Ferg Peterkin

• I have always been interested in sound and how to manipulate it in to some sort of music or noise. I think the first time I heard the sound of a cassette being chewed up by the tape machine turned me on to this. I used to experiment with a twin deck cassette machine making primitive loops by recording records for a second and then pausing the tape and the changing the record or using the radio until I had a weird pattern and bounce it back and forward from tape to tape making it a longer loop on each time bounce by then end it was just a mess, little did I know I would be paid to do that one day. Looking through album covers as a teenager and seeing photos of bands setup in the studio was what interested me in recording. Albums like “Check Your Head” and “Ill Communication” had photos of The Beastie Boys in some small little studios that they had crammed full of instruments and equipment, it always looked like so much fun and It looked like they had created their own space and recorded in it. And that is really something that I have always been interested in, the Idea of building a studio around a project rather than just going to generic purpose built studio. One of my first studio experiences was when I was about 14 a local performance company had set up a temporary studio in my local primary school to record some music for one of their productions. As I was interested in studios I went to help, I walked into the staff room which was now the control room and Ben Hillier turned around and said “see those numbers on that machine over there, write them down as I will need to go back to that point in a bit”, and then turned back around to the mixing desk and carried on with recording a string section. I had no Idea what anything was or what it did, but I still think it was one of the most complicated sessions I have seen. There were cables running all a round the school into different rooms for choirs/strings/drums/guitars/woodwind etc. and since then Ben has become famous for setting up studios in strange places and making great recordings from them. At the same time I was playing bass and drums with friends in some bands just for fun. Other more successful local bands were going to studios at the weekends and making EPs. I was always really jealous as our band never really had the songs or money to record. So instead I was borrowing the 4-track from school, which was in high demand at the time. I would play around with it recording drums and mic’ing up anything that made a sound, it was cool because you could vari-speed it and if you turned the tape over everything would play backwards, I was trying to make music but really just creating a lot of organised noise, I don’t think my music teacher understood what I was doing when I played him the results of the weekends use of a 4-track. I was also having bass lessons with a guy who had his own studio with an 8-track and a W30 sampler so instead of learning bass I wanted to record and sample things so every week we use to record a bass line and then I would sample noises and beats for it and make a track out of it, much more useful for me than learning scales, I think he preferred it to. This led me straight in to buying my own S2000 sampler and Atari computer, So I could make my own music, learn how to use a sequencer and sample my dads old records. After being told at School that I wouldn’t be able to be a sound engineer as I didn’t have the right grades, they said I would be better at fixing aeroplanes, although I still think fixing aeroplanes is more complicated matter! I decided not to be put off and went to college to do a BTEC in performing arts, as there was no sound engineering course at the time, but in performing arts you could do a supplement of recording techniques and music technology. I signed up for both but all the places had been taken on the recording techniques course and the only other course left, which I had to do was dance improvisation, not cool. After leaving college at 17 and working for the summer I moved to London to do a sound engineering course at Alchemea in Angel. Where, amongst other things, I learnt how to use mixing desks and a few mic techniques. I also met a lot people there and a few who I am still work with in the industry today. After this I got a job working as a runner at Mayfair studios where I worked with fellow Miloco engineer Ben Thackeray. I worked all hours, being the receptionist in the day and organising everyone’s food at night tidying up and locking up the studios after everyone was done. I cut my Teeth as an Assistant there with studio owner and engineer John Hudson and if you survived a few sessions with him you were seen fit to do any session. I went on to assist for about 4 years working with the likes of Jim Abbiss, Steven Street, Nigel Godrich, Steve Osbourn, Cenzo Townsend, Mike Hedges, Stewart Levine, Tom Elmhirst and regular client to me Cameron Mcvey, who at the time employed my friends from College, who were making beats for him. They are now Producers in their own right known as the Rural and from time to time I Engineer for them. I left Mayfair in 2004 looking for a new venture, so I went to live in Vancouver on a working holiday I had intentions to work within studios but there is no industry there at all to support a paying job. After casuals jobs and a long holiday I came back to London In 2005 in search of studio work, I ended up at Miloco’s door where we built up a healthy relationship. I was assisting in all the Miloco studios with the occasional engineering gigs and this led me to assist for Ben Hillier (again) on the Charlotte Hatherley album, he asked me to engineer for him in the studio he was putting together in conjunction with Miloco, which is now called the Pool. This was right up my street as it is not a conventional studio at all and I helped Ben build the studio up into what it is now. And I have been his right hand man ever since engineering on projects such as the Maccabees, The Horrors, and Sparkadia. I have also been engineering in the Pool for some other regular clients such as Dave McCraken, and Luke Smith Most recently I have been Engineering with Mute Irregulars signing,Spider and the Flies who are Tomethy Furse and Spider Webb from The Horrors. The EP which is due to be released later this year is an electronic project which we put together at the end of May. Since I engineered for The Horrors album "Strange House" I feel this is going to be an ongoing relationship.
• Recording Engineer, Remixer
• Ferg's passion for pushing the boundaries of modern recording techniques makes him an invaluable addition to any project. Most recently he has worked with producer Ben Hillier as engineer and right-hand man. Recent engineering Includes The Rascals, The Rifles, The Horrors, Shitdisco, The Maccabees and Charlotte Hatherley. Whilst recent production projects include Josh Weller, Spider and The Flies and Remixes for Shit Disco,Tunng and Parka.

