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33 Articles

AUSTRALIAN GUITAR DIGITAL #128

EXCLUSIVE INTERVIEWS A VIDEO INTERVIEW WITH MICHAEL COGGINS Finding his niche initially in the World Music scene, Coggins went on to perform regularly with most of Sydney’s African artists, including Afro Moses (Ghana), Chris Gudu (Zimbabwe), Keyim Ba (Guinea) and Dereb Desalegn (Ethiopia), Yasmin & Fanous (Sudan), and Chosani Afrique (Senegal). Coggins is featured on more than ten albums and has regularly toured Australia with Chris Gudu and Afro Pamoja, both as a support act for visiting international artists Hugh Masekela and Jah Prayzah, and in their own right as a headline act. Since 2014, Coggins has performed more than 100 shows with award-winning jazz/rock group The Subterraneans, and more than 50 shows with Sonic Mayhem Orchestra. In 2017, with the support of the Australia Council, Coggins toured the Northern Territory with Chosani Afrique, performing…

AUSTRALIAN GUITAR DIGITAL #128

How would you describe your style of guitar playing? It’s folky, jazzy, mostly fingerpicking and often sparse. It feels to me like a friend and companion to my singing, rather than a wingman. It has its own character and moods – it can be vulnerable or fierce and it can be minimal or centre-stage. The guitar I play is a three-quarter size parlour guitar and is very responsive. The subtlest change in plucking velocity or touch affects the whole tone and attitude of that moment. I have to treat it with respect, or it speaks up! That’s one of the things I love about playing it, though – using that responsiveness to emphasise different beats or notes, or suggest different emotions. What kind of equipment do you travel with these days, and what…

2018 MELBOURNE GUITAR SHOW SET TO BE BIGGEST YET

The Melbourne Guitar Show, set to rock the Caulfield Racecourse on August 4th and 5th, boasts a gigantic first announcement lineup, including Albert Lee, Daniel Champagne, Jeff Lang, Nick Charles, Bob Spencer, Shannon Bourne, Fiona Boyes, James Ryan, Phil Manning, Nat Allison, Brett Kingman, Alison Ferrier, Cat Canteri, Scott Darlow, Rackett, Van Larkins, Justin Bernasconi and Rohan Stevenson, with more to be announced over the coming weeks. In addition to some killer performances from the artists on this massive lineup, the show will also hold a monster exhibition that will feature electric and acoustic guitars, effects pedals, amps and more state-of-the-art guitar technology, both homegrown and from around the world. Drawing over 5,500 guitar lovers and enthusiasts to last year’s exhibit, the Melbourne Guitar Show offers a hands-on chance to see, hear…

2018 MELBOURNE GUITAR SHOW SET TO BE BIGGEST YET

FROM DUSK TO DAWNING

There’s something fascinating about the way DMA’s compose themselves onstage. Oasis nods are amplified by the lackadaisical gravitas that frontman Tommy O’Dell wields, axemen Johnny Took and Matt Mason jamming to their hearts’ content on either side of him. Their high-stakes Britpop flair is larger than life in every way imaginable, which makes it all the more surprising when our meeting with Took and Mason finds them in a notedly relaxed state. We’re at the cosy Lady Hampshire on the outskirts of their native Sydney, pop-punk covers of early Aughts pop tracks blaring from overhead. The three of us, Took with a seafood chowder in hand and Mason on his fifth plain tonic water, the ultimate rock’n’roll combo, huddle at a table. In a lot of ways, the iconic bar is…

FROM DUSK TO DAWNING

CAN’T GET NO SATISFACTION

Kenny Wayne Shepherd doesn’t cut any corners – as is to be expected from the outspoken blues icon as he nears his third decade in the spotlight. “I think you’ve got to aim high,” he says of his aspirations going into the studio for his most recent full-length offering, Lay It On Down. “You want to achieve greatness. 20 years into my career, my goal is to make the best album I have so far.” Despite all the albums that hit the charts at #1, all the top 10 singles, Grammy nominations and a secure spot as one of his generation’s premiere guitarists, Shepherd won’t allow himself to rest on his laurels. With previous records either paying deep tribute to his traditional blues roots or exploring his considerable skills in rock, 2017’s…

