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Refined Song Structure and New Lead Guitar Parts

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Refined Song Structure and New Lead Guitar Parts

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Today me and Oliver had another writing session together for 'Bridge the Gap'. I have further refined the songs structure, coming up with a distinct second section for the song. Oliver has written a cool, futuristic volume-swell guitar part for this, and has again managed to create a great contrast to this with his raw and abrasive parts in the B sections.

There are a lot of mistakes in this, but I think both guitar parts are really coming together. Further refinement in structure and finalising our individual parts will now help us focus on playing with more accuracy, locking in rhythmically, and keeping the song dynamically interesting.

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Today me and Oliver spent a few hours jamming the initial track idea. Prior to this, I have worked on my rhythm guitar parts and improved the chorus. Other changes made were a tempo increase to make the song catchier.

We came up with some solid lead guitar parts that compliment each other well. However, we need to work on getting these locked in rhythmically. I have come up with a few lyrical ideas for the first verse, but have been experiencing writers' block for them in general.

Verse 1 Lyrics:

When she's gone the night's so bleak

So keep it down man I can't sleep

Shhh

Overtired and on the wire

Got no fuel for the fire

My next focus is to finally realise the song's structure so Oliver can work on writing for the other sections. I think there is a great idea for the verses and choruses of the track. I think the walking melody in the chorus is really catchy, and I like how abrasive and abrupt the section is in contrast with the verses.

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Here is an estimate of the start up costs for the project.

With my current wages I will be able to cover the costs to start the project with one week’s pay. This is due to the fact I have a personnel who are happy to help out with this project for no charge.

Next term I will be recording this demo in a studio. My first option is Small Pond, which will be no expense as Waterbear offer the opportunity to record for free using the Small Pond recording studio. My second option is Raygun Studios, which would cost £175 for a full day session (8 hours). If I choose Small Pond, I plan to break the recording process up into three 3 hour sessions (one per week). In the first session I will track drums, in the second session I will track bass and guitar, and the third will be dedicated to tracking vocals. If I choose Raygun, I will record the entire song in the 8 hour session.

I'm leaning towards Small Pond at this time, as it is beneficial for me to take the opportunity to record the track for free while I can. Also, breaking up the recording process into three 3 hour sessions seems more of a realistic and less pressured approach, rather than trying to fit all of the recording process into one session.

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Minimal Income and Expenses Tracker Financial Planner 

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I feel as though my target audience for Sprungpup is vaster than my audience for my previous music under Josh Hazelden. This is because my previous music was of intentionally lower quality (recorded on garage band on my iPhone) giving the music a more Lofi sound, which is definitely more of a niche production choice, thus attracting a smaller audience type.

Additionally, the themes of my previous tracks demonstrated the angst and struggles of a male teenager/young man, meaning it’s likely that it was attracting a similar demographic who could relate to the narrative within the music.

Generally, the majority of the music I have released previously is much more depressing than my intentions for Sprungpup, meaning it hasn’t been suitable for people who want upbeat tracks, or a mixture of both upbeat and sombre tracks.

Referencing my Instagram and Spotify insights, I can see that my main audience for Josh Hazelden are Brighton based between the ages of 18 and 24.

Bridge the Gap and other new music under Sprungpup is of much higher quality (for a start, being recorded on Logic Pro in a studio rather than on GarageBand on my phone). I have also made sure that the output is more accessible to a wider target audience. I imagine that the age range will stay relatively similar, perhaps expanding to slightly older groups, as it is less of a testament to the struggles and angst of a male teenager/young adult, but more relatable to other demographics, with more accessible themes and genre blends. I intend to make this music more upbeat, and have designed it to have strong grooves that make people move.

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In this same session my drummer Olivia had a rehearsal with another band booked during this one. We decided to use the gap in between to quickly jam the song with drums. This has given me a sense of the hip-hop influenced grooves that I would like to implement. With this in mind, I now have a clearer direction for mapping and demoing the song's drum track.

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Skill Set Needed For Studio Single Release

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Skill Set Needed For Studio Single Release

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I believe I currently posses these skills needed in order for someone to effectively release a studio single under a new band.

Music Production

I have a great knowledge on music production. I’ve been producing my own music for over 7 years and have developed a great ability in capturing/recording any sonic pallet ideas I/others have. This will be effective when creating a demo for the single, as I will be able to give a detailed breakdown (as a co-producer) on how the song sounds when in the studio.

