Syria Hysteria or How Gary Got His Gun and Learned To Stop Worrying About Miley Cyrus.

For the last few days I've been somewhat-guiltily avoiding the coverage of the Syria situation, making do with stolen earfuls from Radio 4 in the morning before switching over to something less weighty. After the nuclear weekend of Reading and Leeds, it’s taken this old dog a few days to get back into the swing of things so I've been distracting myself with my newly-acquired Netflix and being earth-shatteringly un-fussed about Miley Cyrus looking a bit daft on the telly. But last night's defeat of David Cameron in the House of Commons, and today's fallout from that, has shaken me out of my Twerk-induced reverie and I've spent the past couple of hours catching up on the details. I wouldn't feel comfortable waxing lyrical on the specifics of global military responsibility in this particular fray, but I can certainly say that I was as pleased as punch to see the House of Commons voting against our involvement in it.

From what I've seen, the focus of the media analysis tends to be on the back-bench discord rather than the global ramifications of the decision. Today I've heard more talk of the 'high emotions' and red-faces in Parliament and the subsequent implications for the Labour vs Tory punch-up than of high-tech military conflict and the potential deaths of thousands of human beings. Cameron's half-salesman-like, half-pouty synopsis that 'it is clear to me that the British parliament, reflecting the views of the British people, does not want to see British military action' comes across as oddly like that thing shamed celebrities do when they say 'I apologise to those who were offended'. International War's place in this domestic game of political one-upsmanship is almost farcical, like some dream you’d have on Christmas evening after watching The Thick of it followed by Dr Strangelove then falling into a deep pudding-fueled sleep.

"Gentlemen, you can't fight in here. This is the War Room!"

But, for a lot of us, this is a big day. One doesn't want to overstate the magnitude of it, but last time the British people didn't want to go to war, at all, we did anyway. We remember the protests on telly, the statistics against the war, the 'sexing up' of documents. Hell, many of us remember marching against our military involvement in America's Crusade ourselves and it didn't change a thing. The worst feeling at that time was the sense of hopelessness, the loss of democracy. If the nation would have been all for it, while you personally against it, it would have been one thing but it was quite another when the Government openly ignored the will of the people and plunged our money and soldiers into a warzone.

Today, not so. Even if the result of the vote was more the positive outcome of a decidedly political spat than a true manifestation of the 'will of the people', today brings a sense of hope. But hope for what? Hopefully it’s that after the lessons of the past decade, our leaders are going to think twice about running our young men and women on global military errands that the populous is against. This brings me nicely to answering a question that I've avoided answering for some time. I could never quite find the words. I could never quite establish a way to write what the song is about without potentially offending people. Without potentially offending soldiers. Which is perhaps why 'Gary Got a Gun' is a song, not a blog, in the first place.

Some of our fans in the armed forces have been irked by the song. Some of them have alluded to it in Facbeook posts, others have written candid and interesting arguments and accounts of their military experience. Ex-sqaddie Philip Mudhir sent me a very convincing litany of why soldiers are heroes. So, even if I can't please everyone with this blog, I can at least offer a response to those asking for clarity.

First things first, and sorry to be a pretentious artist, but ultimately the lyrics mean what you take from them. The song is the song and is going to be there a lot longer than this blog. If someone hears 'Gary' as a song that laments the hopelessness and injustice of our government sending young men out to die in wars that the country is against because they don't have that much to do with us, you're probably on the right lines. If you hear it as a pointed finger and a shrug of the shoulders towards the newspapers and TV stations that oppose our country's military actions while glorifying our army you're even nearer where I was coming from. But if you hear it as a direct criticism to those who choose to join the ranks of an army knowing that they will have to obey orders that do not stand up to the scrutiny of their own morals then that's how you hear it. I don't know that I ever meant to say that a soldier isn't a 'hero' but rhyming it with 'amount to zero' on the next line certainly presents that implication. Lyrics, by their nature, are open to interpretation. I only hope that our government's refusal to be drawn into another war last night can put the context of the song somewhat into the past tense and even lend a little credence to the intention behind the song. Hopefully, now I can explain the song's genesis without being perceived as someone who, and I quote, ‘hates soldiers'.



Of course, when writing it, I knew the song would be contentious. It's such a massively contentious subject. But the only part of it that I can say has been actually misconstrued from my original intentions is that 'you amount to zero' line. I'm not saying that I think they amount to zero. I'm saying that with the flimsy justification we went following America into military action over the last dozen years, it's questionable that the lives of soldiers are worth very much more than that to those that are sending them into war. 

And that song's been done a million times, many times much more articulately than I could ever hope to achieve. But that's not where the idea of the song came from. The impetus behind this song was an article in a certain Red Top newspaper that distinguished itself from the other Red Tops post-2001 by centralising itself politically and making its views against the military action in Afghanistan and Iraq clear. While the other tabloids were remaining obsequious to our colonial overlords and contrite in their 'support for our boys', would moving into an anti-war editorial for this newspaper provoke a shift in perspective towards our soldiers? The answer was, of course, no. Far from avoiding the issue, their tone remained at the least, supportive and encouraging, and at the most, celebratory, lionising and downright patronising. And when presented with an interview with the grieving mother of another brave and valiant 19-year-old soldier, decrying his pointless loss of life in a war we didn't even need to be in, I was wary of the editorial tight-rope the paper was balanced upon. We hate the war. We love the soldiers.

This point of view is commonly expressed as 'against the war, for the troops'. I understand that stance. I understand where it comes from. Joining the army shouldn't have to mean that you're sent to do stuff that you are inherently against. Those decisions are not a soldier’s job. But, taken literally, can it be anything other than lip service? I've got to say it... if you're against what the military have been asked to do for the last 12 years, how can you in good conscience encourage someone to join the army? The fact remains that to implicate soldiers as having any responsibility for choosing a line of work where they will have to unquestioningly follow the questionable orders of their superiors is still terribly taboo.

Our brave and heroic boy, whose actions we don't agree with.