• • Ben Hillier

  • I have become Ben's main engineer ever since we worked on The Maccabees album together in July 2006. I have been working with him on project to project pretty much ever since. I helped him create his studio which we now mainly work out of. He has been a great inspiration for me and has never stopped challenging and amazing me with his confident and extremely creative approach to making memorable albums. Collaborations include: The Rascals The Lea Shores Sparkadia The Horrors The Maccabees Scully

  • Dave McCracken

  • I was working with Dave on Charlotte Hatherley's album when he asked me to engineer for him on the Mr Hudson and the Library album, which we recorded two tracks for at Miloco. He never stops to impress me with his ability as a keyboard player and programmer, always looking to make something that much better. I have learnt a lot off him, from programming to production. I worked with Dave more recently on the Natalie Imbruglia album. We have now established a good working relationship and I am engineering for him regularly. Collaborations include: The Riffles Natalie Imbruglia Forever Like Red Mr Hudson and the Library Charlotte Hatherley

  • Luke Smith

  • I first met Luke when I assisted a recording session for his ex-band Clor, but it wasn't until he booked The Pool studio for a Charlotte Hatherley session that I first engineered for him. We hit it off well and he was soon back to do some tracks with Shitdisco, which was when he trusted me to do what I wanted with making interesting sounds, and he welcomed my ideas for the project. We were back at The Pool more recently with Fryars and carried on from where we left off. There are more projects in the pipeline. Collaborations include: Fryars Shitdisco Charlotte Hatherley Theoretical Girl

  • The Rural

  • I have been working with The Rural on and off for over 6 years now. We have been friends for a long time but started to work together when they were working for Cameron Mcvey. I was working in a studio a few doors down and would help them out with bits of engineering every now and then. It was some of my first engineering work and I am glad that they still require my skills today. Collaborations include: Elviin Leon Jean Marie Ravage Turin Brakes Siobhan Donaghy Blur Neneh Cherry

• Forthcoming Album, Sparkadia

  • Eng
  • Arc Recordings
  • www.sparkadia.com

  • • Ben Hillier

    • I have become Ben's main engineer ever since we worked on The Maccabees album together in July 2006. I have been working with him on project to project pretty much ever since. I helped him create his studio which we now mainly work out of. He has been a great inspiration for me and has never stopped challenging and amazing me with his confident and extremely creative approach to making memorable albums. Collaborations include: The Rascals The Lea Shores Sparkadia The Horrors The Maccabees Scully

  Film Soundtrack, Daniel Pemberton

  • Eng
  • Daniel Pemberton

  EP, Fryars

  • Eng
  • Sushi Sushi

  • • Luke Smith

    • I first met Luke when I assisted a recording session for his ex-band Clor, but it wasn't until he booked The Pool studio for a Charlotte Hatherley session that I first engineered for him. We hit it off well and he was soon back to do some tracks with Shitdisco, which was when he trusted me to do what I wanted with making interesting sounds, and he welcomed my ideas for the project. We were back at The Pool more recently with Fryars and carried on from where we left off. There are more projects in the pipeline. Collaborations include: Fryars Shitdisco Charlotte Hatherley Theoretical Girl

  Demo, Scully

  • Prod/Eng
  • Own Label

  Demos, Elviin

  • Eng
  • Virgin
  • A demo recorded with the Rural
  • www.myspace.com/elviin

  • • The Rural

    • I have been working with The Rural on and off for over 6 years now. We have been friends for a long time but started to work together when they were working for Cameron Mcvey. I was working in a studio a few doors down and would help them out with bits of engineering every now and then. It was some of my first engineering work and I am glad that they still require my skills today. Collaborations include: Elviin Leon Jean Marie Ravage Turin Brakes Siobhan Donaghy Blur Neneh Cherry

  Demos / Album, Dr Meaker

  • Mix
  • Own Label

  Rebound Lover, Ali Love

  • Prog
  • ATC
  • www.alilove.co.uk

  Strange House, The Horrors

  • Eng
  • Loog Records
  • Ben Hillier had produced 6 tracks for the album which I had engineered. The album is out now on Loog Records.
  • www.thehorrors.co.uk
  • iTunes
  • • The Guardian-Leonie Cooper
    • 5 out of 5 They dress like extras from Russell Brand: The Musical, all back-combed hair, circulation-inhibiting trousers and shoddy eyeliner, but the Horrors have respectable influences. Count in Fives owes more than just its spiralling punk clatter to 60s garage rockers the Sonics. And their cover of Screaming Lord Sutch's spook-rock masterpiece Jack the Ripper shows ghost-train pop and instrument flagellation can be a thrilling combination. Jim Sclavunos, one of the Bad Seeds, chips in on production duties, and the band bolster their indie credentials by touching on everything from Joe Meek (Thunderclaps) to the B-52s (She Is the New Thing) and the Fall (Excellent Choice)
    • BBC Collective-Stuart Turnbull
    • 4 out of 5 Something wicked this way comes. The loveably bonkers, bouffanted Horrors have carved a niche in being singularly at odds with the prevailing zeitgeist of inoffensive nice-boys-in-guitar-bands. With their retro musical influences emblazoned on their undertaker’s suit sleeves, they manage to be simultaneously clever and dumbass, aggressive and puny, sharp and unintelligible. The schlock-rockin’ Southenders’ horrorshow leads you down a four-decade ghost ride of speedy freakbeat, mascara’d mod’n’roll, glue punk and backcombed gothabilly, and is as fun and full-on as it gets right now. Raise a glass of something nasty then to The Horrors’ Faris Rotter, Tomethy Furse, Joshua Von Grimm, Spider Webb and Coffin Joe
  • • She Is The New Thing
    • iTunes

