My issue of PROG 57 just arrived. It’s beautiful. But, especially great is the Bad Elephant sampler CD that came with it. If possible, make sure you grab the issue while it’s available.
Tag: Bad Elephant Music
The European Perspective: The Tangent Boxset
David Elliott, Progmeister and founder of Bad Elephant Music, never does anything not worth listening to. But, here, he’s especially good. Three hours of The Tangent. Enjoy!
Best of 2014, Part III: Welcome to the Mask Machine
In a world of true justice, Flying Colors would be blaring from every car stereo tuned to album rock radio across North America. Not only does SECOND NATURE have the single best album cover of the year, but the album is absolutely riveting. It’s not quite prog, though, as with the best of AOR, it contains great prog elements. Everything fits perfectly here. The lyrics are solid, the vocals are superior. The final two songs—Peaceful Harbor and Cosmic Symphony (sort of a gospel prog)—alone are worth the entire album. But, the entire album is, thankfully, worth the entire album. For me, every time I listen to this album, I’m transported back to 1985. This would have sounded great next to Power Windows. And, unquestionably, Peaceful Harbor would easily outdo almost any contemporary worship song should churches look for some good new music.
Largely unsung in the press, Mike Kershaw offers a rare noir beauty, a kind of moody deepness rare in almost all popular art, on 2014’s major release, ICE AGE. Kershaw’s music reminds me quite a bit of another profound prog act, Fractal Mirror. Each looks to the Bauhaus of the early 80s, progging it up, making it relevant in the modern age. Kershaw offers us a rather dark Narnia.
One of America’s greatest gems is Cailyn Lloyd, though too few Americans know of her. In every way, Cailyn is a wonder. She arranges and writes her own music, plays all of her own instruments, and records and engineers her albums. Her specialty—bringing classical music and blues (think Stevie Ray Vaughn)—to the rock world. Reading this, you might first think of ELP. And, there’s a connection. But, whereas ELP was always “over the top,” Cailyn is as tasteful as tasteful can be. Her latest release, VOYAGER, is a must own for any lover of music, whatever the genre.
America’s newest and coolest immigrant, Simon Godfrey, has taken up residence in the City of Brotherly Love. For whatever reason, though, Philadelphia seems to have made him even more English, especially in his unrelenting wit. Godfrey’s latest, MOTHERLAND, is more in the “singer-songwriter” camp than prog, but it matters not. His voice drips with conviction, and this very warm album will enliven the soul of any listener. The best song of a great album is “The Inaccurate Man.”
America is doing quite well in 2014. Everyone’s favorite Kerry Kompost (FB name) is back with Heliopolis and the new album, CITY OF THE SUN, a stunning work of art that has taken several years to make. And, the time was well worth it. Of all prog releases this year, this is one of the two or three most unapologetically prog in the traditional sense. Quite heavy and eccentric, it builds and builds throughout the album, taking the listener on a psychedelic ride. Mix Black Sabbath, The Doors, and King Crimson, and you start to get a sense of what Heliopolis is. Whether Heliopolis takes its name—band and/or album title—from the famous Renaissance poem of the same name or not, I’m not sure. But, I do know that these guys have delivered something well worth adoring.
Nothing Matt Stevens does is unimportant in our world. His vocal-less music carries more voice and speaks more humanely than almost anything else in the music world. The man loves his guitar, and he love beauty, and he loves harmony. LUCID takes Matt’s voice a step further. He’s also had a King Crimson/Leo Kottke strain to him, but this album is even more Matt than Matt. It’s so incredible that no words I could employ right now could do justice to it. And, speaking of justice, Matt has received some huge accolades. But, he deserves so many more.
Who would have thought an EP would make it into a best of list? Well, Galahad already has. Now, it’s Haken’s turn. Unlike Galahad, though, Haken gives us three brand new songs with RESTORATION. I have to thank my great Facebook friend, Richard Thresh, for first introducing me to Haken. Chris Morrissey has already reviewed the EP here at progarchy, and I agree with every word. So, no need for me to blather more.
Finally, for part III of my best of, the band that Richard and I were discussing when he brought up Haken: Threshold. I really, really like these guys, though I’m generally not quite as metal as all of what’s to be found on their latest album, FOR THE JOURNEY. It’s as dark in its metal as MARCH OF PROGRESS was driving. There’s a lot in common between the two albums, especially thematically. Each deals with the fragility of life and social stability. The two albums seem to me to be two sides of the same thing, much in the way that it’s rather natural to listen to HEMISPHERES after listening to FAREWELL TO KINGS. If you like prog metal, it doesn’t get better than Threshold or Haken.