Policemen were open to scrutiny. Teachers were, NHS staff were. We all know that priests were. But in the mid-noughties soldiers, as a whole, were still treated in even anti-war papers with a kind of detached reverence. Just like 'the gun thing' in America, people were afraid to go there. If it's Emperor’s New Clothes, I just wanted to be that kid and point at it. I'm not saying that the papers should be attacking and criticising soldiers every single day. I'm saying if they were openly critical of the way our country was using our military, it was somewhat duplicitous to have anti-war editorials on one page then advertisements for 'Be The Best' and talk of being a hero on the next. The caricature of a soldier as an unthinking heroic drone, ready to deploy his orders for a government he devotedly loves, is as insulting to the soldiers themselves as it is to the reader. If discussion about the responsibilities, duties and opinions of soldiers was less controversial, would there be more pressure on the people making the decisions using them as collateral in the courtship of our Special Relationship with the US in situations like Afghanistan? I wasn't talking about soldiers questioning orders; I was talking about bursting the subservient media bubble that existed around the discussion of soldiers. And I was questioning the strong influence that subservience can have on the decisions of young men and women thinking about starting a career in the very organisation the newspaper purported to oppose the behaviour of.

So, hopefully I’ve explained where I was coming from and maybe we can put this to bed. Perhaps, if only for today, our army is once again our army. And hopefully last night signifies a sea-change in the UK, and our spiritual, and literal, compasses can re-align towards endeavours that are less morally suspect or at least more democratic in their scope. Of course soldiers can be heroes, and I believe that the vast majority of them join the army to be heroes, to protect and serve their country. I respect them. I just don't think that a lot of what they've been sent to do over the last 13 years has been, in a moral sense, very heroic and I think as much as anything, that's an injustice to them.

Until The Sunlight Comes...

Barney x 

Gary Got a Gun (P.Barnes)

Gary got a gun, a camouflage uniform and a journey to a strange land,
Never even saw the eyes of the man whose shot left him bleeding into the sand
Out in the headlines they call him ‘hero’
But if they can send you to war just to settle a score then I’m sorry my friend you amount to zero

It was his life-long dream
Wanted to “Be the Best” like it said on the screen
So it’s straight into the infantry age of 18
6 months later takes a bullet for the team
Shot him down
Insurgent with a gun in an occupied town
Shot him down
And he’s hit in the side hour later he died and he’s homebound

All he ever knew
Was to follow through
Any order they would ask for him to do
Any place that they would choose to send him into.

Gary got a gun, a camouflage uniform and a journey to a strange land,
Never even saw the eyes of the man whose shot left him bleeding into the sand
Out in the headlines they call him ‘hero’
But if they can send you to war just to settle a score then I’m sorry my friend you amount to zero

And so the story goes
The photos of the troops and our super heroes
But every tribute to the boys it just propagate the lie
Of course he’s fucking brave if you’re sending him to die
Shot him down
A nineteen year old kid with an average background
Shot him down
The story should be “why the hell was he there in the first place?”

All he ever knew
Was to follow through
Any order they would ask for him to do
Anywhere that they would choose to send him into.

Gary got a gun, a camouflage uniform and a journey to a strange land,
Never even saw the eyes of the man whose shot left him bleeding into the sand
Out in the headlines they call him ‘hero’
But if they can send you to war just to settle a score then I’m sorry my friend you amount to zero

And poor old mum
Hangs his photo in the hall
And all the words they printed
They do not help at all

Gary got a gun, a camouflage uniform and a journey to a strange land,
Never even saw the eyes of the man whose shot left him bleeding into the sand
Out in the headlines they call him ‘hero’
But if they can send you to war just to settle a score then I’m sorry my friend you amount to zero

The worth that they gave to your premature grave was zero
If they can send you to war just to settle a score you amount to zero
If they can send you to war just to settle a score you amount to zero
If they can send you to war does it mean any more now they call you hero?

Alright then!

Understatement time. I thought it was about time I got back on here and started blogging again. To be fair, this spark of activity is coinciding with a general call to action in our lives as a band that's been going on over the last few weeks. Crucially, this has centered around formal discussions about writing new material and the whole host of intangibles, ideas and questions that throws up. To a certain extent, you put a record out and then go into a sense of creative stasis as you observe and absorb how that lovingly crafted slice of Rock n Roll has been received by the world. Now we're moving onto our last single from the album, it's about time to stop resting on the 'Sonic Boom Six' laurels and all the changes and developments that has entailed and creatively start to look forward.

That's not to say that the last few months haven't been welcome. We've played the odd festival, had some fun times and it's been cool to be at home to have a stable life and be able to eat right and exercise (the first things that fall by the wayside as soon as you jump into the Pirate Ship). But the last few weeks have been exciting with meetings, plans and talk of diversifying within, and beyond, the remit of the band. Specifically for me, that's gonna involve getting a proper start on DJing, (something I've really just played about with in the past) and making more of a go of things with my writing, a side-effect of which paying more attention to this blog is theoretically the start of.



We've also had some recent opportunities to use the band for a few more altruistic ventures. We played a great charity show in Leicester for Oxjam this weekend and spent last Wednesday lending ourselves to make a video with the people at OMG Cameras Everywhere, who provide kids with free resources, training and opportunity to direct, produce, shoot and edit music videos. A couple of weeks back we visited the Teenage Cancer Trust Unit in Birmingham to play a few acoustic songs and meet some of the guys in the unit. We've got some footage and interviews from that coming up for those interested. These experiences have been fulfilling and put us back in touch with why we started the band in the first place and provided us with a chance to keep those flames of idealism burning, albeit in a different time and context. This idea of reflecting and looking back on why we do this on the practical level has a direct synchronicity with our recent discussions on why we do what we do on a musical level. And so, to the main point of this blog... thinking about the future.

We've been for a few meetings to consider and discuss where our heads are at and figure out where to go from here musically. One of these meetings was with a very talented producer and song-writer with a proven track record who is interested in working with us and gave us the benefit of a very frank appraisal of where he thinks we are and where he thinks we could be. We don't want to sit there and have smoke blown up our arses, but this was pretty frank stuff, with some very robust, but valued, opinions being thrown about. Discussion centralised on the concept of truly getting in touch with who and what our band, or any band, is all about and writing songs that convey that. And the idea that writing music for a perceived audience, be they a room full of punks or listeners to daytime radio, is ultimately self-defeating. A band should write the music they want to make, and hear and strive to write the best songs possible from that base. It all sounds so simple. The difficult bit is then going out and doing it. The good news is that we're all a little more inspired and motivated to write. We're currently discussing hiring a cottage or holiday home for a week and spending some time together and having fun writing again. Writing music together, for fun, for us. The way it is when you start a band. Not thinking about audience one way or the other but creating an honest expression of what we want to play and want to hear. Maybe there's a way of getting that sense of adventure and fun, that mixtape vibe, that underpins our early stuff and have it exist in the present day with bigger songs and better performances. To hell with conventions and genres and the radio and all those considerations. That shouldn't matter at the writing stage. The art that rings the truest is that which is the honest expression. And if some of the rough corners we've been compelled to file off in the past sound good to us, then we should keep them. As I say, it's where to go from here that's the difficult question and all this pontificating about the macro doesn't actually create the micro. But it's all good dinner for the duchess as no one has said, ever.