  • • Ben Hillier

    • I have become Ben's main engineer ever since we worked on The Maccabees album together in July 2006. I have been working with him on project to project pretty much ever since. I helped him create his studio which we now mainly work out of. He has been a great inspiration for me and has never stopped challenging and amazing me with his confident and extremely creative approach to making memorable albums. Collaborations include: The Rascals The Lea Shores Sparkadia The Horrors The Maccabees Scully

  Forthcoming Album Tracks, Forever Like Red

  • Eng
  • Own Label
  • Dave McCracken producing
  • www.foreverlikered.com

  • • Dave McCracken

    • I was working with Dave on Charlotte Hatherley's album when he asked me to engineer for him on the Mr Hudson and the Library album, which we recorded two tracks for at Miloco. He never stops to impress me with his ability as a keyboard player and programmer, always looking to make something that much better. I have learnt a lot off him, from programming to production. I worked with Dave more recently on the Natalie Imbruglia album. We have now established a good working relationship and I am engineering for him regularly. Collaborations include: The Riffles Natalie Imbruglia Forever Like Red Mr Hudson and the Library Charlotte Hatherley

  Demos, Ruthie Phoenix

  • Eng
  • Grand Scheme

  Kingdom of Fear, Shitdisco

  • Eng
  • Fierce Panda
  • I recorded 4 tracks for the Kingdom of Fear album. With Luke Smith Producing.
  • www.myspace.com/shitdisco
  • iTunes
  • • 3D Sex Show
    • iTunes

  • • Luke Smith

    • I first met Luke when I assisted a recording session for his ex-band Clor, but it wasn't until he booked The Pool studio for a Charlotte Hatherley session that I first engineered for him. We hit it off well and he was soon back to do some tracks with Shitdisco, which was when he trusted me to do what I wanted with making interesting sounds, and he welcomed my ideas for the project. We were back at The Pool more recently with Fryars and carried on from where we left off. There are more projects in the pipeline. Collaborations include: Fryars Shitdisco Charlotte Hatherley Theoretical Girl

  Make It Right, Scratch, Beg (Singles), Leon Jean Marie

  • Mix
  • Grand Scheme
  • Debut single for Leon Jean Marie, that I mixed. With The Rural Producing "Make It Right" and Scratch"
  • www.myspace.com/leonjeanmarie
  • • Make it Right
    • Scratch

  • • The Rural

    • I have been working with The Rural on and off for over 6 years now. We have been friends for a long time but started to work together when they were working for Cameron Mcvey. I was working in a studio a few doors down and would help them out with bits of engineering every now and then. It was some of my first engineering work and I am glad that they still require my skills today. Collaborations include: Elviin Leon Jean Marie Ravage Turin Brakes Siobhan Donaghy Blur Neneh Cherry

  Tracks, The Dead 60's

  • Eng
  • Sony BMG
  • www.thedead60s.net

  • • Ben Hillier

    • I have become Ben's main engineer ever since we worked on The Maccabees album together in July 2006. I have been working with him on project to project pretty much ever since. I helped him create his studio which we now mainly work out of. He has been a great inspiration for me and has never stopped challenging and amazing me with his confident and extremely creative approach to making memorable albums. Collaborations include: The Rascals The Lea Shores Sparkadia The Horrors The Maccabees Scully

