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dEEP sET UK

 
dEEP sET UK

A unique mixture of the old and the new - simultaneously combining a contemporary style with a twist of classic rock, while in places harking back to the glory

4 songs
656 plays
2
Picture for song 'Moving On' by artist 'dEEP sET UK'

Moving On

The bleakness described by the narrator describes a feeling of worthlessness and the nonsense he perceives in the world around him.
3
Picture for song 'Yellow Moon' by artist 'dEEP sET UK'

Yellow Moon

'Yellow Moon' is a guitar pop tune, reminiscent of T-Rex or ZZ Top. The singer has grown and become more aware of true value, and now reflects on his life in a positive way.
4
Picture for song 'Where Are You?' by artist 'dEEP sET UK'

Where Are You?

A ghostly melody, engendering feelings of the narrator glancing up from the depth of despair.
dEEP sET is me.
Band/artist history
I was born and raised in Essex, England. My sisters both learned to play various musical instruments, but I was never interested in any of that. I first learned how to play the guitar at the University of Kent at Canterbury when somebody showed me the chords for "Wild Thing", which I would play incessantly. I was pleased to meet Chip Taylor who wrote the song some years later, and even more pleased when I discovered that his rendition was just as rough as mine always was. Being too lazy to learn anything anybody else wrote, I quickly began to write my own songs. After developing these skills during student years, I joined a Surrey-based punk band called Sensucht. On the day I met Pete the bass player, he told me that we had a gig in six days' time. He also informed me that the band had no drummer or vocalist. With six days' frantic practising, a stand-in singer and a borrowed drummer who got the tempo from the count-in and stopped when told, I played my first gig. Shortly after that, we found ourselves a drummer and singer and recorded our first Demo "Until The Next Time" in Trinity Studios, Knaphill. The demo was very rough, partly due to Sensucht members' attempts to talk to the girls rehearsing dance routines in the next studio (these girls went on to become the Spice Girls), and partly due to the ineptitude of their manager (acting as our sound engineer). After a few gigs, we realised we needed a better demo so we recorded a five track demo in two studios. Three tracks were recorded at Lunar Studios in Cranleigh and two were recorded at Surrey University. With a name change to Sin Cynics we were ready to face the world. We played a lot of local venues in Surrey and some clubs in London, including the 100 Club, Orange Club, Rock Garden and Kings Head, Fulham. The best gigs we ever did were in Camden for the North London Motorcycle Action Group (MAG). They all just got very drunk and went wild. The second MAG gig was a Christmas party. We were asked to play for an hour and a half so we spent weeks re-learning old songs and building up the repertoire. We thought we'd be ok if we didn't hurry between songs and we played a few twice. When we got there we found out that the DJ they had booked as a support act hadn't turned up so could we play for three hours?! We thought we'd give it a go, so we played the same material all night and nobody minded at all. I think they were all too drunk to notice. The band was great fun, and I still miss it, but as time went on I wanted to push the boundaries and try something other than punk. I was writing a lot of songs at the time and only a few of them were suitable for the band. My interest became more focussed on my home recording around the time that some of the other band members' interests were also straying. Our drummer was in several bands, a couple of them doing quite well. The bass player was going through problems at home and the singer was re-aquainting himself with an old addiction. The last gig we did was an acoustic session for a local radio show. The singer was late. We were giving him instructions over the airwaves for about twenty minutes before he actually turned up, but we knocked out a few good tunes in the time we had left. I called a band meeting at a local pub a couple of weeks later to announce my departure. The singer never turned up. I heard some time later that he was in prison, although I never found out what it was for. The drummer went on to better things, and the bass player went on to have lots of children. I lost touch with them all unfortunately. After a few brief periods in a few other bands I gave up on that side of my music. I became focussed on my solo material, recorded on my Tascam 4-Track. I sent it around some record companies but never received more than words of encouragement at best. Most places never even responded, even after chasing. I found that quite hard to take and stopped playing music altogether for a while. In the meantime I got married, changed jobs, moved across the country to Devon and had two lovely sons. In 2004 I bought a laptop computer and some music software. I added a midi keyboard and bought a new mixer and microphone later. Due to family commitments at home my music has been mostly made in my lunch breaks. I'm no keyboard player so the creation of music is very laborious but also rewarding. I decided to adopt a "band" name of Deep Set - an idea I had some years ago but didn't use. I like the word "deep" and "SET" are my initials. How clever. After a little more than two years of effort I have come up with the album "Outside Looking In". I do hope that you get the chance to listen to it and that you will find something of value in it. I have no plans to put any effort into promoting it to record companies due to past experience, although if you have any interest in that area or contacts in the industry I will be delighted to hear from you.
Have you performed in front of an audience?
No. Used to but not these days.
Your musical influences
Pink Floyd, Bruce Springsteen, Gorillaz, The Beta Band, Radiohead
What equipment do you use?
Computer: Acer Ferrari 3000 Notebook Mixer: Behringer UB1002 Headphones: AKG K66 Microphones: Marshall MXL 2001, Marshall MXL 603, Audio Technica MB2000L Keyboard: M-Audio E-Keys 37 USB MIDI Guitars: Yamaha RGZ Custom, Gibson Les Paul Studio, Fender DG-18CE Electro-Acoustic Guitar Effects: Digitech RP-10 Misc: Lee Oscar Harmonica Software: Sonar Home Studio 4 XL, Audacity 1.2.4
Anything else?