CAN’T GET NO SATISFACTION

COUNTRY BOY AT HEART

If you’ve never witnessed the great Albert Lee standing onstage, signature Ernie Ball Music Man guitar in hand and playing his signature song “Country Boy”, you’re in for a hell of a treat this year. Albert looks like a quiet, unassuming chap with a slight aura of bashfulness – until he lays his hands on that guitar and instantly transforms into an all-shreddin’, all-singin’ machine. Lee’s command of the guitar is almost supernatural, like he’s able to slow down time to blast through blazingly fast, yet sweetly melodic licks that we mere mortals couldn’t even grasp. And yet in person, he goes back to being that shy, sweet guy, about to turn 75 but with no signs of slowing down any time soon, as evidenced by the fact he’ll be playing…

COUNTRY BOY AT HEART

BAK TO THE FUTURE

The Bakmaster, resplendent in glory as he is, is a creature of great imagination with a penchant for a pithy quote. “These days, musicians say less is more,” he clacks his beak gently. “But for me, more is more. I want music to be big, ambitious and all-encompassing.” And who is this Bakmaster? Ask him and he’ll tell you: “Grand observer, guide and oracle to the BaK universe. An interdimensional being hailing from Baklandia – the universe between universes, the space between spaces, the time between time and the void between existence and oblivion.” BaK, then, is the vehicle for the Bakmaster’s musical output. It’s not so much a band (BaK has never performed live) but more an artistic concept. True to his role as a guide, BaK is a means for…

BAK TO THE FUTURE

ARE YOU EXCITABLE?

Def Leppard’s fourth album, Hysteria, has gone through an interesting life. Selling about a bajillion copies in the ‘80s, it was a slick, state-of-the-art record that blended pop melodies with a heavy rock sensibility. Over time, it started to sound quite dated – especially as bands went back to basics in the ‘90s. Then, something strange happened: advances in recording technology meant it was easier to get that pristine, produced, orchestrated sound, and now, Hysteria sounds incredibly current again. Put aside the fact that you’ve heard “Pour Some Sugar On Me” a million times and listen to a track like “Gods Of War” instead, and you’ll notice that Def Leppard were employing production tricks in 1987 that producers use as a matter of routine now – except that Leppard were doing…

ARE YOU EXCITABLE?

IN FROM THE STORM

It’s been quite a while between solo LPs for Aussie singer-songwriter and multi-instrumentalist Xavier Rudd. It’s not like he’s been inactive, though: 2012’s Spirit Bird kept him busy for a while, and in 2015 he released the album Nanna with The United Nations. But now, the time is right for more Xavier Rudd music in the form of his seventh full-length solo release, Storm Boy. “I’m literally just singing about the things that are going on around me,” Rudd says. Environmental work, activism, veganism, spiritualism, surfing, camping trips in the bush and hanging with his family on the beach; everything Rudd does, he pours into songwriting. And since releasing Spirit Bird, he’s also – awww – fallen in love. “It’s definitely a theme on [Storm Boy],” he says. “Life feels strong and…

IN FROM THE STORM

THE NECK IS A BRIDGE TO THE BODY

Kaki King is a visionary guitarist, but more than that, she’s a visionary musician. Literally. Originally known for her percussive acoustic guitar compositions, King’s style has morphed over the years into a more free-flowing, expressive and expansive repertoire presented with a strong visual component. Her current show, The Neck Is A Bridge To The Body, is as much conceptual as it is musical, with digital images projected onto King’s all-white Ovation guitar. Another recent project, Bruises, uses data on King’s daughter’s illness as a jumping-off point for a musical and visual representation of a tough time in her young family’s life. You’re about to play the Adelaide Guitar Festival, which is a really interesting event because it’s not just for guitar geeks, it’s more arts-based and broad. I think I’ve done that festival…

THE NECK IS A BRIDGE TO THE BODY

LUCA BRASIS LONG WAY TO THE TOP

Five years ago, this scribe caught Luca Brasi play a ~2,000,000-decibel set to a crowd of flannel-clad punks in a beatdown dive bar accentuated with the faint scent of middle-age regret. It was far from the kind of setting you’d want to take a first date to, but to stand in a human tsunami – drenched in sweat and dodging wave upon wave of crowd surfers – was the only way to truly appreciate the anti-gaudy and intensely honest brand of noise the Tassie pub-punk powerhouse wore so feverishly on their sleeve… But goddamn, how things have changed. Their latest king hit to the eardrums, Stay, is as honest as anything the Brasi boys have thrown us in days past – if not moreso. It’s dirt-raw and never veers too far…

LUCA BRASIS LONG WAY TO THE TOP

IN SPACE, NO-ONE CAN HEAR YOU SHRED!