  Colour It In (Album Tracks), The Maccabees

  • Eng
  • Polydor
  • This was the first project that I had engineered for Ben Hillier, he produced 3 tracks for the album.
  • www.themaccabees.co.uk
  • • Pat Long (NME)
    • South London romantics mine their childhood memories for art-rock gold Pills, speed, acid, crack... chlorine? Bands have been enhanced by all kinds of chemicals over the years on their quest for musical nirvana, but it's probably safe to say that 'Colour It In' is the first album to be conceived under the eye-watering influence of high-grade municipal pool disinfectant. So, as their peers knock back the luminous rave juice inside their glowsticks and men old enough to be their grandparents flit around casually snorting human ashes, mild-mannered south London types The Maccabees are content getting a serious (natural) buzz off naming songs after their favourite swimming baths, Battersea's glamorous Latchmere Leisure Centre and its automated wave machine. This is a unique band, for sure. But a special one? Too artsy to be pop, too polite to rock (one webzine described them, inaccurately, as a cross between Joy Division and Cliff Richard), instead they occupy a place where televised cricket and '80s kids' TV artist Tony Hart are as important as any musical influences. One where cute handmade stop-motion videos and self-designed record sleeves co-exist with riotous shows, where felt tips are as significant as moshpits. Yet, since their first bedroom rehearsals in 2003, this Brighton-based quintet and their idiosyncratic way with a wonky hook and a lyric about steam trains has whipped up an increasingly devoted fanbase - so devoted, in fact, that in 2006, The Maccabees became the first band since the Sex Pistols to be threatened by police with a nationwide live ban after one particularly fervent hometown gig ended in a stage invasion that rapidly turned into a semi-riot. Being Shut Down By The Man aside, they also released five singles, over the course of which we learned that they were a tight-knit bunch (friends since school, when singer Orlando Weeks moved from south London to the coast to study illustration the rest of the band all went with him) with a lovelorn romantic streak a mile wide. What no-one was really ready for was the way that their debut album would update the proud lineage of slightly off-kilter British art-rock (Wire, Blur, Magazine, Futureheads, XTC) with such exhilarating confidence. Much like recent records by Bloc Party or The Rakes, this is an early-twenties crisis album - articulating that particular sense of ennui and struggle for identity that hits between the last day of school and the first proper paycheck. It's about dancing and drinking and getting your heart broken for the first time, and looking back to childhood with a bittersweet wistfulness. Particularly about looking back to childhood: 'Lego' opens with the lines "Mum said no/To Disneyland" and complains how hard it is to build castles with chewed-up Lego bricks, while 'Precious Time' references pre-PlayStation kids' racing game Scalextric. All this nostalgia is either heart-warmingly familiar and sweetly affecting or insufferably twee, depending on your point of view, but Weeks' eye for detail is matched only by his honesty and the size of his heart - 'About Your Dress' details a nightmare first date, in which he is almost sick on the unfortunate object of his affections, while 'O.A.V.I.P' is a tender tribute to his ailing grandmother. Still, even if you do find the lyrics a little grating, fact is, the music's just plain great. It may now be practically a legal requirement for all slightly off-kilter British art-rock bands to rope in former Smiths producer Stephen Street, but here he transforms the coiled-spring guitars and staccato vocals of the band's self-released debut single 'X-Ray', filling them with a genuine sense of tension. He also teases out sly choruses and buries nifty detail such as the harmonica at the start of 'Latchmere' under crisp, post-punk drum rumbling, making each listen a minor revelation. It's not all furrowed-brow guitars and sincere lyrics, though - closing track 'Toothpaste Kisses' is a sweet 1930s-sounding ballad played on a thousand tiny mandolins, while Hawaiian guitars waft gently and crickets rub their knees together in the background to keep time. It's the kind of lovely, heart-shattering little song that makes us even more excited about what their next album's going to be like. Mould-breakers, hopeless romantics, unlikeliest of riot-starters: we should all just be glad that albums like this are being made while the sun's shining outside and we're alive to enjoy them. Long may The Maccabees keep on swimming against the wave machine's tide.
    • MusicOMH-John Murphy
    • 4 out of 5 You'd be forgiven for feeling a slight sense of deja vu when you first encounter the Maccabees. After all, they write jerky, nervy little guitar songs, they're named after a Jewish revolutionary movement and two of them are even called Felix and Orlando for goodness sake. Do we really need another clever-clever art-rock band? Well, in the same way that Hot Chip aren't any old electronica band, or Martha Wainwright isn't your typical female singer/songwriter, the Maccabees are no ordinary indie guitar band. This is a band who open their debut album with the line "Spearmint Rhino has taken our money" and sound genuinely mournful about it. They write a song about a wave machine being installed in their local leisure centre and sing it with such joy and wonder that you want to take the next train down to Latchmere to experience it for yourself. And they have a singer in Orlando Weeks who can turn a simple line like "you stood out like a sore thumb, the most beautiful sore thumb I've ever seen" into a thing of genuine poetry. Yes, after a handful of enthusiastically received singles, it's time for The Maccabees to deliver upon their promise with Colour It In, and they've lived up to the challenge. It's a glorious album, full of hooky melodies and enough emotional moments to raise the goosebumps on the back of your neck. First Love for example, one of those early singles, is a gorgeously romantic anthem, with lyrics full of doubt and twentysomething angst that can't help but be identified with. It starts off hesitantly and tentatively, until Weeks bursts into the chorus of "let's get married and tick the boxes" with an admirable amount of gusto. Yet, as in all relationships, those first moments of doubt remain ("nothing's perfect, but I'm hoping I'll do") and it just endears you to them even more. Then there's Latchmere, probably the only song written in tribute to a local swimming pool, with lines such as "no running, no heavy petting and stay in your lanes" which amazingly doesn't come off as a novelty song. Lego concerns itself with the tribulations of trying to build a house from the famous building blocks when the pieces have been chewed by kids. Yet somehow, it sounds like the most important thing on Earth. About Your Dress could be the best love song of the year, despite the fact that it concerns Orlando Weeks nearly vomiting all over his true love and then stubbing out his cigarette on her dress. Furthermore, songs like Tissue Shoulders, X-Ray and Precious Time are all delivered with the same amount of urgency and heart-stopping excitement that's become The Maccabees' trademark and make this album such a rewarding listen. If there's a criticism to be made, it could be that most of the songs are pretty similar sounding, with that familiar post-punk jangle prevalent throughout the record. Yet this is a band on their first album, still exploring their sound - and the closing track Toothpaste Kisses seems to proactively address these quibbles anyway, being a superbly breezy and low key number, sounding rather like Blur or The Kinks had they been based in Hawaii for a number of years. So yes, in a word we do need The Maccabees. Because they're really bloody good. And that's all that really matters isn't it?
  • • Mary
    • Tissue Shoulders
    • Toothpaste Kisses

