“You love pop songs about love more than being in love in the first place.” 

The opening line on This Many Boyfriends’ debut album tells you an awful lot about them. For their lives are so wrapped up in the magic of pop music that untangling the two can be tricky. After all, this is a band named after a Beat Happening song. A band who reference You Can’t Hide Your Love Forever, Come On Feel The Lemonheads and Searching For The Young Soul Rebels in the space of one verse. And a band who see nothing wrong in singing about Cribs singles box sets or the noble art of scrawling “Tina Weymouth” on your shirt in permanent black marker pen. 

To listen to them you’d think they take pop music very seriously indeed. But they don’t – in fact they think that the problem with pop at the moment is it takes itself far too seriously … 

“Bands don’t seem to realise how ridiculous music is when they’re performing,” laughs singer and TMB founder Richard. “Too many bands think what they’re doing really matters to the world. But if you take it so seriously then the music will suffer. That’s why our mission statement is just to be as melodic and simple as possible, rather than sit there making awkward seven minute soundscapes.”

When This Many Boyfriends formed in Leeds in 2009 they didn’t have a problem with keeping things simple. Inspired by watching bands like The Vaselines and the Wedding Present on YouTube and thinking “we could do that”, Richard decided to form his own for a laugh. Pretty soon a band emerged – a six piece line-up including a reluctant glockenspiel player and a reputation for riotous gigs. Tom, who only got hold of a bass guitar so he could join the band, remembers those early shows fondly. 

“They were ramshackle to the point of comedic,” he grins. “We had to be very energetic to distract people from the fact some of us were still learning our instruments back then.”

Reaction to the band’s early shows were, shall we say, “mixed”. “You were shit!” said their first producer Alan Smyth, before adding, somewhat fortunately: “But your songs were great.” 

And great they most definitely are. You see what This Many Boyfriends lacked in training they made up for in taste. Between the members – a four-piece comprising Richard, Tom, guitarist Daniel and drummer Laura, as well as new recruit Ben on guitar – their record collections were stuffed with the sounds of Orange Juice, The Pains Of Being Pure At Heart, Patti Smith, Pavement and the Strokes. They embarked on a mission to replicate their heroes. You can hear the post-punk, C86 and some of the catchiest Motown numbers running through the likes of I Should Be A Communist or Young Lovers Go Pop!.

“Every song we write is us trying to be someone else,” admits Richard gleefully, “and we always get it wrong. But what comes out ends up being good anyway!” 

The aim was to write songs with a universal appeal, although when we say “universal” we are talking about the This Many Boyfriends definition of the word. 

“It’s about making people want to form bands,” says Richard. “For us, being universal is not about making everything perfect or selling millions of records. It’s about leaving mistakes and fumbles in and making people feel like they can do it themselves. I still don’t know what a time signature is but that shouldn’t stop anyone from forming a band.” 

If the band were looking for a producer to combine their love of sweet melodies with a DIY rough’n’readiness then they were in luck – Ryan Jarman of the Cribs had declared himself a fan and he wasn’t going to go about auto-tuning their personality out of existence. Ryan and the band were clearly a match made in heaven when it came to recording ‘This Many Boyfriends’ although, as the band admit, it was strange entering the studio with him at first as most of the band had the Cribs down as one of their favourite groups of all time. Daniel, the closest thing This Many Boyfriends have to a virtuoso, even taught himself guitar listening to the Cribs. 

“I think we share a similar ethos with them, a garage punk mentality,” he says. “They sing about stuff I can relate to, but for me I love the sound of their guitars – really catchy riffs and rhythms.” 

“It was intimidating working with Ryan at first,” admits Richard. “But once we got over our fandom we saw him as a kindred spirit. He liked all the stuff we liked, and he really cared - he took a lot of time and effort over getting it right.” 

Ryan performed bits of keyboard on the record and came up with a vocal melody for closing track Everything, as well as making sure the band’s shouty passages (“We all got bullied at school! Some of us just took it better!” goes one memorable chorus) ended up suitably scrappy. 

If the band were starstruck at first working with Ryan, imagine how they felt seeing studio owner Edwyn Collins – someone Richard says he’s “spent a lifetime trying to be” – dropping in on their sessions ...

“He walked in while we were mixing I Don’t Like You (Cos You Don’t Like The Pastels)”, says a dizzy Richard. “He just said ‘punk rock’” 

“It was pretty amazing hanging out with Edwyn,” adds Laura, who shared several tea breaks with him in the studio lounge. “And it was definitely strange sitting there watching Deal Or No Deal with him while he slagged off Noel Edmonds. I kept thinking: ‘I never really had this moment in my life plan.’” 