All that's not to say that 'Sonic Boom Six' isn't still alive and kicking. We're currently sorting through lots of awesome treatments for the 'High Cost' video, some of which are great. I'm leaning towards the concept of making the video more velvet glove in terms of getting the message of the song across. The lyrics are explicit as it is, so we don't need to hammer the point home. I'm thinking a visual companion and counterpoint to the song will be better than something that goes to far in making a political statement. There's lots more on these subjects where that came from but I think I'd better save it for another day if I'm gonna be blogging once a week.

Last night we spent the evening doing the first, and only Suicide Bid rehearsal in preparation for our BoomTown Fair set. If the shows without rehearsal have set a precedent for being great, I can only imagine what the reaction's going to be now we've got our shit together, especially at a venue as up-for-it as Boomtown is.



Alright then, I'll let you get on. Remember PLEASE to keep sending me questions, it really helps with the motivation to keep this blog happening.

Listening this week: Kanye West, Yeezus

First couple of listens left me marveling at the boldness of production but balking at the lyrics. By the third listen, I realised that only lyrics that insanely egotistical and cheeky could measure up to what's going on musically. Tremendous.

Watched this week: The Killer Inside Me (2010)

Micheal Winterbottom's stab at the classic crime novel eschews much of the novel's filthy visit into the mind of a psycho and boils the story down into a solidly-acted murder yarn. The male on female violence is for a strong stomach, but serves to underline the despicably psychotic character of the Casey Affleck character. I feel that the critic who infamously printed "I was so queasy, I had to go and stand outside. I thought I might actually faint" about the experience really needs to get her sense of perspective straight. Worth a watch.

Reading this week: Terry Pratchett & Neil Gaiman, Good Omens.

Being a huge Neil Gaiman fan but never anything remotely approaching fandom towards the work of Terry Pratchett, I've always been turned off by the smug Radio 4 tone of this book and have never made it past chapter 3. Like a mountain, this is there to be conquered, but I think I'll have to binge on some very violent, brainless comics afterwards to wash the twee out of my hair. We shall see.

Until The Sunlight Comes... Barney x

Plastic Sheet Blues (or how I learnt to stop worrying and love the hair-straighteners).

Question from Brendy Robb on Tumblr. (Tumblr Reblog).

Hey guys, hope you’re having a nice long weekend.

Just listening to “back 2 skool” at work and realised that one of the lines is “who pissed on a girl on the back of the tour bus?”

What’s the story behind it?

This was sent via web form from your Bandzoogle site

Hey man!

A few years back there was a big did he / didn’t he kerfuffle about Oli Sykes from Bring Me The Horizon and their crew ALLEGEDLY pissing on a girl in the tourbus and / or hitting her with a bottle. I think it turned out he didn’t actually do it at all. The whole story was doing the rounds on the internet and it became very tawdry. There were people who clearly had no idea what had happened weighing in and bitching about it. It was just very unseemly. On Punktastic.com in the forums and I remember at the time thinking that this was about as far removed from what attracted to me about punk as I’d ever witnessed. One example of these wonderful pieces of prose is HERE.

People have mentioned to me that they perceive this line as a ‘diss’ to BMTH. I’m sorry it seems like that because that band is very good and have done some great stuff for British heavy rock and also been instrumental in helping loads of bands. I have no problem with them, and I really enjoyed Suicide Season and it’s companion remix album. The line wasn’t about them, so much as the mentality of the tabloid-style speculation on ‘piss-gate’ and the whole circus around it. Back in 2007 things were happening in punk and rock in the UK that I was finding hard to accept; a move away from the lefty ideals I loved like equality, DIY and the punk gigs being ‘safe spaces’ to a vibe more reminiscent psuedo right-wing of ‘rock n roll’ of the 80s. I loved Gallows, but I hated the way the magazines portrayed them covered in fake blood, like that was what signified punk. Maybe I was sore because bands like Five Knuckle, Capdown, Freaks Union and the bands I loved from the years before basically didn’t look quite enough like what the music magazines wanted a punk band to look like. And I saw it happening and there was a clear shift in fanbase and the emergence of a new crowd of younger kids that really didn’t give two squirts of piss for the aspects of punk rock that I loved. To me punk rock was about not giving a shit about who was the prom queen, who was in FHM that month and who was the hardest lad like at school. Not repackaging it all with added tattoos and piercings. All the endearing things about the culture of punk rock to me had just been ignored. That’s what the song’s about and to me, it fitted in with the whole imagery of the album… city-centre rock clubs full of selfish, boorish, preening little peacocks who don’t care about anything but themselves.

I remember SB6 playing this party in London and backstage was this young hardcore ‘crew’ doing coke and calling each other ‘nigga’ and I was like ‘is this what this music has become?’ Us and YM@6 were kept very busy trying to avoid them and I said ‘it’s like being back at school’ and the idea for the song was born.
And, while writing the song, this little episode of people squabbling online about whether or not Oli had pissed on this girl (who ended up looking like a fool too when all the conjecture was over) was just another ‘what the fuck am I doing here?’ moments. What has this music turned into when we’re arguing about this?

I guess over the last few years I’ve come to accept that things move on and it’s all rock n roll at the end of the day. I’m probably not as precious as I was then. The good bands from that time are still together and doing great things and the UK’s rock scene has had a massive shot in the arm from the success of those bands. The lyrics to ‘Back 2 Skool’ still stand up though I think, you only have to go to one of the trendier rock festivals of the last few years to feel that ‘school’ vibe… the cocks of the walk with the prettiest girls on their arms sneering at everyone who hasn’t got the right trainers, the smell of greasy chips in the air and the dim threat of violence ready to go off at any given moment.