  • • Ben Hillier

    • I have become Ben's main engineer ever since we worked on The Maccabees album together in July 2006. I have been working with him on project to project pretty much ever since. I helped him create his studio which we now mainly work out of. He has been a great inspiration for me and has never stopped challenging and amazing me with his confident and extremely creative approach to making memorable albums. Collaborations include: The Rascals The Lea Shores Sparkadia The Horrors The Maccabees Scully

  Firefly, Mr Ed (B-Sides & Japanese Album), Charlotte Hatherley

  • Eng
  • Charlotte Hatherley
  • The first production project for Luke and the first time working with me as an engineer. Recorded for B sides to the Album that I worked on with Ben Hillier and Dave McCraken.
  • www.charlottehatherley.com

  • • Ben Hillier

    • I have become Ben's main engineer ever since we worked on The Maccabees album together in July 2006. I have been working with him on project to project pretty much ever since. I helped him create his studio which we now mainly work out of. He has been a great inspiration for me and has never stopped challenging and amazing me with his confident and extremely creative approach to making memorable albums. Collaborations include: The Rascals The Lea Shores Sparkadia The Horrors The Maccabees Scully

    • Dave McCracken

    • I was working with Dave on Charlotte Hatherley's album when he asked me to engineer for him on the Mr Hudson and the Library album, which we recorded two tracks for at Miloco. He never stops to impress me with his ability as a keyboard player and programmer, always looking to make something that much better. I have learnt a lot off him, from programming to production. I worked with Dave more recently on the Natalie Imbruglia album. We have now established a good working relationship and I am engineering for him regularly. Collaborations include: The Riffles Natalie Imbruglia Forever Like Red Mr Hudson and the Library Charlotte Hatherley

    • Luke Smith

    • I first met Luke when I assisted a recording session for his ex-band Clor, but it wasn't until he booked The Pool studio for a Charlotte Hatherley session that I first engineered for him. We hit it off well and he was soon back to do some tracks with Shitdisco, which was when he trusted me to do what I wanted with making interesting sounds, and he welcomed my ideas for the project. We were back at The Pool more recently with Fryars and carried on from where we left off. There are more projects in the pipeline. Collaborations include: Fryars Shitdisco Charlotte Hatherley Theoretical Girl

    • The Rural

    • I have been working with The Rural on and off for over 6 years now. We have been friends for a long time but started to work together when they were working for Cameron Mcvey. I was working in a studio a few doors down and would help them out with bits of engineering every now and then. It was some of my first engineering work and I am glad that they still require my skills today. Collaborations include: Elviin Leon Jean Marie Ravage Turin Brakes Siobhan Donaghy Blur Neneh Cherry

  Demos, Stephen Fretwell

  • Eng
  • Polydor
  • www.stephenfretwell.com

  • • Ben Hillier

    • I have become Ben's main engineer ever since we worked on The Maccabees album together in July 2006. I have been working with him on project to project pretty much ever since. I helped him create his studio which we now mainly work out of. He has been a great inspiration for me and has never stopped challenging and amazing me with his confident and extremely creative approach to making memorable albums. Collaborations include: The Rascals The Lea Shores Sparkadia The Horrors The Maccabees Scully

    • Dave McCracken

    • I was working with Dave on Charlotte Hatherley's album when he asked me to engineer for him on the Mr Hudson and the Library album, which we recorded two tracks for at Miloco. He never stops to impress me with his ability as a keyboard player and programmer, always looking to make something that much better. I have learnt a lot off him, from programming to production. I worked with Dave more recently on the Natalie Imbruglia album. We have now established a good working relationship and I am engineering for him regularly. Collaborations include: The Riffles Natalie Imbruglia Forever Like Red Mr Hudson and the Library Charlotte Hatherley

  A Tale Of Two Cities (Album Tracks), Mr Hudson and The Library

  • Eng
  • Mercury
  • www.mrhudsonandthelibrary.com

  • • Dave McCracken

    • I was working with Dave on Charlotte Hatherley's album when he asked me to engineer for him on the Mr Hudson and the Library album, which we recorded two tracks for at Miloco. He never stops to impress me with his ability as a keyboard player and programmer, always looking to make something that much better. I have learnt a lot off him, from programming to production. I worked with Dave more recently on the Natalie Imbruglia album. We have now established a good working relationship and I am engineering for him regularly. Collaborations include: The Riffles Natalie Imbruglia Forever Like Red Mr Hudson and the Library Charlotte Hatherley