And, soon to come. . . Part IV.
Is This The End of Rock? Maybe, Maybe Not. An Editorial.
Classic Rock Magazine’s most recent issue (March 2014) has a fascinating article/editorial asking, “Is This the End of Rock”? The website has reposted it as well–http://www.classicrockmagazine.com/blog/is-this-the-end-of-rock/.
Well written, Scott Rowley’s article laments the decline of the popularity of rock—as there seems to be little new talent, few companies, and even fewer cd shelves promoting and selling rock music. In particular, with the decline of genre-radio, there’s no precise way to get a “mass movement” behind a band, a song, or an album.
Such laments, of course, can be heard in the book publishing and movie-making industries as well, as the author of the piece readily admits.
In some ways, I can sympathize with the article’s author, but only in a a very few ways.
I grew up with an amazing radio station, KICT-95FM, out of Wichita, Kansas. I started listening to T95 sometime in 1978 or so. I was 10. As a teenager, I would rather listen to it or to my albums than watch TV, any day. I even had the great privilege of having roughly six years of working for classical, rock, and news radio as a DJ and as a news reporter.
KICT95 and my albums were the soundtrack and the background of my life. For a long time in my life, radio was everything.
Whether I was delivering pizzas or writing debate briefs (I was a high school debater–yes, I’m sure you’re shocked!), I always had music playing. Though I now teach professionally, little has changed. I would still rather listen to good music and write than watch TV, though I’m, admittedly, a big fan of science fiction. Our house and my home and work offices always have music playing. And, of course, I edit this website, dedicated to music.
Technology and a vastly expanding digital market has changed everything over the last two decades. Steve Jobs, in particular, decentralized the world of media. We no longer have to look to Arista or to CBS or to MGM to provide entertainment, all based on a corporate profit model.
As with all decentralization, it means harder work at all levels. Bands will have to find time to write, to record, to tour, and to promote. Fans have harder work as well, making choices about what to buy, how to search it out, and how much time to promote it.
In other words, in music, we’ve gone from from the equivalent of a world of Walmarts and Targets back to the “ma and pa dime stores”, the local soda fountains, and the corner groceries and drug stores.
Rock, as a genre, consequently, could follow two paths. It could follow jazz in the late 1980s and basically die out or become so specialized as to become, sadly, merely obscure.
The other path is to follow prog, and the ways paved, in the mid 1990s, by Marillion, Spock’s Beard, and the Flower Kings.
The loss of CDs, centralized, corporate music making, and genre radio has been a huge boon to the creativity of prog as a genre. We proggers—fans and musicians—have formed small but highly inclusive communities, using the internet as a means of communicating, sharing, discussing, debating, and promoting our favorite bands. I know how frustrating it is for such great groups as Big Big Train, The Tangent, Cosmograf, TFATD, Leah, and others to get a market. I would give much—and have, especially given my own limited financial resources and time—to promote progressive rock wherever and whenever possible. I would love Greg Spawton or Andy Tillison to do nothing all day but write music, never having to worry about a 9 to 5 job. If I had the financial means, I would gladly serve as a Patron, allowing them to do nothing but write and produce.
But, objectively, we also have to admit, as a genre, we proggers (fans and musicians) have done really, really well over the last twenty years. If we want art as expression and not as market campaigns—forgive me, Mr. Peart—we’ve succeeded. Rather than a Walmart or Target (is it Tesco in Britain?) of prog rock, we have lots and lots of wonderful, small-town stores and boutiques, intimately connected to their customers. Rather than a Coors or a Budweiser, we have in the prog world, neighborhood after neighborhood of locally-produced, finely honed craft beers. Rather than a General Motors or Ford, we have folks making model cars in their garages. Well, you get the idea.
And, those prog labels that have done beautifully–such as Insideout, Radiant, Kscope, Bad Elephant–have done so precisely because they have allowed for the flourishing of creativity and have promoted it, rightfully, as the creativity that it is.
As with all changes in the market and technology, there are those who will adapt, create, and succeed, finding a place. There will also be those who—out of failure to understand or sheer bad luck—fail. If mainstream rock wants to succeed as a genre, it needs to look to prog, not jazz, as a model. It needs to accept decentralization and intimate relationships with the fan base.