"Back 2 Skool"

Who is the kid with the coolest trainers on?
Who’s getting ripped cos they got the label wrong?
Who said that he said that she was a slag
because she kissed with the boy on the bike and tongues’ll wag?
Who’s keeping up with the kid that got the tag?

I’m waiting for the bell again.
Well but you’re not it, yeah but you want it, tick and you got it.
Running to keep up again.
Well but you’re not it, yeah but you want it, tick and you got it.
Catch them once.

Now I’m singing the sound of all these songs upon the radio,
and now I’m laughing aloud at how the kids can be so cruel
and now I’m stifling down my screams
and shattered dreams to make the team,
I guess I’m back at school.

Who read the part of the picture book
where they swear they don’t care what you wear or how you look?
Down in the playground they’re dressed like lady muck.
Who pissed on the girl in the back of the tour bus?
Back in the disco they sing to the chorus!

It’s gonna be a party, what you gonna wear?
Everyone’ll be there, life just isn’t fair.

Sent out with the boys and the girls in the big wide world
and well I took a look and found my way underground.
And soon I knew you never leave the playground.
Catch them once. Catch them twice.
Catch them three times. Never gonna get them in the end.

Tumblr Question Reblog: Between your samples and Horrotheque (thanks for that find) you seem to know a lot of public domain shit, how can I get more free shit? Do you take inspiration from the White Stripes with the colour schemes, particularly the original red black and white combos, and why do you do it?

Oi oi!

The Public Domain stuff has all been something that kind of fell together from researching for the Boom records. I guess I probably err on the side of caution more than I need to but if you know it’s PD you can really go to town on it like at the beginning of ‘Strange Transformations’ which was pieced together by me from stuff across the whole broadcast (rather than being one continuous bit of prose). It’s funny because on tons of dubstep records they used big chunks of film quotes without apparently invoking the wrath of film companies so I reckon you can actually get away with a lot. I often wonder did GZA have to pay the makers of Shogun Assassin anything for the repeated use of those samples on the ‘Liquid Swords’ album (one of my favourite albums of all time, hence the little Shogun Assassin nods at the beginning of ‘Danger! Danger!’ and ‘Ya Basta!’). Because that’s the dubbed version of the film, I wonder if the fact that it’s dubbed has something to do with everyone’s ability to sample it? Probably not but it’s interesting because it’s so sampled in hip-hop.

Anyway, here’s the list of sites I use to come up with the sampling stuff. The best site on the net for PD stuff is Archive.org. For City Of Thieves, and loads of other stuff, this was absolutely vital as all the public info films were from the Prelinger Archives on here which has a cool search facility.

http://www.archive.org/
Another thing I will do is find films that are public domain and then check them out on IMDB and check the Quotes page. If you read through the quotes and find one you like, it’s then a case of having to watch the film. Which is a good excuse for work! When we were recording City Of Thieves I was basically watching two or three old films a day.
This is a great site for all films.
http://www.openflix.com/
This is a great list of horrors.
http://steve-calvert.co.uk/pub-dom/pub-dom.htm
And this is a decent list.
http://en.wikipedia.org/wiki/List_of_films_in_the_public_domain_in_the_United_States
The main thing though is to check through a lot of different sites because there are lots of films that were never famous enough to go on all the lists.

Of course, there is horror radio too, which is where I got the Vincent Price stuff from!

http://www.steve-calvert.co.uk/old-time-radio/horror.htm


In terms of the matching colour schemes, no it was absolutely nothing to do with The White Stripes! Not a band I’ve ever really listened to but I know they’re good.

When we started the band, one of the ideas was to capture that element of bands like The Specials and The Ramones that seemed like a gang, so being colour-co-ordinated was one way of doing it. Another element was that we aren’t one of those bands like The Lost Prophets or Young Guns who are five lads of the same age who are all very handsome and dress similarly. Put us together, and we didn’t really look like a band and we knew that and that wasn’t really a good thing. Like eating food, a lot of appreciation for a band comes through the eyes, conciously or not. That’s not to say that a band has to look amazing, simply that the way they look needs to reflect the music they make. Those disparate influences were part of our music so it was fine that they were there but we wanted a way to be able to wear clothes we were comfortable in (which would be very different from person to person) but still looked ‘together’ as a package. And we still do that, but change the colour schemes around now and then. My favourite ever was the black with camoflague I think, which you can see in the ‘Sound of a Revolution’ video.

It’s funny because there was a point where we dropped doing it for a while because it got stale and Ben got really sick of it but now looking back they’re the worst photos of us live. We all look like we’re in different bands, even though we all thought individually we looked alright. So we went back to the colour scheme things, but just tried to keep it more subtle. It’s just another little gimmick of getting out there and performing as a band, just another small way to make it more interesting than stepping out of the crowd in what we would wear to the shops and going through the motions. It’s just an effort to do something.



Old school!

Ta! Great questions. Keep them coming in people and I’ll keep on blogging!

Barney :)

Tumblr Question Reblog: Who writes most of the lyrics in the band? Do each of you contribute your own sections to each of the songs, or is it generally one person writing the whole lyric, and then sharing the sections out in the studio? Also, as we're on the subject, who wrote the line "I'm scared of you, but that don't mean a thing, you know I'm scared of dogs too"? By far my favourite lyric in the 10 years of Sonic Boom Six.

I write all the lyrics now. Nearly all the lyrics on the early stuff are mine but across the first few albums Ben started writing more stuff that we used. Yeah, I work closely with Laila and a lot of tunes we kind of write together so I’ll get a demo of a song with her singing dummy lyrics and write to those. There’s a lot of printing out and practising and going back and changing stuff as we go along.

There are songs on the first three albums where Ben wrote lots of lyrics, especially Arcade Perfect. He’d often start a song off about one thing and I’d give it a twist and take it somewhere more political and less personal which was a fun way of doing things… ‘While You Were Sleeping’, ‘September To May’, ‘Floating Away’, ‘Through The Eyes Of A Child’ and ‘Welcome To The City Of Thieves’ were all totally like that… basically songs Ben had written on his own and we added to lyrically to make the message of them relate to the rest of the Boom content. That was a really cool way of doings things and I miss it! It would be too simple to say Ben wrote the ‘song’ and chorus’ and I wrote the verses but that’s not far off. Ben wrote all the lyrics to ‘Northern Skies’ and ‘Face Forward’ and I just added the raps and he wrote ‘Flower’ and ‘Passing Through’, ‘Sister’ and ‘Not Yet’ on the BabyBoom EP which are great. On all the more rap stuff Ben wrote his own verses. There’s definitely other songs of mine where he added stuff but I can’t remember off the top of my head!

