CABLE #4 THIS ISSUE: CONTRIBUTE: Sound of Guns Power Productions Send your news stories to: Elevator Studios Whitewood Studios [email protected] Follow us on Twitter: Ioisis Phasic Labs www.twitter.com/elevatorstudios Claudia Pink Seal Cub Clubbing Club or look for us on Facebook. SOUND OF GUNS SCORE DEBUT ALBUM SUCCESS Elevator residents Sound of Guns have reason to cel- ebrate, with their debut album ‘What Came From Fire’ entering the independent album charts at number three in its first week of release. The album, released at the end of June, also received criti- cal acclaim from titles such as the NME, with the reviewer commenting that “..the Liverpudlians transform all before them into Soccer AM hugeness”, and awarding the groups first offering with a 7. Radio 1 have been giving the group massive support, with stacks of radio play, while Zane Lowe, a long-time advocate of the band, has continued to shout about them from the rooftops. ‘What Came From Fire’ is available to buy and download now. The band, who recently performed single ‘Alcatraz’ on Channel 5 and in Mallorca, play with Jet at the Shep- herds Bush Empire at the end of July. For more information visit www.myspace.com/soundofguns PHASIC LABS LAUNCH HEXIUS Elevator based Phasic Labs have released their first title for the iPhone. ‘Hexius’ is an action / puzzle game for the iPhone and iPad, created by programmer Paul Ripley and is available in the Apple Apps store now. The application is a must for fans of games such as Bejewelled Blitz. The game, which took 3 and a half months to complete, was created solely by Ripley, who set up Phasic Lab earlier this year. “I’m now working on a second iPhone/iPad title, I’ll reveal more details on that when it’s nearer to completion,” ex- plained Ripley. “I’m also discussing some other games with lease. In the meantime, Hot Club will return the studio to an ex-designer from Sony. These new titles will be bigger HOT CLUB DE PARIS IN EUROPE write their third album. projects than one programmer can manage alone, so I’ll be sub-contracting artwork out - not sure who to yet!” For more information go to: www.hotclubdeparis.co.uk Hot Club de Paris will release new album ‘Free the Ptero- Ripley has been a programmer for 7 years, working most dactyl 3’ later this year… but you can’t have one, it’s only recently as a senior programmer for Sony Computer Enter- for the eyes and ears of European guys and gals. tainment on titles such as Wipeout HD (PS3), Formula 1 2006 (PS3), and MotorStorm 2 : Pacific Rift (PS3). The new record will combine the group’s two sold-out 2010 releases ‘With Days Like This as Cheap as Chewing Gum, Why Would Anyone Want to Work?’ and ‘The Rise and In- evitable Fall of the High School Suicide Cluster Band’ into one, handy package, complete with shiny new artwork and everything. The two 10” EPs saw the Elevator-based trio draw impres- sive plaudits from the likes of NME and Drowned in Sound, with ‘Fuck You, the Truth’ crowning the NME’s top 10 Tracks of the week back in February. The band, who have just completed another extensive tour of the UK, will tour Europe in October to promote the re- PAGE 1 INTRODUCING... ELEVATOR STUDIOS The Coral in the process of turning their music into a physical product at Elevator Studio. With a back catalogue of clients that reads like a who’s studios had stood out. One was Peter Gabriel’s Real World “Our favourite bands would have to be The Coral and The who of the Liverpool music scene, Elevator Recording which was set in an old Mill in Box, Wiltshire and the other Zutons. With The Coral, it’s been a pleasure to see their de- Studios have long been on the map as harbingers of the was owned by Tina Weymouth and Chris Franz of the Talk- velopment and see them change. They first came in to do cutting edge and the timeless. ing Heads in Connecticut. This was set up in a barn above demos when they were 16; to see them change from a fledg- their house. What was interesting about both is that much ling band to a really great band is amazing. When I hear With albums from the likes of Echo and the Bunnymen, The of the natural character of both buildings had been retained Magic and Medicine it brings back really fond memories. Coral, The Zutons and Clinic all recorded under their A- and the studios had been built around these features. frame roof, and producers such as John Leckie, Ian Broudie “I remember one time when The Subways were in, we had and Gordon Raphael taking