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King Krule

Omni

IDLES

Pavement

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Radiohead

King Krule

Grizzly Bear

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Influences:

The Breeders

Pavement

King Krule

Pixies

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My brother, Ben, has been working on the emblem, logos and extra mixed media visuals/artwork while we decide on our aesthetic as the band.

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It's Only Punk

You could speak a million words and watch them fly straight over my thick skull

Keep saying sorry

Keep saying sorry

Keep saying sorry

Keep saying sorry

Sit in countryside, sunset, nice view

Shaking off feeling everything's so dull

Summer evening

I'm human again

You're sweet to the bone

But you're never home

Grow up man and straighten your back now

Wake up man

Where you been?

You're back now

Can't keep saying sorry all the time

Can't keep saying sorry all the time

Can't keep saying sorry all the time

Can't keep saying sorry all the time

You look greener than ever before

When everything becomes a chore

Nah, you should never be scared because it's

'Cause it's only punk

Yeah it's only punk

'Cause it's only punk

Yeah it's only punk

You should never be scared because it's

'Cause it's only punk

Yeah it's only punk

'Cause it's only punk

Yeah it's only punk

Yeah you run, run

Run around, round, round

Run around

Yeah you run, run

Run around, round, round

Run around

Yeah you run, run

Run around, round, round

Run around

Yeah you run, run

Run around, round, round

Run around

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Here is a case study document on my production influences for the EP.

Steve Albini

Nigel Godrich

King Krule

Contains full reference list.

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Josh Hazelden WB11 Production Influences

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King Krule

Oh Sees

Black Lips

The Breeders

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We have decided to re-release my 2023 single Trainwreck, but record it how it sounds live at the moment. Notable changes for the Hazelden and Co version are Eb tuning, less overdubs, faster tempo, and Oliver's guitar solo. Today me and Oliver created a rough instrumental demo of the track, I played rhythm guitar and bass, but for consistency purposes will be using the original recording for the demo EP.

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Joshua Hazelden - Joshua Hazelden's Album

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Joshua Hazelden - Joshua Hazelden's Album

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For this EP, we want to capture something real, raw and immersive that aligns with our DIY ethos.

Steve Albini’s approach to recording bands as they are, without overproduction, is a huge inspiration. We would like to try live tracking, keeping takes natural and full of energy rather than piecing everything together with overdubs. Using room mics to catch the space around us will help make the recordings feel alive, rather than relying on digital reverb or heavy processing. The goal is to make it sound like you’re in the room with us, not listening to something polished and artificial.

Nigel Godrich’s use of space and stereo depth is another key influence. His way of creating wide, atmospheric mixes through LCR panning and organic reverb techniques is something we’ll incorporate to give the EP a sense of space. Instruments bleeding into each other, subtle tape saturation, and dynamic range will help us craft something that feels raw and immersive without losing clarity.

We also love the unpredictability in King Krule’s production, especially the way his mixes can feel both disorienting and intimate at the same time. We want to explore using weird modulation and delay effects to give certain elements a woozy, off-kilter feel while keeping the core rhythm sections grounded. Letting the mix breathe will allow for big dynamic shifts, and making space for imperfections will help keep everything emotionally raw and engaging.

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Blue Lagoon with Lead Guitar (Rough Idea)

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Blue Lagoon with Lead Guitar (Rough Idea)

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Joshua Hazelden - Joshua Hazelden's Album

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I have made notes on Steve Albini's microphone choices and placements. I have also described their characteristics in order to communicate the type of microphone needed to capture specific tonal qualities best suited for each song:

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I have made notes on Steve Albini's microphone choices and placements. I have also described their characteristics in order to communicate the type of microphone needed to capture specific tonal qualities best suited for each song:

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Steve Albini uses condenser microphones for acoustic guitar, often choosing ribbon mics to soften brighter tones. Mic placement depends on whether the artist is singing and playing or just playing (closer for less vocal bleed, further for a fuller sound if no vocals). He avoids pointing directly at the sound hole, instead adjusting height and angle based on the guitar’s tone, using the room’s acoustics to bring it to life (Tingen. P, 2005).