Solo Material & Other Bands

I have self-released music before on all streaming platforms under my own name ‘Josh Hazelden’. This includes 3 albums and 1 EP since 2020. I have also played many full-band live gigs with my solo material, including Glastonbury 2024, as well as guitar and bass in over six other bands like Dutch Criminal Record and Frankie LG. This has given me an insight into the competitive, ever-changing music industry from signed to unsigned, and what it takes to get your music heard.

Distribution

I have used Distrokid to distribute my music before, therefore I have gained understanding and experience into the payout rates from each streaming service, copyright protection/watermarking and algorithmic playlists.

Radio Play

My music has been featured on BBC Introducing & Radio X, these are great forms of exposure and good contacts to have as an independent band.

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Signing up with PRS (Performing Right Society) for a one time £100 fee is a good idea for up and coming bands as it enables them to earn royalties whenever their music is played publicly, streamed, performed live, or broadcast on radio. PRS helps to protect musicians' rights through collecting and distributing payments from venues, radio stations, and digital platforms, providing well-earned income streams for artists. It also offers professional industry support and opportunities for wide-spread exposure.

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PRS for Music: royalties, music copyright and licensing

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We protect the value of music by licensing music usage and collecting royalties globally for our members.

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I have now programmed the drums for the Bridge the Gap, deciding on a finalised structure. I have left room for fills and reactive elements for Olivia to play with. I feel as if I was able to capture the hip-hop influence for the song's groove, there is now a great foundation to start writing bass.

I also recorded in the rhythm guitar for the whole song. Already, these two instruments lock in well with each other. I am pleased with how full it sounds with just these two elements.

Now I have the full structure for the song, I can work with Oliver to refine his lead guitar parts around it.

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Joshua Hazelden - Joshua Hazelden's Album

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Get Josh Hazelden setlists - view them, share them, discuss them with other Josh Hazelden fans for free on setlist.fm!

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It is important that I steer away from a creative burnout again. I have a tendency to feel under pressure and overwhelmed quite easily when it comes to something I am very passionate about. It is important I keep realistic goals for this module whilst balancing work, life, and the WB09 dissertation.

In the past I have avoided effective social media marketing as I didn't want to feel like I had to be a content creator in order to be a musician. It is important I adapt with the times, keep social media content fun to make, and find ways to maintain a good online presence whilst sticking to my creative values. I will do this by documenting the process as it happens.

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My intensions for WB10 are to kickstart a new project and band. With this new band I am aiming to deliver a studio-recorded debut single, as well as a short documentary on the recording process. The new sound will be alternative rock (like my previous material), however I am now more focused on rhythm, energy and feel, with new influences including jazz and hip hop.

I have decided one single is a realistic goal to set myself in order to kickstart this new project. Putting my time and energy into one release will help me focus on its overall quality and refinement, rather than a large quantity of music that will lack full potential.

Why?

Releasing under my own name has given me brilliant experience into the music industry, however I have put a lot of time and effort into creating 3 full albums which were entirely self-produced on my iPhone. I feel as if this approach has almost used most of my energy musically over the years, ultimately leaving me with a creative burnout. I have also made many mistakes (being my own manager) in marketing, monetisation and professionalism.

Long Term Goal

I would like to have this new band be my main focus, rather than my solo project. A new fresh, project with a new direction and sound focused on singles rather than albums should hopefully re-spark my creativity. Releasing a single at a time will also allow us a band to test the water into what works and doesn't.

Functioning as a professional band rather than just myself will hopefully put a lot less pressure on it all being under my legal name as I will have a team alongside me to take on specific roles. The new possibilities are very exciting and I am ready to allow myself a blank canvas in which I can incorporate the new knowledge I have learnt from previous mistakes.

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Generating Excitement

Promoting a single is simpler and more effective than an entire album.

Singles can create buzz and boost engagement through platforms like social media and music blogs.

Ideal for building attention, especially for newer artists.

Lower Costs

Recording one song is far less expensive than producing a full album.

Earnings from single releases can support future projects and other music-related expenses.

Artistic Freedom

Singles allow for greater experimentation with sound and style.

Songs can be released as they’re completed, avoiding the need to finalize a full album.