As proggers, we have almost everything to praise. Rather than lamentation, we should be celebrating. The old taskmasters are gone, and we’re–the small labels, the musicians, and the fans–now in charge.
My Review of 2013
2013, what a superb year for prog music, there have been dozens of fantastic albums released across the whole gamut, from classic English prog, to experimental rock music, and returns of several prog legends with fantastic new albums and new bands making waves and moving the genre on.
This is what I consider to be the albums that have been the strongest this year, and ones which I have kept coming back to over and over again, the musicality, the performances, the songwriting, the production, the sound is different from album to album, the topics wide ranging and when you listen to these albums back to back, they are all fresh, vibrant and new.
This is my sound of 2013, and these are albums that will stay with me, long after 2013 is but a memory.
Kingbathmat: Overcoming the Monster
Following on from last years superb Truth Button, Kingbathmat returned in triumph, on their most assured album to date, Overcoming the Monster is all about dealing with psychological obstacles, which is reflected in the brilliantly observant lyrics, and the superb cover art as well.
Masters of making an album, rather than just one track, the full force of Kingbathmats impressive musical arsenal is unleashed and untamed over these 6 fantastic tracks, with luscious harmonies reminiscent of Yes in their heyday, with tracks like the driving Parasomnia and the musical finale, the epic riff driven full on space rock masterpiece that is Kubrick Moon, with its superb guitar and keyboard work, and the interplay between all 4 members of the band is a joy to listen to as the track reaches its epic conclusion after 11 plus minutes of sheer musical abandon.
Lifesigns by Lifesigns
Keyboard player John Young, bassist Nick Beggs and Martin ‘Frosty’ Beedle have combined their not inconsiderable talents, and present 5 amazing tracks as the Lifesigns project.
With guests of the calibre of Steve Hackett, Thijs Van Leer, Robin Boult and Jakko Jakszyk Lifesigns fits nicely in the English progressive tradition, with inventive performances, quality musicianship, (the interplay between Beggs fluid bass playing and Youngs superb keyboard playing is a particular delight, while Beedle builds on and adds to a tradition of inventive percussion started by Bill Bruford and others) and instead of imitating or following a pre-ordained idea of what progressive rock should be, this is showing what it is.
Intelligent mature well crafted songs, atmospheric and ambient soundscapes created by the band, where Youngs emotive vocals weave over, and the beauty of the album from the superb Lighthouse to the closing 11 minutes worth of Carousel, Lifesigns is the sound of three talented musicians having the time of their life, not compromising, and delivering the album they were born to make.
Thieves Kitchen-One for Sorrow Two for Joy
The trio of Amy Darby, Phil Mercy and Thomas Johnson have moved from being a live band to a studio project, and in the process have moved organically away from Thieves Kitchens original prog roots, into something more prog folk, with some fantastic vocals from Amy, whilst Phil’s versatility as a guitarist shows all over this album from the brilliant The Weaver, the two epics in which the album hangs, Germander Speedwell and the closing Of Sparks and Spires, whilst Thomas is as inventive a keyboard player as any on the current scene. This is a well-performed, well-produced album, which is made to be listened as a whole. There’s no dipping in or out of songs here and this is a superb musical meeting point of songs and lyrics and performance, and a high point in Thieves Kitchens story so far.
Ravens & Lullabies: Gordon Giltrap & Oliver Wakeman
Two musical powerhouses in their respective fields, guitar maestro Giltrap and keyboard supreme Oliver Wakeman combine their considerable talents on this magnificent concept album on Esoteric.
With Giltraps effortlessly beautiful playing and Wakemans beautifully fluid keyboards, any album with one of them on is a joy; with them both together you’re getting a masterclass in collaborative performances.
With Olivers vocalist of choice the incomparable Paul Manzi on board (seeing Oliver and Paul perform together sends shivers down your spine) and with Wakeman and Giltrap trading licks, exchanging riffs and building things of beauty around each others talents, has to be heard to be believed.
This album is a thing of great power and great beauty and is one which you’ll find you keep returning to again and again, and each time you’ll discover something new, one of the best albums either man has put their name to, and this is one of those collaborations you hope continues.
