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Welcome To Corridor 13

Today’s post is about a recent album that is so fantastic I had to write about it. It is by an indie artist who I adore - Lemonade Kid.

‘Welcome To Corridor 13′ is the result of a year’s work by Lemonade Kid. The attention to detail clearly shows in this collection if finely crafted and performed indie-electro-pop songs.

A handful of free album download codes are available at the bottom of this post - be quick!

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The album is at home in the collections of pop music lovers, indie fans and those who like electronic music equally. All of Lemonade Kid’s releases so far have been fantastic, but with this album he has surpassed himself by creating a masterpiece that is so clear and vibrant it excites me every time I listen.

Lemonade Kid is the brain-child of musician and songwriter Dominic Lack from Shrewsbury in the middle-ish of England. I spoke to him about his musical roots and creating this album (which was not an easy road for those involved) and found that his formative years watching ‘Top Of The Pops’ on the BBC as a young child and forming bands whilst at school mirrored my own youth and musical journey. Here is what he said…

“My earliest memories are of music. I can remember sitting in my mum and dads front room listening to ‘Sgt Peppers’ with big old headphones on. I remember listening to ‘Lucy In The Sky With Diamonds’ and closing my eyes imagining colours. Then dancing on the table to Gary Glitter on Top Of The Pops. Those were the days! I can remember writing songs and making up bands from the age of about 6. As a youngster I drifted in and out of loving music. Adam and the Ants were one of the first bands I fell in love with. I suppose I always liked bands that had a degree of flamboyance and odd front men! It wasn’t really until the mid eighties indie scene when I was a teenager that I started being in little bands at school and so on. I fell in love with The Smiths and the C86 indie pop scene that showed that anyone could make music and that the music was more important than the success I guess. Bands like The House Of Love and The Stone Roses were a big influence on lyrics and also blending in different styles. Then the acid house scene was a big thing and it was at this time I got really into the 60’s Psychedelic scene. I guess these things remain a big influence to this day. Being in bands around this time gave a real sense of identity but also demonstrated the difficulty of being in a group with 4 other blokes and the various inter band relationships that would appear…

Music has always been a release and an escape from every day life. I guess everyone needs some kind of release whether it be poetry , art or kicking a football about on a Sunday morning! With music of course there is a wonderful release of words and expression through music also.
Back then of course it was difficult to get your music heard. In bands in the 90’s we had tapes pressed and sold them at gigs and so on to other people who were into 'that kind of music’. The wonderful thing now of course is the internet where you can easily release music and have people listen all around the world. It’s also easy to send music to some of the amazing DJ’s that are out there. So now there are people out there who listen and you don’t have to send out loads of tapes in Jiffy bags!

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After recording and releasing 4 EPs in 2016 in my mind I knew that I wanted to make an album in 2017. The EPs gave me a great opportunity to try different things and I always think sometimes it’s possible to be more experimental on a 4 track EP than on an album weirdly!
January saw the 'Program Electricity’ EP finished off and then released in February so then it was onto the album. Lots of songs were forming at this point. Recording though 2016 had helped exercise the creative muscle so by this year it was quite strong. The songs were beginning to form. Some of the songs that made the final cut were being written at this stage. One of the first was 'Glowworm’ though at this time it was a sprawling 10 minute epic! It was always called 'Glowworm’ though no words existed st this point.
Some of the songs started as lyrics, some as music, some as melodies. Some would be written on piano, some would come from experimenting with sounds some would come out of nowhere during a walk or a car journey. It varies from song to song. 'Zeroed’ started as a little song I’d sing with my 3 year old son. Often if he liked it it was worth pursuing! 'Apple’ started as just the chorus which again I sang to my son and he enjoyed. I always envisaged it as a sort of groovy acoustic song but it grew into something else!
I knew that I wanted other people involved on the album. Or course I had my faithful guitarist Jarrod as ever but also wanted some more musicians and more voices. As work stated properly in March I got in touch with poet ForgottenBee about creating and reading a poem for an instrumental song I had. She worked quickly and came back with something incredible. She really pushed the boundaries on this one. We had worked together on a couple of tracks before but this was the most collaborative we had been. It was probably one of those lucky accidents that recording throws up.
'Good Feeling’ had been written during the filming of the video for 'synthesizer’ (from Program Electricity) as a feel good song. I realised I didn’t really have any when applying for adverts and so on so set out to make one. I also at this point contacted German DJ Alice Peters-Burns who has an incredible voice. So that was set in motion. Just needed a backing vocalist…
Which was easier said then done. Despite meeting with two singers neither worked out. As we entered summer it looked like the album might be shelved. The vision I had for the album and the sounds in my head needed a second voice. I discussed with Jarrod just doing a couple of EP’s while we continued searching. 'Kill The Future’ EP was released as a stop gap on Election Day as a kind of weird multi media protest song but that wasn’t what I wanted to be doing. By this time there were about 20 songs written for the album. The album that wasn’t going to happen. Then Emma got in touch…