Helps artists adapt to evolving industry trends and audience tastes.

Maintaining Fan Interest

Releasing music more frequently keeps fans engaged over time.

Singles encourage steady interaction, unlike albums, where fans might only listen to select tracks.

Builds a loyal, long-term following.

Expanding Reach

Singles are more likely to be featured on blogs, playlists, and other media channels.

This targeted exposure can attract new audiences and broaden an artist’s fan base.

Spotify Opportunities

Regular single releases improve chances of playlist placement, such as on Fresh Finds or New Music Friday.

Artists can pitch each single to Spotify’s editorial team via Spotify for Artists (at least 28 days before release).

Albums limit pitching to just one song, reducing playlist potential.

Singles are often a smarter choice for growing recognition on Spotify.

Releasing singles helps indie artists build momentum, minimize expenses, explore their creativity, engage fans, and increase visibility.

While albums have their merits, singles are more practical and effective for emerging artists aiming to grow their careers.

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Music Marketing

- 3 min read

Releasing new music can be overwhelming for independent artists. You have to make crucial decisions, including choosing which songs to record and determining the best approach for release.

One critical decision that requires careful consideration is whether to release a full album/EP or focus on releasing singles. This article will explore why indie artists should consider releasing singles and how it can benefit their music career.

Building Momentum

Releasing singles has a significant advantage of creating buzz around your music and generating momentum. You can generate buzz and excitement by heavily promoting a single on social media, blogs, and other platforms, leading to increased engagement, downloads, and streams.

Building momentum around a single is easier than an entire album, particularly for new and emerging artists.

Cost Effective

Singles are a cost-effective approach for indie artists. Recording an entire album can be expensive, especially when working with professional studios or producers.

Focusing on a single is more manageable financially, and the revenue generated from each release can be reinvested to fund future releases or other aspects of an artist's music career.

Creative Flexibility

Another benefit of singles is the added flexibility it gives an artist.

Albums require a specific set of songs and a particular sequence. By releasing singles, artists can experiment with different styles/sounds and release songs as they finish them instead of waiting to complete an entire album.

This adaptability can help artists stay relevant and in touch with changing trends and preferences in the music industry.

Fan Engagement

Releasing singles can also improve overall fan engagement. When an album is out, some fans may prefer listening to specific tracks and not necessarily the full album.

Singles allow musicians to keep fans engaged more consistently, and they can release new music more frequently. This approach helps create a loyal fan base that is more likely to support the artist long-term.

Exposure

Finally, singles can help increase exposure to the artist's music. Blogs, playlists, and other media outlets showcase singles more often than entire albums, which facilitates introducing the music to a broader audience.

Singles help artists target specific niches and audiences, helping to grow their fan base and increase their reach.

Spotify Secret

If you're an artist seeking to get your music featured on Spotify's Editorial playlists, releasing singles may be the optimal approach.

Spotify thrives on new releases, and having 10 singles can increase your chances of being featured on playlists such as Fresh Finds and New Music Friday.

By using the Spotify for Artists platform, you can directly pitch each single to Spotify's Editorial Team. I recommend doing this at least 28 days before the song's release date.

However, if you plan to release an album, your pitching options will be limited because only one song from the album can be pitched to Spotify's Editorial team, which may decrease your chances of being playlisted.

As a result, some artists focus on releasing singles instead of albums, especially until they have a stronger following and have demonstrated their appeal to Spotify's curators.

In conclusion, focusing on singles allows artists to build momentum, save money, experiment with different sounds, improve fan engagement, and increase exposure to music.

While full albums have benefits, singles provide more flexibility and are a more manageable approach, especially for new and emerging artists.

When navigating the music industry, consider the advantages of releasing singles and how it can help you achieve your goals.

Use our Spotify Playlist Promotion or TikTok Music Promotion service.

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Singles vs. Albums: Why Independent Artists Should Focus on Singles

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Releasing new music can be overwhelming for independent artists. You have to make crucial decisions, including choosing which songs to record and determining the best approach for release. One critical decision that requires careful consideration is whether to release a full album/EP or focus on releasing singles. This article

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Builds a Personal Connection
Fans love feeling like they’re part of the journey. Showing the behind-the-scenes process with personal interviews helps them connect with the music on a deeper level. It turns listeners into supporters.