I really loved Ben’s ability to make a big chorus line in a song stick in your head and the way he crafted proper songs, he’s a very good songwriter. He was massively influential on me. He believed that you shouldn’t, if possible, write music then write lyrics over it… you should come up with the chorus, beat, vibe whatever with the chorus of the song so the song is there before you write the lyrics. That means the song’s lyrics and music are married together. For instance, if you think of something you want to write about (say kids involved so heavily in the punk scene squabbles that they miss what’s happening in the world that’s important) and then come up with a phrase to describe it, you should have the phrase on the tip of your tongue and then pick up the guitar and marry it to music. ‘Meanwhile, Back In The Real World’ was me trying to write a song with that concept. It was a song that sounded like Mouthwash but with a concept of song and strength of chorus that was like a Ben song and what he’d been pushing me to do.

I wrote the dog line. ‘Rum Little Skallywag’ just started off as a song I wrote myself on an acoustic guitar so it was quite personal but it fit on the album. That’s a funny lyric to pick up on! I think most people like ‘Knob Head’ on ‘Monkey See, Monkey Do’ (not a line I ever thought people would pick up on) and people like ‘getting on together like chips and samosas’ from what I’ve heard.

Without starting to sound like Paul Simon on Classic Albums(!) or something, I think my favourite lyrics by us are ‘September To May’. That started as a song by Ben about people moving from Manchester and getting jobs in the city and I added the whole extra layer of fairweather student political activity which, for me, made it one of our best songs because it’s not something I recall ever hearing another song about. It’s an attempt of that marriage of the personal and the political that makes bands like The Clash get their message through on some songs like ‘Stay Free’. Not that ‘September To May’ is on that level but lyrically that’s a song I’m very proud of us for. I’m also very proud of the lyrics to ‘Jericho’ which are mine… ‘You seem surprised our race survived, you’d almost call us civilised’. Knowing I liked that line my girlfriend got an artist to put them in a framed picture for me. But I’ve only ever met one fan that liked that song!

On the new album I aimed to get rid of writing for a ‘target audience’ (i.e. like on ‘Meanwhile’ and ‘Bigger Than Punk Rock’ which are basically about the punk scene) and tried to write for everyday people. I wanted to stop second guessing what people were like who were listening to it. There is a song called ‘Gary Got A Gun’ that is going to really challenge people I think. I’m proud of that one too but that might be famous last words. We’ll wait and see...

September To May

Walking down Oxford road,
It seems that nothings changed,
Why does it leave me cold?
Must be more than Manchester rain,
Great place to piss a loan away,
But god forbid you’d ever stay.

Come and go, come and go, come and go.
(You used to be a friend of mine)
Come and go, come and go, come and go.
(You left that life behind)
Have you really changed so much since then,
Has it really been that long?
One minute you’re here and then you’re gone.

Oh when the locals quaint?
Oh weren’t the protests fun?
Second you graduate,
Join daddy’s firm in London,
Last seasons look inside the halls,
Was having Che Guevara hanging from your wall,
Three foot tall!
I guess those lies were just your size,
While you were dreaming of the money and sunny skies.

Come and go, come and go, come and go.
(You used to be a friend of mine)
Come and go, come and go, come and go.
(You left that life behind)
I thought that we were gunna smash that system,
Sing along to the Billy Bragg song,
One minute you’re here now you’re gone.

Took a little time to find out,
Took a little time to find out.
Took a little time to find out,
Took a little time to find out.

REVOLUTION EVERY SEPTEMBER TO MAY
I GUESS THE SYSTEM’S HERE TO STAY!

See you Come and go, come and go, come and go.
(You used to be a friend of mine)
Come and go, come and go, come and go.
(You left that life behind)
Have I really changed so much since then,
Has it really been that long?
One minute you’re here and now you’re gone.

I still don't know when it's gonna be out... but it's good!

Hello!

It's taken someone to remind me that it's been months since I've done a blog to even realise it wasn't a week ago. The last few months have gone by so fast, I think it's really a symptom of having the main thing you do in your life preparing for the release of something that's going to happen in the future. Every day you're looking forward to what's going to happen tomorrow that sometimes you forget to think about today. And it's important to think about today!

Anyway, the vast majority of questions we've been having recently have been about the new album, what direction it's going in, when it's coming out etc.

I'll let everyone know where we are now. First of all, the album is 99% finished and it's going to be out next year at some point. At the moment, we're actually speaking to different labels and people and have just signed to a new management deal (which you can read about HERE) and we're deciding what to do with ourselves. Because we had the line-up change back at the start of 2010, we really wanted to take the time to make an album that was going to re-establish what Sonic Boom Six was rather than hurry out a continuation of what we'd done before. I think we went the right route, because the album, coupled with a spell of festivals over the summer where we debuted the new material, have certainly been met with a lot of enthusiasm by those that have heard it. There's lots of question marks going forward in terms of performing the new material live and how much old material we'll be doing too but it's good to have a challenge. Hopefully we'll see a lot of you on the October tour and we'll be playing a nice selection of new stuff with a nice amount of the ones you know and love in there too.

A lot of people have been asking are 'Sunny Side Of The Street' and 'New Style Rocka' going to be on the album. Never say never, but the plans are that the new album is a full, fresh set of songs, the first of which will be the single 'For The Kids Of The Multiculture' which will be available on October 10th and you can hear a few little previews from HERE.

One thing that's REALLY been drilled home to me over the last few singles is that you can't please all the people all the time. 'New Style Rocka' was met with enthusiasm from the majority of fans and was all good. 'Sunny Side' we expected more of a backlash (there was a bit of 'going mainstream' grumbling but not a huge amount) but we actually had kids and fans that hadn't been in touch for years telling us how much they dug it, as well as quite a bit of other stuff that was attracted by it. We love the song and the video but, to be honest, with what's being going on politically since the coalition got in power, our heads simply wasn't in the place to write songs that don't address what's going on around us more directly with more energy across a full album. There is a tune on the album called 'Flatline' which has a very interesting back-story and I can't wait for you guys to hear it. Remind me to tell you about it when it comes out.

