Give Us A Clue - 10 Year Compilation Album Booklet

THE MAKINGS OF CLUE

I didn’t know where to start in writing this. Trying to capture 10 years within a few pages + relying on one of the dodgiest memories known to humankind, I was a bit daunted by the whole thing. So I came back to the basics of what this was about; music. I chucked on a playlist filled with everything we’ve released + waited for my brain to start firing.

Before that though, 10 years is a long time + I wanted to see what the world was like back then.

In 2012, the world was a very different place. London hosted the Olympics and Paralympics with the country seeming to unite over superhuman efforts to run fast, run for ages or do something else that involved running, chucking something or being dead good. David Cameron was Prime Minister at the time, and demonstrated his abilities finely when, after a pub lunch, he and the family drove away from the pub they’d just frequented, leaving his eight year old daughter behind. Don’t worry everyone, it only took him 15 minutes of driving before he realised that a good sized human child (one dependent on him) was missing. Upon returning to pick her up, he found her smoking tabs outside, necking shots of tequila and telling the locals her dad owned them (ok, that last bit was made up but it’s not too far a stretch based on what actually happened…). Stateside there was hope with Barack Obama occupying The White House having just begun his second term as president. Boris Johnson was Mayor Of London + seen as something of a joke, with no serious political future… and Donald Trump was enjoying firing people as presenter of The Apprentice USA, with no hint of a political future…

Pat Butcher left Eastenders, Spain won Euro 2012, Boro lad James Arthus won the UK X Factor and topped the charts over Christmas with the barnstorming ‘Impossible’ (big tune this one tbf, next time you see me, slip me a fiver + I’ll do you a chorus of it). The UK had enjoyed/endured number 1 singles from the likes of Gotye who went on about someone he doesn’t know anymore, Psy who infected the world with his Gangnam stylings and Rihanna who just wanted everyone to be as vibrant as a precious stone. Instagram was just 2 years old + Tiktok wasn’t even a twinkle in its creators eye yet.

While all this was going on, I was working a job I didn’t care about, for a company I didn’t like, in a sector I disliked. I’d just finished shouting down a mic + battering a guitar in a band + didn’t want to return to it because drummers (no further explanation needed, sort yourselves out drummers of the world!) I was at something of a crossroads without Bonethugs + Harmony to sing me along the way. I saw an ad for Oxjam Music Festivals who were looking to run events in Leeds. I applied, got interviewed + was brought into the team (although I think it was cos their first choice moved somewhere else?!?! Who cares, worked out for me). As part of the core team of 5 volunteers, I helped book some amazing artists including British Racing Green (more on them later), Fold (these too…), Esper Scout (and these!), pre-Nationwide advert writing Matt Abbot and many more.

We raised a load of money for charity and personally I grew so much (not in stature, always been a short arse) and it gave me a lot to think about when it finished late in the summer. Following this coming to a climactic end with with a big, 4 venue takeover of Leeds city centre, I took stock and messaged Ste to catch up soon.

In fact, at this point let’s do another trip back in time to the late 90’s for a bit of a background on me + Ste, you lot need context to these integral (and handsome) characters. Born 6 months apart (me first) in North Tees Hospital, situated in the majestic town of Stockton-on-Tees, we didn’t meet each other until we were getting towards the end of secondary school. It was the summer of 1996/7/8 (I’m saying ‘97 but who knows, it was yonks ago…). We were at a friends barbecue supping stubbies like a right set of grown up blokes + got talking about Pulp’s recent masterful album Different Class, as well as a ton of other amazing music that was out at the time which probably included Supergrass, Idlewild, Blur, Oasis, Radiohead and all that lot. There was instant respect and you could tell Ste thought I was great straight away (joking, I was probably large part gobshite, and the admiration was mutual). We connected immediately + were firm friends from then on, going to metal nights, playing in bands, going gigs, surviving Leeds Festival the year people burned down all the toilets and 90% of the site, and trying legal drugs from the festival shop in Middlesbrough which were deffo just repackaged tea leaves. Despite distance at times, we always stayed close within our friendship group until Ste ended up in Leeds. When he had a spare room coming up where he was living, we were finally reunited.

Right then, back to 2012. We went to the pub, The West End in Kirkstall if I remember rightly (which I probably don’t). I said I wanted to do something else other than being in bands, we’d always spoke about a record label being something cool to explore, and despite having no idea how to do it, we decided to go for it. With British Racing Green, I was confident we’d found a band who we could support and who I wholly believed in. We threw some names for the label around, Clue stuck. It was simple, easy to spell, easy to say (despite people still thinking I’ve said Glue, Coo or Crew occasionally…) and we had some fun ideas around it. One idea was to create individual crosswords which we’d give away to people, which when completed, unveiled a code (we’d shade certain letters, they’d form the code). This code would be then put into a website of ours to allow a free download of music we’d

released (I loved this idea but can you imagine the hard work?!? Not to mention having to fit numeric digits in a crossword, get out of town mate, not happening).

There were 3 main things we focused on with the label and none of them were related to releasing music, we wanted to bide our time + get it right.

Firstly, we put on a gig at The Packhorse in Leeds, with Esper Scout, British Racing Green + Kassassin Street playing. We pushed hard, tickets were £2 for some daft reason, and it was a great, packed night. On top of this I’d be scouring the web for free downloads, pulling together my 5 faves that month + sharing these on socials. The third thing has carried on until today. We started recording a regular podcast/radio show where we’d play underground music from artists in Yorkshire and try to support the community of musicians we thought were doing amazing things but weren’t getting the exposure. It was loads of fun + we made friends in Rob at Philophobia Music (an ace Wakefield based label) + a load of their bands including Mike Ainsley who went on to play in Drahla.

We kept on pushing these things, laying the foundations of an audience before even starting to think about releasing music. Another figure lurking around in the background of Clue was Tom Roche who I’d been in a band with in recent years. He trusted what I did and wanted to back us. His trust + encouragement was great + gave us an extra spur to really kick on + make things happen. Tom was a constant in the life of bands signed to Clue in the first few years, always putting his hand in his pocket to buy beers, offering out cigs, providing somewhere to stay if the bands were playing nearby. With all these elements, and people, the label felt like something worth pursuing.

So onto actually being a record label then. I’d spent a little time with British Racing Green through Oxjam and fell in love with both their music but also personalities, a proper funny bunch, no ego, completely focused on making something significant. The Teesside connection in Joe being from Middlesbrough drew me even closer to the band. They wanted to change their name, and after much deliberation and a list as long as this booklet, they landed on NARCS.

At this point, I’m going to dive into artist specific sections, threaded through chronologically between each (there’ll be loads of crossover too cos it was all very incestuous…)

NARCS

Where to start with this lot. Firstly, they were ahead of their time. An angry, political, eloquent, visceral band who preceded things that were successfully done by artists like IDLES, Fontaines DC etc. Their beginnings were as a slightly more straightforward indie band, still with intricate guitar lines and an accent soaked in the locality of Yorkshire where singer Wilko was from. Their track Coast To Coast hinted at their ability to tell a sad story in something that seemed upbeat and hopeful, from memory it was about a couple who walked off into the sea to die together, disillusioned by the world. It was when I heard 19 that I realised the direction they were going in, a scathing attack on the amount of Prime Ministers who had attended Eton College (at the time of writing this is now 20. 20 of the 55 Prime Ministers in the United Kingdom have been educated at the same elite college, most with no understanding of any other class than their own…). They’d written a full album and had booked in to record this at The Chairworks in Castleford, a town just outside of Leeds. I invited myself along to document it + just cos I fancied it. They’d booked Simon Humphrey who had produced the debut record by The Clash. The band wanted to record the full record in 1 weekend. Somehow, they managed this feat, getting down all 10 tracks in 2 days. They were so tight and rehearsed as a band and had an unbelievable understanding of each other but still, 10 tracks in 2 days was some feat. Other than some overdubs, it was done.

Alongside recording, there were trips to a local pub which had a vending machine which rotated where the only options were slices of fresh cake, me making a curry for everyone from ingredients in the underused studio kitchen (90% of the flavour in this was cumin if I remember rightly…) and everyone pretending it was edible, Joe going missing for 4 hours post-pub, us panicking as Castleford ain’t the place to be wondering round at midnight when you’re not familiar, before casually turning up with a stack of pizzas for all + sundry.

One of my earliest memories of them was a random phone call at around 11am on a Saturday following a show they’d played up in Middlesbrough. The band had dressed up as characters from The Simpsons to perform, smothered in yellow body paint. Some of the band had stayed in Boro after the show + the following day rang me to ramble on (still drunk) about getting chased out of a supermarket because one of them was sat in the trolley as they went around the shop, looking a little worse for wear and like they were suffering from an extreme form of jaundice from the smeared yellow paint they’d caked themselves in. Stanley (drummer) had headed home to Leeds following the show, still dressed as one of Bart’s schoolyard bullies Jimbo Jones. Upon arriving at his house, he discovered there had been a break in + called the police. He then had to walk them through the property and missing items, convincingly dressed as a fairly niche cartoon character. Should have known what I was getting myself in for then…

NARCS were never far from calamity. At a stag do for bassist John, we went outside to play football + cricket in a nearby field. All very casual + unprepared but we had a penny floater to kick around + a group of people who fancied it, so on we went for a kick about. Seconds before we were due to wrap up, following a declaration of ‘next goal wins’, the ball was hoofed forward, around the vicinity of guitarist Joe. Instead of waiting until the ball landed around his feet, allowing a calm and composed attempt at goal, he saw headlines. As fine an attempt at a bicycle kick as I’ve ever seen was instigated by Joe. As he leapt through the air like a prime salmon, he swung his leg towards the ball. However, as is the nature with penny floaters, they float + change direction at the slightest breeze. Unfortunately for Joe, this is exactly what happened, and having missed the ball, his next journey would be to the floor. I don’t think he’d thought much about the manoeuvre before performing it, and his landing showed as much, dropping the majority of his weight onto one of his two shoulders. Complaining of serious pain, we continued to drink, with Joe dressed in a fancy fress costume as a toilet (as we’d somehow managed to title him in our group chat). However, alcohol and great fun wasn’t going to fix this so, in the dead of night, Joe took himself off to A+E to be told he had fractured his collar bone. Not only this, I’d also kindly offered him a title as Joey Snip Snap, due to the regular ability to injure himself.

Broken bones would once more haunt NARCS when guitarist + singer Wilko, while playing in goal for his local football team, went out to punch the ball away + ended up breaking his arm. No worries though eh, just rest up + get back to playing guitar when he can! No stress! Except, they were due to go on a UK tour as main support for Young Legionnaire (exmembers of Yourcodenameis:Milo and Bloc Party) in 1 weeks time. In an effort to not let the opportunity go to waste, I offered my services as guitarist. I was never very good at guitar, hadn’t played in over 5 years and didn’t know how to play the songs, but I knew the songs inside out so that was a start. I had 5 days to learn the set, alongside my day job + running the label. It was very stressy indeed but the show must go on. There was one bit in Pig that I just couldn’t get the knack of, and typically it was a completely exposed part where I was the only one playing… The first show in York went really well + from there I grew in confidence + Wilko really took to being the frontman, unburdened by a guitar. We also spent the whole tour eating Space Gruel™ which is essentially a space cake which hasn’t cooked well + instead turned into a porridge-like formula. We loved it + had a great time with YL.

From here, Wilko recovered, but the band decided I should stick around, help keep up the new levels of handsome they’d achieved. We played as much as we could with bands like Shame and The Blinders until Joe broke the news that he was leaving to move to New Zealand. The news was a heavy blow to take, Joe + Wilko’s songwriting understanding was unlike any other I’ve known and essentially, this meant the end of NARCS. We played a final show at Brudenell Social Club, a pure celebration of them as a band with me stepping out for a couple of songs so they could get back to their original 4-piece ways.

The band playing Leeds + Reading Festivals was a huge point in their careers, we fully embraced it, smuggling our way onto the main stage at Reading ahead of the day. On the way back from Reading, Wilko sang ‘I Hung My Head’ by Johnny Cash + I can still feel it now, a stunning moment to shine a light on a song I’d not heard from an artist I loved. L+R was a far cry from their first show signed to Clue. Their album launch was a sell out at The Packhorse in Leeds. I got banana boxes from Morrisons + covered them with pink paper, creating NARCS and CLUE signs with a box per letter. We had an art corner, disposable cameras with tags on, inviting people to take a picture + pass it on, TV’s set up with looping visuals and tried to make the evening something nobody would forget. I was working the door + merch table, until they started playing Tall Grass when I launched over the table, straight at Wilko, straight into the pit. The after party that night, the following night, and for the next 3 weekends in a row were wild, heavy and definitely took a few years of my life but I wouldn’t change any of the twerking, mantel piece balancing or Sunday morning hair of the dog pints for the world.