advantage of the facilities, the I wanted our studio to feel like that and realised that the MTV playing, and 3 or 4 videos in a row were for songs re- Cheapside studio’s ambience has been breeding creativity warehouse we had in Liverpool could be tweaked and tuned corded here. It’s great when you hear records that were done and originality for the past ten years. into a technically excellent facility that also inspired musi- here on the radio or when you’re out and about cal creativity’. The beginnings of Elevator lay with the band ‘The River “I think the studio offers brilliant value for money, and City People’, a successful Liverpool group who recorded “When our deal with Polygram ended we basically ran out we have a track record of commercial success. We have a two albums for EMI, and featured the talents of brothers of money and so started renting out our studio out to lo- very talented house engineer in Darren Jones who has now Tim and Paul Speed. The band had 5 top 40 hits, with their cal bands, The Bunnymen used it and then when The Coral worked on everything from The Lightning Seeds to The cover of the Mammas and Pappas track ‘California Dream- made the landmark record ‘Magic and Medicine’, people Fall. ing’ being the biggest. started to take notice. “The studio was developed by two musicians and we have The group, like many of their musical contemporaries, re- “We did a lot of Coral demos, pretty much all of the Deltas- loads of instruments lying around and are all available hearsed in the old Ministry of Defence building in the city onic records, Shack’s HMS Fable. We started to get a great when you book Elevator, it’s homely, there’s a kitchen, sit- centre. “Every band rehearsed at the Ministry,” explains rep. At one time, every single band who recorded demos ting area, it helps when you need to get away. It’s also very Tim. “The Farm, The Bunnymen, OMD, Frankie Goes to in the studio got a deal, including Mansun, The Coral, The private, you can shut the door and that’s it. Nobody bothers Hollywood, The Teardrop Explodes, I still have the original Zutons, The Bandits. It was almost like a good luck thing, you unless you want them to.” ledger somewhere.” you did demos in Elevator and you got a deal. For more information contact Elevator Studios on: info@eleva- When the building was sold for redevelopment, much of “A lot of the bands that demoed came back and did albums torstudios.com or call 0151 225 0195 Liverpool’s musical talent was left without a place to re- here. It was 6 years of intense productivity and now we’re hearse. looking for the next thing to come through. Paul and Tim managed to rent some space in an old ware- house on Cheapside, setting up the studio equipment they had pulled together from their recording deal. “We had to find somewhere new to work and the warehouse on Cheap- side seemed like a great option” said Tim. “We basically set up a studio in the warehouse which, at the time, was quite an unusual setting. The River City People split up and we started work on a new project, working with an American R and B singer called Jill Jones, We wrote for her, signed a new recording deal with Polygram and used the studio to do some of the recording. That was the start of Elevator recording studio. “The record we did with Jill took us to a lot of different stu- dios. “It was great laugh, we spent a lot of time in New York and London and we went to loads of studios and worked with some brilliant engineers and producers. The experience made me think about how I wanted our studio at Elevator to be different from a lot of the functional, characterless places we had worked in. Many studios of the day had been de- signed by engineers and technicians with little understand- ing of the need to be relaxed and inspired by a space in order to do your best work as a musician. On our travels two Elevator’s control room. PAGE 2 INTRODUCING... IOSIS A veritable wet dream. In the gods of Elevator on Parliament Street lies a veri- studios, Ioisis was an obvious choice when the world cham- poles, is difficult. table wet-dream for many of the male inhabitants of the pion pole dancers gathered together. “Felix and Jenyne But- building. Under the A-frame roof silver poles glisten and terfly,” smiled Anna. “Both were brilliant. You should look For more information call 0151 708 9955 or email: info@ioisis- reflect in the mirrored walls, and every day a small army them up on Youtube, if you haven’t already.