There are a few questions in the mailbag, but it's all looking a little scant. Get on it people, barney@sonicboomsix.co.uk you know the drill. I'm not doing this Formspring thing, I'm staying on here like a Luddite.

Kev asks Coheed & Cambria, yay or nay?

I really don't know. I know that song that sounds like a girl singing when it comes on in clubs and it's nice enough. I saw them at Reading on the Lock-Up stage one year but I was so off my head on goofballs if you'd have struck a match I'd have burst into flames. I remember a man with an afro that was well good at guitar. You could be talking about Mungo Jerry. I have an album by them that is red and has a Roman Numeral four on the front and is still in it's cellophane wrap. That's as far as it goes. So yay nor nay really.

Anonymous asks When are you coming back to the States, mainly Florida? 

We hope to get back over to the States next year. Our priority now is basically re-launching the band here in terms of having the new material and having the line-up and live show 100% representing our new stuff and sound before we come back over. But that should definitely be done in the early part of next year. We're always talking to people over there so we have plenty to do there... and plenty of burritos to eat. We will definitely be back to LA, New York, Boston and hopefully Florida, we promise!

Have you thought about putting your music in the video game Rock Band? 

We've spoken to a content provider company about this over the last year and decided to wait for the new songs. I'm pleased to say we're currently sorting three songs from the new album to be downloadable content on Rock Band. That's definitely happening, 'For The Kids Of The Multiculture' will be up there first, as soon as we can make it happen.

Last question, are you going to release any more of your albums on vinyl?

Definitely, when there is the demand there. The great thing is we own the rights to the vast majority of our old material on a label level so once we get our feet on the ground with everything we'll be looking into re-issuing older albums in different formats and vinyl is one we're most fond of...

Lastly is this peach of a question from James Rodger Brown. And I promise, this is the full question your man James emailed me...

i can't remember if i have ordered sunnyside of the street and t shirt bundle?

Firstly James, grammatically that isn't a question, it's a statement. But I get what you mean. I'm afraid that I don't deal with the mail order side of things. You'll have to check your paypal or email the Boom shop. Thanks for the mail though mate, it's surely made a few people smile! :)

OK, that'll be that. I might have to start reviewing films on here or something because I need something other to talk about than where we are with the record. Mainly I'm still banging about on Twitter and Facebook to answer questions but if anyone needs some longer answers send some questions in yo!

Also, I did do a video blog when Mouthwash split up that you can see HERE if you haven't already checked it out.

Safe

Barney


I don't know what to leave you with so here's a picture of me and a dog.

Alright, I'm back! Hip-Hop, Record Labels and STOODUNTS!

Hello fellow earthlings!

First of all, massive apologies for being away from the blog for so long! Basically, this period of inactivity started with me wanting more time to answer a couple of questions and then having to wait to do so and basically weeks slipped into months. But no longer! As of today I'm back on the blog and back on the questions…

So, what have we been up to then?! First of all, rest assured we've been mad busy. Unfortunately, the end of last year ended up being a bit of a damp squib what with Laila's chest infection and a few cancelled dates but I hope you guys enjoyed our new songs and the 'Addicted To Bass' cover. A few people have asked if that song a good indication of where The Boom is going with the new stuff we're writing and I'd have to say yes and no. Yes in the sense that there is a lot more going on in terms of loops and synths than we've done before but we won't be playing it quite as safe with it in terms of the song-writing as we got away with that particular cover version. We're really stretching things out at the moment and some of it feels pretty far out there... I'm doing more vocals than I ever have before. There is a lot of stuff with me rapping and Laila doing the chorus's which are really exciting for us all and certainly represent enough of a departure and progression from the way we've done things in the past that at times it does feel like a different project. It's challenging and exciting to find ways to actually sprinkle in some SB6 in terms of a bit of ska or rock or the kind of lyrical content that will be a bridge from our new stuff to our history. It's still a bit of a mystery to us how the kids that have got into us via a frantic moshpit song like say 'Blood For Oil' will take our steps towards a more dancefloor-orientated sound but we're going to be brave and bold with it. We've just finished about 10 demos and we feel we've nailed the new 'Boom' and are heading into the studio at the end of this month to record a new single. We'll keep you up to date with it from in there. Exciting times ahead!

Right then, I better get stuck into some of these questions... first, a question from James Pitt..

"Just wondered if you guys had ever considered any other side projects that take you on a different style to SB6, something like a dedicated hip-hop/dubstep/d'nb style thing?"

Personally, I've contemplated doing a proper hip-hop thing and was really dead set on it a few years ago but my interest in current hip-hop has, unfortunately, really waned. Maybe it's being immersed in it for so long but I find it a challenge to get worked up about current music. I recognise it's good but I don't always get excited about it like I did back in the day. Much as I loved early grime stuff I'd say that in particular I'm not especially feeling the electro-crossover-pop UK hip-hop thing at the moment because, for me, it strays too far from what I like most about hip-hop; the lyrical content, which, apart from the odd punchline or two, just isn't really that featured. I really like Proffessor Green at the moment and I've had a few listens to Devlin and Giggs and enjoyed Maverick Sabre's mixtape but apart from that there's not much UK stuff I've listened closely too since Braintax and Jehst etc yet I expect there's loads of great stuff out there. For us, it's finding the time and the energy. There is a lot of emcee-ing inside me that's dying to get out and to say that I'm doing more vocals on the new SB6 stuff than I've done before is an understatement. As I said above, in some respects it feels like whole new thing in which stuff I’ve only been able to express a smattering of before is well more featured so that's really satisfying my creative appetite. One thing I would say is that I'm always up for guesting or emceeing on other people's stuff so if anyone has anything please let me know...

Laila has been working on some tracks in a 80s electro style with a mutual friend of ours (the guy that did the 'While New Were Sleeping' remix on Play On) that sound great. I'm not sure exactly what the plans are there but it's good stuff. James is always tinkering about with remixes and tracks and is currently working with Mark that used to be the vocalist of Myth Of Unity and also a band from Wales called Miacca whose stuff would be well worth checking out for anyone into The King Blues or Dirty Revolution. 