Their second album launch was a slightly more sensible affair, a packed out headline show in Brudenell Social Club’s Main Room. It was an incredibly special night but slightly toned down on our part as we had to be up at 5.30am the next morning to drive to 2000 Trees Festival. With mild hangovers + tiredness aplenty, I had brought along my secret recipe, all of the ingredients for a Bloody Mary cocktail. Most of the fellas had not had one before, and I can’t say the floor of a moving splitter van was the ideal place to make them, but that I did and they went down a treat (mostly…).

Between the 2 album launches, I spent an incredible amount of time with the band, we filmed a video for 19 at a friend of the bands new rehearsal space Blueberry Hill in Kirkstall (a sadly missed rehearsal space turned bar), spent time at Wilko’s farm taking press shots + filming videos that didn’t always pass the acid test with certain members of the band (drummer Stanley once remarking that the video I’d created which featured a lot of him running, was ‘better than no video’...). To be fair to them, they did win a Music Video Award for Pig after these videos so I’d like to think I set the standard early on… I also learned a valuable lesson about vinyl test pressings. We pressed their second album A Thinking Animal to vinyl and invited the band plus partners round to listen back to the album, signing off the vinyl in the process. I laid the vinyl down, placed the needle + set it playing, only for an uneasy silence to fall in the room as the opening track sounded like the volume was increasing + decreasing. We got to the end of the first half with lots of concern, arguments and general dissatisfaction. It turned out the test press was actually great! My vinyl player set up however needed balancing out, a new needle, and generally a full MOT or throwing in the bin. Never again will a spectacle be made out of the very functional process of a test pressing…

The political and social commentary they included in their songs, and never shied away from in public, was all I wanted in a band. They were authentic, thoughtful, articulate, understood what they were saying and genuinely wanted better. They are one of the biggest things I wish had kicked on even further from Clue but I genuinely think a lot of what they were doing was ahead of the curve, and had they been around when bands like IDLES picked up the mantle, they’d have flown. I’ve got a connection with this band like no other, they helped me to get to a point of confidence in what I was doing without knowing they were.

They challenged me, were a pain in the arse, were a joy and everything in between. They allowed me to get all the good + bad out in one go and I’ll always love them.

What To Listen To Next: A Thinking Animal (please, please, please listen to this. I’m listening to it as I type, hair still stands on end hearing it. It’s still one of the most lyrically stunning, intelligent, and unfortunately relevant albums I’ve ever, ever listened to + I don’t care if you think there’s bias. Just listen to it + if we need to, we can argue about it later)

ALLUSONDRUGS

I can’t remember how I found Allusondrugs but I remember the first time I listened to them, sat at work, headphones in, scouting for new music. Clicking on their Soundcloud to check out Plasters (the track that features on this compilation), my head suddenly burst into colour, there was clearly something great there. It’s always a funny thing finding a new band you’re excited about though, there’s doubt, questioning yourself, is it just hitting the mood you’re in at that point in time? I played it a few times + ended up with a headache. Unsure if the track had caused this, I sent it over to Ste, explained I’d got a headache + asked if it was actually good or not. Ste confirmed it was great + the headache was unrelated. With that in hand (+ some paracetamol in the other) I got in touch with the band. They had a lock up in Castleford where they spent all the time they could, working on music. Me + Ste head over there + they welcomed us into a good old fashioned rehearsal room, slight damp, a gentle whiff + a load of posters + fabric hanging from the walls. We got on really well with them straight away, they played a few tunes for us + I was pretty blown away. From there, we agreed to work together, releasing the band’s music + supporting however we could. To try + give Plasters the best landing we could, we decided to film a video. I got the train over to Wakefield to get a bus to Castleford, stood in a bus stop with a man carrying/wielding just the pole from a deadlift weight. The band picked me up in the middle of nowhere + we zoomed off to a random Yorkshire field, finding a nice secluded area. I had a real vision of what I wanted the video to be, the band having a picnic, a fly interrupting this + managing to get inside each band member’s body, where you were given a snapshot of their inner personality. The video came out amazingly + is still one of my proudest creations (check it out on our YouTube), reflecting the beauty + weirdness of the band perfectly in a real DIY way. From there we were off…

The band were real grafters, we’d meet + talk regularly, plotting out what we wanted to do, they played live shows every night they could, getting a nod by Leeds Music Scene site as the band in Leeds with the most gigs in 1 year. We’d make DIY CDs, spray painting blank cardboard CD cases, hand-writing everything + burning the discs ourselves. The band released a string of amazing singles, we made videos regularly + they grew, featuring in Kerrang, playing Download, getting a team around them with an agent + manager, supporting bands like Enter Shikari + Marmozets and more than holding their own, kicking on as they deserved to.

Some of my favourite memories of the band were making these videos. I could always come up with a video idea for them as their music was so visual to me and created an incredible scene in my head. Nervous and MyCat had their own world around them + we made some great pieces for next to nothing (all these are on our YouTube channel, along with a whole host of AUOD tracks that should be checked out).

Their lack of ego when it came to looking stupid in videos for the desired effect, their willingness to drive anywhere to play a show + how serious they took it as a career option was a dream. They’d put on legendary, ceiling busting shows in Castleford at The Black Bull, host parties at their rehearsal room, always hustling to get more money in. When they played the BBC Introducing Stage at Leeds + Reading Festival, the same year as Forever Cult, it felt like a huge validation of not only the bands graft, but also in setting up the label + supporting bands to push on. We had an incredible time, camping together, getting told off for being too giddy, one of the band (who shall remain nameless) having to use the pair of socks they were wearing in a toilet due to a lack of toilet paper…

We filmed a Christmas party video over at a derelict office block that the band had managed to get hold of to use as a rehearsal space (matching their graft with a touch of craftyness). I think due to their ability and understanding of how to graft + kick on, I spent less time with them, trying to kick on the other acts on the label that maybe needed that extra bit of support. AUOD always had drive + direction, I’m sure they’d have kicked on without us but we just helped speed up the process. I wish I’d have gone out with them more, but I also know I did all I could and with werking the day job, it wasn’t practical or possible to hit the road as much as they were. Hopefully some of the songs they wrote that were never released will get a chance to see the light of day but for now, having Plasters pressed to vinyl + out there to stream is a beautiful thing.

What To Listen To Next: All of their videos on our YouTube.

FOREVER CULT

I can’t quite remember my first encounter with Forever Cult but I remember an introduction to them from Allusondrugs. FC had seen the video I’d made for AUOD’s Plasters + wanted me to do one for their track Sinking. I arranged a call with their bassist and producer Alex Greaves and, whilst walking home from my banking day job, we spoke about ideas. I seem to remember thinking he was a bit of a knobhead, or at least very opinionated + as soon as I put the phone down I thought I had my work cut out. I got a train over to Huddersfield, met the band outside the old Parish + we walked around town, working out the idea for the video, filming them messing about and getting what we could of the light before heading back to the Parish to film the video. Snowy (drummer) was working at Parish at the time (still is and doing an incredible job there) so we had the run of the live room. We decided against using the stage + live space, instead filming the majority of the video in the green room upstairs.

It was rough + ready but I still love what we made. While packing down, the band played me the Fuxx EP which Sinking would be taken from. Sinking was the lead track, followed by Graves, an absolute banger with unreal vocals, lyrics, hooks galore and top production. I was already well on my way + then I heard Luck. I knew my tinglings were right + this was a really special band. I said there + then that I’d love to put the EP out + that’s how it started. We returned to Huddersfield to film the video for Suntrap, one of my favourite videos made by me (can I say that?). It was dead moody + I feel works perfectly with the track (which is an undoubted banger, gutted it’s not included on the compilation but you NEED to go listen to it).

Also, before any more tales, I was of course very wrong about Greaves and we soon became very close friends, and I think it’s fair to say we’ve used each other as a soundboard over loads of industry experiences in the last 10 years. He’s still got the same mouthy (despite it being tiny), firm view on things but I know how to take him now + I appreciate his insight. He’s a massively talented producer now, working with the likes of Bdrmm, Working Mens Club, Bloc Party, Pulled Apart By Horses and more and he’s produced so many Clue artists it’d fill the booklet just listing them. We’ve grown in the industry, and with our experience, almost side by side and it’s been incredible seeing him go on to do amazing things + get the recognition he deserves.

It hasn’t always been plain sailing though, and certainly not clean sailing… The least clean of the bunch was indeed Greaves AKA Grotbag AKA Grimble AKA Tidgy Gob. It wasn’t that he didn’t wash, he was always pretty well kept. He just managed to attract dirt of varying kinds. The band played Leeds Festival in 2014 and 2016 and we had guest passes with access to the VIP areas. We couldn’t find any decorum though and ended up spearing each other a la WWE + generally just being over-excited (+ self-contained) silly boys. We enjoyed beer a lot and had a few. But you should never drink on an empty stomach. So we decided on hotdogs. Greaves applied so much mustard to his that you’d think he was trying to reimburse himself for the £9 he’d just paid for the hotdog There was a lot of it. The problem this brought was it was leaking all over the sides of the hotdog. He was weaning light denim, which quickly turned 99% yellow, it was everywhere, he was caked in mustard. So we pushed him down a hill + it covered him more. Which led to another AKA of Colonel Mustard + Mean Mr Mustard.

Another of Greaves’ messier escapades came en route to date 1 of a 10 day FC tour. Toilet break required, no services for miles so we pulled up on the side of the road. Greaves hopped out very quickly, dived into a bush and relieved himself. On re-entering the van, the stench that followed was significant. He’d stood in, and traipsed up himself, a lot of fox excrement (one of the more pungent animal passings apparently…). Not to worry, we were on a week-long tour across the UK, he’d have more jeans in his bag wouldn’t he? No, he wouldn’t. One pair of jeans for a sweaty, toilet circuit tour. Just a pair of shorts. He had to suffer through the cold rest of the trip. Lessons galore here but no new AKA, I’ll let you fill in that blank…

We had some incredible times together, Leeds + Reading performances were immense (on the journey I christened Kieran ‘KK’ + it’s stuck ever since, although is sometimes shortened to ‘K’), going to Abbey Road to master a track that would be released on Too Pure Singles Club by the brilliant Paul Riddlesworth, playing The Great Escape to a packed out room of industry and feeling we were proper kicking on. Playing Live At Leeds multiple times, including opening Key Club which meant 10am beer drinking as the rider was there + not going to drink itself. We finished a really good + well attended UK tour to a crowd of 3 people in Chester, nice way to come back down to earth. During a support slot at Brudenell Snowy fell off the support acts fancy drum stool, toppling completely of the side of the Community Room stage, however doing this at the perfect moment in the song where there was a gap so he could clamber back up + kick back in, just drawing out the track with a Laurel + Hardy esque interval. We played a Mexican restaurant + afterwards stayed in a student house which was a pub, drinking bottles of rum + all sleeping in 1 room.

One abiding memory from touring with the band was somewhere around Gloucester (maybe?!? I’ve tried to blank out this memory for some time…). We had nowhere to stay + were contemplating a night tucked up in the van, holding each other tightly to preserve warmth. Our driver was something of a character + definitely a drug dealer on the sly (potentially nationwide). He sourced us somewhere to stay but explained that the person (we’ll call them G for the sake of the story) was quite a well known drug dealer. When we arrived nobody was in so we left our driver parked outside the gaff while we walked the streets trying to work out how we could stay anywhere but this drug den with a gangster owner. We found a curry house + decided to do our thinking over a Bhuna. We had a lovely meal, a break from the oncoming drug storm, and at the end, due to a lack of communication, accidentally tipped the curry house £20 when the bill was about £25 in total. This was much more than we should have on a shoestring budget tour.

So with bellies full + wallets empty, we head back to G’s. Our driver was now in the house, along with some of G’s cronies so we got in, said hello + relaxed on the plush red leather sofa. It wasn’t grand but would do for the night, perhaps our fears were unfounded. G wasn’t in at the time + would join us later, so we settled in, chatted and played FIFA with people in the house. When G arrived it was around midnight, we were ready for bedding down, knackered from tour + with a long journey the next day but indulged him with pleasantries. G joined in the FIFA games, with Snowy beating him 1-0 + celebrating a little too dramatically, especially considering this was our host + we’d been warned he was a well connected + serious drug dealer (we took this to mean gangster). G reacted with silence. Brooding silence. Horrible, terrifying, gut-wrenching silence. I suggested we get to bed, all agreed so we tucked up in our sleeping bags which were strewn across the living room floor.

We got settled, laid down like little sardines, only for G to continue to sit on the sofa, staring at the TV which had just been the scene of his FIFA humiliation, watching TV across us as we tried to sleep. We slept with 2 eyes open that night. Upon waking with no murders or physical damage to any of us, we made a quick exit and breathed a sigh of relief, lecturing Snowy on the etiquette of playing hosts (especially drug + gang involved heavies) on FIFA + graciously allowing them to win…

We had an ace booking agent in Liv Sime at ITB, who when the fellas first met her, misheard where she said she worked and asked if she could get their music on Coronation Street or The Farm (Emmerdale to anyone else…) through her ITV connections.

