seem like a bunch of wankers generally, recently coming under fire for saying something shitty about the Vegas shooting, whilst playing in Vegas, idiots, one example off of a fairly lengthy rap sheet of being generally offensive, insensitive and privileged shitheads - but whatever you think about them, The Decline is a great record. Essential IMO. Of the more modern/recent stuff, one of my favourite records is The Flatliners - Cavalcade. It floors anything else they've released. They started as a ska band, now they've gone all soft rock, but this is somewhere in the middle, when they were neither of those things. And here's a few more off the top of my head: Hot Water Music - Fuel for the Hate Game None More Black - File Under Black Dillinger Four - Versus God Nomeansno - Wrong Mega City Four - Soulscraper The Marked Men - Fix My Brain Good Riddance - Symptoms of a Leveling Spirit Naked Raygun - Understand? The Dwarves - Are Young and Good Looking Husker Du - Flip Your Wig The Dauntless Elite - More Blood Bad News Snuff - Snuff Said Propagandhi - Todays Empires Tomorrows Ashes Kid Dynamite - Shorter Faster Louder Trial By Fire - Ringing In The Dawn Gunmoll - Board of Rejection Against Me! - As the Eternal Cowboy Zeke - Death Alley/Dirty Sanchez/Kicked in the Teeth/Basically any of them, they're all great. And anything by Descendents and ALL.
  22. 1 point
    From about the age of 8 till 15 my junior membership was 30 quid for the year. Played as much as I wanted. All balls used were locally foraged from gorse bushes. Would go out with a bucket and a sand wedge and scoop up hundreds. Played in the same adidas AstroTurf numbers id play football in. The only hoity toity part of golfing as a kid was having to wear a shirt with a collar to get into the clubhouse. Pool table was 20p, mars bar 30p and a pint of orange and water 20p.
  23. 1 point
    Wow, I've never heard of them but there are some AMAZING quotes on their Wiki page... for example: "This 'Albucrazy'-based band has done for MySpace emo what some think Soulja Boy did for hip-hop: turn their career into a kind of macro-performance art that exists so far beyond the tropes of irony and sincerity that to ask 'are they kidding?' is like trying to peel an onion to get to a perceived central core that, in the end, does not exist and renders all attempts to reassemble the pieces futile." "even if I caught Prince Harry and Gary Glitter adorned in Nazi regalia defecating through my grandmother’s letterbox I would still consider making them listen to this album too severe a punishment." Just look at the state of them:
  24. 1 point
    Let's try and keep Peter Dow away from this thread, at least for the moment.
  25. 1 point
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