  Tracks, Voxtrot

  • Eng
  • Playlouder
  • www.voxtrot.net

  • • Ben Hillier

    • I have become Ben's main engineer ever since we worked on The Maccabees album together in July 2006. I have been working with him on project to project pretty much ever since. I helped him create his studio which we now mainly work out of. He has been a great inspiration for me and has never stopped challenging and amazing me with his confident and extremely creative approach to making memorable albums. Collaborations include: The Rascals The Lea Shores Sparkadia The Horrors The Maccabees Scully

  Forthcoming Album, Mattafix

  • Eng/Prod
  • Buddhist Punk
  • www.mattafix.com

  EP, Scully

  • Eng
  • Flawless Management
  • www.scullyofficial.com

  • • Ben Hillier

    • I have become Ben's main engineer ever since we worked on The Maccabees album together in July 2006. I have been working with him on project to project pretty much ever since. I helped him create his studio which we now mainly work out of. He has been a great inspiration for me and has never stopped challenging and amazing me with his confident and extremely creative approach to making memorable albums. Collaborations include: The Rascals The Lea Shores Sparkadia The Horrors The Maccabees Scully

  Writing Sessions, Whitey

  • Eng
  • Pure Groove

  Mix Tape, Plan B

  • Eng/Mix
  • 679
  • A mix cd for Mix Mag

  Single, Alaye/Pluto

  • Mix/Eng/Prog
  • Rubikon

  Demos, Chung King

  • Eng/Prog
  • CEC Management
  • www.chungking.co.uk

  Forthcoming Album, Ravage

  • Mix/Eng
  • Bear Mountain

  • • The Rural

    • I have been working with The Rural on and off for over 6 years now. We have been friends for a long time but started to work together when they were working for Cameron Mcvey. I was working in a studio a few doors down and would help them out with bits of engineering every now and then. It was some of my first engineering work and I am glad that they still require my skills today. Collaborations include: Elviin Leon Jean Marie Ravage Turin Brakes Siobhan Donaghy Blur Neneh Cherry

  Over and Over (Single and Remix), Turin Brakes

  • Mix
  • CMO
  • www.turinbrakes.com

  • • The Rural

    • I have been working with The Rural on and off for over 6 years now. We have been friends for a long time but started to work together when they were working for Cameron Mcvey. I was working in a studio a few doors down and would help them out with bits of engineering every now and then. It was some of my first engineering work and I am glad that they still require my skills today. Collaborations include: Elviin Leon Jean Marie Ravage Turin Brakes Siobhan Donaghy Blur Neneh Cherry

  Mind My Creps (Single), Alaye/Pluto

  • Mix/Eng/Prog
  • Rubikon

  Album Tracks, Run The Road

  • Eng/Prog
  • 679
  • www.runtheroad.com

  Demos, The Others

  • Eng/Prog
  • CEC Management

  Album Tracks, Broken Dolls

  • Logic Prog
  • Southern Fried
  • www.brokendolls.co.uk/site

  Demos, Chris Martin

  • Eng
  • Parlophone

  Demos, Jamelia

  • Eng
  • Parlophone
  • www.jamelia.com

  Demos, Beverley Knight

  • Eng
  • Own Label
  • www.beverleyknight.com

  Album Tracks, Amy Winehouse

  • Eng/Prog
  • Own Label
  • www.amywinehouse.co.uk

  Album Tracks, Siobhan Donaghy

  • Mix/Eng
  • London
  • www.siobhandonaghy.co.uk/index.php

  • • The Rural

    • I have been working with The Rural on and off for over 6 years now. We have been friends for a long time but started to work together when they were working for Cameron Mcvey. I was working in a studio a few doors down and would help them out with bits of engineering every now and then. It was some of my first engineering work and I am glad that they still require my skills today. Collaborations include: Elviin Leon Jean Marie Ravage Turin Brakes Siobhan Donaghy Blur Neneh Cherry

  Brothers and Sisters (Remix), Blur

  • Mix/Eng/Prod
  • CMO Management
  • www.blur.co.uk

  • • The Rural

    • I have been working with The Rural on and off for over 6 years now. We have been friends for a long time but started to work together when they were working for Cameron Mcvey. I was working in a studio a few doors down and would help them out with bits of engineering every now and then. It was some of my first engineering work and I am glad that they still require my skills today. Collaborations include: Elviin Leon Jean Marie Ravage Turin Brakes Siobhan Donaghy Blur Neneh Cherry