This one has come from quite a few of you but it's Dave Sharpe's I'll answer now.

"So my question is, what with seeing how tight knit the whole Rebel Alliance bands were (are?), I'm wondering why bands such as Random Hand and The Skints have left the label. I refuse to believe there's any bad blood, because why would anybody lie about that? Also, tying in with this, will there be any more Rebel Alliance signings in the future?"

Hey man, thanks for the question. This was a difficult one to answer because we're actually still dealing with things to be honest but as I did say I'd answer all questions in the blog, I'll give it a quick stab. There absolutely isn't any bad blood between us as a band and The Skints or Random Hand at all and, as intriguing as it may seem from the outside, it really is a case of this is boiling down to private business. Suffice to say, we found 2010 very difficult in terms of running the label and running the band, both financially and work-wise and as Rebel Alliance became bigger it got to be more work and require more finances. In terms of Rebel Alliance and it's output of bands other than SB6 in the future, we're going to take it one step at a time again and we're not going to feel too pressured to go this way or that or make any promises or statements that we can't keep. We certainly feel that what we were attempting to do with the label remains very important. A focal point like a label for bands and music in any scene is invaluable but with so many other challenges in terms of the music industry at the moment, just running SB6 is a task in itself right now. We thank everyone for their interest and support and wish those bands the best.

Stacey Jones in Devon asks "waht did you feel about the Student Tuition Fees debate? Do you think the protest action is right and works?'

Wow, that's a big gun. Well, me and Laila were actually discussing this in the van the other day before the full extent of the cuts and what was going on were revealed to the public (Laila's best mate is a Uni teacher and had told her some horror stories about what was happening in her department). Laila was very much of the opinion that not enough is done to encourage lesser privileged children to attend uni, or at least push them towards it. While I understand this viewpoint, I feel I need to be honest about my view on this and before hearing about the cuts I made the point that, in truth, I see the dilemma faced by the higher education institutes in terms funding and entry. And discussing tuition fees while completely ignoring this is simply not getting to grips with the issue. So many kids joined my uni course and dropped out which is a waste of time and money so pushing everyone towards university isn’t going to make anyone’s standard of living better. I think that the biggest challenge that is faced by the people running higher education is to engage and attract students that actually want to work hard and be there, which sounds obvious but, amongst the hoopla about fees and class (that a hell of a lot of people don't actually fully understand) it seems to rarely come up. Whether it's a working-class kid with a low level of education 'eased into' uni only to potter about for a bit and drop out or a middle-class 'gap yah' type having a 3-year party at daddy's expense they're both costing the education system if they aren't in it above the age of 18 for any reason other than to apply themselves to their course. That might sound a little stuffy but how else can you view further education in times where cuts are being made everywhere across the board? That's the problem with the myopic focus on fees and class and I feel that a lot of the coverage on the news doesn't always explore all the facets of the matter.

In principle, I'm totally and completely against raising the fees but I'd like to add the addendum that I acknowledge that more can be done in the area of money wastage in higher education. The obvious trouble with the raising of the finances it takes to get into uni is that it simply raises the stakes of debt and financial impact that the education will have in the life of a less-wealthy student to levels that may well prohibit them from attending. While for the wealthy it might be more of an impact on the wallet but it isn't life-changing. I believe it is a responsibility of the government and an adherence to the idea of a ‘United Kingdom’ to strive for the playing field of university-entry to be levelled. In my experience, there has certainly been no evidence that I've seen that someone from a wealthy background is any more likely to apply themselves in uni, many simply expect it, are expected to go and get that privilege without any consideration for what it entails. Financial inequality and class-based distinctions cause a huge amount of unfairness within the university system as a whole. So yeah, I think that university education should be accessible to all but I accept someone has to pay for it and I feel that does sometimes get ignored in hubbub. Ultimately, raising the fees is not the answer and that's the bottom line, especially when it exposes promises before the election as the blatant lies they were. What's that? What should we do about it?! I don’t know, but I know that while the government is spending the amounts that they do on military action overseas they should certainly be able to figure out how to tighten up higher education expenditure without turning universities into luxury consumer products for the highest bidder.

Anyway, as far as the protesting goes, I thought it was exciting and inspiring and heartening. I'm behind it 100% (maybe in that case 99%, the 1% for the guy that threw the fire extinguisher which compromised the credibility of the action somewhat in my opinion). I think that it's got the public standing up and looking at the problem at home in the way that a peaceful protest wouldn't. People argue that the violence compromises the message and a lot of the time I’m with that (smashing Burger King windows at a G8 summit in a ham-fisted jab at capitalism only harms the kid on minimum wage that has to clean that shit up) but in terms of something as palpable as education, people tend to be a little more magnanimous in their reaction to what’s going down. While it’s simple enough for the silent majority to sit there and caricature anti-capitalists as violent, loony, lefty wackos, it's another thing to say the same about such a culturally diverse and socially-accepted group as students. I think they shouted loud enough and expressed their anger in a constructive way and put across the disappointment a lot of people are feeling with the government's decisions at the moment.

Anyhoo, that's that for now, please keep the questions coming in a barney@sonicboomsix.co.uk. Best of wishes to Oli from the awesome Anti-Vigilante who is currently battling a serious illness and could do with all our support. Look out for our new single next month. Check out the bands Tree House Fire, Tyrannosaurus Alan and Clay Pigeon. I think that’s it!

Safe

Barney x

Waiting for God. D'oh!

Hey guys, Barney here.