These were genuine requests and still lifelong ambitions for the band… Some of my favourite memories were with FC + they’re another example of a band just on the cusp of something incredible.

What To Listen To Next: Suntrap. Fuxx. Tunnel Vision. Just all of it!

A huge part of our life as a label was taken up in the world of TRASH, their humour, ideas and ambitions making me step up + get better in every aspect of running a label and management. Dan + Tom from the band had each direct messaged me on Facebook being pretty cheeky, telling me to sign them + trying their luck. I remember thinking they were annoying little indie kids + I sort of loved their ability to be as up front as this, something that would do loads for them longer term. In the end, this direct approach didn’t work for me, but an introduction from Alex Greaves did the trick. They were recording the Urban Glow EP at Nave with him + he sent me it, telling me what a funny bunch they were. I loved that EP, and wanted to move away from the rock/alt/grunge tag we’d managed to be associated with as a label. I was an indie kid at heart + wanted to get some of that into the label. So we met, chatted, and eventually, we signed the contract in the Wetherspoons on Millenium Square in Leeds (a regular host to our meetings with the band in the early, pre-Brexit + pandemic days).

The band had built up an incredible following in Sheffield and their home town of Chezzy (Chesterfield), putting on regular nights + grafting to get better as a band. Press loved them, radio came with it + Spotify lapped it up (still are, years on from the band being active). They were constantly pushing the limits of humour on social media, buying a green screen to record spoof videos with incredible comedy timing, managing to create meme-worthy content without trying (to the point that they had a crisis about being a ‘Twitter-band’) and all the while, they were writing these incredibly uplifting, life-affirming or despair exploring 3 minute pop tunes. Dan’s ability to dress something so downbeat in such a vibrant musical piece was nothing short of incredible.

They achieved so much, playing Y Not, Truck and a ton of other festivals, getting Radio 1, 6Music and loads of other radio on board, selling out new lines of t-shirts within days of launching them, releasing through Flying Vinyl + touring with JAWS as well as supporting loads of others. On this tour with JAWS, the band were thrown in at the deep end having not experienced this + having to balance uni alongside it. I met them a couple of days into tour in Cardiff for a handful of the dates to tour manage + help boost morale. Things were getting shaky at this point in time with a few cracks appearing but they played brilliantly + overall the tour was a huge success.

I’d like to think my impact was one which settled the band and brought calm to the tour, although I also caused sleepless nights (mainly for myself) as the tour ended. After a show in Norwich, I’d booked an Airbnb to sleep at, so far along the way to the next gig location. They played, all great, and we head off on our merry way with yours truly behind the wheel. This in itself is something of a risk, I’ve had my fair share of incidents in cars, close calls with lampposts, impact with rear bumpers, people rolling onto my front bumper + up the windscreen, rolling back down to hit the floor + choking on the sausage roll they were eating (they lived, ask me about it some time, no way am I purjuring myself in here…).

Anyway, I’d explained all this to the band + they still gave me the keys so what you gonna do? We hit the road, were about to pull up to the place but a sharp turn has meant I’d missed it + had to loop around. It was early hours of the morning, we were shattered + this slight inconvenience had added 15 minutes to the journey. “AHA!” I cried, with a brainwave coming on. If it was 15 minutes going forward, but only 3 minutes going backwards, I know which feels more sensible! I went to swing the van backwards, getting on the front foot to approach the place of rest. Now this was a nice van we had, the van hire company owner had actually personally let the band use it. It had all the mod cons, reverse sensors, fully beeping away + all that. I’ve never heard these indicators go from a slow beep to a constant flatline sound in such a quick period of time but as I reversed, I hit a pole (not a Polish person, a signpost). It was only a bump but it was enough to leave a vertical line from the top to the bottom of the van. The silence in the van, and of those going out to inspect the damage, was deafening. We regrouped, found the digs + loaded in. At this point I managed to catch the laces on my Doc Martens on something while getting out of the van, making a little nick in one of them. Every time I wear those shoes + look down at those laces I’m sent back into the cold terror of that evening (should probably just buy some new laces…).

We loaded into the place, which was a weird hippy massage parlour by day, with certificates for rain therapy and a huge folded up massage table which we accidentally opened thinking it was a bed to use, then had to piece back together after it hit the deck with a loud thud. The person whose property it was hadn’t mentioned it, but they were in one of the locked rooms, a room we tried to open a few times until the light in there just clicked off without any sound. I didn’t sleep a wink that night with all that had happened.

Then we drove on to the final show (Birmingham maybe? It was a horrible blur from there on) + following that, I drove the band back to Chesterfield, to be dropped off at Chesterfield train station at 4am. It didn’t open until 6.30am + it was fucking freezing. I’m talking baltic. As I stood in the bike shed outside the station trying to keep my sanity, I pulled out every item of clothing from my bag, warn or not, and proceeded to put it all on. Eventually I got the train back to Leeds, another back to Kirkstall and, arriving back at my flat at around 9.15am, had to join a team call at my day job about some urgent work I needed to complete. I had been awake for around 36 hours + can remember the dissociation of being on that call, kneeled down in front of a laptop, trying to keep it together while not being able to lift my forehead from the ground. They didn’t click on anyway, I was very good at balancing ‘werk’ + label stuff, although it was far too much work for 1 person to be doing. The van was returned to the business, and the owner there, whom the van belonged to, apparently laughed when told how the dent had happened. A significant repair fee lighter, but with a story to tell from it, I could recover and learn from my experience.

The band put out banger after banger, worked harder on socials than anyone else I’ve ever known, with genuinely brilliant ideas and razor sharp humour. However, things were changing, members had their own things they wanted to achieve, were moving away for uni + they called it a day. As part of this, we pressed their whole back catalogue onto a double vinyl called Absolute TRASH. This was a huge risk given that the band had 1 last show to promote it, a sell-out at The Leadmill in Sheffield, but we shifted all of them in advance of the show. It was a fitting tribute to the band, an album of sorts for a band that could have done whatever they wanted.

The intensity at which we went in to it has left a lasting impression on me, I love them 4 fellas and am really proud of what they’ve moved on to do since. Some of my favourite memories from this label were with this band and the fact that they’re still listened to as much as they are is a testament to how important they were + how much they resonated with people

What To Listen To Next: Urban Glow or go full deepdive with Absolute TRASH

SUNFACE

Sunface is the solo project of TRASH’s Dan Longmore. He had music that wasn’t quite right for TRASH but was incredible so we worked on a few releases together. How he managed to write so prolifically and to the standard that he did, I’ll never know but some of these Sunface tunes are incredible for a side-project, especially the track featured on this compilation album, (In My Dreams)

I Have It All.

What To Listen To Next: Sunface EP

The idea behind Clue Club came from finding a bunch of artists I wanted to work with, but not having capacity to get fully involved with, plus I was keen to work them out a bit first and also potentially get a steady singles club going that was different from the traditional 7” singles club. In late 2016, we identified a bunch of artists we wanted to work with + started reaching out to see if they were keen to release a track with us. Tracks would be released digitally but they would also have the chance to put their stamp on a 16-page zine, working with a de signer of their choice + filling it full of whatever they wanted, allowing a new side of them to be shown. We limited sign up to 100 people and got a full subscription, making very cool t-shirts + tote bags for all members. Every Clue Club artist features on the CD + digital version of this compilation album in one way or another.

In all honesty, I vastly underestimated how hard it would be, the scale of the work each month + how much we’d have to do to fulfil it, finding artists, chasing them, chasing designers, printing the paper for the zines, then hand-folding, hand-numbering + stapling each one to keep our hands fully involved in every aspect, before posting them out. I created crosswords every month and in all, 2017 just never stopped with Clue Club commitments and our regular releases. It was a lot + I think the label may have suffered slightly from it in some ways, while in others it benefited massively from it. Either way, Clue Club nearly broke me…

The artists though! In order of month released, we worked with Fighting Caravans (a wild, shamanic singer fronting a bunch of cowboys), then on to Colour Of Spring (a beautiful, shoegaze dream who were a few years ahead of the explosion in this genre. If you like shoegaze, you need to check them out), followed by Tea Buckley + (Thom from Team Picture’s solo project, a pant-ripper from a gem of a human), Team Picture (more on these below), Mini Skirt (a beautiful duo made up of Dan from TRASH/Sunface + Abby Betts), Night Owls (a sometimes abrasive but also tuneful 2-piece), Algernon Cornelius (this is one of the best things we’ve ever released, video is great + AC is still going strong, worth your attention), HAMER (more on these below), Esper Scout (a brilliant, unassuming and exciting four-piece who we’d admired for ages), Fold (wonderful soundscapes built to make spoken word or speeches flourish in a musical environment, really special), Pepe Sylvia (Shane from Colour Of Spring’s other project + one I wish had continued for much longer, an incredible band) and Gawjuss (read on for this)

Check out the Clue Club album, it’s a beaut. Despite it nearly breaking me, it was a great oppor tunity to test skills, work with designer + regular col laborator Tommings on pretty much every copy of the zine and just get back to doing something really hands-on + DIY. From what I remember, it was how me + Tony became really aware of each other when he signed up to CC, and then led to me working with him at Come Play With Me, and eventually Clue merging with his label Hatch. It also inspired me to do this as part of the 10 year release as something of a nod back to the 5th year of our existence! I hope you enjoy the crossword in here, an homage to these zines.

TEAM PICTURE

Team Picture are one of the, if not the, most artistically talented bands we’ve ever looked after on this label. That’s not an insult to any of the other artists we’ve worked with, just praise of what TP put into every aspect of their world. I’d loved them from the second I heard them, I think finding them through Alex Greaves as they’d been recording with Matt Peel at Nave Studios. From the second I heard them, I wanted to work with them. I went to shows, introduced myself, I think the first being them playing the Packhorse with PLAZA on the bill too. I arranged to speak to them + said I wanted to do whatever they did, just to support + release their music and help them grow. They were extremely positive but not willing to jump into anything just yet, something I respected them unbelievably for, despite it breaking my heart. I stayed in with them, supporting them wherever possible + we grew to know each other further by releasing through Clue Club in 2017.

Further on down the line, after their Recital EP release, they had parted with their manager + were trying to work out their next steps. Tony was running Hatch, I was working with him at Come Play With Me. I wanted to release TP through Clue, Tony wanted to release them through Hatch, and we were part way through discussions to merge both labels so we offered to sit down with the band + work out how we could help.

The plan was to release a new single, Always, Another alongside a bunch of tracks they’d recorded for John Kennedy at Radio X. From here, Clue + Hatch merged + we continued to have meetings to work on their debut album. I was part of a CPWM project which meant I travelled to 7 different places in Europe to pitch an idea Tony + I were putting together. While on a connecting flight via Amsterdam, I was delayed + had to sit in the airport, drinking beer while I waited for my next available flight. This meant I couldn’t attend a meeting with TP + Tony which was due to start half hour after I landed back into Leeds. The meeting went ahead, Tony asked the band who they wanted to manage them + they said me. Slightly taken aback and fully flattered, this led on to a really close relationship which is still in place as I write. We supported them in getting funding in + they recorded their debut album, The Menace Of Mechanical Music.

As it was due to be released, lockdown happened and threw everything into disarray. We decided not to shelve the album, the band had already been sat on it a while + we had lots of incredible ideas for online visual content that would hopefully provide some sense of escape from the horrors that were being reported daily. Their interactive explorative video for Handsome Machine is incredible, please go check it out. The artwork and theme for the album was based on Hieronymus Bosch’s Garden Of Earthly Delights triptych. They had 3 separate prints created, characters imagined and a stunning world built around the record. Despite not being able to play live, we hosted an album launch party online with the help of Brudenell Social Club + the campaign went really well.

They were the first live band I saw post lockdown, recording a session for and at Brudenell. It was a strange setting, the band playing as normal on the main stage but without a PA, just monitors for them to hear themselves on stage. This, combined with being the only spectator was a very unique and emotional experience.

Thanks to Team Picture I was able to visit Maida Vale studios when they recorded a session there as invited by the BBC (you can watch it on our YouTube). For this alone I’m very grateful.

Later on, the band set out to record at the family farm of Wilko from NARCS/Gawjuss. They locked themselves away for 2 whole weeks when possible around lockdown and created an incredible piece of art which will see the light of day after we’ve turned 10. Our ritual of daily jacket potatoes, their discovery of my snake hips, communal evening meals for 8-10 people, pizza from Moji’s (the only takeaway within many miles of the farm) + varying interpretations on the rules of the card game Shithead (we created West Coast and East Coast methods before settling on the Shakurian method of play (a hybrid of the two and a sign of our group isolation madness)).