Sharing a teapot with the same guy you’re singing songs about in the booth down the hall is indeed a pretty surreal state of affairs. But then in many ways the fact the band litter their songs with musical references to their heroes makes perfect sense. In fact, writing so passionately about a love of pop is probably as honest as songwriting gets – doesn’t every songwriter get started through a love of pop itself? 

“It just came naturally to us,” agrees Richard. “We just love other people’s records so much we wanted to get them into our own. It makes more sense to sing about records people know rather than, say, straightforward love songs to some random person.” 

It’s a point of pride that the vocals come through crystal clear on the whole of ‘This Many Boyfriends’, rather than being buried in the mix somewhere. And whereas the band wear their fandom on their sleeves, please don’t think they’re overly referential – their pop lust is often combined with a razor sharp wit. On the song I Don’t Like You (‘Cos You Don’t Like The Pastels), for instance, Richard muses: “I didn’t leave when you said you didn’t like Springsteen. I didn’t even flinch when you said you hated the Go-Betweens. But what you said about Baby Honey was truly unforgivable…” 

Hearing these songs and reference points feels like being granted instant access to the best fanclub on earth. A club filled with people you can have a laugh with rather than lofty popstars who want to keep you at arms length. The band talk about being handed fanzines after gigs or getting into long conversations about indie records with people who’ve obviously heard the lyrics and felt a kinship with the band performing them. 

This Many Boyfriends, you see, are a rare kind of band. Like the Smiths or Belle and Sebastian, they’re a band that actually mean something. A band that feel like your band. Most importantly, they’re a band you should hold close to your heart … then form your own group and write a song about them, obviously.

If anyone calls us twee or cutesy we'll knock their block off.

Life is short, live it. Love is rare, grab it. Anger is bad, dump it. Fear is awful, face it. Memories are sweet, cherish them.

Gary Walker and I had been writing songs together since school. Gary taught himself keyboards in his teens and I would add lyrics. Early 80's influences such as  Howard Jones, Depeche Mode were quickly followed into the 90's with the more diverse and industrial / EBM influences of NIN, Front 242, Nitzer Ebb and Front Line assembly. 

Various names were considered but "Seek Help" was chosen after a college friend of mine commented on one of the songs (Revenge) and the joke was added to the end of the track. After recording this on our first official demo in 1991 and the name was suggested and it stuck.  

We gigged many of the songs you will find on this archive for the next few years. This continued until an awful gig nearly caused a row and Seek Help was dying. Life had taken over. Our busy lives meant that this hobby was more difficult to continue. We never ever lost touch and tinkered around on and off but things never really got off the ground. However, great songs and ideas never die and we constantly re-vamped, re-wrote and remixed a lot of these old tunes. Which is why  you will recognise a lot of what you hear and see.

In the late 90's we had time to push things a bit more and decided to have another go. This is where "Defeat" was created. Same duo, same tunes, just reworked. This culminated in a gig at The Square in November 2000. A great gig, a great sound but we never really had the energy to take it any further. We continued to work together but with my businesses far away from Gary's, Defeat would not re-surface for another 10 years. 

Finally, throughout 2012 we moved full speed ahead. Gary's prolific tune writing, remixing and editing and the advent of new technology helped us share our ideas quicker. Enough tracks were put together ready for a release. A lot of online networking (mainly ReverbNation and Facebook) bought us to the attention of a certain Mr Steve Fearon, who had recently created Static Distortion Records and was suitable impressed. We signed with SDR in May. With the help of our old friend and electro-genius Nik Hodges,  the  Outbursts! EP was put together and released in July. First gig for 12 long years then followed, back at The Square in August in we feel we are finally there. 

A long journey. But having finally nailed a new style and way of working as Defeat, it is time to say goodbye to Seek Help. However, being a nostalgic soul i thought that this Page would be a perfect way to archive our journey. I have dug out some old graphics, original lyric ideas, videos and of course, our old demos for those rare few close friends and colleagues who would appreciate our journey.

Enjoy.

Anthony Matthews.