  Single, Spider and the Flies

  • Prod/Eng/Mix
  • Mute Irregulars
  • Spider and the Flies are two of The Horrors, Spider Webb and Tomethy Furse. An electronic Side project to the Horrors. I Produced,recorded and mixed It and is out now released on Mute Irregulars
  • www.myspace.com/spiderandtheflies
  • • www.soundsxp.com
    • Spider and The Flies Metallurge Mute Records 7” Rhys and Tomethy from the Horrors indulge their fascination for retro-futurist synth sounds inspired by outer space. ‘Metallurge’ is the more accessible of the two instrumentals; full of electronic rhythms, synth farts and bursts of oscillating noise, it’s like The Normal sprinkled with some Joe Meek production madness (or think of ‘Sheena Is A Parasite’ pushed to breaking point). ‘Desmond Leslie’ is a much fiercer wall of electronic noise, a tribute to the UFO-obsessed 50s composer of musique concrete. Close your eyes and you might be hearing crashing aircraft, overheating computers and angry Daleks all at once. It’s another (intriguing) side to the Horrors and, if that band doesn’t satisfy them, there’s a job as nightmare noise-geeks at the BBC Radiophonic Workshop waiting for them.
  • • Mettallurge A-side
    • Desmond Leslie B-side

  Out of Dreams EP, The Rascals

  • Eng
  • Delta Sonic
  • Ben Hillier Producing, Recorded by me
  • http://www.myspace.com/rascalmusic
  • • Out Of Dreams
    • Rat Catcher

  Forthcoming Album, The Rifles

  • Eng
  • 679
  • Recroded with Dave McCracken
  • www.myspace.com/elviin

  Forthcomming EP, The Courteeners

  • Eng
  • Loog
  • http://www.myspace.com/thecourteeners

  • • Ben Hillier

    • I have become Ben's main engineer ever since we worked on The Maccabees album together in July 2006. I have been working with him on project to project pretty much ever since. I helped him create his studio which we now mainly work out of. He has been a great inspiration for me and has never stopped challenging and amazing me with his confident and extremely creative approach to making memorable albums. Collaborations include: The Rascals The Lea Shores Sparkadia The Horrors The Maccabees Scully

  Acrylic Single, The Courteeners

  • Prod/Eng/mix
  • Loog
  • Produced, Recorded and mixed by me for B-side to "Acrylic" Out now
  • http://www.myspace.com/thecourteeners
  • • Kimberley

  "House Fire" Remix, Shit Disco/F1000

  • Prod/Eng/Mix
  • Fierce Panda
  • A Remix I have done for Shit Disco under the name of F1000 and is released as the B-side to the Single "I Know Kung fu" 7"
  • www.myspace.com/shitdisco
  • • Gigwise
    • I Know Kung Fu’ is a jangled art rock mess bursting with heavy drums and a bass line that drives the song into an indie disco anthem that’ll have skinny jeans shaking all over the country. A band of the moment, Shitdisco aren’t the sort with songs that’ll hang around for years but who cares? When you whack this single onto your stereo you’ll be dancing around so wildly you’ll suffer whiplash! The remixes do just what they’re supposed to- put a different spin on the original tune but don’t stand up to the original. The one to look out for is ‘House Fire’ the Ferg F1000 Peterkin mix that’ll have with its catchy little hooks and banging electro sounds. Released 12/11/07 on Fierce Panda.
    • Losingtoday.com
    • The Ferg F1000 Peterkin mix of ’House Fire’ is a superbly schizoid slice of unhinged art groove that’s one part Fire Engines, one part Gang of Four and several parts fucking bonkers and mental with it loveliness that’s frankly so irresistibly toe tapping it should come complete with its own restraining order. In a perfect world a monster hit. www.fiercepanda.co.uk
  • • House Fire F1000 Remix

  Forthcomming Single, Josh Weller

  • Prod/Eng/Mix
  • Yodel
  • My first real production project I was originally asked to produce the A-side "Circus" which turned out well, so I was asked to Produce the B-side as well "Heathrow"
  • http://www.myspace.com/joshweller
  • • JOSH WELLER-Circus

  "Bullets" F1000 Remix, Tunng/F1000

  • Prod/Prog/Eng
  • Full Time Hobby
  • I was asked to do a remix as a contender for a remix EP that they are putting out.
  • • Bullets F1000 Remix

  Demos, The Horrors

  • Eng
  • Loog
  • www.thehorrors.co.uk

  Forthcomming Album, The Lea Shores

  • Eng
  • Emporer Management

  • • Ben Hillier

    • I have become Ben's main engineer ever since we worked on The Maccabees album together in July 2006. I have been working with him on project to project pretty much ever since. I helped him create his studio which we now mainly work out of. He has been a great inspiration for me and has never stopped challenging and amazing me with his confident and extremely creative approach to making memorable albums. Collaborations include: The Rascals The Lea Shores Sparkadia The Horrors The Maccabees Scully

  Disco Dancer-F1000 Remix, Parka/F1000

  • Prod/Prog/Mix
  • Jeepster
  • A Remix that I've done under the name of F1000 for a band called Parka, which will be out on Jeepster recordings
  • • Disco Dancer/F1000 Remix

  Demos, The Daze

  • Eng
  • Own Label

  Cover “Shaddaz”, The Horrors

  • Eng/Mix
  • Loog

  Forthcoming Album, The Rascals

  • Eng
  • Delta Sonic

  • • Ben Hillier

    • I have become Ben's main engineer ever since we worked on The Maccabees album together in July 2006. I have been working with him on project to project pretty much ever since. I helped him create his studio which we now mainly work out of. He has been a great inspiration for me and has never stopped challenging and amazing me with his confident and extremely creative approach to making memorable albums. Collaborations include: The Rascals The Lea Shores Sparkadia The Horrors The Maccabees Scully