To me, Team Picture have pretty much always been the best + unluckiest band in Leeds, getting some members of the team in who didn’t fit, having their debut album come out during lockdown, joining an incredible booking agency take them on just before lockdown to be the first out when they downsized. It’s never quite fallen into place as it should for such an incredible band but we’re working on things in the future being very different.

GAWJUSS

Gawjuss began as a vessel for Kieran from Forever Cult’s solo stuff. He’d put out a couple of tunes + they were incredible so we signed him up as the 12th + final artist to feature as part of Clue Club. From there, we continued to put out Gawjuss music whenever Kieran had it ready, and it eventually broadened when he + Wilko (NARCS) started writing together. When they were able to over lockdown, they’d get together, write + record loads and see what worked. This turned into their debut album

Prototypical which is absolutely superb. They’re incredibly talented artists + bring out some amazing things in each other. Hopefully they can kick on, release more + hit the road to show off how brilliant they are.

What To Listen To Next: Prototypical (album)

What To Listen To Next: The Menace Of Mechanical Music (and watch/interact with the video for Handsome Machine)

AVALANCHE PARTY

As with TRASH, I’d received a message from AP, had checked them out + liked it but not bitten. It was only after seeing them live at Twisterella Festi val in Middlesbrough, playing on The Townhouse’s light up Night Fever, disco dance floor that I knew I had to work them. They walked on with a steely gaze, Jordan’s shirt open, chest covered in blood. This was nothing, the performance took my head clean off, left it rolling around on the floor getting kicked about by the baying crowd straight on the floor. I left and knew I had to reach out. I did so, inviting the band to come play a show for us at Brudenell Social Club in the Games Room. They were a couple of songs away from the end of their set, between tracks Joe thanked me for asking them to come play and dedicated the next song to me, I blushed and then did internal somersaults as they launched into ‘Let’s Get Together’. Felt like I’d just been told by a friend of someone I fancied loads that they fancied me quite a bit too. Tried to play it cool. Was I reading too much into the song choice? Was it just the band being the lovely, genuine peo ple they were? It turned out they did fancy me a bit too. I arranged to meet with Jordan from the band, their management at the time and publisher, to see if there was a way to work together.

Keep in mind here, I’d never really done an industry meeting, just worked directly with artists.

They took me into a fancy room at Amazing Radio HQ and we went through what the band wanted, what I’d like to do and how to hopefully find a way to work together. It all went really well, me, Jordan and John from the publisher nipped for a pint and, with me in something of a state of shock, me + Jordan carried on into Newcastle, hitting pub upon pub to find the finest pint of Guinness the Geordies could offer. They all tasted great + we had a lovely time. It was around this time, from messaging Jordan that I’d realised he’d messaged me a while back with their track Money. I remember loving it but being in a strange place at the time, not being ready to take on new artists and not quite understanding what it was we were doing then. I’m glad we got there in the end, although I’d have loved to get in with them earlier.

Another abiding memory of AP is their Party At The End Of The World at The Georgian Theatre in Stockton. I’d spent a lot of my youth in The G, going to loud, dark metal nights (sometimes sporting an Oasis t-shirt just to try + stir it with the metal heads + goths) + it’s become an incredible venue in the years since, carefully guided by ace people like Chris and Dave at Tees Music Alliance. AP put on an all dayer there, invited Forever Cult to play + so along we went, joining a bill that included Dale Barclay (The Amazing Snakeheads), Barry Hyde (The Futureheads), Strange Bones, Dylan Cartlidge + Elvis who took his lunch break at the chippy just in time to perform for everyone.

As part of the performance, Jordan wanted to shave someone’s head on stage. He’d mentioned it in passing a while ago + I said I’d do it. Never one to back down from stupid things I’ve said I’d do out loud, I confirmed I was good for a trim + even brought along the clippers to make it happen. I don’t quite remember at what point in the evening it happened, but I was plonked on a chair on the stage + had my hair chopped off in front of everyone as a band performed.

Unfortunately the clippers I had weren’t very good, didn’t sweep through my hair in one go, instead chugging away at my locks like someone trying to neck a thick, lumpy milkshake. It just kept getting stuck + was not smooth.

The song finished, the haircut finished + I left the stage. It took me another 15 minutes in the green

covered in hair the rest of the night. Would 100% do it again (if a better standard of clipper + hair cutter

Avalanche Party are one of the most sincere and honest bands I worked with and continue to love seeing + spending time with them. I hope they go on forever + the world realises what a special band they are.

What To Listen To Next: Million Dollar Man

PLAZA

Signing PLAZA was a bit of a drawn out affair. I’d known their manager Charlie Dancer for ages + PLAZA had toured + played with TRASH loads so they were always in my sight, but things never quite conspired. Eventually it did come to fruition + I was really excited to welcome them to Clue, they had a sort of Foals meets Minus The Bear angular mathy style that I felt was really unique + being from Hartlepool, I was drawn to another North East band and hilarious bunch. Charlie stepped back soon after we started working together due to other commitments + without a real plan for the band, it sort of stalled quite quickly. I’m gutted it never found its feet properly as there was something special in the band + I love the direction they were taking in the wernotPLAZAII EP we released.

My favourite PLAZA story was when they were through to Leeds to record with Alex Greaves at Nave Studios. I often popped over to see bands who were recording there, and with them being in on a Sunday, decided I’d make them a full Sunday dinner while they recorded. Got there, settled in, said hello, listened to some recording, and then got to work in the kitchen. Chopping + prepping, I was at the stage where things were ready to get cooking. I turned on the oven and tripped the electricity, blowing the fuse on the oven. No oven, no hob, no grill. I had prepped for mashed potato, veggie sausages, all the veg. Basically stuff that needed roasting or hobbing. I improvised, making a whole Sunday dinner for 6 people using just a microwave + kettle. Somehow, I managed to present edible food (no meat = no food poisoning = no problem), mash potato, sausages, veg, gravy.

It lacked any sort of colour or lovely charring from a good old roast but that beige plate of borderline flavourless food was one of my favourite meals. The band + Greaves were also complementary + did actually eat it so it can’t have been that bad eh? Either that or they were starving + beggars can’t be choosers…

What To Listen To Next: wernotPLAZAII EP

LOCALS

LOCALS were brought to me by Tom from TRASH, he said he’d found someone incredible + wanted to support them, stepping into something of a man agement role if we released them. I heard the tunes, recognised straight away they were ace + we decided to crack on with it. I spoke to Rob from the band, he’d been in some well-achieving Sheffield bands and had recently moved to London. He was ambi tious and driven, with a bag full of tunes so it was really exciting to get kicking on with it. First single Talkboy went brilliantly but things stalled soon after, no fault on anyone’s part, just life getting in the way. I went down to London for a few meetings + visited Rob at the pub he was working in, having a couple of pints + getting to know him more in person. As well as Talkboy featuring on every version of the album, the CD + digital versions also include a bonus LOCALS track called Back To Colorado, showing their knack for a short, sharp, hooky banger.

What To Listen To Next: Back To Colorado

CRUSHED BEAKS

I knew of Crushed Beaks after being introduced to them via the van speakers while on tour with Forever Cult. The band were coming up to Leeds to record their second album with Matt Peel at Nave Studios and were looking for a label. We were put in touch and, on one of singer Matt’s trips up to Leeds, we went for a few Sunday pints before he had to head back down to London. We had a really good chat, got on well, had a few beers + everything was really positive. We kept chatting and it led to us being the choice to release the album.

The album is nothing short of incredible, the huge sound they achieve with Matt’s vocal perfectly piercing the swell they create. The album campaign went really well, loads of good press and radio, in cluding BBC Radio 6Music’s Album Of The Day. This was a huge achievement for us but would also be something of a turning point for the band. It turned out that, on the day The Other Room was high lighted as Album Of The Day on 6, indie shoegaze legends RIDE were recording a live session for the station. Andy Bell heard one of the tracks (from memory I’m saying Silver Tongue) and tweeted about how great it was.

We reached out, sent through a record + tried to settle into the idea of an icon in all our lives high lighting the band as one he admired. A little while later on a bank holiday Monday, I got a message from Matt saying the band had received an email about supporting RIDE. We got our heads together instantly, trying to understand how we could make the tour work financially and with it being in Europe post-Brexit. In the end, it didn’t take too much thought, the band made sure they’d be available,

I did the same to tour manage them, and we agreed. Fast forward to late January 2020. I made my way down to London to meet the band, having spent time with Matt only a handful of times, and never having met Scott or Tim. I got to Tim’s, we loaded the van + away we went to cross the channel. The first show was at Paradiso in Amsterdam on January 28th, we settled in really well, Andy Bell popped in after RIDE’s set to hang out + find out more about the band and we felt unbelievably welcome + at ease. From the Netherlands we travelled through Belgium, Germany, Switzerland, Spain, Portugal, Belgium, Italy and a few others I’ve probably forgot ten, playing around 12 shows. The distances were huge, the van was small and the food was mainly from supermarkets, transformed into a service sta tion roadside buffet, presented in the side footwell of the passenger side door.

One of our fancier buffets was at Lake Como, a stunning (but very very windy) place. However the local birds were not so keen, making their feelings known with a projectile from their backsides, right at our buffet selection. We left that place hungrier than we should have.

As part of the insular nature of tour, you create injokes, stories, things that grow legs + become part of the tour themselves. Velociraptor noises were a key feature but the biggest creation on this tour was our imaginary vegan rapper Lil Hummus, performed superbly by Scott from the band. LV wanted a meat free world, health for all, buoyed by his crew which included MC Tzatziki and the slogan #vegan4life. Lil Hummus would give video diary updates from many different cities, as you can see on the Crushed Beaks Tour Diary on our YouTube channel. We created a whole story around him, with his eventual downfall coming from gout, something he had due to his regular secret trips to the meat aisle in super markets while not being filmed. He died covered in meat, and blew the world of vegan rap apart.

We had an incredible time on this tour, all got on incredibly, got a noise complaint in Antwerp despite being reasonably quiet, lost Tim for an evening in Barcelona, who had a wonderful night of shenanigans while we all repeatedly tried to reach him, not hearing from him until 10 minutes before we were due to leave for Madrid the next morning. We learnt valuable lessons about van packing, such as don’t put crates of glass bottled beer snugly into the back of the van, especially high up, as stuff moves + when you open the back door to the van, the beer bottles will come at you with some force + even if you try to open the door gently, they will hit the ground + break and you’ll be very sad + also surrounded by glass + smelling of beer.

In our place in Milan the front desk tried to tell us we’d arrived too late to be given our room, despite repeated calls + emails to them to keep them updat ed on our timing. The reaction of 4 men calmly tak ing a united + forceful step towards the desk soon changed the proprietor’s attitude (we were very nice, I promise) + we were let into the room. However, he had the last laugh, with the room leaving a lot to be desired, the bedsheets having cigarette burns in them + not being washed since the dawn of time, a shower which dribbled and a plughole which would service a wig-making workshop, 2 broken windows, the more damaged of which was held together by gaffer tape, the lesser damaged held together by sellotape. Eventful.

The tour itself was amazing, European promoters looked after us incredibly, RIDE + their whole crew were beyond welcoming and always checking in or supporting where they could. Their core group of fans, some of whom attended every single show on the tour, opened their arms to CB + became huge advocates for them. And being in the presence of a band we’d all loved for such a long time was incredible. Sitting next to Andy Bell at a meal in Portugal and him talking about being in Oasis (one of the bands I idolised growing up, including when he was part of it) was surreal but also very normal + casual. Singer Mark Gardener was equally grounded and having conversations with him about football + spirituality (separately) was something I’ll never forget. The band invited us to crew meals when they went out for something, when Andy DJed we’d be first on the list to join, their hospitality was quite incredible and very much appreciated.

It was a very strange time to be on tour, Covid was just appearing in the world, and with Britain (led by the government’s inaction) not taking it seriously, we’d not really been aware of it or considered it as a factor on tour. Seeing posters in many service stations, each in their own foreign language with the word Coronavirus being the main stand out, it was unnerving to realise that this was something hap pening in the world, which we in Britain were somewhat ignorant to. A month after the tour finished, the UK would go into lockdown + I’ve never been so grateful of the timing here, being able to experience this incredible thing when we did.

Despite not having spent time with the band before, I fell in love with each of them. Going on this tour with them is one of my favourite ever life events + I’m very grateful it happened. The lot of them are in credibly funny + I wish they were nearer in the coun try to me. I also wish they’d make more music…

What To Listen To Next: The Other Room

I first came across Van Houten while working a gig, repping + doing the door shift at The Lending Rooms above The Library pub. I overheard them from outside the live room and was struck by them, despite not being able to see or hear them properly. I think I remember they covered Someday by The Strokes which stood out too as I’d covered the same track in bands previously. We chatted after + I really liked them, they were funny, chippy + had something about them. I invited them to play one of our regular Clue Christmas parties in 2017. They were great, although with a different line up + different singer. I used these Xmas parties as a bit of a scouting opportunity and was keen on VH but they went quiet for a long while before Louis sent me demos, explaining the previous singer had left, and he was stepping up to sing. The tracks were great + formed the majority of their self-titled debut minialbum. They worked to get some videos together, toured + really pushed to grow their audience. Following that they released with Come Play With Me, Flying Vinyl and started to find their sound, less of the early Mac DeMarco tones + a more expansive shoegaze influence.