The cover of "oUTSIDE lOOKING iN", the debut album from dEEP sET with the two shades of blue and the staring eyes promises an experience of darkness and intrigue. When you open the case and listen to the music you will not be disappointed. OUTSIDE lOOKING iN is a unique mixture of the old and the new - simultaneously combining a contemporary style with a twist of classic rock, while in places harking back to the glory days of the concept album. The blend of the traditional pop song ethic with the sound of classic synths and track-to-track styling in the same vein as Pink Floyd have been adopted at the core of this album. The classic rock sound of "Yellow Moon" is complemented with the contemporary trip-hop styling of "Down To You Again" and "Around the World". Other highlights such as "Can't We Ever Get Along", "Moving On" and "You" find themselves somewhere between the two extremes. This album heralds a welcome return for the album track. How many albums nowadays are released with every song as a potential hit single? It's understandable why record producers like this to be the case but some might say that they miss the valuable scene-setting quality that album tracks hold. oUTSIDE lOOKING iN has several album tracks which help to create a mood an introduce the listener to the songs to follow. A welcome return indeed! The album opens with the seven minute epic "Can't We Ever Get Along?", a fine example of the mixing of contemporary and classic sounds . A smooth flowing song, taking its time to find its way, but intoxicating in its developing sound. The listener is treated to a complete introduction to the subject matter of the album - the futility of the narrator's relationship with his partner. Summed up by the title "Down To You Again", the second song expands this initial storyline and explains the frustration felt by the narrator for his dysfunctional relationship. "Moving On", third track in line introduces the theme for much of the central body of the album. The bleakness described by the narrator extends beyond the relationship explored in the first two songs and describes a feeling of worthlessness and the nonsense he perceives in the world around him. The music adds to the feeling of futurelessness and the title "Moving On" conveys the feel of a need to take flight and find something worthwhile elsewhere. "I Follow, You Lead" is the first instrumental track, bringing in a wonderfully rich guitar sound, illustrating anger and frustration. The telephonised voiced "Please hang up and try again" at the end of the track is an illustration of the narrator's slip from his reality. Following on, "I Just Don't Love You" is a pure pop song with a funk feel to it. The lyrics tell a story of a decision to walk out on a relationship, while the music lifts the mood and prepares the listener for what is to come! "I Lead, You Follow" is a faster and purer version of its partner from two tracks earlier. With sparse vocals and a thumping bassline, the listener is persuaded of the strong-willed decisiveness of the narrator. A belief that he has found a new beginning and no longer needs the support of another to be happy. The darkness introduced earlier is expored in the next two instrumental tracks. The first, "Descent" conveys a mood of detachment. The precise synchronisation of the overdriven rhythm guitar with the bassline impart an atmosphere of confusion and uncertainty. Has the narrator gone too far? "Stasis" expands on this by drawing the listener into a dark world which could equally be under water or in outer space. Nothing but the eerie whale noises, a simple bass rhythm rising and fading, and the narrator's own breathing to guide the way, this track is the bleakest and the lowest that the album gets. The opening bars of "Where Are You?" bring a ghostly melody, engendering feelings of the narrator glancing up from the depth of despair, looking for something of his former life to grasp onto. The lyrics are very simple, but reading between the lines a myriad of questions are being asked. What have I done? Where Am I? Did I do the right thing? How can I get back? "Outside Looking In" eloquently describes the feeling of having retreated too far from the world. The narrator has been away from everything that he knows for so long that he no longer knows how to return. The feeling of the track is once again, very foreboding, but there is an element of light and hopefulness. At this point the listener becomes aware that the narrator has realised what he has lost and while he does not know how to regain it, he yearns to find a way. "Around The World" lightens the mood considerably. The narrator describes the experience of having run away and realised that what he really needed was actually what he had been running from. The tragic surprise in this song is that when he returns he finds that his goal is no longer there. Track twelve is simply called "You". It's simplest interpretation is as a love song. It's another seven minute song which makes no hurry to tell its story, but pleasingly grows as it plays out. The synthesisers intertwine perfectly with the violins. The drums and bass plod along, initially reminiscent of "Albatross" by Fleetwood Mac. As the song develops it builds, and the electric guitar brings it to a crescendo, of which any movie soundtrack would be proud. The listener is left asking questions. Did he find her? Is it about somebody new? Is it a dream, a yearning for what might have been? "Yellow Moon" is a guitar pop tune, reminiscent of T-Rex or ZZ Top. The singer has grown and become more aware of true value, and now reflects on his life in a positive way. Whatever happened with the relationship which dominates the earlier part of the album, the listener is reassured that the narrator has achieved closure on his past and looks to the future with optimism and hope. "Re:Call" is an opportunity for the listener to reflect on what they have just heard. The chance to relive the moods that they have lived through over the previous fifty one minutes. Melodies from all the other tracks on the album are hauntingly intertwined. The track finishes with the sound of a voice recorded backwards, bringing the album to a sudden and abrupt end. After a brief period of silence, an epilogue track gently begins. This, the only cover version on the album, is taken from Bruce Springsteen's 1978 "Darkness on the Edge of Town Album". The song "Factory" is given a new sound, more sparse and empty sounding than the original. The emotions present in the song are conveyed in a raw and simple way. The narrator's distanced take on the things that people do to get by leave the listener with something to think about as the final bars fade away. oUTSIDE lOOKING in takes the listener on a journey. As the album ends, you are left with the feeling that you have heard a well-crafted tale of something we can all relate to - the uncertainty of humanity and emotions. If only all albums were as carefully structured!
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