John Lees’ Barclay James Harvest: North
The first new studio album from John Lees BJH since 1999’s Nexus, this is a superb continuation of the BJH sound, and a triumphant musical return for one of the most underrated bands of the progressive scene, this is classic BJH at its finest.
However in an album full of strong tracks like the digital single Unreservedly Yours, The highlights of this superb album, which as the name suggests draws on the Northern roots of the band, reflecting beautifully and evocatively on where they came from, is the epic and beautiful title track, which brings the landscape and area home to anyone from the North, especially if they are so far from home, that and its beautiful finale At the End of the Day, a wonderful musical end with words from a poem by Northern poet Ammon Wrigley, these two tracks close a magnificent and wonderful album, with grace, beauty and pathos
This deserves to be acclaimed as a great album from John Lees Barclay James Harvest, building on the fine musical tradition and heritage that BJH have, whilst giving their sound a contemporary feel.
Manning: The Root, the Leaf & The Bone
This is Guys 14th album, and he shows no sign of slowing up, with a magnificent concept all about change and time passing, brilliantly executed and realised, with superb pieces like the opening title track, the dramatic Forge with its fantastic percussive sound, and the lyrical themes running through the album about what has been lost to progress.
The core Manning band are a stunningly tight group, and guest musicians like Chloe Hetherington and Marek Arnold enhance the magic of Guys music.
This is a brilliant folk tinged work that shows Guys songwriting to be top notch and is another triumph for Manning.
The Tangent – Le Sacre Du Travail
L’Etagere Du Travail
After a break of 2 yrs Andy Tillison and the Tangent return with not one, but two stunning new albums.
The main treat is the new studio album proper Le Sacre Du Travail, which translates as the Rite of Work. Influenced strongly by Stravinskys Rite of Spring, this is a contemporary progressive symphony for modern times, with Andy thinking big about things that don’t necessarily fascinate other songwriters, the music itself is written and should be listened to as a complete symphony, like Andy says, progressive music should take you on a journey, and Le Sacre does that, from the opening of Coming up on the Hour (overture) the 22 minute epic Morning Journey and Arrival, its musical dexterity, with wryly observant and sympathetic lyrics, pulling you into the piece, and its counterpart the leading to the conclusion of the symphony, Evening TV, with its cyclical ending of ‘it all starts again’. This is one of the finest examples of a rock sinfonia I have ever heard.
The companion piece of an album as well L’Etagere Du Travail, the Shelf of Work, a 10 track supplementary disc of outtakes and alternate mixes available only from the Tangents website, from the older material the remix Dansant Du Paris is the Tangent go pop, with a fantastic sax break and clever remix, and a different version of the brilliant Ethernet. There are also 5 extra tracks on here, the brilliant Monsanto, the contemplative lost in Ledston, however the stand out track here is the fantastic Suppers Off, an amazing piece of work, from the free festivals of the 70’s to the corporate greed of today via questions about why people have stopped making things and only want to make money, this is a musical angry young man statement, with big questions about musical recycling, and how come big bands remaster stuff all the time, and people lap it up.
To create a masterpiece like Le Sacre is achievement enough, but to then follow it up with a companion album including Suppers Off which would be a significant track by anyone’s standards is an astonishing record by any musician, but to do it in one year as a simultaneous release reminds us why Andy Tillison is one of the most important voices on the prog scene.
Shineback: Rise up Forgotten Return Destroyed
This debut release by Tinyfish frontman Simon Godfrey with lyrics from Robert Ramsay, this is a step away from the Tinyfish sound.
Drawing on a diverse range of genres and sounds, this tells the story of Dora who videos her dreams and is drawn into a dark journey into her own past uncovering dark secrets.
Danny Claires vocals work so well on the album in the musical blog interludes, telling part of Dora’s story, whilst musically the genres flip from the driving electro rock of Is this the Dream? The synth driven Bedlam days that mixes techno and garage sounds, with some great keyboard work.
Godfrey has pulled together an amazing story and the electro emphasised music taking his muse in a totally different direction from anything he’s done before.
His own insomnia is drawn on throughout the album adding to the story, particularly on the mood changing piano driven Faultlines, his vocals being sublime throughout the album, whilst the title track is 10 minutes plus of musical brilliance.
This is a superb debut for a talented musician stepping out from the music he’s known for, into a left field musical future. The fact that this succeeds so well is testament to Godfreys talent and vision, and his choice of collaborators (including Matt Stevens, Dec Burke, Henry Rogers). This is fantastic.
