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 Everett True

“I have few regrets. Writing for Fasterlouder is one of them.”

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I was intrigued to read the following words from QLD journalist Sophie Benjamin on her blog

“I was 19 years old when I started my journalism degree. I wanted desperately to improve my writing.  It was a motive that naive, combined with my love of music that led me to sign up as a contributor for Fasterlouder and then-fledgling music blog whothehell.net. It’s three years on.  I still blog for whothehell, and deeply  regret writing for Fasterlouder.”

Folk in town always raise a couple of eyebrows whenever Faster Louder (“Australia’s leading independent live music hub”) is mentioned. It’s like the obnoxious younger brother of  the more serene Mess And Noise that no one likes to talk about. Copy appears to go unedited, and quality control is lacking: but I’m not sure that any of this matters. It reminds me a little of Drowned In Sound when it first started out: a free-for-all of a music community where the focus is more on the forum and the quantity, rather than the quality, of content. Mind you, the same can be said about Who The Hell… although Who The Hell focuses mainly on Australian acts (and has no forum).

Faster Louder and Mess And Noise are owned by the same company, and while Faster Louder appear to be more profitable, it’s Mess And Noise who pay their contributors. Faster Louder don’t. This leads to live reviews like the following:

“Are you guys nervous to be here too”? Cat Power is jittery about her debut at Sydney’s Opera House. From the countless times she urges the mix-desk to turn things up, down and back again, to her stiff fingers that spend most of the night trying to furrow their way out of the spotlight and into the unyielding pockets of her very tight jeans – Cat Power is more than a little uncomfortable.

Nice to know Chan was wearing very tight jeans.

I was intrigued as to why Sophie felt so differently about the two sites, so I thought I’d send her a few questions.

The opinions expressed in the answers below are solely Sophie’s.  First, another quote from the original blog.

“My beef is that Fasterlouder churns through unpaid contributors in the name of being ‘Australia’s leading independent live music hub’, without giving these writers any guidance as to how they could improve their writing and exploiting the bands they write about by requesting door spots for their writers.  My work was rarely proof-read, let alone edited.  At least my first dozen posts on whothehell were edited and checked by editor Jerry Soer before I was given my own log-in.”

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43 Responses to “I have few regrets. Writing for Fasterlouder is one of them.”

  1. Tim Footman February 16, 2011 at 3:08 pm

    “If I’m making something worthwhile, the exposure will come, that’s the beauty of this voracious ecosystem we call the internet. People race against each other to share the new best thing. It’s a wonderful perpetuating machine into which one only needs to drop a half-decent piece of work and suddenly the resultant ripples multiply themselves.”

    Oh, if only. Maybe a decade ago this was the case, and the occasional delicious meme still makes the rounds. But with the sheer volume of STUFF out there, punters rarely go beyond the first 10 things that Google turns up. Which benefits sites that are good at SEO and those that nurture trolls and recycle celebutard gossip. Throw capitalism into the web and you were always going to get an oligopoly eventually, in this case one that caters to morons.

    Most people come to my blog looking for naked pics of Charlotte Rampling.

  2. Darragh Murray February 16, 2011 at 3:17 pm

    Tim – do you have naked pictures of Charlotte Rampling?

  3. Everett True February 16, 2011 at 3:19 pm

    You’ve got naked photos of Charlotte Rampling?! You’re not showing up in my Google Image search, that’s for sure. Oh fuck… now I’m going to be in trouble with the QUT computer techs.

  4. Matt February 16, 2011 at 3:31 pm

    Very interesting read. I disagree with the final point, though (quite vehemently, actually). I think we’ve long past the point of accessible exposure and network avalanches. In fact, I’d say the ease of accessing exposure over the past few years has led to it being almost more inaccessible than it ever has been.

    Case in point: Brisbane drum’n’bass act Speaker Wrath. They’ve been going for over ten years and have been tied into every major social media outlet for musicians over the course of that time (and in a community that is infinitely more online-savvy and interconnected than most other communities). Furthermore, they’re among the greatest producers of their kind in the country. Yet – how many people outside of Brisbane (or, hell, in Brisbane) have heard of them?

    I think to assume that the internet will inevitably allow good ideas to acquire good audiences is to reveal a fundamental lack of perspective and understanding regarding the scope of the internet and the nature of its communities. The internet has made the potential for communication and exposure greater but it has also made consolidation and isolation infinitely more natural. A person could spend their entire life on the internet and never even know about a one-time major search engine like Dogpile. What hope does one good idea have?

    All that’s quite tangential, though. Otherwise, I agree with practically everything you said and I’m quite glad I was never involved with FasterLouder. My early writing for an edited magazine was bad enough. I can’t imagine what I would have been like without a leash 😛

  5. Everett True February 16, 2011 at 3:52 pm

    What he says here.