Boosts Engagement
Content like this is easily shareable. People enjoy watching the magic behind a song coming to life, and they may share it with others, which means more exposure.

Showcases the Brand
It gives a chance to show personality, style, and vibe. It’s a great way to show how much effort and passion goes into creating music. People respect the dedication, and it can make them more likely to support the music.

Gives Extra Content
The release won't just be only the single, but also the whole process. The documentary can be clipped into short-form content for social media, YouTube, or even to send to blogs and PR.

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Here are some influences and examples of other music-release documentaries that have inspired me:

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Here are some influences and examples of other music-release documentaries that have inspired me:

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Deerhunter - Microcastle - In The Studio

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Dutch Criminal Record - Novium (Documentary)

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The 1975 - Recording “Notes On A Conditional Form” At The Studio

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Today I recorded the bass for 'Bridge the Gap'. I am really pleased with how well the parts glue the guitar and drums together. I decided to have the bass play in unison with the lead guitar part in the chorus, and decided on doubling this with a low register piano. This really emphasises a melodic hook in the chorus, and the piano really adds to the old school hip-hop vibe I'm going for.

Extra percussion elements like shaker and tambourine were programmed to add further dynamic variation to the track.

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BRIDGE THE GAP with Bass, Perc and Piano

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Joshua Hazelden - Joshua Hazelden's Album

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BRIDGE THE GAP with Bass, Perc and Piano

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The working title for the band is currently 'Sprungpup', however this is subject to change before release. The original band name choice was 'Scruff Puppy', however another artist called 'scruffpuppie' already exists.

Josh Hazelden - Vocals, Rhythm Guitar, Production

Oliver Harket - Lead Guitar

Olivia Roberts - Drums

Dylan Harris - Bass

Christian Le Surf - Keys, miscellaneous

Caleb Absalom - Filmmaker, director, editor

Ben Hazelden - Graphic design, merch

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Here is a SWOT analysis table for the project.

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Colorful Pastel Simple Comparative SWOT Analysis Weakness Threats Strengths Opportunities Chart Graph

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Session work

I currently do occasional session work for three bands: Dutch Criminal Record, Frankie LG, and Mookie. Though the income isn’t regular from this work, I hope to build up my portfolio as a session musician throughout the next year, and by the start of 2026 I hope to be doing around 3 session gigs per month for various bands who have recognised me as a session musician. I aim to be paid a rate of around £50 per gig.

3 session gigs per month at £50 per gig =

Per month = £150

Per year = £1800

Streams

I aim to market my track enough to get around 1000 streams per month, this would calculate to around just £36 per year, averaging at around just £3 per month. I am only calculating income from Spotify, as this is the most used streaming service. I understand there may also be income from services such as Apple Music and Band Camp, but I feel that income from this is less simple to calculate. I have decided that this profit will not be split as I have the Distrokid subscription, however if profits start increasing I will give every member of the band a share.

Per month = >£3

Per year = >£36

Gigs

By the beginning of 2026, I hope to perform around 2 gigs per month with my band. In my experience from previous gigs as an indie band in Brighton, the income doesn’t reach much more than around £30 to split between the band. Being realistic, Sprungpup is a very new band to the Brighton music scene, and by the beginning of 2026 we would have only been gigging for a few months. However, with my connections I feel it will be attainable to perform 2 gigs per month, earning the band £60 per month, equating to £12 per month for each individual member.

Per month = £12

Per year = £144

Merch

I plan on selling T-shirts with the band logo (see below) at £12 a piece, and tote bags with the logo at £6 a piece.

Realistically, I hope to sell at least 2 t-shirts and 2 tote bags per gig. This would equate to £36 income per gig for merch, adding to £72 income per month (aiming for 2 gigs per month). This split between the five members of the band will equate to £14.40 per person per month.

Per month = £14.40

Per year = £172.80

Part time work

To financially support myself while I work on my music, I plan on keeping my part time job, and after graduating I aim to increase my hours to 20 per week, equating to £232 per week, or £928 per month.

Per month = £928

Per year = £11,136

If I maintain this level of income throughout the year 2026-2027, over the course of the year I will have earned £1,111 from my work as a musician. Including my part time job, this will add to £13,332 in a year.