VAN HOUTEN

They’re a very funny bunch who always seem to swarm around me, attempting to get one over on me or find a way to trip me up, without ever man aging to, as their excitement at this self-propelled challenge keeps me on my toes + I usually emerge victorious in our humour battles. It feels like they’re getting breaks now they’ve found their feet and are one to watch out for in the coming years. As long as they don’t accidentally tell anyone they’re working with they’re looking to replace them (which actually happened, the fucking idiots…).

What To Listen To Next: Home Alone II EP

I’d been in a band with Hamish’s brother Billy preClue + found in him someone I was pretty much in awe of. My band played our debut show at the Cardigan Arms in Leeds on the same bill as Billy’s band The FFers + we hit it off straight away. One of my favourite FFers stories is when they played Leeds festival. Every year there were rumours about special guests, secret sets etc. This year, Foo Fighters were a heavy rumour. Now, with FFers playing on the BBC Introducing Stage, people read that FFers = Foo Fighters. It was a hard one to deny, and so, thousands of people turned up to see Dave Grohl step onto the stage. What they were greeted with was an incredible, Shellac-like band who more than deserved their slot. The people of Leeds Fest did not agree + made their feelings known, as if a chorus of boos would lead to Dave Grohl + co transporting themselves instantly over to the BBC Intro stage in West Yorkshire…

HAMER

From playing with and hanging out with Billy, I got to know his younger brother Hamish, Billy’s next band, the incredible Yugoslavian Boys, featured Hamish at points so we got to know each other reasonably well (I stepped in to play guitar for YB once when they needed someone, playing The Packhorse in Leeds, Billy engaging the audience in the way only he knows how, dressed in all black with a pair of leather gloves + big black sunglasses gaffer taped to his head). At an art installation that involved both Billy + Hamish, lucky bags were made containing money, sweets, compliments and the like. However there were also unlucky bags containing cockroaches, the contents of used ash trays + more wonderful surprises. When I saw Hamish play as HAMER, I loved it + felt we had something to compete with The Oh Sees, Ty Segall and everything that fell between. The album he’d made was incredible, break neck speed, heavy but full of tunes too. We pressed it onto one of the most attractive pieces of vinyl we’ve ever made. Live, they’re anything but boring, full of surprises, intense, funny, unnerving. As a person, Hamish is one of the most energetic, accepting, right-minded, funny and effervescent people I’ve ever met. Being in his presence is always a treat + I feel really lucky to have known both Hamish + Billy.

What To Listen To Next: HAMER (self-titled debut album)

In a similar way of signing Crushed Beaks, signing YOWL felt like a significant step up for us as a label. Again, it came via Nave Studios, this time it was Alex Greaves who was recording the band and introduced them to me as a label option. I loved everything they’d done to this point + was really excited to speak. They had a manager in place, the brilliant Lindsay Melbourne (one of the founders of IDLES’ AF Gang Facebook community page), who had recently moved up to Sheffield from London. We arranged to meet in Leeds, had a couple of coffees at the Costa in Kirkstall and talked through everything we could offer, what the band wanted + what we’d try to bring to the table for the band. It all went really well, Lindsay went back to the band, we hammered out details and, after holding a stall at an Indie Label Market in London, I shot over to the nearest Rough Trade to meet Lindsay + the band. We chatted, had a few beers + signed the contract (mainly in pen but also with some accidental tattoo ink from Tom’s freshly artistically enhanced flesh)

It was a lovely positive signing + we were all buzzing to crack on, with the icing on the cake coming from the band playing an ace set at Rough Trade. I shot over to Kings Cross to get a train back to Leeds, head full of ideas to push the band. The EP release went brilliantly, including me coming in from a run to hear it being played on 6Music, and Steve Lamacq playing a track on his round table section, as well as inviting the band to play his birthday party. With distance being a factor, Zoom has been our main method of communication but when they come up to Leeds to record, I’ll pop over + see them, cooking for them in the studio (and trying not to blow any of the appliances…) or nipping to Brudenell for a pint.

The last time I saw them I met Gabe + Tom in a random London pub. This meeting should have happened around 4 hours earlier, but they were hungover + couldn’t manage to get over to me, firstly being late, and secondly being stuck in traffic. I decided I would come to them + had to navigate unfamiliar tubes to get to them. Tom was a state, so we fed him Guinness and black while Gabe + I held everything else together, discussing album plans and next steps for the band. Guinness + black may not be an unusual combination but YOWL were known to throw many a spirit in a Guinny to see what the result would be. Their inspiration led to our Give Us A Clue beer which we’re due to launch as part of these release celebrations.

The classic combination is 1 x pint of Guinness, 1 x Amaretto. Take a gulp from the Guinny, pour in the Amaretto + Bob’s your uncle, you’re now the proud drinker of a Guinretto. This inspired our GUAC beer + hopefully tastes similar enough as it’s a stunner of a drink, with a nice extra boozy kick + a nice almond/cherry finish.

Artistically, Gabe’s wordplay + storytelling is something I’ve not come across before, the band make incredible music that can swing from genre to genre depending on the track, and their debut album will be incredible. Plus they’re a lovely, hilarious bunch of fellas who I have a lot of affection for.

What To Listen To Next: Atrophy

FEHLT

I’ve always managed to follow what Ewan from Fehlt has done without always knowing it was Ewan doing it. Whether it was Ewan’s thing, or he was in there somewhere, I was drawn to it. He was in an incredible band called Primitive Painters who I wanted to sign (criminally their EP hasn’t seen the light of day), then another amazing band called Dose who I was also keen on. When I learned he’d moved to Leeds from the North East + had a project called Fehlt on the go, I knew I had to speak to him. We did, got on, and plans aligned to release Fehlt on Clue. He’s one of the most hard working and creative people I’ve met through Clue, always putting on shows, writing music, taking pictures and putting out other people’s music. The Clue logo you see now is something created by Ewan + I, and he’s behind putting the zoetrope disc together on the vinyl version of this release. As well as all of the above, he’s playing in the brilliant Drahla and creating a new alternative space for artists in Headingley where nobody else has dared take the risk. A mega talent and always ahead of the curve, even if he is a Lierpool fan…

What To Listen To Next: Figure Two

BORED AT MY GRANDMAS HOUSE

I came across Amber after putting out a public call out for good new music to play on our Amazing Radio show. Skin was sent through + I immediately fell in love + wanted to know more. I scoured the internet, finding tracks + videos of Amber covering Frank Ocean, Kevin Abstract, Harry Styles and a bunch of her own songs that had a real aura about them. This was all during Covid + lockdown and although I was unsure how to push the label forward and just trying to consolidate what we had, what I’d heard was too good to ignore. I reached out to say I loved Skin and to ask if there was more. We started messaging through Instagram, progressed on to email, then onto phonecalls, generally getting to know each other in a strange situation, sharing stories of keepy uppys, hummus, philosophy and general nonsense.

From there we had a Zoom + formed a plan to release Amber’s EP Sometimes I Forget You’re Human Too. Along the way, other people became aware of her talent and reached out to get involved. Management fell into place nicely, booking agent next, and we all came together to build a really strong plan. The success of that EP was astounding and fully deserved. Amber grafted and was already writing more + more. She got to play Radio 1’s Big Weekender but only as a virtual event which, although a huge nod of recognition, felt tight as she couldn’t experience the real event. This feeling was temporary though, as in 2022 Amber was selected to play the BBC Introducing Stage at Glastonbury and I went along as part of the crew to support her. We had an ace time, with one of my abiding memories being Amber bringing an oversized tub of home-made hummus for the weekend, which by the next morning had turned feral, bubbling away + pretty much growling like a wounded animal. To this day I worry about the creature that was born from that hummus + left to wander the fields of Glastonbury until next year. A month or so later, Amber was playing the main stage at Deer Shed festival. To stand on the main stage as she played was a really big moment + her ability to take things in her stride blows me away. She’s one of the most talented songwriters we’ve ever had on this label, I’d say naturally gifted but that doesn’t do justice to her hard work. All being well there’ll be an album from Amber before too long.

What To Listen To Next: Detox

Our most recent signing + one that has breathed new life + meaning into not only the label, but me + my approach to working with artists. I’d long been a fan of theirs + always had them in mind as a potential signing at some point without ever reaching out or doing anything about it. We’d played them on our Amazing Radio loads and everything they released was mint. When Garth from the band dropped me a message on Instagram about having an album together, seeing if we wanted to hear it, I leapt at the chance. From the off, it was an absolute beaut of a thing. I remember my bus journey into town listening to it for the first time (the 33 down Kirkstall Road on a warm Autumn day in 2021) and as every track passed, thinking “It can’t be this good all the way through”. Turns out it was and we arranged to speak on the phone, with them being up in Tyneside + keen to get moving. Me + Garth had a good hour-long phone call, going through exactly what we were as a label, how a deal would work, asking what they wanted + generally chatting about the North East (me + Garth are from places pretty close to each other in Teesside). We seemed to get on immediately and from there, I really wanted to work with the band.

However, there was interest from another party… They were due to play a socially distanced show at The Cluny in Newcastle so I arranged going up to meet them beforehand, ahead of seeing the show. We had a really good chat, going over a load of the stuff me + Garth had chatted about on the phone + by email, but also talking about our politics, what we wanted to achieve and loads of other stuff. I left them with pure joy at having met an incredible bunch of people that I absolutely had to work with, coupled with a huge fear that the other label may offer something we hadn’t or couldn’t.

The show was great, especially album standout track Supermarket which I had to bolt myself to the seat for as I felt propelled to get up + throw myself about at the front. We said our goodbyes, I headed off back to Leeds + tried not to get too excited or fearful about what the outcome would be. The band took their time to make a decision, all the while liking some of our Tweets + Instagram posts/stories, like a big bunch of flirts, making me think we were in the running but without any direction confirmation.

Eventually they spilled the beans + I could celebrate.

From that point, I got up to Newcastle as frequently as I could to sign the contract, plot things out with the band and generally get a proper understanding of each other. The band grafted to create some amazing videos, were patient with my plans to release the album and were in constant communication, with me + Garth messaging almost daily + speaking regularly throughout the campaign. The first press of the record sold out in the week of release, forcing us into another pressing well ahead of schedule. They’ve built a real community around them, with a fan setting up a Facebook fan group which they actively take part in. They’re some of the most down to earth, funny + hardworking people

I’ve met and had on the label. How well the debut album release went is a testament to them + I can’t wait to see what comes next.

What To Listen To Next: World To Me

Ever since we started the label, me + Ste have recorded a podcast/radio show pretty much monthly. It started as a way to promote ourselves, our artists and also other artists + labels we thought were great, shouting about them with the intention of showcasing brilliant emerging music. It started on Soundcloud, us recording + then uploading, before we spoke to Chapel FM in Seacroft about broadcasting from there.

Going in to use their studio setup was incredible for us + allowed an expansion in what we were doing. From here, I made friends with Rianne Kate Thompson who was the BBC Introducing presenter in Teesside. She invited me along to be a guest on her regular Amazing Radio show + to shout about Clue. It went brilliantly, Rianne’s natural ability to make people feel at ease + my ability to talk loads when a mic is put in front of me worked perfectly. The show was broadcast, Rianne introduced me to the AR team + we pitched moving our show to them as a specialist show.

We’ve never looked back, keeping going through whatever has been thrown at us, always picking the music we want to play, covering the topics we wanted to cover. It’s also available as a shortened podcast version on Spotify (when Ste pulls his finger out to upload the latest episode…).

We love being able to sincerely shout about artists that we have no direct relationship with, help introduce them to a new audience and give a platform for artists in Yorkshire, Teesside + the North in general. Plus, it’s nice being able to ramble on about any nonsense we fancy.

I wanted to say a few words on Hatch, the bands on the label + Tony and Paul too. I was familiar with Hatch as from what I understand, they’d appeared from the embers of one of my favourite Leeds labels + inspirations Brew Records. They were looking after Nine Black Alps, a band whose debut album I absolutely love and still listen to regularly, and some other incredible talent like ZOZO. I was familiar with Deadwall, Then Thickens and Napoleon IIIrd, and obviously very aware of the music, talent and incredible achievements of The Wedding Present too. Me + Tony started working together on Clue after I’d been working for his artist development organisation and label Come Play With Me. We’d tried to kick off a few supportive things for other labels in Yorkshire but it was usually only me + him pulling our fingers out. We worked brilliantly together on CPWM + somehow we got to speaking about merging Hatch + Clue as Tony was more focused on CPWM, but with the merge, could push Clue with a bigger team around him. Tony + I have since been involved in all sorts of stuff and work together brilliantly, he’s an intelligent, thoughtful person whose strength of will is equal to his lack of ability with technology…

In all seriousness, I went to a talk/show type the other day + it mentioned some people in your life being champions. I feel that Tony has been an accidental champion of mine, allowing me to believe in what I’m doing. The sort of moral support is invaluable + his presence has been nothing but positive for me, something which I’m extremely grateful for.

