Believe it or Not, That's Not Barry Chuckle.

Hi, my name is Ben and I've eaten fifteen pens at one sitting before.

I am very much feeling the Christmas love right now. Don't get me wrong, it's still very early to be actually celebrating Christmas, but it's never too early to start singing Christmas songs in front of around 10,000 people. That's what I was doing at the weekend - being part of the entertainment for Barnstaple's Christmas lights switch-on. I was part of a group of some very talented local musicians, who first got together last year to play for the 2010 switch-on, and had the best time doing it.

I want to be right here for Christmas

I'm lucky enough that not only is everyone involved in the group a very talented artist, but as a collection we get on so well; we've gone from being thrust together in the name of Yuletide to being friends, collaborators and, at times, emotional support groups to each other through the rest of the year. Being a part of this Christmas Crew represents everything I love about playing music - everything from taking a shitty Christmas song that I scribbled on a napkin a few years ago to the heady heights of being sung by a town-full of people, to mixing creative juices with other humans and seeing what comes out, to the near-psychic communication of performing live with long-time collaborators on stage.

Sure, the amount of time it takes to practice fifteen or so songs that aren't exactly ingrained in your memory (for eleven months of the year, at least) and the effort to stay afloat in the maelstrom of different artists' rehearsal times can get a busy boy down at times, but there's no question that it's worth it for that very short hour on stage.

Jackie and Ellie, two of the girls from our Christmas supergroup, are hopefully going to be collaborating on a song for the album, too - the song's currently called Go Team and it's loosely about a night we spent drinking and talking a lot of shit. I guess their input and eternally talented performances will mean that at least one song on the album is worth listening to :)

With the lights switch-on done, I can not only devote more time to finishing writing the album (six-and-a-half songs done so far), but also to road-testing the new songs at open mic nights and late-night shopping performances coming up (I'll probably be posting a load of guff as each one comes up so you won't miss it, don't worry).

It's nice that the stars seem to have aligned between not having to worry about too many serious things for a while (other than, of course, the everyday, mundane dramas) and feeling the creative urge off the back of being so festive.

It's also nice not to have to remember G Em A7 D7 for at least another few months. EDIT: Thanks a lot, Ellie. OK, starting from... now.

- Ben x

How Many Songs Make Five?

Hi, my name is Ben and I shoot lasers from my left eye (but not the right one).

Just to keep you posted, progress on the new album is going very well indeed - five songs have kind of coalesced into being ready to perform live, so with those five the real work starts now. Playing them over and over again in different ways - with a guitar and singing, playing them to an audience and singing (which is absolutely different), singing them out loud to a recorded guitar demo at home, singing them in my head with an MP3 player on the bus - helps me to figure out where the vocal melody eventually needs to end up. Playing songs so much before eventually going into the studio to record also starts to highlight where there's room for ad lib improvisation in guitar parts or vocal melodies, or even lyrics; it's much better to start to hear that stuff before recording and let some of it make it onto the record, rather than kicking yourself a week after mastering for only just noticing how a final chorus could have worked much better.

I think I promised you in an earlier post that I'd start naming the songs I'd written for ease of reference, so here goes: Big Enough & Ugly Enough is the song that Joe and I worked on before; Those Aren't Ants, Those Are Elephants is a kind of more subdued song at the moment (but who knows how it'll end up); In Remembrance of Fun is the result of a couple of different musical and lyrical ideas that I had floating around that work well when kind of mashed together; Nothing Wasted, Nothing Gained is going to be the album-closer, I think - it's a bit nostalgic, but in a totally awesome way; I'm Uneasy, Eleanor came together in about two days and is the newest of the songs - one of those tunes that practically wrote itself and I think it did a good job (you can see a very rough video of it here, if you like).

All of those titles are subject to change, I guess - and I might get a bit more secretive about album details now that I'm starting to move into the second half of the songwriting process, but who knows - I might get drunk and post naked performances of all of them one night - you can never be sure.

Anyhows, I'm looking forward to taking these five new songs for a test drive live - let's see how they go down.

YOU ARE UPDATE!

- Ben

In an Interesting Twist, Ben Talks About Himself on Video!

Hi, my name is Ben and I can recite all the words to Boom! Shake The Room.

The last few days have been fairly productive in Benji One Lung Land (although it's not great that that kind of contracts to 'Bland'). Firstly, I did an interview for Arts and Entertainment North Devon, a great website that's kind of a central gathering place for everything (as the name would suggest) arty or entertaining in North Devon. Talli Black wrote a very kind review of Ben Dies At The End for the website a little while back and I was asked to be the inaugural interviewee for a new video series they're going to host on the site.

No photo set is complete without me with my eyes closed.