After over 25 years in a music business that continues to be unforgiving and narrow for women, Yvonne Ellis has survived and flourished, making her mark and commanding the deepest respect and affection from all the clients she has been involved with. Over the decades Yvonne has worked with an incredible spectrum of artists and musicians – from high profile popstars, through to local young strugglers looking to inch their way into a milieu fraught with obstacles and difficulties. Yvonne ’ s knowledge of so many different kinds of music, married to her technological expertise fuels her formidable versatility. She approaches the art and craft of production with all the attributes of a great musician – and after so many years she has gained total command as a producer and engineer of the highest quality. She retains a robust sense of musical community and remains a loyal servant to the many muses and arts that she collaborates with. She is indeed a polymath of the mixing desk, both in the studio and ‘ Live ’ . The sounds and sonics she helps create are true and pure and of a quality that few can match. Whether she is producing or mixing, Yvonne is able to bring out the greatest musicality that is possible from the artist and their work. Yvonne ’ s journey through the years in the music business has also made her a great psychologist and musical social worker; both are invaluable qualities in these psychologically difficult times. If you work with Yvonne you are likely to grow as a human being as well as a musician. The sad truth is that the music business should be full of Yvonne Ellis ’ 50 years into its life, but great and maverick talent tends to be marginalised rather than championed, especially if you ’ re a woman. We should always celebrate such precious human resources and recognise their efforts and dedication beyond the call of duty. We need Yvonne Ellis so badly. Her humanity and talent always shine through and as a colleague and friend for over 25 years I ’ m very honoured to know her and to have worked with someone so consistently special.
Elliot Rashman (Simply Red manager 1984-1998)

My record in Yvonne’s hands was like water finding its level. She got it..She got me. When Yvonne works it seems to me she enters the track and works from the inside out, in the process, revealing the core, the beating heart of the song. This was what I was looking for. Her mixing is visceral; an act of creativity and, at times, of revelation. Her unobtrusive manner masks a creative alchemist, firing on all pistons bringing the song to its best conclusion. She’s also extends her alchemy to some of the meanest Mojitos I did ever taste…..
Briana Corrigan



"A pedigree type of production, right deh soh!"
Ras Kwame - DJ, 1Xtra

"I have known and worked with Yvonne for 20 years. She makes sound like no other, nuff said."
D.zire(Jamiroquai,Gorillaz)

"Yvonnes experience in the world of sound has always been a great inspiration to me. how she can take away a few frequencies here and add a few frequencies there and then all of a sudden you can hear everything clearly is a constant mystery!
she has an attention to detail par none and is willing to spend the time and effort to create the most perfect result.
yvonne has been a great teacher to me and has made me feel more confident in producing my own music and using studio equipment."
Stuart McCallum - Guitarist/composer. (Cinematic Orchestra)

"Yvonne Ellis is one of Britain's finest. She has the Midas touch. An absolute joy to work with"
Stuart Zender - Mark Ronson/Jamiroquai/Stevie Wonder/D'Angelo

I've known & worked with Yvonne over the last 23 years. she is constantly evolving as a producer and sound engineer. always a rich, big sound. What sets Yvonne apart is her 20+ years of experience and her female sensibility .whether producing, mixing or doing live sound. why are there not more high calibre women out there?
Sylvan Richardson JR. (Simply Red)

"Vee is without question the best producer/engineer I've worked with. Only thing is, if sun is out you start to wonder 'weh da producer deh?' Yeah man, check da garden! Peace.
Myke Wilson - Dust Junkies/Texas/Lamb


When we decided to rerecord the drums on our nearly complete album, I insisted on using my favourite drummer, Mikey Wilson. Mikey insisted on using Vee Ellis to record him and that is where I met Vee, in her cellar. At the time, I was stationed in The Lake District with the band recording, and commuted to Vee’s for 3 days. She never missed a take, was exceptionally patient with me (when I came ill-prepared) and was very relaxed and confident throughout.

But here’s the thing……Each night when I arrived back at the cottage, the musicians, who included international legendary players such as Stuart Zender (Jamiroquai, Mark Ronson, Stevie Wonder, D’Angelo) and Kwame Yeboah (Michael Jackson, Stevie Wonder, Hugh Maskela) were freaking out. “Who recorded that?” they begged to know, “Yvonne Ellis”, I replied, “In her cellar!”


The previous drums had been recorded at the famous Livingstone studios in London with 3 engineers and were awful in comparison. Vee proves that if you have aspirations to compete in the pompous male muso world, it’s not enough be as good as them, you have to be much much better ……and Yvonne Ellis is so much better


Eddy Cantor, Singer Songwriter (The Sanderson Pitch)




You have influenced me more than you could EVER know! "I have known Yvonne since the mid 80's. I have toured with Yvonne, been a member of her band, she has engineered live sound on numerous band projects, she has demonstrated complicated computer software to me, taken phone calls at all hours of the night, played me her studio projects and explained the production techniques that she has implemented,.........I could go on. Yvonne is a true spirit who understands that music is a GIFT and she has always stayed humble and shared that love with all who wished to share it with her.........A TRUE MENTOR."