The Fierce and the Dead: Spooky Action
The Fierce and the Dead is this intense, powerful, exciting groove monster.
The 11 new tracks that make up this mighty album all take you different places, and into unexpected territories, from the opening groove of Part 4, the driving intensity of the single Ark underpinned by a monster bass riff, and powerful percussion sound, whilst the twin guitars trade riffs and licks of an almost industrial nature, it’s a mighty blend of light and shade.
There are hints of jazz, of rock, of prog, of allsorts running through this album, and plenty of sounds coming through that you wouldn’t expect a guitar to be able to make, the fantastic Lets start a Cult with its stabs of brass and epic finish, the funk stomp of I like it, I’m into it, with its great drum beats and dirty bass and guitar sound, and a that killer riff, this is the sound of a band operating at full capacity.
Kev Feazey plays his bass like a third guitar, whilst the guitar sparring of Matt Stevens and Steve Cleaton is exemplorary, both being mighty guitarists, whilst the drums of Stuart Marshall underpin everything and build to the mighty sound of the Fierce and the Dead.
This is experimental, this is exciting, this is everything that is good about instrumental rock, new, fresh and an album you will keep returning to, time and time again as there is so much depth to these tracks that you pick something new up every time you listen.
Sanguine Hum: The Weight of the World
Oxfords Sanguine Hum took their debut, Diving Bell as their starting point, and pushed their music even further creatively and musically, creating as they do so, one of the most interesting, exciting and unpredictable albums I have heard all year.
From the musical tour de force that is the epic title track, clocking in at well over 15 minutes, and not one minute of which is wasted, there are hints of electronica running throughout the album, pulsing through the fantastic Cognoscenti, providing an exciting counterpoint to the beautifully melodic guitars and the driving percussion, whilst Day of Release provides one of the many musical highpoints, with hints of early OMD and Joffs vocal melody providing a sublime contrast.
From the start not a moment is wasted, not a foot is put wrong, and there is beauty throughout the album, in the music, the lyrics, the spaces between the notes.
This is an album like albums are supposed to be made, running almost seamlessly from start to finish.
I would argue that they are one of the few truly progressive bands out there, not copying, but creating, not imitating, but innovating.
Conundrum in Deed – Gentlemen
This is London based quartet Conundrum In Deeds debut album and is classic jazz prog rock, with their sound being enhanced by the fact that instead of different keyboard sounds, its just Sadlers piano adding to the rock, sound, and from the opening Falling leaves, right through to the closing title track, the music entrances you, draws you in and takes you on a journey.
With the lyrics as important (if not more so) than the music, songs like the beautifully mellow Strangers in Sympathy, the driving funk bass driven Love in the Age of Technology, the brilliant Holy Flowers, and the majestic Rise/Church Bells with its stunning bass/piano interplay.
Conundrum in Deed are the finished article, a superb band with something new to say, echoing the sounds of yesterday, reminiscent of bands like Caravan and others of that ilk from the Canterbury Scene.
Big Big Train – English Electric Full Power
A monumental collection by anyone standards, this is strange as it may seem, my first introduction to Big Big Train, and what an introduction.
This is English Electric parts One and Two, and the EP Make some Noise, in a lavish hardback book with some beautiful new pictures, stories behind the songs, and is a weighty package suitable for one of the greatest musical projects its been my pleasure to listen to.
From the opener of Make some Noise, and into the albums proper, the expansive sound, the powerful musicianship, the intelligent and well observed lyrics, this is a complete musical package.
Tracks like Uncle Jack, the haunting and poignant A boy in darkness, the English sound of Hedgerow and Keeper of Abbeys, and the frankly brilliant East Coast Racer make this a double album to get lost in, you don’t listen to one or two songs, you clear the decks, turn off the phone or internet, put the album on and sit down, let it wash over you, as you absorb its beauty, its strength, its power.
This is a magical work and one, which in 20 years time will be looked on as a significant musical achievement.
There are loads more albums that could have made this list, and some honourable mentions must go out to Chris Wade, whose been so prolific this year (three Dodson & Fogg albums, and one prog instrumental one) that it has been hard to choose between them, the musical maturity and progression from Derring Do, to The Call, via the Sounds of Day and Night have been exciting to listen to, and fascinating to see where Chris is going to take his musical talent next, I predict even bigger things for him in 2014.
