A rite of passage for musicians with a hunger to progress their ideas. A collaborative creative melting pot. A place to make memories with your mates and, for some, a lifeline. From Rockfield to the Brownswood Basement and the recent rise of Digital Holdings, the UK hosts a number of iconic music studios that have moved on from simply being a place to lay down some tracks. Adding to this is a steadily growing number of studios in Nottingham. Eileen Pegg takes a look at the role these spaces play for the creative community, speaking with established hubs in the city and those launched over the past ten turbulent months...
“I feel there are three or four major cities for music and art in the UK and while Notts probably isn’t one of them at the moment, with a bit of help and a push from the right people we could definitely be up there.” Lukas Cole runs club night and festival Wigflex, and is arguably one of those ‘right people’ to propel the city towards its potential. Other names might be Wigflex co-director and Fly Girl founder, Avarni Bilan; club operator Ian Gardiner; community project producer Tricia Gardiner and I’m Not From London label head, Will Robinson. Last November they joined forces, recognising a “shared passion to nurture the creative arts in Nottingham” to launch the three-storey, 7,000 square foot arts space, Fisher Gate Point.
This move adds to the growing number of studios in Nottingham, with many overcoming the obvious challenges and opening up over the past 10 months. After speaking with five of them - Community Recording Studios (CRS), Fisher Gate Point (FGP) [home to Wigflex Circle of Light Studios], Mount Street Studios, Summerhouse Recording Studios and XVX Studios, each identifies with its own unique story, sound and mission. However, an impressive determination unites them all - each spokesperson also being a musician themselves, doggedly believing in the benefits of creative practice going way beyond surface value.
Getting the green light
Max Loelz is a rapper and producer, with a ‘one to watch’ title to be taken seriously. His attention to detail stands out, whether in his group or solo projects or his label and event series, XVX. It’s clear though that the past few months have been a case of stopping and refreshing for the artist, with sights set firmly on the future - his streaming platforms were wiped clean so his new releases, Stuck and Laps in a Dinger, could shine through. Then in October 2020, after using the quiet of the months before to put his long-term dreams into action, XVX Studios was opened. Getting the green light from the Government for recording studios to stay open for professional use in November 2020 was a sign to Max that he’d made the right move. “This to me was a confirmation that...someone, somewhere was beginning to see the effects of people not being able to access some of the creative spaces in their local vicinity.” Max said.
Most conversations echoed Max’s sentiment that “people in power [need to] understand the fundamental connections between the creative industry and what it is to this country.” Lukas noted creative spaces are, “vital for people to be able to express themselves and claw back any last bit of sanity this past year has sucked out of them,” adding that “As a sector we’ve been pretty much left out to dry... mental health is deteriorating and suicides are on the rise.”
Naming The Musicians Union and UK Music Producers Guild specifically, Charlie Kirby, founder at Mount Street Studios reflects, “It was very reassuring to know that people in higher places genuinely fought extremely hard for recording studios to remain open [in November].” Launched in 2018, Mount Street was already established in the city but over 2020 it was “surprisingly, an incredible year.” Instagram teasers show Harleighblu and Franky Bones rehearsing, while Claude Money and J Littles showed off the welcoming interior it prides itself on, filming their Joyce EP video in the facilities.
Core community
The community element is an overarching theme from all studios, yet shown in different ways. Housing Youth Music project Circle of Light, two music labels and offering a home to City Beat Radio, FGP is a community in itself. Max confirms “how many conversations we have had with local artists about one day having a space where we can all collaborate” before opening XVX studios.
St Ann’s-based Community Recording Studios (CRS) launched in 1991 with this element at its core. Founded by Trevor Rose as a place to “help young people develop their skills and get into work,” it fuses together the role of youth club with the arts, helped by funding from institutions including Royal Foundation, with alumni such as Young T & Bugsey. I speak with singer / songwriter and tutor Ajay Henry. His role has grown to include ‘project manager’, helping the studios to navigate through the pandemic.
“[Back in March] we just had to close. Everything we do is in the community, we’re very face to face so it was a massive change,” he tells me. “Musically, more people now can produce and make stuff at home. But if you’re isolated and there’s only you working on something...no place for feedback or connections it can be a negative thing. We want people to come through us to connect.”
Hopefully there will also be some shift towards fairer pay for streaming music online which will benefit everyone
Playing such a vital part of not only encouraging artistic practice but, for some, an intrinsic supportive network, it was imperative that an alternative solution was found. Following an adjustment period its virtual schedule now includes Zoom hip-hop classes with local rapper Jah Digga, offering rap workshops as well as mixing and production sessions.
Social media has been big for the group. After running-up in an Instagram challenge, student Crossy now receives national radio airplay. Feed posts give an insight into CRS’ deeper community ties, advertising mentoring and support sessions. “It’s been very important [to keep going],” he continues, “we have lots of people reaching out.”