When I first met Emma it was basically at our first recording session. We had chatted online and so on but it was still a nerve wracking experience (I’m sure for her too). Once she started to sing the nerves soon disappeared and I realised that she was a great singer and also the kind of person that was going to be easy to work with. Someone to bounce ideas off of. I can honestly say without Emma the album wouldn’t have happened so I am very grateful to her. We first worked on 'Peacefully’ and it was only about 8 weeks after that that we finished the album. So she came in late but still her influence on the album is there for all to hear. We co wrote 'Margins’ (about the first date of two psychiatrists) writing a verse each. Basing each verse on our own recurring dream. Hopefully this will be the first of many Lack/Woodhouse compositions.
I always knew I wanted a guest vocalist on one song (at one point it may have been a few guest vocalists for the album to see the light of day though that would’ve been tricky). 'Corridors’ was a song we wrote in a band in the mid nineties (and the only song not written this year). Two of the members of the band have since died so it was something I wanted to record as we never did then. The moment I put down my vocals I released that it was made for a duet. The only person I ever thought of for this song was Damsel In The Dollhouse. The amazing Nina Dove. Such a wonderful artist , great singer and enigmatic figure. She was brilliant on the song. Professional and a joy to work with. She knew exactly what I wanted and I was happy to let her do whatever she wanted also!

I always wanted a particular sound for the album. Heavy in chorus, delay, reverb and phaser though it was definitely toned down along the way . Probably only the last two songs retain this vision but it’s probably all the better for it.
Time is always the enemy as an indie recording artist. Especially for me as my guitarist ,Jarrod, lives 100 miles away. Generally during our recording sessions we’d work on the ones he picked up on easily.
'Slowsand’ only was the last song written. Literally a couple of weeks before mixing was due to start. But it was made very quickly over the course of only a few days. It felt fresh and alive so felt like a good single and it conjured up images in the mind.
A lot of my lyrics are quite metaphorical. 'Slowsand’ ,for instance, while being about a down on his luck cowboy in the fictional town of Slowsand who falls into quicksand is very much a metaphor for life sucking you down. 'Never Going Home Again’ is about a couple of youngsters who escape from a children’s home in the 1970’s. No metaphor needed. 'Glowworm’ could be about the children’s toy or it could be a metaphor. In fact it’s probably more frightening if it isn’t metaphorical!
Mixing began at the start of September and it was almost a joy to mix. It was strange because it felt like I didn’t know the songs that well so they all sound dead fresh. As I mixed throughout the month I became more familiar with them and it was quite an easy and enjoyable task. The track listing changed on a daily basis or hourly basis sometimes.
The mastering by Aniofades was amazing in the end. Was a bit of a bumpy ride at times and I probably gave him a hard time (which isn’t like me at all) but I knew how I wanted it to sound. The difficulty with listening to masters is after a while the brain turns to mush and you need fresh ears. But by that point the ears are anything but fresh. It was only a couple of days after the final masters were delivered that it clicked and I realised what a great job he had done.
We recorded 30 songs for the album. This is quite amazing. Most of the tracks that didn’t make the album are almost finished. We’re finishing them off and they’ll all see the light of day somehow. Some ,although very good songs, just didn’t fit with the album in the end. One or two of them might even make the next one!
I didn’t have an album title until a couple of weeks before release. Nothing fitted. I knew when I found the title that it was the one. It fitted just right. And then the cover. That took a while and eventually we used the picture that Damsel In The Dollhouse supplied for Corridors. Again it just fitted.
It’s been a wonderful experience. A tough experience at times as these things should be I suppose. The great work done by Jarrod , Emma , Nina , Bee and Alice helped make this something I am so very proud of. It’s not going to top the charts or anything but if only a few people 'get it’ then I’m happy. It’s meant to be listened to as an album that was always the point of making one so some people will I guess and some people won’t but hey…..that’s bands for ya!”

I cannot list my favourite tracks as with all good albums, they change each time I listen. However, ‘Good Feeling’ is certainly the most catchy, upbeat pop song you will ever hear; ‘Corridors’ I find myself humming and singing around the house and ‘Harmonise Without’ is simply sublime, and very different as it contains the spoken word vocal of poet ForgottenBee.

Definitely you should check out this album. It is available pretty much everywhere, but here are some links:

Listen on Spotify

Listen on Deezer

Listen On AppleMusic

Download & Stream from Bandcamp

Lemonade Kid on Twitter

Lemonade Kid on Facebook

 

Lemonade Kid has kindly given me a handful of free album download codes for you. Be fast though!

Visit lemonadekid.bandcamp.com/yum and use 1 of the following codes:

vhzz-j2fr
6q2z-kdjl
urlk-6h8e
lvsk-kjbu
f2bd-kkxt

Don't forget to use the sharing buttons below or leave a comment. Thank you

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Thanks Jayber. Enjoy!

Nice reading and... i grabbed one of the codes... a great LP!

Glad you liked it!

Very cool piece! Cheers for that from your friendly neighbourhood Lemonade Kid



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