Paul is a great addition to the team too, funny, challenging and driven to make things easier on the back end so we can be better on the front end. It’s worked out amazingly merging + has given all of us a new lease of life. Not to mention the incredible 24 Songs project from The Wedding Present which has been a brilliant constant for us in 2022, with every 7” single charting on the UK Vinyl Singles chart. To be able to work so closely with a band who have achieved so much has been an incredible experience, and one I’ve learnt a lot from. They’re dedicated and humble, but also incredibly driven + aware of their position. I’ve never seen such awareness + dedication to a fanbase + it’s been inspiring to watch.

In recent years, we’ve been fortunate enough to hire a few people to come work with us. Our first was Lily Fontaine who is in the incredible band English Teacher (if you don’t know, get knowing…). Working with Lily was incredible, she’s a subtle force of nature, funny as anything + her morals + ideals are something to bottle + pump into the water supply of not only this country, but the world. Working together on Team Picture’s video for The Big Trees, The Little Trees was one of the most fun days I’ve spent + her editing into what would be the final project shows exactly how strong her sense of humour is. Seeing her fly with ET fills me with happiness, knowing that the industry isn’t completely full of pricks, the good people get their turn too. After Lily, Varun Govil joined us. He plays in the incredibly noisy (in a good way) Fuzz Lightyear + tons of other bands, as well as working door shifts and helping out at shows across Leeds regularly. Varun’s support on The Wedding Present’s 24 Songs project helped keep subscribers’ letter boxes busy, diligently working to keep deadlines. And currently we have Liv Barnes + Sadie O’Donoghue working for us. Liv is with us as a placement from uni, looking after live bookings (she’s been behind the 10 year anniversary parties in Leeds + Boro) + our expansion into publishing, really excited to see where we can take both + Liv has been showing real graft + intelligence so far. Sadie has worked for Come Play With Me for a good while now + has done incredible work there. Sadie’s work on the design of this booklet, our birthday party posters, humour + work ethic are mint + hopefully she’ll be with us for a long time.

THE FUTURE

As for the future of Clue, who knows? We’ve got a couple of album releases lined up for the near future, we’re expanding into new areas behind the scenes and we’re just trying to find a way to grow and be sustainable (both environmentally and financially) in an ever-changing and challenging world. If you’re rich or you know a rich person who fancies supporting the best new talent from the UK via an independent record label, get in touch. If not, you know where our shop is…

ACROSS

2. Who are Clue’s last signing at the time of writing? (3,4)

5. The home to our radio station is nothing short of what they claim to be… (7)

7. Which Clue Club band were inspired to take up their name from It’s Always Sunny In Philadelphia? (4,6)

9. Which band did Van Houten cover when Scott first saw them (without actually seeing them…) (3,7)

11. No out-of-towners in this band, no way! (6)

12. The name of Avalanche Party’s debut release with Clue + would make a lovely pot or plate (9)

15. The first signing to Clue’s original name (7,6,5)

20. Lily’s favourite method of transport (11)

22. Which song did the Beatles write about Forever Cult bassist + regular Clue artist producer Alex Greaves? (4,2,7)

24. The best, and most modest, label in the last 10 years (4)

25. What does Amber sometimes forget you are? (5)

26. Get a plan together, maybe for a bird to break out of an egg (5)

27. Which religious cocktail is best made on a van floor? (6,4)

DOWN

1. What burgers did TRASH + Clue eat as they signed their contract to join the label?(9)

3. This little NARCSy went to market, this little NARCSy stayed home (3)

4. What is the name of the album which accompanies this booklet? (4,2,1,4)

6. Crushed Beaks supported them across Europe (4)

8. When I cooked a meal for PLAZA it lacked this Public Enemy member (6,4)

10. Will Van Houten ever be brave enough to cover this EP by Kirk Van Houten? (3,1,6,1,7)

13. Where would you put TRASH? (3)

14. Which slightly unusual delivery packaging was used to send out TRASH’s self-titled EP? (5,3)

16. One of our beers celebrating turning 10 was inspired by this drink… (10)

17. Crushed Beaks’ favourite vegan rapper (3,6)

18. Unwitting Leeds Fest goers

expected the Foo Fighters but were instead treated to… (3,5)

19. What did Scott + Amber talk about before they first met? (5,5)

21. What food did the person Scott once knocked over with a car, choke on when they hit the ground (also, they were fine, you’ve got to be able to laugh about these things…)? (7,4)

23. How many trees did that festival NARCS played have? (3,8)

Answers at the back

OTHER CONTRIBUTIONS

Although I’ve run my gob throughout these pages, the label is and always has been about the artists first and foremost. With that in mind I asked them, and a load of other people involved in Clue, to send over what Clue means to them, any memories or stories, or just anything they wanted to say. Not everyone made the deadline to send something (they were busy obvs, don’t think any of them actually hate me or Clue…). To say I was cheered + flattered by the following words is a huge understatement.

The idea for Clue started, as many good ideas do, in the pub. Me and Scott have been friends for years, since school, and we’ve always had a mutual love of music (chatting about Pulp at a friends birthday BBQ was what brought us together!). We were doing a weekly evening class in music production and afterwards we’d pop to the pub. We had a thing of trying a different pub in Leeds each week. Scott had been helping out with the Oxjam festival and he was really enjoying it and was going to miss it once the festival was over. So, we got chatting about starting our own music related thing. I think we initially thought of doing a gig night but after chatting more about it we decided it would be great to be able to work with bands that we really loved and that led to us wanting to do a label and Clue was born!

One of the first things we did as Clue was record a monthly podcast. Over time this progressed into a regular show for Chapel FM and now a monthly show for Amazing Radio. It’s basically an excuse for me and Scott to meet up once a month and talk utter rubbish for a couple of hours, play loads of great tunes and promote our bands!

The first Clue gig we did was upstairs at the Packhorse in Leeds. We’d signed a couple of bands by then and put on a gig night. It was a really proud moment seeing people turn up to watch the bands we were supporting.

The first vinyl release we did was ‘A Thinking Animal’ by NARCS. It was a really exciting thing to do. We got the test pressings and us and the band listened to it at Scott’s flat. It was amazing seeing that an album from a band we loved had been put onto vinyl and we had managed to be involved in making that happen for the band. It’s also such a class album, if you’ve not listened to it do it now! Going with NARCS to 2000 Trees festival was a highlight. It had been their album release gig the night before. I remember needing to get to the Brudenell in Leeds early morning feeling very hungover to get in the van to the festival. Two of the lads from TRASH had been to the gig as well and were asleep in their car in the carpark. We set off in the van and I was feeling terrible and then Scott made some Bloody Mary’s and all felt good again. NARCS were brilliant as always.

We’ve always been a DIY label which meant we’d pack up the orders ourselves to send out. When we had a vinyl release that would mean carrying bags full of vinyl to the post office and vinyl is really heavy! For the TRASH EP it was decided we’d use takeaway pizza boxes to post them in. Scott bought a load and we met at his flat to pack them up. I needed to do a couple of trips to the post office to post them out and got some funny looks. I had the same person serve me each time and when I went the second day she asked if I was back with another takeaway! I’m sure Scott picked those boxes just to embarrass me.

Scott has done a few of the band’s videos and live sets (check them out together with a load of other videos on our YouTube channel). I helped to film some of these, including NARCS first video (19) and live sets for NARCS and Forever Cult. It was really exciting for me to be involved with these as I’d never done anything like that before. That has been one of the really special things about Clue in that it’s meant I’ve managed to get involved in things which I don’t think I ever would have otherwise.

Scott has this brilliant ability which I’m always impressed by to be able to find new bands. It’s always great when he messages me with a band he is getting excited about as I know it’s going to be class. I remember early on in Clue being at work once and him texting me with a link to some

demos which he said he was loving but wanted to check they were any good. I immediately put them on and instantly loved them. The demos were by Allusondrugs and I couldn’t stop listening to them. We were then fortunate enough to work with the band on a few singles.

Getting to work with Tony and Paul has been great. Scott had been working with Tony on a few different things (including the brilliant Come Play With Me) and it felt like a perfect fit to work with them. Now it’s not just Scott and I not knowing what to do but four of us!

There’s been a lot of releases we’ve worked on which I’ve been excited about and I always love seeing the reaction when something comes out. I remember when Bored At My Grandmas House EP “Sometimes I Forget You’re Human Too” was released and I was cooking tea at home listening to 6Music and one of the singles came on. That’s always a special feeling. Also, we were blown away by the response to the Pit Pony album with the first vinyl press selling out really quickly!

I think one of the really special things with Clue is it has always felt a bit like a family between us and the bands. It feels like we don’t just work with the bands but that they become mates. It’s also always great seeing the different bands getting to know each other and in the case of Gawjuss starting to work together!

I can’t really believe it’s already been ten years since we started Clue. It’s been an amazing time and has meant we’ve managed to meet and work with a load of incredible, lovely and extremely talented people. I’m looking forward to seeing what the future brings!

TONY EREIRA - CLUE RECORDS DIRECTOR

Back in 2013 I was working out what I wanted to do after ending an unfulfilling career & becoming a parent. I decided it would be fun to start a labeland at that exact time, I saw that the cult Leedsbased label Brew was folding.

I dropped a line to the folks at Brew and 2 of the 3 (Simon Glacken & Jez Cook) were keen to continue after their 3rd partner had decided to quit. We talked ideas over beers and curries and Hatch Records stumbled, like a shabby phoenix, out of the ashes of Brew!

Our first signings had strong Brew ties - Nine Black Alps and Then Thickens (led by Jon-Lee Martin, previously of Kong) before we started working with some amazing local talent in Deadwall, Napoleon IIIrd and ZoZo. Paul Thomas joined Hatch, we parted company with Jez and Simon stepped away to set up his PR company, For The Lost.

There were some memorable moments in those early days - crowdfunding some dates for NBA in Japan, picking up some PRSF Momentum funding for Then Thickens which included them filming the Tiny Legs video with Joe Gilgun, sadly missing out on signing the best Leeds band that never made it (Post War Glamour Girls) to our good mate Dan O’Dell and seeing through the release of a beautiful Elliott Smith-like LP from the ridiculously talented Deadwall, before the band sadly imploded.

I’d worked with David Gedge (The Wedding Present) many moons ago and after he contributed a track to the new 7” singles club launching over at my notfor-profit label CPWM, it was an exciting proposition when David suggested releasing some of the sessions his bands had performed for Marc Riley, John Peel, Shaun Keaveny and Huw Stephens over the years.

33 releases down the line, it quickly became clear that I didn’t have the capacity to run Hatch alongside CPWM and my family so something had to give - but I loved both labels and stubbornly refused to step away from either.

Also as I get older I get less tolerant about working with new people - there are some great folks doing amazing things in music but there are also a lot of lazy fuckers. So Paul and I debated for a while

about how we could continue the good work of Hatch before talking to Scott (who is very much someone from that former category!)

I’d known Scott for a few years and always respected the roster, ethos and workrate from him and Ste at Clue. Scott and I work together at CPWM and so we know each other well - so when he was going through one of his bi-monthly existential crises (sorry Scott!) and also considering the future direction of Clue in late 2019, we came up with the idea of bringing the two labels together to create something that was stronger than the sum of the parts. A decision that I think paved the way for this cracking little label that we run today.

Like many things at that time, COVID slowed down the merger actually happening as quickly as we would have liked but we’ve done it and I’m massively proud of what we’ve created - and it’s amazing to be running a label with 3 people who’ve gone on to become really good friends.

I did worry that I was going to bring all of this crashing down when David and I agreed to release a new 7” single from The Wedding Present every month (just like they did in 1992!) through Clue. As vinyl production times span out of control, costs to even ‘semi-guarantee’ timely deliveries became eye-watering and the shitshow of Brexit and UK politics meant that sending 12 separate singles to our customers in Europe would just be prohibitively expensive, it seemed that the numbers didn’t add up financially to make this work.

But thanks to a bunch of brilliant recordings from TWP (as David solidified his writing with the band’s guitarist Jon Stewart (also of Sleeper) and bass player Melanie Howard), us turning the Clue/CPWM office into a vinyl packing factory throughout 2022 and TWP audience showing their love and support for the band and series, we’re nearing the end of 24 Songs and all immensely proud of what we’ve achieved (they sound and look - even smellstunning!)

