7. Miserable Monkeys

12. Synthamous

These are two tracks that Lee and myself did live in the studio after a Taut Angles session. The first track we've done a few times but this was a freshly improvised version. The second track was totally made up on the spot but I did a cheeky edit of the live recording. The original long take started with a guitar loop of two chords, followed by some bass which I then also looped and then played guitar over the top and looped that too. At the end when all the loops were playing (and Lee had finished singing) I went on the drums. SO.... what I did was take the two parts of the same recording and double them up so that the drums could come in sooner. Now I didn't have the separate tracks or STEMS for the separate elements, just a whole mix straight from the desk! So it's a really crude edit but it kinda works!

2. Our Own Ends

Firestations – Many White Horses

'Many White Horses' is a collection of sea-soaked acoustic songs and instrumentals, interwoven with field recordings and lyrics drawn from the immediate surroundings of a sailing expedition, all brought together with warm, textured production. It marks Mike Cranny’s first solo endeavour, playing a variety of instruments and self-producing, albeit one enriched by Laura Copsey’s contributions on flugelhorn, flute and vocals.

The album was conceived and largely written at the beginning of August 2024 on a sailing yacht (Sail Britain’s “Merlin”) in the Inner Hebrides. This was the location for a week-long art residency with seven fellow artist-explorers all keen to capture something of the essence of being at sea and viewing the land from the sea. The voyage, through high winds and waves, took in the mysterious Isle of Rum and the coastline around Arisaig, before Mike and Laura continued the journey for a further week; travelling around the Ardnamurchan peninsula, across the Isles of Mull and Ulva to end up off-grid on the remote Isle of Gometra. 

While the music, with its focus on quietly hypnotic, hushed acoustic instrumentation, may at first appear something of a departure from the last five-piece band Firestations album ‘Thick Terrain’, it remains closely related and recognisable by Mike’s song writing style. It also occupies a similar space to the ‘Sunken Versions’ – quieter and slower songs (featuring on the ‘Automatic Tendencies’ EP series in particular) that focus on the more meditative, stripped back side of the band.

The title track ‘Many White Horses’ was the first song to be written, making use of an aging sea-warped boat guitar that Mike discovered could only be played in an open tuning, with a capo higher up the fret board. Mike says: “The limitations of this guitar proved to be a gateway to other songs – the chord progressions and melodies had to be simple to avoid tuning nightmares, and where I might have ordinarily decided that a song was too straightforward, on the boat I didn’t have a choice but to persevere with simple song ideas. It turns out that limitations can be liberating”. The first single from the album ‘A Weight Starts To Lift’ was written a bit later and shows Mike exploring the possibilities of the open tuning “maybe the trickiest fingerpicking I’ve ever attempted”. 

The communal living conditions on the boat and the camaraderie developed through the everyday routine, and in other artist’s processes, made for a fertile environment. Laura, as expedition leader, provided a series of creative prompts, shaped by archipelago poetics. Moments and provocations that filtered into lyrics and rhythms included a collaboration with a square meter of earth, seeking out an audience on a micro scale, and reading laminated sheets of poetry in the sea. Field recordings and found instruments also give the compositions a strong sense of place and carry the listener across rough seas and onto remote islands.



Biography

Firestations (Lost Map Records) span genres from shoegaze to alt-pop and harmony-driven psychedelia. Their second album, The Year Dot, released in 2018, was followed by sonic collage album Dream Home in 2020 and the Automatic Tendencies EP project in 2020-21. The latter took the form of three EPs over a six-month period, each including alternative “sunken” versions by the band as well as covers and remixes of the band’s tracks by other artists. Thick Terrain, released in 2023, saw Firestations return to album format with ten tracks ranging from hypnotic sci-fi landscapes to addictive dream-pop jangles, exploring ideas around identity, conflict, progress and sanity. Bandmembers are Mike Cranny, Laura Copsey, Martin Thompson (aka Bit Cloudy), Tom Hargreaves and Neil Walsh.

Firestations - The River Knows

This isn't an album nor an EP. It's just three improvised tracks captured on my phone last night! I'm now of the opinion that if I took the time to sit and record this moment, I may as well share it to the world...