I think the slot has the working title 'Three Minutes With...' and I look forward to seeing it take off with musicians who have much more interesting things to say (and much better hair) than me. If you like me talking a lot about me and a little bit about time travel, you can watch the interview here.

As well as being dashingly handsome on camera, I've broken the back of a couple of the songs for the album over the last couple of days. One, which I think will probably be the album closer, came together with lyrics really quickly and naturally - I sense it's going to be an effort to record, but hey - what hasn't; another is a more mellow track, about not feeling you have to be ordinary - the only problem with it so far is that it's a bastard to play and sing at the same time. That's not the end of the world, but it does slow down the writing process a little bit... when I can make the transition from 'writing' the song to just 'practicing' it, that won't be a problem any more. I hope. There're also a few lyrics floating around for a song that I've pretty much finished the music for; I feel like I'm finding my pace with the writing process, so things should hopefully move on quite consistently from here.

I'm off to lock myself away in Kent for a couple of weeks from this weekend, doing real-non-musical-life stuff. Supposed to be doing non-musical stuff, but in actual fact I should be able to spend a fair amount of time writing - I guess we'll see how that works out when I get back.

YOU ARE UPDATE!

- Ben

The Halley's Touch

Hi, my name is Ben and I once punched a tiger square in the face.

Last night, I joined forces with Joe and showed him some of the song ideas for the new album. Working with Joe on music has become second nature now, like how walking or breathing stops being novel after the first thousand-or-so repetitions, but in the same way that running or the occasional gasp can feel liberating and exciting, these collaborations never stop being fresh and satisfying.

One song (I should start giving these songs names, to avoid being so necessarily vague with them) in particular twisted and thrashed its way into a new shape, one that I feel is probably fairly close to where it's going to set. Plugging in the Les Paul and strapping Joe to a small bass combo (which has two settings - 'dirt' and 'slut') transformed what was a light-hearted, bouncing song into something closer to an old-school punk monstrosity, complete with a range of mid-90s Rancid walking bass. To be fair, the only proper way to describe it currently is that it's definitely a Benji One Lung track, just pulled around a bit by Halley's Apparition (yes, yes, the astute among you will notice that that's precisely what it is).

I also had a lyrical breakthrough for the same song, which stands at this point at the 'one verse down' stage - the new-fangled chorus is going to need something pretty special, lyrics-wise, to make the most of a song I'm growing to really like; it might take a bit of time to get perfect, but for this album, I have that time.

Also, this happened:

 

Yeah, that's me and Luke sitting in the back of an articulated lorry, singing Theme From Chicken On The Run to a bunch of about ten people, sitting in the rain. We were soundchecking my set (which was eventually to even heavier rain and even fewer people) ... (It was the rain that made them leave and go inside) and needed a song that we could both bust out at short, unpraticed notice. Let me get this straight - I have a lot of love and pride for what we did for One Day Down. I just don't know why that song is sticking around to haunt me.

Oh, wait - because it's awesome.

YOU ARE UPDATE!

- Ben

Get ON IT!

Hi, my name's Ben and I haven't ever seen the back of my own head.

Just a quick one - I'm thinking of starting a competition soon, to win CDs and stuff. You'll have to be on the mailing list to be involved, so head over either here or here and get on it and hear more details as... well, as I decide them.

YOU ARE UPDATE!

- Ben

More writing

Hi, my name is Ben and I occasionally pick up FM radio through my teeth.

Over the last couple of days I've started the very first steps of working on a new album, so I've spent a bit of time just tidying up the ole' online presence in preparation. We've been using Reverbnation for Halley's Apparition for a while (it's a great site for bands, you should check it out) and now I've finally gotten round to setting one up for my solo stuff - it brings together what's going on on various different other sites, as well as having a very neat merch system.

Because of that, you can now visit the very cool Official Benji One Lung Store to pick up guys' and girls' tees, as well as (finally) physical copies of both Too Much Like A Person and Ben Dies At The End - I've rejiggered the artwork for the two releases and I would probably recommend that you buy both for your collection. Now (and a t-shirt).

So, now that the long, beautiful writing process has begun again, I should be updating all of these fancy bloggermajigs more regularly over the next few weeks. So far - one song musically written and structured (I think), one song's chorus (music and lyrics) and maybe riff written, one other idea for a main theme of a song.

YOU ARE UPDATE.

- Ben

Ben Dies At The End

Hi, my name is Ben and I actually have six fingers on my left hand.

I wanted to tell you all about the EP I've just released, while it's still fresh, sparkling new and before it gets too long and this becomes 'hey, remember that awesome EP I did that one time?'