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Minimal Income and Expenses Tracker Financial Planner -3

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As an artist, I feel that my unique selling point is the specific merging of genres that help to create the distinctive sound that we have as a band. All our material will be tuned a half step down to Eb, rather than standard E tuning, differentiating our sound to many other alternative rock bands. Throughout the writing process, I have merged a classic alternative rock sound with strong jazz and old-school hip-hop influences. This amalgamation of genres, paired with atmospheric, echo-heavy vocals, create a sound not resonant of a single time period, but more of an eclectic sound. The aim of this is to make our music as timeless as possible.

Another unique selling point I feel I have as an artist is my aim to make the recorded version of my songs as similar to the live versions as possible. I aim to achieve this by incorporating very minimal post-production elements, keeping the sound as natural and raw as possible. This ties in the old-school vibe I am hoping to achieve, as in modern music, a lot of 'big' sound is really pushed in post-production. I want to achieve as big a sound with just the instruments we are using in the studio.

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Here is our working-logo for 'Sprungpup'. This was designed my brother, who does graphic design under the name 'Slan 2k'. We still need to create a text logo for the band, however this will be face for merch and artwork.

Below I have the attached rough drafts and first attempts over this week in the process of its creation:

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For the sonic palette of the band's sound, I wanted to combine jazzy, vintage sounding guitars with more modern groove-inspired rhythms. Aiming to achieve as big of a guitar sound with just two guitars is one of my aims.

Below I have talked about some of the main initial influences on 'Bridge the Gap' specifically.

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King Krule's unique blend of jazz and indie-rock was a huge influence on the band's sound. His addition of hip-hop inspired beats and laid-back delivery are other aspects.

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King Krule - A Lizard State (Official Video)

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Grizzly Bear's huge, cavernous vintage guitar sounds are a big influence for the track. The heavy use of spring reverb and slap-back delay especially. The swung rhythms and bouncy playing styles inspired the song's feel.

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Grizzly Bear - While You Wait for the Others [Official Music Video in HD]

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The rich, low-tuned, vintage neck pickup guitars from Mac DeMarco's first project 'Makeout Videotape' were another influence on the guitar sound. The heavy use of spring reverb further encouraged the idea of using spring-reverb as a solid basis for the band's vintage-inspired elements.

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Here is a voice note from April in which I came up with the initial ideas for the track. Its title here is 'Bridge the Gap', and I would still like to name the track this, despite no lyrical ideas yet. In this recording I am singing whatever comes to mind, and much of the direction of the song was heavily improvised. However, I believe through this jam and idea there are solid sections that can be turned into a great first release.

My goals are to first change the tuning a half step down to Eb for a more unique sound. Next I need to refine the song's rhythm guitar parts and place them into a full song structure. From here I can then map out the drums to implement a hip-hop feel, and begin recording the demo.

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King Krule's (AKA Archy Marshall) artwork for his music is all created in collaboration with his brother, Jack Marshall. This is the same dynamic I intend to have with my brother in creating the visual world for 'Sprungpup'.

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Like many of his tracks, King Krule's Logos allows intimate access into a highly idiosyncratic world. The artist, real name Archy Marshall, traps us in the song's poetry with his dense lyrics and tight, repetitive backing track.

In this series, King Krule sits down with three of his closest collaborators to discuss how they turn his music videos into visual masterpieces. See the whole series here.

Jack: The moon is the motif you've weaved into your music. It's a crescent moon sitting in the sky.

Archy: There's also a lot of landscape in the song, and the video has got that desert. There's something anonymous there. It's got an elevator soundtrack quality.

Jack: The poetry of it all simplifies things, so that all the elements almost seem the same size. When I'm listening to the music, I start to see the city as a zipper, all of these up and down squares, and then the moon is a face set against it. And you're as big as everything else. That's what the video does; it's all about things changing perspective. It works well with stop-motion animation.

Archy: Logos comes from 2016. I think it was the first song on The OOZ where I knew what the record was going to be like. I was in a weird place after A New Place 2 Drown , and after 6 Feet where I'd written all these songs but didn't know what to do with them. Everything had got on top of me. Logos was me trying to be like Terry Hall in Friday Night, Saturday Morning. Is that the song?

Jack: Yeah, Friday Night, Saturday Morning.

