As an independently owned music company we offer a wide range of creative and business services to artists and songwriters: we produce and mix records and write songs in our two recording studios in London; we manage artists; run an independent record label and a publishing company. Get in touch via email to tell us about your project. We accept demo submissions.
A friend of mine, a working musician and singer/songwriter, saw The Boss in Hyde Park the other night and realised to his chagrin that he has been phoning it in, in comparison to what Bruce is still doing at the age of 73. It takes confidence and self-awareness to admit such a thing. Most of us, you see, genuinely believe we are giving it some and if we’re not getting anywhere it’s always someone else’s fault. To be fair, sometimes there are obstacles beyond our control. Most always, however, we most definitely aren’t going anywhere because we’re not doing anywhere near enough. We’re phoning it in. My mate decided to do his next pub gig differently. Really getting into the material, he performed for three hours solid without any breaks, giving it all he had. The reaction from the punters was palpably different. They recognised that someone was out to
Going to a new town to play a gig in front of five men and a dog used to, at least, be the way forward for artists. You had to make it into the clubs first, before you made it out of them. If you ever did. Of course, it still goes on, to an extent. And it’s good that it does. However, the inevitable and unstoppable shift from artists playing their music in rooms full of people (or rooms with smatterings of people) to artists existing only as digital constructs on social media platforms is reality. The horrifying death of grassroots music venues doesn’t help. Artists often say that they “need to find decent gigs where people actually want to hear good music” and it always make me wonder if there ever was gig where people didn’t want to hear good music. Who goes to a venue wanting to
Who?Me (or You), the New ME. The ME that I have become after being held under house arrest for 2 years because of the Pandemic.What? Fighting depression when they take everything from you. About slowly dying, and then slowly coming back to life. Day after day. When? March 20th 2020, date of national Lockdown for Covid 19Where?bedroom>kitchen>bathroom>back to bedroomWhy?Because you can never give up. You keep going no matter how hard it hits you. Because you will Rise. (“Ghadin Nod” in moroccan means “I will rise”) Pay a visit to https://lazywall.com/ to find out more.
Who? My name is Nia C. C. and I’m a storytelling pop singer-songwriter. I sing what I write in my diary as I continue to explore the world in my 20s. What? Relationships can be like water or gasoline – some are good to see all the time, others are toxic. “From a Distance” is a sassy pop song about loving some people more from afar, inspired by my move to LA. When? I was ranting to my sister one night about some of my friendships. I realized that, like most people, there were just some people I couldn’t be around 24/7. Mid rant I said “and that’s why I like some people better From A Distance!” And that became the title of the new song I wrote. Where? I’m originally from Manassas, Virginia, in the USA. Now I’m based in Pasadena, California, a cute and fun suburb outside of
Who? Me. CS. I’m the artist and songwriter. The who in this song is a contractor named Adrian I used to remodel my house. I later found out after hiring another contractor he didn’t properly fix the subfloor and joists before installing new flooring throughout the house. When I confronted Adrian he refused to fix his work. It cost me thousands of dollars to hire the new contractor to redo and remediate all of his poor workmanship. What? This situation left me with a dilemma of do I do nothing against Adrian or do I pursue damages from him through the legal system. Involving attorneys and the court system is costly and time consuming and I had to decide whether it was worth my time and money to pursue collecting damages or to move on. The stress of this kept me up many nights with my thoughts racing replaying
In a long career in music, 35+ years in our case, things change. One thing that isn’t done anymore is a demo, it appears. We get many submissions from artists, but lo and behold if you dare call them demos. At what point did a basic home recording become a record that ought to be released? Why would anyone want the buying public to hear such a thing? The lost art of the demo, eh? They were great! They showed PROMISE. The other new thing that has started to happen in recent years is that artists ask about offers and contracts as soon as you’ve said that you quite like what they do. Often before you’ve even met them. It’s the equivalent of asking for a marriage proposal before the first date. Seriously. The lost art of wine and dine, eh? It’s far more sensible to meet people and to