So, I'm currently waiting at home for the rest of the band to get here for rehearsals and I've just been informed they are gonna be late so I think I may as well do something useful. I've been toying with the idea of using this blog as a semi-personal actual blog that goes more into what I think and do on a day to day. That way, it might blur the lines between the tour diary type thing it normally is and the mailing list and news thing I do but I can also ramble on about other things in here that might be a bit too broad or weird or personal or daft or controversial or political or all those things at once than any of those more 'official SB6' type things entail. I think maybe that's a little self-indulgent and stuff and maybe I should separate it from the site but then I was reading a few blogs of people like Tom Gabel and see the amount of fans that are following him on there and how interesting it was to get that perspective that I thought I might try something similar here. Let us know what you think anyway. Give me questions and thoughts and all that. But don't ask me to do a Formspring like someone did a few weeks back. That's just another password to forget... :)

Anyhoo, as far as SB6 goes, things are exciting and nerve-racking at the moment in equal measure. Since Ben left, we've been filling in for him and, live-wise at least, we've managed to pull it off one way or another but now we're lumped together in my house stood around a PA and wondering how to proceed, the fact that we have to get used to working in a different way is all too apparent. In terms of writing songs it used to be unusual but we built a formula that worked across the albums. Basically, Ben would write a couple of songs in their entirety or thereabouts, I would write a couple of songs in their entirety or thereabouts and, for the majority of the rest, Ben would bring in an idea and I would add to it and turn it into a song and Laila would add bits and bobs. So, now, that way we wrote pretty much most of the songs (just for example seven - over half - of the songs on City of Thieves follow that formula) has gone out of the window so we're all in a new place. On the one hand, of course, it's hard to know exactly how to go about everything. But on the other hand, no one is going to deny that we milked the formula for what it was worth across three albums and several EPs so a change is as good as a rest. And a change in the Boom is going to keep everyone excited.

Laila has discovered a new sense of vim and vigour about stepping up into her role as a songwriter and, for the first time in Boom history, she's stepped up to the plate with a finished full song idea that just needs bits and bobs on top of it. The good news is that it's great. The hard part of the whole thing is that it's possibly more poppy than anything we've ever attempted to do and to keep the fans of the 'old Boom' happy while bringing in something more in a dance/pop type vein is a challenge. But we're getting there and we're definitely going to be playing this song on the forthcoming tour. I hope that people get what we're doing and that it stands up as something new but also something ‘Boom’.

And in with the new, James 'Jimmy T Boom' Routh has joined the band with a whole host and collection of synth noises, bleeps and grooves to slot in alongside our previous dalliances with the electronica side of things. I don't think I'm going out on too much of a limb to speculate the more dance-crossover side of things are going to be coming out within the newer material and we've got a tune that we've been working on that we're really excited about - a kind of cross between punk and jungle in a way that leans harder towards the synths and stuff. Just to do it in a way that's coherently mashed up in a way that sounds futuristic and makes you want to dance is what we're after but I definitely want to avoid it sounding like those god awful metal/electronica crossover acts that kind of ape the worst of both genres. Props to Skindred though, they do it brilliantly. I think a listen to 'Road to Hell' is probably the best clue of the sound we're going for but we really want to blow that out of the water in terms of where we're pushing it.

So! Between all of us, we have the blueprint for a new Boom (where the mash-up side of things come from the sound of the band rather than jumping from genre to genre every single song) it just finding the right approach to get the song ideas flowing and bouncing rather than being forced through. It's hard, but we shall prevail! At the moment, we all felt that the old set was beginning to stale (James joined mid-tour and has never actually rehearsed them!) so we've gotta get a full one set ready for April. There's gonna be as much new stuff and as much clues to where the Boom 2.1 is going in there so I wish they’d all hurry up and get here and we can get to it.

Speaking of live gigs, I got the chance to go and see my pals Crazy Arm supporting Frank Turner this week at the Academy in Manchester and what a gig it was. It's funny because the Crazy Arm album got recorded so long ago and we used to listen to it in the van and everyone absolutely loved it. But the guys were finding it hard to get appropriate gigs (they came on tour with the Boom for a bit...) and it felt like they were falling at the first hurdle of getting 'out there' into the music scene. I felt really bummed out because such a brilliant record might not get the crack of the whip it deserved. There was even talk of doing the album on Rebel Alliance but we felt it was too early for us to be bouncing around different genres and that the record was simply too fucking good to be on a label that doesn't have an expertise in the field that they play in. Lo and behold, our buddies at Xtra Mile eventually picked them up and, slowly but surely the quality of the record meant that it was a release that made the majority of 'best of 2009' lists and has garnered a ton of acclaim from word of mouth and Crazy Arm are up and running hard with the ball. To see Darren and Simon up there on the Academy stage with Chuck Ragen, massive grins plain for all to see was a bit of a lump-in-the-throat sight to behold. It kind of goes to show that good music will get you noticed in the end, despite all the other bullshit that goes on.

Speaking of good music getting you noticed, I was gratified to see that Frank Turner more than justified his current wave of popularity. I remember hearing his early EPs and enjoying them greatly and then having the misfortune to catch him at Rebellion 2006 (I think) sarcastically grumbling about 'punx' onstage, looking miserable and singing a song about 'the Day that Dance Music Died' which wheeled out a string of strangely peevish 6th-form-rocker stereotypes about the followers of various types of dance music that was so insulting I was offended to the extent that I left the gig. Over the years since, I stayed in the loop with Frank's albums and have listened to all the stuff and it's just gone from good to excellent. I’ve always missed him live though, even at festivals where we’ve both played. I've also noticed a lot of the underground scene turning against him (ridiculous comments such as 'there are so many more talented artists playing in squats and front rooms everywhere' are a common example of such errant buffoonery) which is generally a good indicator that someone is talented enough to make it in the 'real world' thereby decrying the flimsy myth that everyone playing in squats and living rooms is better than those on daytime Radio 1 but just don't want to because they've got too much integrity. Anyhoo, I was ready for him to be good live and was wondering how it was gonna work with the acoustic but I was treated to a masterclass in audience/artist interaction, good, pop songwriting and extremely talented musicianship. Anyone that has ever picked up a guitar and strove to write a song that a lot of people like is gonna see the talent in a bloke that has one and a half thousand people shouting every word at him with no gimmicks, image or trend holding it all up. And, as with Crazy Arm, it's heart-warming stuff. I never want to be one of those old guys who looks at what I do and go 'we couldn't get any further because we didn't have a big deal or we didn't kiss the right arses or we didn't look right' or whatever. Walking round thinking that every band that is famous is shit and lucky. Bitterness gets you nowhere. I'm totally happy with what we've achieved but I also know that I'd love to headline the Academy 1 and if we do, we need to look at the artists that do and see what it is that they do that has got them there. Not snipe at them, look at the negatives and say 'there but for the grace of God go I'. That being said, I'm glad he didn't treat us to 'The Day that Dance Music Died'

Anyway, wee Jimmy Boom jumped in for a photo with Big Franky T which I'll leave you with cos Laila and Nick have just got here.














Maybe we just need to be taller?

RSVP!

Your oldest pal.

Barnold x