Lawrence Stewart (musician)


Yvonne has the ability to reach inside an artist help them find their truth and produce gold every time
Yvonne Shelton - singer/songwriter

Everyone Knows D'Alchemiss oversees the right space for the magic to happen, does it without much fuss and takes care of the technical business without the artist havin to leave their precious dreamworld. Perfect. It's all in the name!
John Ellis - Keyboard player/composer (Cinematic orchestra)

To describe the brilliant and multi-faceted talents of D' Alchemiss (Yvonne Ellis), is such a gift. This one is easy. She has a tool box that ranges from live sound engineering for one of the greatest touring bands in recent contemporary music history, who's sound live was infamous for it's perfection. She is a musician with a rich childhood history in composing that began with her father, an arranger/composer for the BBC. She is a recording engineer whose work speaks for itself. She is a Producer (with the likes of Corinne Bailey Rae in her fold), who is not only seen as brilliantly "out of the box" creative, but also she is known as a heart connected friend to artists and one who understands the creative vision and process. This is no small aspect of great record production.
I've known D' Alchemiss for half my life now, and I am honored to know this woman of "sound art" and look to work with her on new projects in the immediate future. She recently produced a track with me, for a new film project here in the states and her work actually took my music into something much more profound, appropriately playful and joyfully surprising. It is an honor and a gift to know her and write about her to all concerned.
no'a Daniel winter Lazerus

for those who dont know about this pioneering diva, she is , always will be, ahead of most of us ! she was feeling p-funk before most of us understood it !! her producer/engineering skills are legendary in this town, shes given a helping hand to anyone who is anyone in this town...

Barrington Stewart (singer/writer/musician)


"As a performer and writer ideas flow with more urgency when touched by her aura, she has the ability to find that one artist, sound or instrument that captures a moment of magic.

Her encyclopaedic knowledge of and boundless passion for music, allow her to work on a depth and breadth of genres that few others could rival.

Finding a bass-line to support creativity, adding a rhythm of experience-informed discipline and blending melodies to inspire. That is her alchemy.

She is the role model that budding female producers, sound engineers have been searching for.

Mark Thompson (actor/poet/singer)




'A truly inspirational mother of art and its creators'
'Yvonne nurtures the space for an artist to work in silently and unbeknown to the other artists involved till the art is ready."
"You just know that if Yvonne Ellis is involved the project is stamped with a mark of quality."

Kirsty Almeida (singer/songwriter)


"Golden ears"
(Steve Miller-producer/writer Subatomic UK)

Yvonne Ellis is the "Rosie The Riveter" of the music industry! She is such an inspiration for women "behind the boards."
Tavi Fields (artist/producer)

D'Alchemiss embodies true sonic alchemy . As an artist,.she naturally inspires people to look within themselves for their true expression ..As an engineer, she nurtures and caresses sounds ..she has a rare talent that allows every new mix she approaches to be a blank canvas, a work in it..s own right, treated as an individual piece of music with a unique spirit, a spirit that D..Alchemiss connects with , evokes it..s essence and brings fully into this world to stunning effect..that, to me, is the essence of D'Alchemiss...
Tim Soya-producer, writer, multi-instrumentalist

" I really enjoyed working with Yvonne on "Season's Change" for my first album. She is a calm presence in the studio , really patient and with great ideas."

Corinne Bailey Rae

"D'Alchemiss - she's Soooo got it" "D'Miss kicked on the track for my film here in LA, so out of the box, we're still spinnin' with it'.
Daniel Lazerus - composer, producer, engineer

Producer, live sound engineer, songwriter, flautist and bass player. such a creative talent. Always a pleasure to work with
D'Alchemiss is a light where ever she works
smutty, and a bad influence on the kids ;)
I have had the pleasure of working with D'alchemis many a time and believe, she is ALL a dat.
D'Alchemis is heavy weight
I had the pleasure of working with D'Alchemiss for several years as she was our live sound engineer with the Dust Junkys. Brilliant sound and great times. Professional and fun.
Check out the bass on her sound man