When the Time Comes - Instrumental

Moss Glow

Ishaaq Aarkistra - 'Grunderna'

Born from an improvised fragment with an odd tuning this song represents our first true collaboration as a song writing duo. There was something special from the get go when we first played this track together, experimenting with lyrics and drums. It came into its own when we performed it live and it’s remained in our live sets ever since.  

Written & Performed by Tom Roberts & Leon Lockley

Recorded & Engineered at 225 in Sheffield by Matthew and Lucy Board.
Mastered at The Bowling Green by Dean Honer  

© all rights reserved

The Places Where We Go (single)

This was us revisiting an improvised track we did on our very first session back in November 2022. We pulled up the original recording, quickly relearnt it and gave it another shot.
The audio was taken from the video camera that had a feed from the mixing desk so it's a little rough and ready and was only meant for our reference. However, we thought we'd stick it on here as a live studio demo.

The Last Sea - live studio demo

SCENE AND HERD GIG REVIEW: BLACKWATER LIGHTSHIP EP LAUNCH SUPPORTED BY FREEZER & OSPREY @ SIDNEY & MATILDA
Written by Charlotte Sometimes
Gig photography by Russell Jones-Davies

One final reset of the stage and it was time for the main act: the celebration of Blackwater Lightship’s new EP Last Night I Saw the Leaves Fall. Seeing the music we had previously reviewed was a completely different experience live.

The first half of the set served as an introduction to the band’s breadth and versatility before they moved into the EP tracks. Early songs carried a post-punk pulse with echoes of Joy Division and The Smiths - angular yet melodic, with a rich undercurrent of emotion. The sound was incredibly tight, and the chemistry between the two members was instantly engaging. Lockley, ever the warm and playful frontman, had the audience cheering for “Hyper Tom” on drums, and both musicians were visibly energised by the response: grinning throughout, feeding off the room’s enthusiasm.

They then shifted gears, with Lockley continuing the tradition passed down from the Byrds to Big Star to Teenage Fanclub and swapping to a Rickenbacker for the jangling, shimmer of Trapped in Dreams: a tonal change that showed another facet of their songwriting. 
Before the official EP launch portion began, Lockley explained that the release isn’t yet on the big streaming platforms because, in his words, “the billionaires can wait”. And indeed, this performance was something entirely separate from the studio versions. With no extra band members or production layering, the live renditions took on a more organic form; raw and immediate, yet no less compelling.

The EP tracks unfolded in a way that highlighted the deep creative rapport between the two musicians, each one enhancing the other’s sound. The opening track City Lights rang out with a big, cinematic sweep; the second track Evening Star was adapted for a live audience with whistles, giving it an earthy, folk-inflected charm. The third track Over & Out had a personal backstory - written by Lockley a decade ago during a songwriting course, inspired by people who help lift you from dark places. The Standing Man, penned by Roberts when he was just 17, kept its titular figure shrouded in mystery, adding an intriguing edge.

One of the most poignant moments of the night came with the final EP track (also a single) The Places Where We Godedicated to Lockley and his wife’s beloved dog, Ted, who sadly passed away very recently. This was a really moving moment and the crowd clearly felt the resonance of this. 
The song itself, Lockley introduced as about creativity and dreaming - “We don’t sleep, our bodies do” - and the performance built in crescendo with the primal cries of Lockley and the fierce rhythm of Roberts the expression of joy at the culmination of all the hard work that has gone into producing this EP and show.

The closing song The Last Sea swelled into an anthemic crescendo, the crowd erupting into riotous applause at the finale. There was a lot of love for these two in the room this evening and it was completely deserved.

Overall, the night was a glorious blend of craft and connection - a sold-out and joyful celebration of creativity. And as ever, the musicians highlighted the power of live music and the importance of supporting venues like Sidney and Matilda.

Blackwater Lightship have not only delivered a superb EP but have proved, beyond doubt, that their live presence is every bit as vital. An absolute triumph.


EP LAUNCH SHOW - Bootleg Recording - Sidney & Matilda - 08-08-25

Camera operator and editor by day.
Musician and producer ￼by night.

7. Miserable Monkeys

leonlockley

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