What’s the first thing you envision when Bullet For My Valentine pop into your mind? Aside from, “Oh man, I need to bust out my Poison 12-inch again,” you probably conjure up a sweat-and-beer-stained image of a gruff, leather jacketed gang from the alleyways spewing thick, visceral, no-f***s-given rock’n’roll, the likes of which your mum would wish you’d turn the bloody hell down, Jonathan! It’s a school night! But alas, that was the Bullet of yore. Math class is over, you’ve long clocked out of your last shift at Maccas, and the Bridgend blokes are now a shimmering bastion of heavily caffeinated pop-rock. But y’know, a good one. The kind you’d actually want to show your mates, and not just furtively bop along to in your rundown ‘06 Mitsubishi Lancer (it’s…

IN SPACE, NO-ONE CAN HEAR YOU SHRED!

‘64 CUSTOM DELUXE REVERB RRP: $4,999 • fender.com.au Played on countless hit recordings, the mid-’60s Deluxe Reverb is a timeless Fender classic and one of the most indispensable workhorse guitar amps ever made. Moderately powered and producing a full, snappy and crystalline tone, the pedal-friendly ‘64 Custom Deluxe Reverb carries on that legacy with incredible vintage-style tones, thanks to its modified all-tube, handwired AB763 circuitry. Featuring Bright and Normal channels, tube-driven spring reverb and tremolo on both channels, and 20 watts of output power, this is the go-to amp for warm, clean tones and moderate breakup. 2018 LIMITED EDITION FENDER AMERICAN ELITE TELECASTER HSS RRP: $3,599 • fender.com.au This limited edition American Elite Telecaster HSS mixes bleeding-edge performance with timeless visual style. Simply put, it’s the future of workhorse guitar design. It’s a versatile, unique…

Music is built on in equal measure on innovation and inspiration. Every now and then, a player comes along with the perfect balance of the two: the inspiration to do something different, and the ability to pull their vision off. The lucky ones go on to change the way the rest of us approach the instrument. It happened in the ‘50s and ‘60s when thousands of players began throwing out their low E string, shifting the remaining strings down a slot and using a banjo string for the high E, before light-gauge guitar string sets were a thing. It happened when thousands of players realised that turning an amp up to the point of distortion was actually a positive thing, instead of something to be avoided. And it happened when the following players…

HONOURABLE MENTIONS

JOHNNY MARR THE TEXTURALIST GREATEST ACHIEVEMENTS Making the guitar cool for indie kids and making indie cool for guitar kids. Also, putting up with Morrissey. WHERE TO START THIS CHARMING MAN By The Smiths, this is instantly recognisable, ever evolving, and a lesson in originality. BOSS LEVEL HEY ANGEL Taken from Marr’s new album, Call The Comet. Marr’s precisely overbent notes in the lead melody add tension and movement. KIM THAYILL THE ALTERNATOR GREATEST ACHIEVEMENTS Popularising alternate tunings that had previously been more common in acoustic music that didn’t sound like trucks blasting over arctic tundra. WHERE TO START SPOONMAN This riff is simple enough for beginners to pick up pretty quickly, and there’s something physically satisfying about the way it weaves its way down the guitar’s neck. BOSS LEVEL RUSTY CAGE Weird note groupings. Honky fixed wah wah tones. The low E string tuned down to…

HONOURABLE MENTIONS

ALTERNATE UNIVERSE INNOVATORS

REEVES GABRELS GREATEST ACHIEVEMENTS As David Bowie’s right-hand man from the garage punk of Tin Machine through to the hippy dream that was Hours... and everywhere in-between, Gabrels’ impressionistic style is part blazing technique, part abstract sonic terrorism. WHERE TO START BABY UNIVERSAL The post-chorus melody in Tin Machine’s “Baby Universal” is a study in sustain and whammy control. BOSS LEVEL A SMALL PLOT OF LAND The solo to the dark industrial jazz weirdness, it’s full of uncomfortably outside notes and weird, skittering speed-licks. RICKY WILSON GREATEST ACHIEVEMENTS By the time he joined the B-52’s in 1976, he had already created a new style that merged elements of new-wave, post-punk and surf music. He was also a pioneer of odd tunings, often removing a string or two from his guitar altogether and creating weird new tunings with what was left (undoubtedly…