Add to all that recent releases from Team Picture, Bored At My Grandmas House, Van Houten and Pit Pony and I am seriously excited about what the future brings for Clue. We’re not stopping and there are big plans for 2023 - so, like all big birthdays, this feels like a great time to look back and celebrate before we roll up our sleeves some more, reclaim our office from the cardboard and get on with releasing the amazing music that the Clue roster are recording!

PAUL THOMAS - CLUE RECORDS DIRECTOR

I’ve always been an avid gig goer, and had been looking for some way to put back into the local scene before running into Tony after one of his gigs. We got chatting about the great potential that existed in the local acts that were around at that time, and the ones Tony was working with for, what was Hatch Records at the time. One thing led to another, and I became involved in the company as we pushed through the releases over the next couple of years.

The merger with Clue came a bit out of the blue for me, but the opportunity to work with Scott and Ste was far too good to pass up. The energy that has been brought into the label with their portfolio of artist and 24 Songs has been great to see. It’s not always plain sailing, but I’m very much looking forward to the next 10 years with Clue!

TOM ROCHE

Whilst I was involved in Clue Records more-or-less at its inception, there’s no universe in which I could claim credit for its birth; that honour belongs to two of the most assiduous, conscientious, and, above all, decent men I’ve had the pleasure of meeting in my life. Scott Lewis, the flame-haired, scal lop-skinned progenitor of the whole enterprise, and Ste Langton, a man so cheerful it seems his smile has been tattooed to his face, are the auteurs de serving of that praise. These two grizzled Teessid ers kindly invited me to be involved in this honour able enterprise, I’m not sure why, but I’m guessing they needed a Southern ponce to fulfil some sort of diversity quota. Although my faith in these two men is nigh-on religious, I am an irrepressible cynic, and so at the outset I was quietly curious about the potential lifespan of this labour of love; would it be one year? Two, maybe? Ten-years hence, it’s fair to say my assumptions were obliterated so comprehensively as to make it seem almost personal.

My experiences within music at that time had been…mixed, shall we say. Whilst, as in all walks of life, the vast majority of the people I had met were sweet and decent, there had also been a smattering of unabashed tosspots, prancing about like they had taken a break from playing arenas to enter tain seven people in a pub basement, exhibiting breath-taking levels of narcissism by speaking exclusively about themselves without hesitation, repetition or deviation from the subject for hours on end, whilst dressed like Princess Anne at a state funeral. So, with these and many other examples in mind, I began meeting the coterie of early Clue signings with some trepidation. Allusondrugs were the first, having the pleasure of seeing them live first. Now, if you haven’t seen them live, there aren’t words enough for me to describe just how good they were; if you have, then, well, you know what I’m talking about. The problem with having such an exceptional live-show is that you instantly think that level of calm confidence can only be possessed by a group of arrogant, snot-nosed, rock’n’roll wank ers, but no, to a man they were an absolute delight to be around; sweet, deferential, and always apol ogetic about having to “borrow” cigarettes, what more could you ask for? ‘1-for-1 so far,’ I thought, ‘surely the next lot must be awful.’ Well, the next lot were NARCS; angry, political, anarcho-punks, these will be the intolerable ones, right? Nope, wrong again, another band with a blood-and-guts live-

show that left you feeling like two Dobermans had been barking into your ear-canal for an hour, then came off stage and instantly transitioned from The Stooges to The Waltons; once again, every one of them an absolute peach and a true privilege to work with. Then came Forever Cult, made-up of three lads who left as indelible a mark on me as they did beer and sweat stains on my sofas – quick aside, if you’re reading this, boys, I had to burn those sofas as a matter of public health. Honestly, I could write sonnets about how hard I fell in love with these three, and if the Mormon church allowed same-sex unions, I’d immediately convert and marry the lot of them. And their music! Oh, how I loved their music. It was at once catchy, poppy, and sweet, whilst also neck-breakingly aggressive; like a puppy with rabies, or a cupcake made of broken glass, adorable but distinctly bad for your health. That was the early Clue stable; three exceptionally gifted bands made-up of nothing but great people, which in music is so rare that it’s like some sort of ther modynamic miracle. It’s a tribute not only to Scott and Ste’s ears for great music, but their judgement of character too. Having said that, they also chose to work with me, so, maybe a sign of some sort of intermittent collective brain malfunction, which is also the title of my Clue biography. Not really.

Sadly, time marched on and the inevitable dullness of adulthood caused me to slide away to take up the role of distant admirer, but those early days, with all that nascent promise slowly efflorescing, were as joyous and exciting as any I can remember. It’s no surprise that with such expert stewardship Clue has survived this long and will inevitably go on longer. The real shame is that all this success has gone to Scott’s head; I hear he’s taken to cigar smoking, wearing pin-stripe suits and berating subordinates via a Bluetooth headset. That’s a lie, but by god I hope Clue becomes big enough for it to become a reality.

LILY FONTAINE - WHAT CLUE IS TO ME

Another core memory was when Alex from Team Picture picked us up in his Postman Pat Van and took us to the beautiful 1970s decor farm of GAW JUSS’s James Wilkinson. There, I was met by a load of people in lycra that I’d now call pals. We spent the day filming an 80’s workout-inspired music video for probably my favourite song on the Clue discography - the anti-incel anthem ‘The Big Trees, The Little Trees’. Despite breaking my glasses and Scott having to push me in a wheelbarrow across a field to replicate a dolly-shot, I had a tonne of fun, met some incredible people and was truly proud of what we managed to pull together with neither budget nor time.

I’ve managed to achieve a lot since I came to Leeds. I got a degree in music, I got my band signed, and I even learned what a self-assessment tax return is and how to complete one. And yet, nothing quite matches the pride I feel when I get to brag that I worked for Clue. I first started absorbing the collec tive wisdom of Clue Records and Scott Lewis when the latter mentored my band through Music:Leeds. I started working with Clue when he and Ste asked me to contribute a spoken word segment to their monthly show on Amazing Radio and then for the label when I got hired as an assistant in 2021. There, I learned to navigate the minefield of PR, Pigeon Toss, Google Suite, and the music industry’s seemingly impenetrable but brilliant incestuous ness. Among all this learning and work were a few highlights;

Near the start of my contract, Scott and I travelled to London to sell stock and spread the good word at the Independent Label Market in Coal Drops Yard. We carried big boxes of vinyl on a train at 6 am, set up, and spent the day sandwiched by 4AD, Partisan and Rough Trade, explaining to people why Clue is better. I got to meet and chat with artists and industry associated with the label, all of whom were grasping a rare opportunity to catch up with Scott south of Leeds, as well as people who were just dead excited by what those artists were producing. I also garnered the confidence to go ask Dan Carey to sign my copy of Speedy Wunderground Year 4, which ultimately lead to me going into his studio last week. Speaking of tinnies, we got a round of LNER IPAs in on the train back home and I felt quite proud discussing ideas for Clue releases while clutching my signed record and phone that held the personal email of one of my favourite producers.

These two anecdotes act only as vignettes of what was easily the best job I’ve had in my life so far, and I also believe that they expose what I feel is so great about the label and the team behind it; the words DIY and independent get thrown around like me on a wheelbarrow in Yorkshire these days, but a peek backstage at Clue has proved it worthy of the association. It’s just a couple of people doing pretty much everything, with limited resources, but wheel barrows (last time I promise) of passion, knowledge and work ethic, combined with a strong sense of community and humour. Getting paid to learn about and contribute to, not only the wider music industry, but specifically, a scene I really care about, meant a lot, and my only regret is that I didn’t work there better or longer.

CONTRIBUTIONS

ALEX GREAVES (FOREVER CULT / REGULAR CLUE ARTIST PRODUCER)

10 years of Clue. Not quite sure where that time has gone. I first met Scott in a Sam Smiths pub in Leeds when I was on the hunt for someone to make a cheap music video. I was struck by his love for pints and how impressive it was that he could scowl consistently for almost 3 hours.

I’ve worked with Scott and Ste on countless projects now including both my old band and in my work as a producer. Clue Records not only continues to support and release exciting music all the time but has also introduced me to people who I will call friends for life.

For anyone to run an indie label of any form for 10 years in the industry as it is now is an impressive achievement. To still do it with the same drive and devotion to their artists as 10 years previous is frankly ridiculous. Let’s hope for 10 more! Thanks Scott and Ste for doing what you do.

ALLUSONDRUGS

We were approached by Clue back in 2012 not long after we had just started out. They were straight up and honest about what they could do for us and they genuinely loved the music we were making. We appreciated that and we welcomed their help. Shooting the ‘Plasters’ music video with Scott was an incredibly fun day. Looking back, it was one of the most care free and hilarious times we’ve ever had as a band. Cheers to Scott and Steve for everything they’ve done for us and everything they continue to do for the bands they work with.

HAMISH WATTS - HAMER

I moved to Leeds 14 years ago. I knew Scott before then and before Clue. I was a miserablist at 16. He had listened to some music I made, and encouraged me enough to approach him 8 years later to release HAMER S/T, simply by saying “yeah I like that!”. We released the album with ease. Clue has always flown the flag in helping artists from all backgrounds get their music released because they genuinely care about getting good music out there.

All hail Clue Records!

JOE ANGUS - NARCS

It’s nigh-on impossible to avoid cliches when I think about the role Clue Records has played in my life. All I know is that I walked into my first meeting with Scott, on my break in the shop I was working in, as a frustrated, lonely musical waif with a patchy neckbeard. Yet by the time NARCS came to an end, having journeyed through our albums and tours with Clue, I had grown a full beard which won me the adoration of tens of people. Clue got me the facial hair I deserved, and they can do the same for you too.

Back to the unavoidable cliches, Clue changed the course of our lives as a band and as people. The drive and determination to push every aspect of the band to grow and evolve was - like the fungus twixt Scott’s toes - highly infectious. The pool of not just bands but artists across different media that Clue has drawn together over the years, elevating and challenging and pushing one another without taking the joy out of the art, speaks for itself. I feel exceptionally lucky to have been part of the formative years of what has become an astonishing achievement: an independent record label in 2022 that operates without cynicism, that aims to put back more than it takes, and remains dedicated to finding sparks of the exceptional and helping the owners recognise, nurture and release them.

TEAM PICTURE

Probably Scott’s floppy haircut from when we first met him years ago. That and seeing the label grow over the last decade, and how much Scott and everyone at Clue dedicates to it every day. Clue’s always made the time for us and went out of their way to accommodate our daft specifics. Our favourite release moment is working with them, and artist Joel Burden, on the Clue Club zine and singles club. It was the first time we got to have creative control over a project like that, and it was a really formative experience for us. Thanks CLUE! And thanks SCOTT!

ROB BOSWELL – LOCALS

Me and the boys have been fans and followers of Clue since our Sheffield days. We’d played a couple of gigs with TRASH back in the day who we were all huge fans of. Also the PLAZA lads. I distinctly remember thinking how do I get on a cool label like that?

So we owe a big thanks to Tom from TRASH for reaching out to us when he did. Clue 4 eva.

AMBER STRAWBRIDGE – BORED AT MY GRANDMAS HOUSE

I first became aware of the existence of Clue Records and Scott during the first lockdown after getting a lovely little email which then led to multiple phone calls and zooms. What started as a business proposal (me signing to Clue) soon developed into a lovely friendship and to this day still view him more as my mate who helps me put out my music rather than the guy who owns the label I’m signed to! I think that’s the charm of it all and why we work so well together!

Scott’s just a decent, genuine human with a good sense of humour who also happens to be really good at his job and that’s that!

Long live Clue Records <3

PIT PONY

As soon as we had the chance to work with Clue it was a no brainer for us. We knew of other stuff they’d put out, but it was more the attitude and ethos behind the label. No smoke and mirrors. Fiercely ambitious and proudly northern, the label’s outlook was a perfect fit. They care about great music, they care about the people involved, they’re socially and politically conscious and if you’re willing to work hard at it, they’ll match you every step of the way. As we hoped it would be from the outside looking in, it’s been nothing but a pleasure to work with them. Things done properly by proper people.

PLAZA

We hold Clue and Scott very close to our hearts. If anything sums up his initiative, motivation and sheer tenacity - it’s watching him trying to knock up a Sunday dinner using only a microwave, a spoon and some ingredients from a Tesco Express.

You’d think surely it can’t be done (and you’d be right). After an extensive recording session in the Nave we were all craving a hearty, nutritious meal. This was not provided but watching Scott put his blood, sweat and tears into that meal made us feel safe and as though we were in the presence of a real leader. A reminder that in the big ugly music industry you’re never too far away from home.