Ben Dies At The End is, I guess, the follow-up to 2010's Too Much Like A Person. Rare as this is among young musicians, I'm still totally happy with everything that everyone involved achieved with that album. Of course, there are things that, if I were to record it now, I'd tweak, molest and generally bring in line with how I've changed as a person - that's how it's always going to be though. The nice thing is that songs kind of don't stop wanting to be written, so rather than get all anal about what I've done in the past, I can bring out arrangent, production and sound ideas (that I now mentally add to the last album) in fresh, new musical pastures.

These new pastures turned out to be Ben Dies At The End. What was originally going to be one song, recorded as a kind of one-off, rapidly swelled to being two new full-band tracks (one of the blessings/curses of having several musical friends and a fairly good idea of the talent they possess), an acoustic song written as an afterthought and a new version of a song from Too Much Like A Person.

The first track, You're A Taboo, was the song I was originally going to release on its own, as a very basic acoustic song. Now, I'm a terrible sucker for imaginary drums - whatever the song is, whoever I'm writing it for, I mentally add at least a little groove, if not a full-on percussive masterpiece. Unfortunately, I can't play drums for shit (I really cannot); fortunately, I know a man who can. I've played with Frank Rawle in bands a few years back, as well as on various different smaller projects since then and the dude can make a song work just by being involved in it.With him and my brother, Joe, we shuffled the arrangement of the original song around and made it work even better as a 'bigger' track. We also switched a couple of lyrics around to try and properly get across what the song's about.

I had the thought that you can see a lot of people - some of whom are friends, family, whatever - completely change who they are where sex is involved and we never normally see this other side of people that we might know inside-out otherwise. You're A Taboo is kind of about not seeing the characters that people you know play when they're in that sort of situation; whether it be when a dude finds out that a girl he's known for a long time poses nude, or when we find ourselves in situations where the boundaries of who we normally are break down.

Down In The Inbetween came together from a few smaller musical ideas that I'd had floating around for a while. The break, in particular, was going to be the basis of a completely separate song until I found myself playing it here, where it fit perfectly. Another song that Joe, Frank and I kicked around a bit from its acoustic origins (before Luke Bond and I kicked it some more in the studio), it's arranged with drums and bass in mind, but still holds on to a slightly more simple, stripped-back feel, which I'm really digging at the moment.

I realised that this song and You're A Taboo feature people's names directly. This wasn't a completely conscious effort, it just seemed to work - in You're A Taboo, I think it emphasises that we're talking about actual people that we actually know; Down In The Inbetween isn't about a personal experience of mine and it felt too vague in the first lyric drafts to keep referring to 'him' and 'he'.

What the song is about is a relationship coming to an end with the guy feeling upset, but actually getting over it and coming out positively on the other side. In the song, I think John kind of gets fed up with people expecting him to be broken in two, when he feels like he's dealt with everything pretty healthily.

Once it became clear that, because of how much studio time we needed to record the first two tracks (and how it worked out across the days), we were going to have time to flesh out the EP with a couple of acoustic tracks, I sat down with Joe and we wrote most of this in about an hour. For reasons obvious to people who know us, we often work almost telepathically when we write music together. We don't normally get a lot of time to actually write in the same room when we're putting together songs for other projects (mainly because Joe kind of has other awesome things going on), so we usually come to each other with pretty well-formed ideas. My favourite songs that we've written together, though, have been the ones where we've worked together from the word go; What Did I Say Then is no exception.

We wrote the lyrics as a sort of apology to anyone who's had to endure talking to us when we've switched off halfway through the conversation: it's not at all because we're not interested, or can't be bothered (which is why we kick ourselves when we realise it's been happening) - we just start thinking of other things and rapidly drift away. We're sorry, please don't take it personally.

The last song on Ben Dies At The End is called My Head Hurts - despite the EP's artwork, above. The song first appeared on Too Much Like A Person and was originally written as an 'interesting' track to break up the album; it turned out to gather quite a cult following and even to me, became one of my favourite songs. After playing it live a few times, the acoustic version I was playing started to take on a life of its own - it's a bit shorter, finishing a bit more naturally than if I'd have forced in the (awesome) ending from the original and the chord changes are shifted around slightly. I also restrained myself from recording all of the lyrics from the version Joe and I drunkenly created (including a lot more references to teeth), but one change did get through to the final version.

My Head Hurts is an only partly fictitious internal monolgue, composited from the wreck of a lot of different trains of thought colliding while I was writing it. I'm not quite sure what it is about this song that I like so much (or that have made other, very kind, people say the same), but I really do.

So that's kind of it - I hope the new blog has served its purpose by giving a little more insight into the background of the new EP. I know I like hearing a bit about where music I like came from, so I'm hoping that there are some of you out there who do, too. I'm also hoping that most of my future posts will be a little bit shorter, but what are you going to do? You can listen to Ben Dies At The End in the player at the top of the page, or here.

-  Ben