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When recording electric guitar amps, a common approach is to use two microphones per cabinet, one with a darker tone and one with a brighter tone to capture a balanced sound that reflects what’s heard in the room. These mics are typically positioned an equal distance from the centre of the speaker cone, around 10 to 12 inches away. For louder amps, microphones are placed slightly further back to avoid harshness, while cleaner or brighter tones might suit a vocal-style mic instead. Rather than relying on EQ or heavy processing, tonal adjustments can made by swapping or repositioning microphones. Brighter guitar tones benefit from brighter sounding preamps, while heavier, bass driven parts suit fuller sounding ones (Tingen. P, 2005).

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My vocals will need a microphone with smooth brights and minimal low end response. Vocals will also require a bit of compression to control dynamics and maintain consistency in the recordings.

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I will be using my TC HELICON vocal echo pedal for a heavy delay sound on my vocals. This is to enhance the psychedelic element of the band’s sound. I may trial this in the studio, however I think a replica delay track on a seperate bus, mixed hard stereo, will help my vocals sit better amongst the LCR mixes. The pedal will certainly be used live.

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Joshua Hazelden - Joshua Hazelden's Album

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Joshua Hazelden - Joshua Hazelden's Album

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Joshua Hazelden - Joshua Hazelden's Album

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Tongue Tied!

You're crawling out of every nest

You've studied how to be the best

Nobody's gonna clean this mess

Cat's got my tongue now anyway

Cat's got my tongue now anyway

Yeah I'm thinking this might be your year

Upside down and always full of fear

You belong to everybody here

Oh sunshine, heaven's rays

A deadly winter kind of craze

No summer halcyon days

Cat's got my tongue now anyway

Cat's got my tongue now anyway

Oh baby

Erase me

Oh baby

Erase me

Oh baby

Erase me

Oh baby

Erase me

Oh sunshine, heaven's rays

A deadly winter kind of craze

No summer halcyon days

Cat's got my tongue now anyway

Cat's got my tongue now anyway

Cat's got my tongue now anyway

Cat's got my tongue now anyway

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It’s Only Punk with electric guitars and shaker

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Joshua Hazelden - Joshua Hazelden's Album

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It’s Only Punk with electric guitars and shaker

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Blue Lagoon Electric Guitars Demo with Rough Lyrics

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Blue Lagoon Electric Guitars Demo with Rough Lyrics

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Streaming VS Bandcamp for DIY bands.

Contains full reference list.

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Joshua Hazelden - Joshua Hazelden's Album

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Joshua Hazelden - Joshua Hazelden's Album

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Performing Rights and Royalty Collection: PRS for Music and PPL

Copyright: Protecting Creative Work

Trademarks and Brand Protection

Business Models: Sole Traders, Partnerships, and Limited Companies

Tax

Contains full reference list.

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My WB10 Submission details the development of the demo for 'Bridge the Gap', before deciding to record 5 more tracks as a demo EP. I will be explaining my decision change in this padlet.

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The Theme

As long as you're happy I'm fine

Those blue lagoon eyes so divine

Up down and round yeah, we meet

Red flag, quick!

Paw your back feet

Don't come back

I'm much too dangerous

Come here babe

Your bites are painless

God keeps the devil around to punish you

God keeps the devil around to punish you

I'm blessed

I'm sound

I swear I'm fine

You call the shots

You draw the line

Wake up, throw up in repetition

Her brain's spilling

I'm barely listening

God keeps the devil around to punish you

God keeps the devil around to punish you

God keeps the devil around to punish you

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Caleb Absalom, AKA nthingimprtnt will be working on paintings for the final studio EP and single artworks. Merging my brother's art and graphic design with Caleb's paintings will hopefully create a unique visual identity for the band that colours our music.

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Here is a document on why we are choosing the waterfall release strategy, as well as the pros and cons of this method.

Contains full reference list.

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Josh Hazelden WB11 Waterfall Release Strategy

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Just a ragged feline
Bugs coating your fur
With your beady eyes
And your broken claws
A bone bag, no less
But nothing else more
Your left shoe's untied
So please enjoy your fall
Please enjoy your fall

My god, you look like a trainwreck
Time kills all but to you it's so unkind
Dear god, you look like a trainwreck
Time kills all but to you it's so unkind, oh

So don't come too close

Or your world's gonna burn
And I will start that fire
I'll watch the orange glow
See the flames for miles
As your soul grills black
And then I'll put you out
In a single blow

My god, you look like a trainwreck
Time kills all but to you it's so unkind
Dear god, you look like a trainwreck
Time kills all but to you it's so unkind, oh