Nice one for everything Clue. You made 4 daft lads from Hartlepool feel really cool

DAN LONGMORE - TRASH

I think signing with Clue in a Leeds Wetherspoons really set the tone for how our relationship would ultimately pan out. A goofy meeting place with awkward banter and microwaved burgers. The sort of not-taking-it-too-seriously that never left us over the 4-ish precious years we spent under Scott’s parental supervision. We showed up thinking we’d just sign some contracts then drop a couple of singles and get pissed up supporting Forever Cult now and again. I never thought we’d end up having over 2 million odd streams on Spotify by the end of it. It started in Leeds and ended in Leeds. On the night of our final show (before the farewell in Sheffield) we ate the worst Chinese buffet and Tom drove straight into a bollard post. I think that was the point where we thought “I think it’s best if we end things here”

VAN HOUTEN Clue Records have been the driving force behind our project since pretty much the beginning. We met Scott back when we were just starting out, at an empty support show at Lending Rooms (there was literally nobody there). Luckily for us, Scott liked what he heard and decided to turn us into full time rock stars a little bit later down the line. Clue Records are quite literally the best record label in the universe. They have always been selflessly supportive of us and loads of bands we know, and have guided us through good times and bad.

While it’s very easy to tease Scott for being both the smallest and most ginger man in the world, he’s an absolute legend and we love him to bits x

YOWL

From soothing our worries via mid-covid zoom calls, holding our disordered hands through funding applications, joining us for a very important recording break to watch the Euros on the studio projector, and dispensing fair, motivational mockery when we’ve missed relatively hard-to-fuck-up transport links between shows, Clue are one of the reasons YOWL just about manage to function. They’re more than a label to us at this point; they’re one of the elegant strands of gaffer tape that keeps this gloriously unsteady body standing.

Love live Clue Records.

Right then, that’s me full inflated with smoke via the rear. Clue couldn’t have survived this long without the love + support of my family, friends, acquaintances + to every single person who has ever asked about the label, bought a release, turned up to a show we’ve been involved with, told a friend about what we do or a band we look after. I’m not listing out names cos it’d fill this booklet + I’d still forget someone. If you’ve shown an interest in what I’m doing, it means a lot + you’ve helped spur Clue on in some way.

Huge thanks to the following people who backed our Crowdfunder, making this release possible. The words you’re reading + the album itself wouldn’t have existed without the support of these backers. We’re very grateful, thank you. The fact that I recognise a lot of the names here + consider an awful lot of them friends shows how much good this label has brought to my life.

Thank you Adrian Kirk, Andrew Beck, Angela Miller, Barry Huitson, Bob Wallis, Charlie Ashcroft, Chris Bounds, Chris evans, Christine Cummings, Christopher Bardsley, Dan Rotherham, Darryl Parkin, David Jolly, David Strawbridge, Dennis Opalewski, Dr. Evan Boris, Greg J Theroux, Hugh O’Brian, Ian C. Davis, James Whiteley, Jason Anderson, Jennifer, John Langton, Joshua Walker, Karl Djemal, Karl Lewis, Kathryn Kaupa, Keith Hambling, Leigh dickinson, Leigh Hunt, Louise Wilkin, Matt Hill, Matt Partridge, Matt Roren, Megan Abram, Sarah Wall, Nathaniel Armstrong, Neil Fawcett, Neil Hendry, Patrick Morrison, Paul Dredge, Paul Lamming,Paul Martin Spencer, Paul Rose, Paul Sanders, Rich Connell, Richard King, Richard Longmore, Rika Otake, Rob Cronin, Robert McKerlie, Ros Wareham, Samuel Nicholls AKA whiskas, Scott Large, Stephen Mitton, Steve Thomas, Tom Groves, Ulka Petri, Vinnie.

And now for something completely different.

CLUE INCLUSIVITY MISSION STATEMENT

Although we’re celebrating, there’s a lot going on in the world right now that isn’t worth celebrating. Through music, our artists and their audiences can find either escape from or cathartic relatability to world issues, and we as a label feel it integral to our ethos to contribute to these conversations and help in any way we can. Clue Records and our artists promote inclusivity and strongly oppose discrimination based on gender, sexual orientation, race, disability, neurodiversion or socioeconomic status. Music and social issues have always had a close and important relationship, and we hope that any artist or audience member who works with us, comes to a Clue event or buys a product from the Clue website, knows that there is space for them in this scene.

Below is a selection of recommended podcasts, publications and organisations offering education and support, curated by Scott + Lily. Some of these are personal, others are places we respect + understand to be effective in their area.

PUBLICATIONS

The Viral Underclass: The Human Toll When Inequality and Disease Collide By Steven W. Thrasher - From preeminent LGBTQ scholar, social critic, and journalist Steven W. Thrasher comes a powerful and crucial exploration of one of the most pressing issues of our times: how viruses expose the fault lines of society.

Why I’m No Longer Talking to White People About Race By Reni Eddo-Lodge - Exploring issues from eradicated black history to the political purpose of white dominance, whitewashed feminism to the inextricable link between class and race, Reni Eddo-Lodge offers a timely and essential new framework for how to see, acknowledge and counter racism.

The Transgender Issue: An Argument for Justice By Shon Faye - The Transgender Issue is a landmark work that signals the beginning of a new, healthier conversation about trans life. It is a manifesto for change and a call for justice and solidarity between all marginalised people and minorities.

Chatter By Ethan Kross - An award-winning psychologist reveals the hidden power of our inner voice and shows how to harness it to combat anxiety, improve physical and mental health, and deepen our relationships with others.

Disability Visibility: First-Person Stories from the Twenty-first Century By Alice Wong - Activist Alice Wong brings together this urgent, galvanising collection of contemporary essays by disabled people.

The Blindboy Podcast - An incredibly interesting and funny human discusses a variety of topics in a funny + accessible way. Topics include mental health, the lore of Ireland and the wider world and interviews with incredible guests.

Connected Sounds - A series of informal conversations with queer musicians; Maya Kally delves into the intersectionality of queer identity, covering topics such as gender, race, class, mental health, climate change and more.

The Accessible Stall - Kyle Khachadurian and Emily Ladau have frank conversations about issues within the disability community, coming at each topic from the perspectives of two different disabilities, mobility levels and unique viewpoints.

Therapy Gecko - Not a licensed therapist, but a soothing podcast, taken from a live stream where a man dressed as a gecko talks people through their issues. Some are hilarious, some are outrageous, but most are in some way relatable.

Growing Up With gal-dem - The gal-dem website features articles telling the stories of people of colour from marginalised genders. The Growing up with gal-dem podcast invites different guests to respond to old diary entries, text messages, or letters from their younger selves – nurturing important conversations about growing up.

The Two Norries - An honest exploration of crime, addiction, recovery, mental health and social + health issues from experts and people who have lived experience in the subjects.

Dissect - Deep dives into albums, going below the surface level to explore incredible artistry + explore historical and societal issues artists are touching on.

PODCASTS (ALL ON SPOTIFY, APPLE MUSIC, + MORE)

SUPPORT

Open Learn (open.edu/openlearn/) - Thousands of free courses on Health, History, Languages, Science, Politics + loads more.

CALM (thecalmzone.net/) - Helpline, chatline and articles offering practical support for those affected by suicide. Helpline: 0800 58 58 58

Samaritans (samaritans.org/) - 24/7, 365 days per year helpline for those tackling a mental health crisis. Helpline: 116 123

Refuge (refuge.org.uk/) - Supporting women and children facing domestic violence. Helpline: 0808 2000 247

The Big Issue (bigissue.com/) - Articles, fundrais ing and advice for those facing poverty and home lessness. Big Issue sellers buy copies for £1.50 + sell them for £3, using the income to improve their situation.

Crisis (crisis.org.uk/) - Educational reading, support and fundraising for those experiencing homeless ness.

Shelter (england.shelter.org.uk) - Advice and prac tical support for those dealing with housing issues.

Mind (mind.org.uk) - Providing advice + support to empower anyone experiencing a mental health problem. Mind also campaigns to improve services, raise awareness + promote understanding.

Shout (giveusashout.org/) - Shout is a free and confidential, 24/7 text messaging support service for anyone who is struggling to cope. Text 85258 for support.

LGBT Foundation (lgbt.foundation/) - Advice and support for LGBTQ+ issues including therapy, abuse, legal advice, surgery etc.

Citizens Advice (www.citizensadvice.org.uk/) - Provides free, independent, confidential and impartial advice to everyone on their rights and responsibilities, equality and challenges.

Sari (saricharity.org.uk/ ) - Provides free and con fidential support for anyone who is a victim of hate crime. Whether that’s based on race, faith, disability, sexual orientation, gender identity, age, or sex.

Enough Is Enough (wesayenough.co.uk/) - A movement to fight the cost of living crisis + push back against the misery forced on millions by rising bills, low wages, food poverty + housing issues.

Yoga With Adriene (YouTube) - Free yoga for all levels. Regular yoga is something which has helped me (Scott) find grounding, space and confidence and it all started with Adrienne’s videos. Also try Yoga With Jessica Richberg, Kassandra + Bird.

Grassroots Suicide Prevention (prevent-suicide. org.uk) - Aiming to reduce the stigma around suicide through training, resources + by campaigning for change and open conversations.

Stonewall (stonewall.org.uk) - Stonewall fight for the freedom, equity and potential of LGBTQ+ people everywhere.

Come Play With Me (cpwm.co) - A Leeds based artist development organisation with a focus on pro viding platforms for marginalised people + groups. There’s a label, events, workshops, magazines + more. I (Scott) works for CPWM + can vouch for their incredible work in Yorkshire.

Launchpad (launchpad-music.com) - Another organisation Scott works for, Launchpad provides + signposts opportunities for people in the music industry, including advice, funding + more.

If you have any suggestions on things that help you or places for support, please feel free to share them with us at info@cluerecords.com

SONG CREDITS

TEAM PICTURE - BABY RATTLESNAKE (Josh Lewis, Alex Main, Hannah Peace, Thom Buckley, Chris Morton, Ross Francis)

BORED AT MY GRANDMAS HOUSE - SKIN (Amber Strawbridge) ALLUSONDRUGS - PLASTERS (Jason Moules, Damien Hughes, Andrey Pavlovic, Connor Attack, Jemal Beau Malki)

VAN HOUTEN - IDK (Louis Sadler)

FEHLT - WITHDRAWAL (Ewan Barr)

SUNFACE - (IN MY DREAMS) I HAVE IT ALL (Daniel Longmore)

YOWL - MAMMALIAN FONDNESS (Gabriel Yarham, Ivor Manley, Billy Morris, Michael Wride, Thomas Flynn)

AVALANCHE PARTY - PORCELAIN (Jordan Bell, Joe Bell, Glenn Adkins, Jared Thorpe, Kane Waterfield)

FOREVER CULT - ANTONIO BANDERAS (Kieran Clarke) NARCS - 19 (James Dougles Wilkinson, Joe Angus) GAWJUSS - YELLA (James Dougles Wilkinson, Kieran Clarke) THE WEDDING PRESENT - GO GO GO (David Gedge) THEN THICKENS - MY SUNDAY (Jon Lee Martin)

DEADWALL - CIRRUS SONG (Christopher Duffin)

NINE BLACK ALPS - SUPERMARKET CLOTHES (Sam Forrest) ZOZO - NONO (Fred Mikardo-Greaves)

PIT PONY - SUPERMARKET (Jackie Purver, Garth Purver. Andrew Potter. Andrew Jones. Joey Morely)

CRUSHED BEAKS - RIGHT MACHINE (Matt Poile, Scott Bowley, Tim Watkins)

HAMER - ALL YOU COULD HOPE FOR (Hamish Watts) LOCALS - TALKBOY (Rob Boswell)

PLAZA - IN THE KNOW (Bradley Lennard, Will Hamilton, Matthew Nicholson, Matthew Swinbourne)

TRASH - 81 (Daniel Longmore, Tom Barton, Ewan Marvin, Bradley Weston)

PEPE SYLVIA - HANNIBAL (Shane Hunter)

FIGHTING CARAVANS - IT’S A NICE RIDE (TO BE FAIR) (Daniel Clark)

ALGERNON CORNELIUS - WITCHITA (Marcus Clarke)

MINI SKIRT - FRENCH KISS (Daniel Longmore, Abby Betts) ESPER SCOUT - DIVIDING MARKS (Sarah Statham, Abbi Phillips, Kirsty Morton, Rebecca Jane)

COLOUR OF SPRING - FRAIL (Robin Deione, Shane Hunter, Tom Gregory)

NIGHT OWLS - HONESTLY (Liam Waddell, Will Pollard)

TEA BUCKLEY & - I COULD NOT (Thom Buckley) FOLD - CHOOSE LOVE (Seth Moshowitz) LOCALS - BACK TO COLORADO (Rob Boswell)

FOREVER CULT - BITTER (Kieran Clarke, James Dougles Wilkinson, Alex Greaves, Aaron Snowdon) TEA BUCKLEY & - OXYTOCIN (Thom Buckley)

THOUSAND

ROLL

UPPYS

THEFFERS

LILHUMMUS

BOX

BIN

CANIBORROWAFEELING

FLAV

GIVEUSACLUE

DOWN

MARY

MRMUSTARD

RACINGGREEN

HATCH

SYLVIA

PONY