Haze’s fantastic Last Battle saw their triumphant return, and what was nearly a goodbye has become a new beginning for them.
Jump just get better and better, and like a fine wine keep on maturing, and their stunning Black Pilgrim takes familiar themes and weaves their musical magic round them.
If I’ve missed out some other big releases like the Steven Wilson album, or the new Magenta album then it’s because sadly I’ve not heard them yet!
2013 will go down in Prog history as a superb year, and I am already excited about the prospect of 2014, so I shall end by wishing you all Merry Christmas and a Happy New Year.
TFATD, Spooky Action–Streaming Live and Legally
Enjoy Matt, Kev, and all of TFATD.
And, from Matt and the guys today via email:
***
Listen to the whole album streaming at Total Guitar now!!
The new album ‘Spooky Action‘ is almost here, out on November 4th. However, we know you are an impatient bunch so you can now stream the whole album exclusively over at the Total Guitar Magazine website for the next 48 hours!
CLICK HERE TO LISTEN TO SPOOKY ACTION NOW!!
And you still have a little bit of time to pre-order the new album before it’s release date on November 4th and bag yourself a bonus live track, or a discounted CD/T-shirt bundle.
Digital pre-orders here:
http://music.badelephant.co.uk/album/spooky-action
CD and T-Shirt pre-orders here:
http://themerchdesk.com/shop/index.php?route=product/category&path=136_163
And another heads up – we will be appearing on Steve ‘Snooker’ Davis’ Interesting Alternative Show on Phoenix FM next monday. We’ll be celebrating ‘Spooky Action’ release day by picking our favourite music and chatting to Steve and Kavus. Will be much fun.
Get involved!
Kev, Matt, Stuart & Steve.
info@fierceandthedead.com
fierceandthedead.com
Spooky Action Pre-orders
fierceandthedead.bandcamp.com
twitter.com/tfatd
facebook.com/fierceandthedead
youtube.com/user/TFATD
A new Fierce and the Dead Song
There’s nothing quite like waking up to a Tuesday morning, getting the kids (and self) ready for school, and discovering that there now exists a new Fierce and the Dead song in the world!
And, yet, it’s true. And, it’s a pure delight. Prog, prog, prog, and a bit of The Smiths. Thank you, Matt and Kev and the rest of the band. Thank you, Bad Elephant Music (David and James). A joy.
Bad Elephant Music Manifesto or BEMM!
Doing a little research on the new record label, BEM, I found this today. A manifesto. In the most emphatic but non-religious sense, I write the only Aramaic word I know: “Amen.” Thank you, David Elliott. Brilliant.
The BEM Manifesto
Every record label needs a manifesto – here’s ours…
Bad Elephant Music (BEM) is a record label with a difference.
The music industry has changed immeasurably in the last ten years, a change which we at BEM see as good for everyone (with the possible exception of major record company executives!). It’s now possible for musicians and songwriters to make professional-quality recordings of their material for very little outlay, and the low costs of production of CDs together with high-quality digital distribution means that releasing an album no longer requires the backing of a Sony or an EMI.
But artists are in the business of creating. Releasing a recording involves a lot if work – getting tracks mastered, arranging for artwork to be produced, sorting out duplication of CDs, advertising, setting up mail order and digital distribution – the list goes on. Musicians want to be free to create, to have the space to make the very best music they can.
This is where BEM will help, Working in very close collaboration with musicians we bring the results of their creativity to the listener. Not only can we get CDs made and sort out the digital world, we’ll publicize and market the music with the enthusiasm of fans.
Because fans is what we are, first and foremost. We know that BEM isn’t going to make us rich, and that’s not how we measure success. We’ve got ‘day jobs’, just like most of the artists we work with, we’re not relying on BEM for our livelihood. If we can help bring some great music into the world, cover our costs, make a small profit for the ‘talent’ and maybe afford the occasional curry, then we’ll consider the job done.
What’s In It For Me?
The Music Lover
As fans ourselves we know the thrill of unwrapping a new CD, putting it into the player and hearing it come alive for the first time…the uncovering of new depths with repeated listens…the feeling of satisfaction when the artwork complements the sounds. The demise of the CD has been widely predicted over the last few years, but we think it’s a format that’s still in great health, and it’s the way we prefer to buy music ourselves.