Take it as it comes
Take it as it comes, yeah my baby
Take it as it comes
Take it as it comes, no, no, no, no

My god, you look like a trainwreck
Time kills all but to you it's so unkind
Dear god, you look like a trainwreck
Time kills all but to you it's so unkind, oh

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Joshua Hazelden - Joshua Hazelden's Album

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A technique for bass I would like to try is similar to the electric guitars. Pairing a darker mic like a dynamic or ribbon with a brighter one like a condenser. Blending the two helps capture a fuller and more accurate representation of the bass cab’s tone. Compress the darker mic lightly, while leaving the brighter mic uncompressed to keep its clarity will hopefully create a create low end for our mixes (Tingen. P, 2005).

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Drop 1:

1. It's Only Punk

Drop 2:

1. Blue Lagoon

2. It's Only Punk

Drop 3:

1. Trainwreck

2. Blue Lagoon

3. It's Only Punk

Drop 4:

1. The Theme

2. Trainwreck

3. Blue Lagoon

4. It's Only Punk

Final Release (Slacker - EP)

1. It's Only Punk

2. Blue Lagoon

3. Tongue Tied!

4. Trainwreck

5. Bridge the Gap

6. The Theme

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Drum miking techniques can vary considerably depending on the player’s dynamics and the desired sound. Commonly, close microphones are used on all individual drums, supported by ambient room mics and a stereo pair positioned in front of the kit to capture cymbals. In minimal setups, which we are going for, engineers may opt for a single overhead mic paired with a snare and bass drum mic.

If a drummer plays lightly, the snare mic is positioned closer to the point of contact to capture attack, whereas heavier hitters (like James) require the mic to be backed off to prevent peaking and distortion.

Ambient microphones can placed by ear, walking around the space to identify the most natural sounding spots. Delaying the ambient microphones by a few milliseconds helps avoid phase issues between close and distant mics. When placed far enough from the kit, these ambient mics fall outside the Haas effect range, making the reflections they capture sound more like natural room reverb, a drum sound I am striving for.

Compression is selectively used during recording. For example, the bass drum mic may be lightly compressed similar to the treatment of a bass guitar. Overhead mics often require a fast peak limiter to prevent the snare drum from dominating (Tingen. P, 2005).

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The project aims to develop Hazelden & Co from initial demos to a public launch and eventual studio EP. SMART targets included completing demos by April 2025, rehearsing regularly until a debut gig in November, beginning studio recordings in January 2026 for final EP release in winter 2026, and finalising branding and visuals by the end of 2025.

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Before incorporating LCR mixing and vocal recording

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Joshua Hazelden - Joshua Hazelden's Album

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Joshua Hazelden - Joshua Hazelden's Album

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Hazelden and Co - Health and Safety and Risk Assessment

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Joshua Hazelden - Joshua Hazelden's Album

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Joshua Hazelden - Joshua Hazelden's Album

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Final Major Project Ongoing Research Bibliography

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Final Major Project Ongoing Research Bibliography

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Josh Hazelden Final Major Project Ongoing Research Bibliography_-2

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Now it's gone the night's so bleak

So keep it down man I can't sleep

Overtired and on wire

I've no fuel for the fire

A ticking time bomb I am

Living as a hologram

If you want it

You can't have it

It's all mine

You can't have it

If you want it

It's all mine

I don't share

Now it's gone the night's so bleak

So keep it down please. I can't sleep

Overtired and on wire

I've no fuel for the fire

If you want it

You can't have it

It's all mine

You can't have it

If you want it

It's all mine

I don't share

I don't share

I won't share

There I was

And kissed the sky

I prayed for you

Sweet honey pie

You spark the reason

I don't look back

You hold the wisdom

You'll bridge the gap in between

You want it?

I got it

You want it now?

I got it now

You spark the reason

I don't look back

You hold the wisdom

You'll bridge the gap in between

In between

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I am aiming to write, record and mix at least one track per week, or have the entire EP done between February 10th to April 10th as my deadline. This will help keep things moving and allow me to remain productive and structured across the project. I will be using stream of conciseness songwriting for the EP to ensure the most authentic body of work I have created yet.

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Explore the largest community of artists, bands, podcasters and creators of music & audio

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Josh Hazelden - Songwriter. Production, Rhythm Guitar, Mixing, Vocals

Oliver Harket - Lead Guitar, co-writer

Dylan Harris: Bass

James Bish: Drums