Archy: That was the main influence for that. One tone to the voice, one tone to the track. The beat was from an interesting pedal, but it sounds like it could have been from a Casio keyboard. The song was quite a big stepping stone in the making of that record. It gave it this dynamic I'd been waiting for.

Jack: Is it different writing in terms of keyboards and guitar?

Archy: For me, yeah, because my knowledge is completely different on both instruments. With the keyboard, because I'm such a novice at playing, it was more exciting.

Jack: I don't know how to do any other animation. I didn't want to hand over pieces of drawings to somebody to do on a computer. It seemed like the natural way to do things. I'd seen an animation by George Dunning called Moonrock. I set that to Logos. There's so much texture to it.

Archy: When I first saw snippets of the video, it was striking in the way it was made. The texture of the paper and the way the characters were moving was exciting. I hadn't seen anything like that.

Jack: It's like you were saying about playing different instruments and almost playing them wrong. It's the same with learning the mechanics of animation. The single image is the brick. Then, you start building a wall, seeing where it takes you, where it would take the process. If you draw the same thing 100 times, gradually it changes. It's an organic distortion from your hand. It's a very, very long process of drawing the same things over and over and over and over.

Archy: It oozed style.

Jack: That's always the goal, to do something different.

The brothers come from what can be loosely described as a creative background, with both parents providing artistic stimulus from their earliest years. There were always plenty of potential influences from their mother, a costume designer, and their father, who encouraged them to play the guitar.

Although they made things together growing up, they first collaborated as adults on 2011's King Krule EP.

Archy: We'd draw loads. Battle scenes and stuff like that.

Jack: Then the music came a bit later. We got into music because our dad was trying to get us to get into it.

Archy: He just wanted someone to jam with a lot of the time.

Jack: Dad would teach us songs, so that we would all play them together and learn the basics. Then your music developed from that point. I'm not saying it came from that; I'm just saying you developed quite quickly after that, musically.

Archy: When I was young, there was always this thing of creating a band and creating an image for the band at the same time. I remember one of the first records I got was Clint Eastwood by Gorillaz. I loved that. Like, there's a cartoon band and I was really sold on the images of all the characters and the dynamic between them, and their music was super weird.

I remember getting it from Woolworths. I remember the aisle itself and everything. They had a one-minute version of the video on there and a storyboard version in black and white.

Jack: Pinky and Perky, as well.

Archy: Yeah, yeah, we had a Pinky and Perky Happy Birthday cassette. I remember listening to that a lot. Then we started getting into the tribal aspect of music, like buying chains for our trousers.

Jack: I remember it well.

Archy: Like dressing the part, you know what I mean?

Jack: Our angle was always different, because we were going through the skate shop catalogues, saying, I want this and this. Mum said, let's just make it instead. People at school would be like, you made that yourself, you tramp!

Archy: I made my own Spitfire t-shirt. Do you remember that t-shirt you made with bullet holes and blood coming out?

Jack: Oh, yeah. That was serious.

Archy: I remember that whole idea of the product. When I got my first record it only seemed right for you to do the artwork.

Jack: I was always doodling and you had a really good idea of what you wanted visually, so I did that first single. That's where the collaboration started.

Archy: It became a rule as well. I do the music, you do the artwork. There was a simplicity in there that protects you from anything else.

Archy: That band was heavily influential to me. It made my music mature because you were older, you were playing really interesting structures and making way more interesting music than I thought I was.

Jack: Our singer, Jacob, was in my year at school, but you guys got to know each other. He lived literally around the corner from our mum's house and we started to hang out together and make music. Kind of jokey, unserious music.

Archy: That was a good time actually.

Jack: Because we were all free a lot of the time.

Archy: I had the weirdest set-up ever. You lot would come around and record on a 4-track and then I'd take the files and put them into Fruity Loops. But I couldn't record into Fruity Loops, so we'd have to record on the 4-track and then put it onto the computer. It had good results.

Jack: We've gone full circle back to that in some ways, because I'm playing with those guys again in Horsey and one of the songs we're about to release is a song we wrote back in 2010.

Jack: We had our own little scene going on, 40 or 50 mates that would come down to most of our shows. There was no emphasis on what it was, nobody was thinking about a label for it. There was none of that "south east London" tag. Everyone was just doing their own thing.

Archy: Yeah, for sure.