So you will get CDs from us, professionally made and presented, and at a price that’s fair for everyone – for you, for the artists and for us. We offer a fast and friendly mail order service, with postage and packing charged at cost, to anywhere in the world. Our returns service is second to none – if you’re unlucky enough to get a disc that’s defective in any way at all, we’ll replace it at our expense, no questions asked.
If you prefer to buy your music as downloads then that’s fine by us, and we apply the same quality criteria in the digital realm. We’ve chosen CDBaby as our partner for downloads, providing high-bitrate (that’s good quality) MP3s of all our releases. We also recognize that with downloads you often miss out on the artwork you get with a CD, so we make special versions available on our own website.
Whichever way you like to buy your music, you can be sure of one thing – to BEM, quality music and quality service go hand-in-hand.
The Artist
To us it’s all about building relationships. If you sign with BEM you’re entering into a partnership with us. We’ll talk to you before anyone signs anything to find out what makes you tick, who your audience is, where you want your music to go. Only when both you and we are happy that we can work together will we put pen to paper.
There’s no such thing as a ‘typical’ BEM artist, so there’s no standard contract. We arrange things to work for you, tailoring the package to suit. Maybe all you need is someone to arrange for your latest album to be duplicated and distributed. Maybe you need help right from the start, finding a producer and a studio. Maybe you’re somewhere in between. We’ll work out the right deal for any situation.
We can’t promise to make you rich, but we do promise to give you a fair deal. Weasel words like “recoupage”, “breakage fees” and “container charges” don’t appear in your contract with us, which will be written in plain English, easily understandable by non-lawyers. We’ll be investing in your project, and we will expect to get our money back, but we will make sure you understand how that’s going to work.
You should expect to get a profit from you music…after all, we do! Our basic model is that once we’ve recovered our investment (the money we put into production, duplication and marketing) we’ll split the profits with you equally. We’ll also be absolutely transparent about what we’re paying out, so you can see precisely how the business end works. The contract we make with you will cover a specific album or project, with a fixed period of time during which we have sole rights to distribute it. We never own the music itself – you made that, and you deserve to keep it. At the end of the ‘distribution period’ you’ll have the option of staying with us (we hope you will) or being free to sell the music yourself, or through someone else.
Not all musicians perform live, but fortunately there are other ways to promote your music. If you do gigs, then we’ll be there, and we’ll make sure you have CDs to sell to the punters, but if you don’t then we’ll look at what we can do with video, internet marketing, the press, and so on. It’s in our interests to promote you as much as it’s in yours.
And that’s it, plain and simple. No hidden agenda.
BEM – music is our passion.
To read the statement as originally posted, please go to the BEM website.
Fierce And The Dead sign to Bad Elephant Music for 2nd Album
[I was very happy to wake up on this Sunday morning to find this press release and this note from one of our friend, Matt Stevens, and his outstanding and innovative band, The Fierce and the Dead–Brad, ed.]
B.E.M. is delighted to announce partnering with The Fierce And The Dead for the production, release and worldwide distribution of the band’s second full-length album.
The Fierce And The Dead – guitarists Matt Stevens and Steve Cleaton, bassist and producer Kev Feazey and drummer Stuart Marshall – was originally born out of sonic experimentation when making Matt’s second solo album, Ghost, and they’ve developed into one of the most original bands in the UK rock scene. Their unique brand of instrumental rock music, fusing rock, post-rock, punk and progressive elements, has made a big impression though one full-length album and two EPs, and their incendiary live performances, most recently as part of the Stabbing a Dead Horse tour of the UK with Knifeworld and Trojan Horse.
David Elliott, founder and CEO of Bad Elephant Music said: “We’re proper made up to be working with The Fierce And The Dead. They’re absolutely our kind of band, and lovely guys too. I’m looking forward to hearing what Matt, Kev, Stuart and Steve are going to produce for us, and of course it will be an absolute monster. Collaborating with a band of TFATD’s calibre is a huge honour for us, and we welcome them with open arms to the BEM family.”
Matt Stevens, on behalf of The Fierce And The Dead, said: “We are extremely pleased to partner with Bad Elephant on this album, they are true music lovers and believe in supporting the artist. This will allow us to make the music we want to make and have the support to help us gain a wider audience, without in anyway compromising our vision for our new album. And they like a good curry, which is nice.”
The as yet untitled album is scheduled for release in the Autumn of 2013.
Progarchy 