  Forthcoming Album, Star Sailor

  • Eng
  • EMI

  Forthcoming EP, Theoretical Girl

  • Eng
  • XL
  • www.myspace.com/iamtheoreticalgirl

  • • Luke Smith

    • I first met Luke when I assisted a recording session for his ex-band Clor, but it wasn't until he booked The Pool studio for a Charlotte Hatherley session that I first engineered for him. We hit it off well and he was soon back to do some tracks with Shitdisco, which was when he trusted me to do what I wanted with making interesting sounds, and he welcomed my ideas for the project. We were back at The Pool more recently with Fryars and carried on from where we left off. There are more projects in the pipeline. Collaborations include: Fryars Shitdisco Charlotte Hatherley Theoretical Girl

  Forthcoming Album, The Rgbs

  • Eng
  • Own Label
  • www.myspace.com/thergbs

  Pretty Girls-Single, Josh Weller

  • Prod/Eng/Mix
  • Yodel
  • www.myspace.com/joshweller
  • • www.thisisfakediy.co.uk
    • Rating: 4 out of 5 Ah, poor old Josh, he's no fan of the pretty girls; those shower of bitches all lie and cheat, and feel no remorse for their ghastly behaviour whatsoever. Still, our Josh is no mug - he knows the cute girls with the fringes and the Bat For Lashes headbands are a sucker for a boy with a guitar, so he's done the only right and proper thing, and hitched his angry, bitter and sweeping generalisations about life's hotties on to the sort of sweet and chipper tune that makes them all swoon. It's also the sort of ditty that teeters dangerously on the edge of a big bin marked 'Nizlopi-esque rubbish', but there's something about Weller's delivery that nudges it away from such a grisly descent - he sort of sounds like a teenage Ed Harcourt. B-side 'Circus' is all tumbling barroom piano and galloping percussion, and it further develops that image of Weller as a kid brother of Ed. 'Pretty Girls' is released as as single through Yodel on 10th March 2008. Adam Carroll-Smith
  • • Pretty Girls A-side
    • Cirus B-side

  Forthcoming Tracks, Scully

  • Prod/Mix/Playing Drums
  • Own Lable
  • Produced and Recorded and Played on. Scully asked me to help them out as they wanted to take a new direction in their music
  • www.myspace.com/scullyofficial
  • • Total Excess-Monitor Mix

  Suspicious Wit -EP, The Rascals

  • Eng
  • Deltasonic
  • Ben Hillier Producing, Recorded by me
  • http://www.deltasonic.com/
  • • Suspicious Wit
    • So It Repeats

  • • Ben Hillier

    • I have become Ben's main engineer ever since we worked on The Maccabees album together in July 2006. I have been working with him on project to project pretty much ever since. I helped him create his studio which we now mainly work out of. He has been a great inspiration for me and has never stopped challenging and amazing me with his confident and extremely creative approach to making memorable albums. Collaborations include: The Rascals The Lea Shores Sparkadia The Horrors The Maccabees Scully

  Cover “Son Of A Preacher Man”, KT Tunstall

  • Eng
  • Polydor

  • • The Rural

    • I have been working with The Rural on and off for over 6 years now. We have been friends for a long time but started to work together when they were working for Cameron Mcvey. I was working in a studio a few doors down and would help them out with bits of engineering every now and then. It was some of my first engineering work and I am glad that they still require my skills today. Collaborations include: Elviin Leon Jean Marie Ravage Turin Brakes Siobhan Donaghy Blur Neneh Cherry

  Forthcoming EP, Josephine Oneyama

  • Eng
  • Island

  • • Ben Hillier

    • I have become Ben's main engineer ever since we worked on The Maccabees album together in July 2006. I have been working with him on project to project pretty much ever since. I helped him create his studio which we now mainly work out of. He has been a great inspiration for me and has never stopped challenging and amazing me with his confident and extremely creative approach to making memorable albums. Collaborations include: The Rascals The Lea Shores Sparkadia The Horrors The Maccabees Scully

    • Dave McCracken

    • I was working with Dave on Charlotte Hatherley's album when he asked me to engineer for him on the Mr Hudson and the Library album, which we recorded two tracks for at Miloco. He never stops to impress me with his ability as a keyboard player and programmer, always looking to make something that much better. I have learnt a lot off him, from programming to production. I worked with Dave more recently on the Natalie Imbruglia album. We have now established a good working relationship and I am engineering for him regularly. Collaborations include: The Riffles Natalie Imbruglia Forever Like Red Mr Hudson and the Library Charlotte Hatherley

  Cover “Somewhere In My Heart”, The Mystery Jets

  • Eng
  • 679 Recordings

  Forthcoming Album Tracks, Micachu

  • Eng
  • Accidental Recordings

  Forcoming Single, S.C.U.M

  • Eng/Mix
  • 1234 Records
• • Fergs Staff Profile
  • Fergs Myspace
  • ferg discog

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