Steve Ojay - bass player


Recording with Vee was the most relaxing environment I've ever worked in, which brought the best playing out of us and with her engineering mastery I can't wait to hear the results!
Everything I've heard her do proves that she a run t'ings!!
Kenji Fenton (musician)

I had the pleasure of working with Yvonne Ellis on 4 recordings as part of the Arts Council Funded "Manchester Sessions". As project manager I found Yvonne to be at all times in control, calm and helpful. Her vast experience in both production and engineering meant that all problems that arose where smoothly and quickly rectified. It was great for me also to work with another woman in the field and Yvonne brought personality as well as creativity to the project.
Genevieve Lamb
Touch Productions (LPL)


There aren't many women in the music business that i look up to as I'm already 5' 9'' and a pretty tough cookie but I've got to give Yvonne credit. She has empowered herself and also has enough creative energy to pass onto others she comes into contact with. She does this without flap and is serious about getting the most out of any session. Working with her is always a pleasure, never a chore.
Audrey Mattis - Audrey Mattis Chorale/ PALM Arts CEO

“ Yvonne’s vast knowledge, creativity and passion for music make her a joy to work with. She also has a wonderful, relaxed manner which puts everyone at ease and makes a project run smoothly, which is very important. As a female performer it’s refreshing to work with a producer and engineer who is not male and I’m sure Yvonne is an inspiration to other ladies who wish to excel in what is still such a male dominated area within the music industry”
Zoe Chiotis-singer/songwriter

Yvonne is brilliant to work with. She has a wealth of experience, great ears, a deep understanding of music and musicians and could probably get an amazing drum sound out of a cardboard box and dustbin lid! She also brings an amazing sense of calm to any session or live show allowing musicians to totally relax as they know they're sound is in safe hands.
Matt Owens - bass player

D'Alchemiss - if ever a mix needed the Midas touch well here are hands and ears and soul that bring life to music... any music. Hand over your sound in trust and what you receive in return is pure magik
x (Andy Hay) Drummer/composer

Lovely D'Alchemiss (a.k.a. the great polisher)... from the "Gallery" to "Glastonbury".....just like Nat Cole EVERYONE stands back in admiration when Yvonne steps up to the plate
Put that in your industry and smoke it.{:o)
George Borowski - singer/songwriter

THE Lady Of Sound Talented, wonderful and inspirational
Rowetta - Singer/songwriter

No fuss, no drama...just great results!
Basil Clarke (singer/songwriter)

Yvonne Ellis is one of the few female producer/engineers in the business that you can honestly say is as good as any male producer. She is extremely experienced and is totally reliable and professional, which are the reasons I keep going back to working with her.

Simon Goffe - Heavyweight management, Brownswood Recordings


Working with Yvonne on recorded and live projects is exciting, rewarding and minimum fuss! As a female producer, collaborator and sound engineer, Yvonne cultivates a warm, creative and relaxed atmosphere that has really helped to bring out the best in me as a musician. She is particularly adept at drawing out more from her collaborators when they start to feel that they "hit the wall" creatively. She as a light good- humoured approach but a professional attitude that continues to create inspiring projects around her.
Tom Briggs-Davies

I have known Yvonne for many years, as leading member Manchester's music community. I moved to Manchester from Nottingham in 1986 and was based there for eight years, studying at University, and subsequently working in music there. Yvonne, is well-known as a very experienced sound engineer in her own right. She has done front-of-house engineering on international tours, with numerous groups including Simply Red, 10CC, and the Dust Junkies. She also has worked in production, music programming and facilitation of local music projects in the city of Manchester. Lately I've seen her as a force and a facilitator in the grass-roots music scene.
She is important to the continuity of certain musical projects, who without her support would have probably floundered. She helps with the social cohesion, and she brings groups people together who can collaborate on music projects with the recording and performance dimension as a future goal. She manages to balance her busy working life, with that of a single mother.
She is in all regards a positive role model.
Kevin Davy (musician)


Brief, exhilarating songs about love…of course, Pop is founded upon such foundations. But in Matthew Adam Hart’s gifted hands, our wonder and gleeful idiocy is laid out in rare, brilliant detail. Critics and the public alike have recognized in Hart one of the most impressive compositional minds to emerge in years – the romantic eye of a Stephen Merritt married to the epic melodic sweep of recent Flaming Lips or vintage Human League – a talent simultaneously modest but mighty, plainspoken but rigorously intelligent, creating miniature electronic epics that cost a shoestring but sound as if they were spun from gold.