ALTERNATE UNIVERSE INNOVATORS

RECORDING TECHNIQUES WITH MICK GORDON

You might not know his name, but if you’re into video games, odds are Mick Gordon’s music has hammered its way through your headphones at some point in the last few years. This one-man crew from Queensland has composed, produced and performed the soundtracks to some of this generation’s most memorable games, including Prey, Wolfenstein: The New Order and the 2016 reboot of Doom. Yep those destructive, visceral tones that shattered your skull as you eviscerated Hell’s arm with chainsaws, shotguns and the mighty BFG were born in the brain of one guy. And with the Doom reboot’s soundtrack finally seeing a release on vinyl and CD this year, it seemed like the perfect time to learn the stories behind some very memorable music. How did you go about finding sounds and tones…

RECORDING TECHNIQUES WITH MICK GORDON

KRK ROKIT 5 G3 STUDIO MONITORS

If you’ve spent any amount of time in small project studios, you’ve likely come across a pair of KRK Rokits. Their astoundingly low price has made them mainstays for upcoming producers, and the bright yellow branding means they stick out like a sore thumb (but, like, in a totally good way). Since their initial release 25 years ago, the KRK Rokits been one of the highest selling and most consistently popular sets of speakers out there. Not only will you find the monitors in studio environments, but they are finding their way more and more into the DJ booth as well. This is largely due to their famously pronounced low frequency response, which makes them a go-to option for those who want to mix contemporary styles that need the sub to…

KRK ROKIT 5 G3 STUDIO MONITORS

DRUMMING UP MORE BUSINESS

In the last issue, we took a brief look at the evolution of drum sounds through history, and discussed different ways to approach your microphone count, choice and placement. There are, however, countless factors influencing the way drums sound on a recording before the mics even come into the equation. As a home producer, the more of these variables you're aware of, the more chance you’ll have of dealing with issues, chasing tones, guiding musicians and being able to produce an outcome, rather than simply throwing mics up in front of the kit and hoping for the best. Fair warning, this article isn’t actually aimed at drummers; it’s aimed at the people who work with them and want to learn how to tweak the sound at the source. Getting a great…

DRUMMING UP MORE BUSINESS

VICTORY V130 THE SUPER COUNTESS

The amp’s physical build looks elegant and feels dependable. There’s a nice heft to the wood and steel frame, complimented by a classy design and colour scheme. While you certainly couldn’t fit the V130 in the overhead compartment, it still feels relatively compact and lightweight for its product class. Turning it on, players familiar with the original V30 will immediately hear familiar sounds. While the newer amp is overall brighter than its ancestor, it retains the same core tone and gain structure. The clean tone is punchy and assertive. The increased wattage means there’s far more headroom than could be managed on the original Countess, yet a player can still dig into the circuit and find that pleasing tube compression if they desire. Engaging the voice switch adds some extra gain. Sounding…

VICTORY V130 THE SUPER COUNTESS

PAGAN Black Wash EVP In an era of shorter attention spans, there’s something intensely thrilling about a debut that doesn’t let up for its 11-song stretch. Nikki Brumen’s vocals screech with an irrepressible urgency that’s impossible to ignore, yet there’s much more at work for the Melbourne four-piece than just a woman with a brutal scream. Xavier Santilli’s menacing riffs mixed with the stick-in-your-skull rhythms of “Death Before Disco” will have you dancing through fist pumps; in the bassline groove of “Year Of The Dog” and the tightness and punch of “The Greatest Love Songs”, there’s a manic Every Time I Die-esque energy at play. Black Wash is a threatening and potent brew of blackened rock’n’roll – a real beast of its own making. EMILY SWANSON MAYDAY PARADE Sunnyland RISE / BMG Though it never quite hits the…