Jack: There was a night called Steeze, which was run by a guy called Luke Newman. You played it, I played it with different bands, and we used to paint there. You've still got that painting actually. That was cool.

Archy: You passed things down to me a lot. That would define what I was doing and what I was interested in. You'd set me off on a trail and then I'd find different bands. Art wise there were loads of people, like Lucian Freud, how dramatic all of the dark tones in his work were. You got really into that.

Jack: I was really into painting. I loved the idea of portraiture and the drawn-out process of slowly making something.

Archy: That's where Out Getting Ribs gets its style.

Jack: It runs against a lot of what we were into at that time, which was a lot of punky stuff and a lot of No Wave .

Archy: Yeah. A lot of post-punk, which is probably the most important era for all of us.So many of those bands giving you ideas about where to go and what to read. Like Josef K, referencing straight from a Kafka novel.

Jack: It was like wow, look at these people, how they would live what they preached.

Archy: We realized we were becoming men at the same time. It was like you draw, I play music, he does this, she does that. All of the people around us were doing quite creative things.

Jack: Everything seemed kind of shit, so you'd do your own thing and get on with it.

Archy: The guitar bands in 2009 were trash. It was barely any kind of music.

Jack: I wasn't really into indie.

Archy: I think, and this isn't in a big-headed way, back then I had more drive for this idea of success.

Jack: It comes down to work ethic I think.

Archy: Yeah, but it's also being in love with what you're doing. I had loads of pressure, in terms of money, because we didn't have any. It was starting to get to a point where it's like, oh shit, well I'm going to leave this school and have nothing to do, so this better work.

For the second EP, 2015's A New Place 2 Drown, things got a bit more serious. Alongside the record, the brothers released a book and a short film with their poetry and artwork. For both Jack and Archy, it was a testing experience, as they battled to translate their creative work into a product that would appeal to a wider audience.

Archy: That process is one I find hard to talk about. Sometimes you lose freedom, because you're essentially an employee. It can get a bit cobwebbed in the brain. A bit congested. You start to not really see the point of what you're doing in the first place. Which happens to everyone I guess, but for us I feel like it can happen quite quickly.

Jack: Does it take away the original motivation?

Archy: I don't know. took quite a long time to make and the record took longer.

Jack: Yeah, I think the book took long to make because somebody else said, I want you to make a book.

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WePresent | King Krule and his brother in conversation

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Archy Marshall, aka King Krule, sits down with his brother Jack. They talk about collaboration and how they were inspired by jam sessions with their dad

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Here is a document explaining how good practice can be carried out in a rehearsal environment.

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Integrating ‘Good Practice’ into Sprungpup rehearsal sessions in preparation to record

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Integrating ‘Good Practice’ into Sprungpup rehearsal sessions in preparation to record

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Prior to each rehearsal, I will make sure to discuss clear goals with the band, so we all know exactly what we are working towards achieving by the end of the session. I think this will really benefit this band particularly, as each member has a lot to contribute so discussion within rehearsal may take a lot of time. By setting goals before the session, we can dedicate more time to practicing.

Also, I will definitely make sure that we regularly practice playing the song to a click in the later rehearsals. This will ensure that each musician is able to play their part at the exact tempo that it needs to be recorded at in the studio. I have also found that doing this makes me feel more comfortable playing with a metronome, to reduce the feeling of pressure in a studio setting.

I will make sure to record at least one proper run through of the song in every rehearsal, so that we can reflect on the track's progression. I think it’s also important for every member of the band to listen back to these recordings, so they can focus on refining their individual parts, and discuss any changes/improvements they feel can be made to the track as a whole.

A very important element of good practice I will be including in my band’s rehearsal sessions is rest and recovery. I have experienced musical burnout a number of times from lack of downtime when working on a track. This has taught me the importance of taking breaks and focusing your mind on other things from time to time.

I will make sure that there is a set schedule for rehearsals (say 1-2 per week) so each member of the band has plenty of downtime, and knows exactly when the next practice is. A regular rehearsal schedule with clear goals will also help avoid over-practicing at the end of the rehearsal period, as nothing will be left to the last minute.

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Radiohead's 2007 album 'In Rainbows' is another influence on the band's sound. The warm and raw guitar tones paired with tight and strong up-beat bass and drum grooves were particular influences. A lot of Radiohead tracks feature unconventional song structures and contrasting alternative end sections, which is evident in 'Bridge the Gap'.