Alongside its musical and arts training support, CRS has been helping in other ways. Last year care packages were distributed and fitness classes were hosted in partnership with Sports England. Growth is due to launch in Feb 2021, now online, helping 16 - 30 year olds get into work and build confidence. ”We have SO many projects,’ Ajay says, his enthusiasm glowing, before sharing details of a larger-scale mentoring project set for the next two years.
Future plans
Overall at FGP this ethos is echoed. When not filming Bru-C music videos or making music in the Wigflex “synth den” with Tom Son Of Philip, in summer the Circle of Light Studios was a hub for 18 - 25 year olds. This February, co-founder Will Robinson of I’m Not From London will complete his project for young, deaf adults, Be Scene and Heard. Separately, Max notes that XVX has been able to take on interns looking to sharpen their production and mastering skills.
“Circle Of Light is a testament to how big an impact having someone believe in you can make on a young person's life,” Will said, of his business partner Tricia Gardener. “We're all helping each other and advising each other where we can. Ian (Gardner) has a phrase "two plus two equals five" I think that kind of sums up how we all benefit from working together. It's a lovely way to operate.”
An expansion project for CRS is planned for 2021, with FGP also undertaking a series of renovations. For some, however, planning for the future is more challenging. Nestled between FGP and CRS is SOAN (Stuck On A Name), renowned in the world of DIY bands. Though re-opening briefly in July, in October a fundraiser was launched to help ensure “there is a studio for your band to come back to once the restrictions have been lifted.” A social media post confirmed the cultural role such spaces play for those who use them, “Boulty’s opening SOAN gave us all a place to practice, record and play. A place to rage at mind blowing gigs, party or just feel that sense of community, of belonging.”
Undoubtedly, many musicians will have been left with no choice but to record from home this year - whether due to health, financial or logistical reasons. Bridging that gap is Summerhouse Recording Studios; a purpose-designed space in Cameron Worne’s Bakersfield home, which opened to the public last May. Drumming for a decade, Cameron’s experience in recording grew following demand from musician mates who didn’t have the budget for a commercial space.
“I think studios will always play a role in getting professional quality recordings out to the masses, though a lot of people have recently been getting into recording themselves from home as it's the only viable option for some,” he tells me. “No doubt the whole music industry will be affected with a lot of demand and little budget left to try and revive the events side of the music industry which has been the biggest income for artists for many years. Hopefully there will also be some shift towards fairer pay for streaming music online which will benefit everyone.”
Keeping the door open
Though these studios have been open, none are operating at normal levels. Charlie and Cameron tell me about their remote mixing and mastering services. Some aren't taking bookings just yet. For those who are, numbers are limited and monitored at in-studio sessions, with risk assessments and cleaning procedures as standard.
Even with these limitations, the pay off is large. Charlie says, “We have been told...that us being open has had a huge positive impact on [clients] as musicians. It has helped a lot of them mentally - being allowed to get out of the house and come into a safe environment, but also allowing themselves to express their music and work on new material.” And the work that’s been produced as a result is breathtaking.
Back in September Wigflex and Multimodal teamed up to give us Fleximodal, a club-alternative streaming platform, with an exhibition-based iteration planned for this year. Lukas is pleased to have completed an album close to his heart, picking up where was left off after tunes were stolen previously. Mount Street produced a steady stream of audiobooks, adverts, podcasts and live sessions, while XVX has been recording with artists including Mads, Mannimon, Lemzly Dale and Riddla, with commercial projects for large clothing and car brands due soon. Summerhouse worked on local band Soft Girls & Boys Club’s debut album, as well as Alice Robbins’ new single, while CRS students continue to turn industry heads.
“I am glad we can keep the ball rolling on this city's breakthrough year,” Max says of his hopes for Nottingham’s future. “I mean, Spotify even had to make a playlist called 'We Are Nottingham' (where you'll find a couple tracks we have produced and released). We...just need to stay positive and stay consistent as the ball is our court.”
This feeling that Nottingham has much more to offer was overwhelming, with each studio playing their part in nurturing the seedlings of talent that are ready to bloom. Lukas said, “The city... has been growing quietly but confidently over the past few years. There's loads of cool stuff brewing that’s going to explode when all this passes over and it's really exciting to be a part of it all.” Charlie adds, “Everyone here is so talented, and it's down to their sheer determination and drive. If we can help contribute to that, whether it be helping the artists with their sound, introducing them to someone we may know; we are just doing our little bit for this fantastic scene.”
Connect with these studios online at:
crsstudionotts.co.uk | @crsstudionotts
fishergatepoint.com| @fishergatepoint
mountstreetstudios.co.uk | @mountstreetstudios
summerhouserecordingstudios.co.uk | @summerhouserecordingstudios
@xvx.studios
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