MIDDLE KIDS Lost Friends INDEPENDENT / UNIVERSAL Lost Friends – the long-awaited debut LP from the Sydney-based indie jammers in Middle Kids – is like the perfect frappuccino in audible form. In place of an espresso shot, there’s a bitterness that comes from the sharp and sombre lyricisms; there’s a creaminess in the dusty reverb and psychedelic warbles that glisten the guitars, and a sweetness in the emphatic and homely vocals that frontwoman Hannah Joy conquers like an absolute goddess (her keywork is also damn near compelling enough to snap anyone out of a coma). Texture is incredibly vital here too: the rough-edged production offers a decent level of icy crunch, while the always exhilarating melodies deliver an ethereal smoothness to round it all out. And much like the perfect frappuccino, its sadly inevitable…

MAKING PRACTISE PERFECT

In this issue, I want to cover something I get asked about a lot: what can you practise to get faster? The answer is not whatyou practise, but howyou practise. Getting faster is easy if you set yourself some goals and stick religiously to a practise routine. Personally, I have found it easiest to practise for 15 minutes per day, first thing in the morning before any distractions get in the way. Because they are technical exercises that don’t require too much thought, just repetition, I find it almost like a form of meditation, and I end up thinking about what I have to get done that day. Crucial to my technique is a place where everything I need to practise with is set up and ready to go. I have an…

MAKING PRACTISE PERFECT

POWER CHORDS AND DYADS

The humble power chord is a staple of heavy metal rhythm guitar. Seriously, nothing feels better than cranking up a Marshall and ‘chunking’ out a low E5! Whilst power chords are by far the most common chords used in metal, the music theory behind them is often overlooked by metal musicians. For this column, rather than discuss flashy ‘shred’ guitar licks, I want to explain how power chords are constructed, along with some different variations. EXERCISE #1 A power chord is built from the first and fifth notes of a major (or natural minor) scale. As such, they are often referred to as ‘root/fifth’ power chords. What makes them interesting is that they don’t contain the crucial third degree (the note that determines whether a chord is of a major or minor…

POWER CHORDS AND DYADS

DJANGO AND THE BLUES: PART ONE

Django Reinhardt still holds a strong place in the line of guitar players who are credited with the instrument’s current status. His fast and beautiful single note runs, emphatic octaves and thrumming chords are arguably yet to be surpassed as the true voice of the guitar. Surprisingly, many of the concepts he used drew from simple one. In this issue, we’ll look at a scale primer for what we might find in a typical Reinhardt improv piece. In the next one, we will apply these ideas in an etude of sorts! EXERCISE #1 The major pentatonic scale is perhaps the sweetest and simplest sound in Western music. Did you know that this scale is simply the major scale with the semitone steps removed? It also lacks a tritone interval. This means there…

DJANGO AND THE BLUES: PART ONE

SOLOING SECRETS: THE HIRAJOSHI SCALE

Scales are funny things. They’re incredibly important to understanding how music works, and they function as great finger exercises too. But at a certain point they can become little cages, if you let them. Sometimes you’ll find the perfect note lurking outside of the scale you’re using for the rest of the song or solo – this is the kind of thinking that most likely led to the flatted fifth being added to the minor pentatonic scale, and leading to the creation of the minor blues scale. Of course, you can only add so many notes to a scale before it simply becomes the chromatic scale, which tends to be where my personal approach to soloing sits right now. At some point, I started to see the guitar as just one…

SOLOING SECRETS: THE HIRAJOSHI SCALE

POSITIVE GRID BIAS MINI GUITAR HEAD

Positive Grid’s range of amp modelling products occupies a unique niche, available in software and hardware versions in everything from smartphone apps to full-on amplifier heads. The company knows it’s on a winner with its BIAS Head and BIAS Rack units, but with the new BIAS Mini Guitar, they’ve managed to pack all that processing power into a unit small enough that you could probably even figure out a way to mount it on a pedalboard if you’re clever. It occupies only half a standard rack space, but will just as happily sit on top of your speaker cabinet or on a desk in your home recording setup. And it only weighs about two kilograms, yet it packs a whopping 300 watts of power. HONEY I SHRUNK THE HEAD Let’s start with the…

POSITIVE GRID BIAS MINI GUITAR HEAD

LINE 6 POWERCAB 112 PLUS

There’s something interesting going on in the guitar world. Digital modellers like the Line 6 Helix, Fractal Audio Axe-Fx and Kemper Profiler are great for low-profile stage setups, so touring bands love them because hauling around a full amp rig ain’t cheap. Just plug your processor into the mixing desk, and you’re off and shredding. But at the higher end of the touring budget, some bands like to still have real speaker cabs onstage for the full ‘rock god’ effect – something to make the pants flap and the pickups feed back when the whole band is wearing in-ear monitors and the stage volume is down to just drums and backing vocals. So those players will use power amps and a range of guitar cabs, defeating the cost benefits of going…