With three internationally acclaimed releases already under their belt The Russian Futurists, born and bred in the cold and lonely eastern-
Ontario border-town of Cornwall, raised on hockey [“loving the Leafs is like being in love with a terrible woman” – Matt Hart] come home with their first ever domestic release: Me, Myself and Rye.

Me, Myself and Rye is an amalgam of The Russian Futurists’ hottest songs assembled from their three previous albums, all digitally remastered.

The Russian Futurists international profile saw them become UK-label mates with The Go! Team and The Pipettes, spawned a whirlwind experience that put them on a UK tour with Peter, Bjorn &amp; John, North American dates with long time friends Caribou and Junior Boys and playing to 10000 fans at the Mada Festival in Brazil, while receiving acclaim and praise from the likes of NME, Clash, Time Out London, BBC, and X-FM. All the while producer-songwriter-singer extraordinaire Matthew Adam Hart has been remixing the new Shout Out Louds (Merge Records) single “Tonight I Have To Leave It” and the Stars (Arts &amp; Crafts) “The First Five Times”.

Surprisingly, Hart’s roots as a producer and arranger lie not in Pop. “I was a compulsive Hip Hop producer from age 13 to 19,” he admits, “and would finish a completed Hip Hop track, from start to finish, every day after school.”

This interest is still evident in the Russian Futurists’ electronic rhythms, but a passion for the Pop music of his childhood (Abbey Road was a prominent obsession) is the heart of The Russian Futurists. “When I eventually began to try to make music other than beats it wasn’t my intention to make Pop. It just came out. I felt I was being stifled by Hip Hop and wanted to experiment with melody.”

Big beats, sad songs and sugary melodies have rarely sounded as good together in music as the opening of Let’s Get Ready To Crumble: “I do pop ’cause that’s what my heart goes/I don’t call it art, no sir/That denotes that when I wrote it I had other motives.” "Paul Simon" sounds so effervescent, and Hart's boyish voice nestles so snuggly amidst its econo-pop score, that only a consultation with the CD booklet reveals the mournful confession: "You're my first pint, on the worst nights/My gut knots up, my heart bursts like a piñata pops/This has gotta stop."

This honesty shines through in all of The Russian Futurists’ songs – all the more remarkable for them having been recorded in Matthew Hart’s bedroom (Hart cheekily describes his sound as a result of “trying to
make all of my songs huge, ambitious productions on very limiting and awful equipment.”)

Hart constructs his songs under the ongoing influence of Phil Spector, Brian Wilson (“He showed me that Pop was able to be listenable and experimental at the same time”), Fleetwood Mac (“They taught me how to be dramatic, plus I just love their music”), and the comforting
simplicity of AM Radio. Of the latter, Hart says, “I would like to end up on AM when I’m old and grey. There are some songs that were produced to sound like they belonged there. I used to sit up at night and drink a bottle of red wine and listen to AM to get inspired. My roommates used to think I was kind of a weirdo when they would walk into my room at 2 am and find me drunk listening to ‘Buttons &amp; Bows.’”

Me, Myself &amp; Rye is a perfect introduction to The Russian Futurists for new listeners and a gift to be treasured by the ultra-fans who’ve supported The Ru

I've made this page so that I can share my songwriting hobby with friends; I'm not (yet) an active musician.

On the rare occasions that I have spare time, I'm writing an album with the working title 'Tales from a Suburban Doghouse'. This album will take the listener through the animal pound/shelter, in the pawprints of all those pets that have had to make the same journey, through no fault of their own. Each song will be a different style of music, so hopefully everyone can find something they like (or at least, don't hate). Let me know if you think the styles are overlapping too much, or if there's a particular genre you want me to have a crack at.

Everything here is just a first draft demo: everything's played by me, that's my awful voice, and I've spent far too much time trying to learn how to mix with limited success. Once I've got my collection of songs sorted in demo form (hopefully by the end of 2013), I'll revise them and try to record some versions people might actually want to hear! I'd also love to get a band going at some point, because I love playing on stage and want to start getting my own material out there. I don't have an artist/band name yet, so if you can think of anything that would work, gimme a shout!

Anyway, have a listen - I'd love to hear what you think. Enjoy! (or not)

“Life is short, live it. Love is rare, grab it. Anger is bad, dump it. Fear is awful, face it. Memories are sweet, cherish it.” 

855 a KOTEK!! 587 a RENGUK!

"Life is Short...LIVE IT! Love is Rare...GRAB IT! Anger is Bad...DUMP IT! Fear is Awful...FACE IT!
Memories are Sweet...CHERISH THEM!"



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