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Here is a document comparing Sprungpup with Brighton-based indie band 'Elandra', who could be considered a competitor for us within the local music scene.

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Attached is a video of me demonstrating the rhythm guitar parts I have written for the track.

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See attached my detailed risk assessment for rehearsal and recording sessions with Sprungpup.

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Here is a video of me demonstrating the bass parts I have written for Bridge the Gap.

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For this project of a single release, I will be using a range of technology to help me.

This is as follows:

My iPhone XS

My iPhone will be used to record the demo for the track.

Garageband

Since I am so familiar with using iOS GarageBand as a DAW to create my previous tracks, I find it easiest to use. So it only made sense for me to create my demo using the software I was most confident with.

Logic Pro

Once I take this demo to the studio, I will be using Logic Pro to record it, as I have recently acquired a MacBook Air so can start using Logic Pro as my go-to DAW.

MacBook Air 2024

Pedal Board

The track uses a variety of guitar pedals to create the sound I am aiming for. This includes delay, overdrive and reverb.

Guitars

I am recording this track using two guitars. The rhythm guitar is my Fender Telecaster Plus, and the lead guitar is Oliver's Squire Stratocaster.

Bass

The bass I am using for this track is the Hofner Club.

• Korg Minilogue or Nord Stage Piano

Keys will be be recorded in the studio using either of these keyboards.

Studio drumkit

Whether we are recording drums at Small Pond Studio or Raygun Studio, my drummer will be using whatever kit the studio provides. For live performances, she will be using a Mapex Armory 5 piece kit with Istanbul Agop Xist cymbals and hi-hats.

Studio amps

We will be happy to use whichever amp the studio provides for bass and guitar.

TC Helicon VoiceTone E1 Echo/Delay

I have acquired a new vocal delay pedal to use for the band. This will allow me to have my own specific settings for each track, helping me create a signature vocal sound.

Camcorder

For our mini documentary, we will either be using a handheld video camcorder, or a DSLR camera (listed below). I think that using the camcorder will give the documentary a DIY, vintage feel which would be an effective marketing technique, as the track itself has an old-school feel to it.

Canon EOS 1300D camera

Our second option for filming the documentary is this DSLR camera. Video on this camera will still have that old-school feel (as it doesn't film video in as good quality as a modern mobile phone) but I don't think we will achieve the desired affect with this compared to the camcorder. However, for shoots and behind the scenes pictures, this will be the perfect option.

Adobe Premier Pro

My good friend Caleb, who is currently in the process of writing, directing and shooting a short film, is happy to help us with our filming process. He also owns Adobe Premiere Pro, which will be an essential tool for us in creating this mini documentary.

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I have attached my overall reflection for the project so far. I have also included a conclusion detailing how I feel the project has gone thus far, and any adjustments I will be making to my strategy going forward.

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Here is an analysis of my findings from a 5 person focus group, who I asked for opinions on the track so far.

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Oliver has now refined all his lead guitar parts for Bridge The Gap. We spent the day recording these for demo, and I am so pleased with how the instrumental for the track has come together.

I think Oliver's playing keeps the familiarity of the alternative rock sound, while including innovative playing to set us apart from competitors. Our guitar parts perfectly complement each other.

I am now going to do a rough mix of the track, taking inspiration from my influences. I also still need to come up with vocals and finish the lyrics. This should be easier now I know where to fit them in, and where to leave room.

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Joshua Hazelden - Joshua Hazelden's Album

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Attached is a video of Oliver demonstrating each individual guitar part that he has played on Bridge the Gap.

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Today I have done a rough mix of the entire instrumental track. I have added consistent spring reverb to the guitars, and panned the wet effects away from the instruments to create a large sense of space. The drums and bass now glue together nicer with compression and a slight room reverb. I have managed to create a huge sound with only basic instrumentation and no post production additions. This was one of my aims.

I am now going to show this to peers to gauge some of their opinions before end up tracking vocals.

Although I am yet to add vocals, I am very excited to finish the demo and can't wait to hear the song fully fleshed out. If it sounds this polished now on just an iPhone, I can't imagine how good it will translate in the studio.

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Joshua Hazelden - Joshua Hazelden's Album