LINE 6 POWERCAB 112 PLUS

SQUIER CONTEMPORARY ACTIVE STRATOCASTER HH

Back in the ‘80s, Fender offered a really fun guitar line called the Contemporary Stratocaster, produced in Japan and offering humbuckers and locking tremolos. They were crazy amounts of fun (although some of the bridges offered were better than others), and they helped to keep Fender relevant in a changing market where everyone wanted ‘Superstrats’ with names like Ibanez, Jackson and Kramer on the headstock. Now, the Contemporary name is back on a range of high-quality Squier Stratocasters and Telecasters, most of which retail at $899 and feature fixed (in the case of the Tele) or non-locking (Strat) bridges, with the exception of the Contemporary Active Stratocaster HH, which has a Floyd Rose tremolo and a pair of specially designed active humbuckers and comes in at an RRP of $999. This isn’t…

SQUIER CONTEMPORARY ACTIVE STRATOCASTER HH

FAITH VENUS NATURAL SERIES

The auditorium guitar is a venerable design that has stood the test of time. It’s been around way longer than the dreadnought has, and while overshadowed for a few decades, the model has seen a revival in the last 20 years or so due to acoustic music making a comeback. Before the 1940s, when the dreadnought really took off, the auditorium (like Martin’s 000 and Gibson’s L-00) was the guitar of choice for tone and projection. In fact, prior to the ‘30s, it was the largest flattop available. ONE IN A MILLION During the 1990s, acoustic music underwent a major resurgence, probably in reaction to the dark days of the synthesised ‘80s. But the guitar of choice was generally a dreadnought, until Clapton and a few other started performing with 000s and…

FAITH VENUS NATURAL SERIES

MORLEY MAN FX CLIFF BURTON FUZZ BOX

The sounds that Metallica bassist Cliff Burton wrung out of his Rickenbacker and Aria basses through his Morley fuzz wah in the band’s early days ignited a revolution. As precise and powerful as Burton’s clean tone was, it was on tracks like “For Whom The Bell Tolls” and “(Anesthesia) Pulling Teeth” that Burton cemented his metal legacy; these were standout bass moments where his tone took on all the aggression of his six-string chums, and then some. Just think of the iconic footage on the Cliff ‘Em All tribute film: Burton really owned those sounds, those effects, those licks and those spotlight moments. CLIFF NOTES Morley released the Cliff Burton Tribute Series Power Fuzz Wah a little while ago, taking inspiration from the ‘70s Power Fuzz Wah that Burton used with Metallica.…

MORLEY MAN FX CLIFF BURTON FUZZ BOX

CORT CLASSIC TC

The case of Cort Guitars is a very interesting one. Over the years, the company has made guitars not just for their own brand, but also as an OEM supplier plenty of other big names such as Ibanez, G&L and Squier. Their Parkwood line of acoustics was eventually spun off into its own brand, and more recently, the company has partnered with luthier Hugh Manson of Manson Guitar Works, perhaps most famously known for the instruments he has crafted for Muse’s Matt Bellamy and Led Zeppelin’s John Paul Jones. Cort has never really tried to establish any one shape as its definitive model, but since Manson came on board with the Matt Bellamy series a few years ago, Manson’s vaguely Tele-ish outline has become a little more closely associated with Cort. They’ve…

CORT CLASSIC TC

With Tropical F*** Storm, the clue is in the name. There’s something distinctly humid, carnal and aggressive about the band, and despite Gareth Liddiard (of The Drones fame) having been at this rock’n’roll game for over 20 years, he’s clearly not expecting this band to be the fortune-making commercial breakthrough. And if A Laughing Death In Meatspace shares a lot of DNA with The Drones thanks to the presence of Liddiard and bassist Fiona Kitschin, it’s DNA in the sense of splatter patterns around a crime scene. That’s largely because of the influence of drummer Lauren Hammell (High Tension) and Harmony vocalist Erica Dunn on guitar, who together push the band in strange directions. If single “You Let My Tyres Down” could plausibly be a Drones song, the same couldn’t be said…

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