    I think to assume that the internet will inevitably allow good ideas to acquire good audiences is to reveal a fundamental lack of perspective and understanding regarding the scope of the internet and the nature of its communities.

  6. Everett True February 16, 2011 at 3:58 pm

    (from Facebook)

    Tone Constandi
    That is a great read. If one just assumes/notes that FL is for teething wannabe journalists, sometimes intelligent prose can be admired. But the proverbial grain of salt applies for the majority of smitten groupie entries interlaced with commments on fashion over substance.

    Paul ‘Nazz’ Nassari
    Everett, you are something special

    Rene Schaefer
    Fair enough. I think it’s up to the writer to choose the outlet where their outpourings will appear and make sure they reach their intended audience. I think the problem arises when writers think of what they do as a ‘career path’. Fuck that – do it because you believe in what you have to say.

    Shaun Prescott
    The problem is that most people who write for these sites are in it for press passes, and don’t give a shit about submitting interesting copy.

    Everett True
    Oddly, few if any folk at CB have asked for press passes. Maybe it’s cos they know the entire Australian music industry hates me.

    Paul ‘Nazz’ Nassari
    Telling the truth as you see it or asking the right questions will do that Mr True. Bless you

    Bianca Rosemarie de Valentino
    Well said Sophie! I contributed to FL in 2005 and my work was never checked… I even posted some interviews I did in a blog/profile kinda section they used to have for your profile thing and was sent correspondence by FL asking me if it was my work? and to remind me to only publish my own work!!–I took offense and stopped contributing and reading… FL is a joke!

  7. Juan February 16, 2011 at 4:09 pm


    I congratulate you not only your honesty, but the conviction to stand up to FasterLouder/Sound Alliance and say what many of their contributors have been thinking for far too long. And thank god you wrote this denunciation before I had to, I was one keystroke away from it just last Friday.

    I’ve been a regular writer on FL for around 5 years, and at no point have they ever offered to pay me, even when I asked about it repeatedly in the wake of longer, more detailed features. This is apparently non-negotiable, regardless of the writer’s experience or the calibre/length of their work.

    Incidentally, I was recently approached to write for The Vine. Without any questions, they showed me their rates for freelancers, which while not anywhere near those of print, are nonetheless monetary. Ironically, Sound Alliance are making money faster than they can count it, unlike Fairfax, who everyone knows are losing it hand over fist. Anybody who’s visited the any of their sites (with the exception of M+N, which I believe still retains some of its original tastefulness) will notice that the biggest features are the ridiculously large ads which smash the user from every angle and rake in revenue.

    The fault here lies not with the editors, who work long hours and are grossly underpaid themselves. Rather, it’s with the ruthlessly exploitative owners, the moneymen of Sound Alliance who know that content is king and yet have absolutely no problem fucking over the writers who make their site what it is. You only have to look at Elmo Keep, easily one of the best music writers in this country, for an example. Her recent interview with Metallica, for instance, would have pulled in shitloads of pageviews and made Sound Alliance very very wealthy and she saw not a cent of it. That’s the model, and it’s even worse than street press; everything goes in and nothing goes out.

    This ‘exposure’ line is bullshit and it has to stop. Not all of us are 17 year old kids going to our first gig ever; many of us are trying to eke out a living. Web is the most dynamic medium there is and it’s also growing the fastest in terms of revenue. FasterLouder cannot expect to work on 1999 principles (“Oh, nobody pays for web content”, “But you’re getting free tickets!”) and retain any semblance of credibility. It cheapens their product and ultimately, it belittles and insults their only asset; the writers.

  8. Crystle Fleper February 16, 2011 at 4:27 pm

    I’d appreciate not being personally tagged in this article when I was not the editor at the time period Sophie is referring to.

  9. ed February 16, 2011 at 4:47 pm

    “FasterLouder cannot expect to work on 1999 principles (“Oh, nobody pays for web content”, “But you’re getting free tickets!”)”. One nice thing I will say about FL is that it’s total evil genius. Because it can do this, because there are “17 year old kids” who are lined up to take your place if you decide you don’t want to write or photograph for them anymore. That’s why you and other contributors are still there after 5 years, because if you don’t do it someone will take the “opportunity”.

    You’re right when you say content is king but for a website working off page hit revenue it’s quantity of content, not quality of content. You could write the best review/interview ever, but most people are unlikely to read it more than once. A photographer could put up a gallery and if you click on only two photos it’s already achieved twice the income. I notice they also do the lazy thing that NME does these days with “20 Best albums beginning with the letter J”-style galleries so they can get a cheap 20 page hits.

    I did notice that Elmo Keep has gotten some choice “opportunities”. FL used to work on more of a reward basis where you only got the glamorous opportunities based on how much you had contributed (allegedly this did take into account quality, not just quantity) but these days a lot of those gigs seems to be going to people who don’t contribute much, which seems to be even less reason for being a FL contributor. She knows what she’s getting involved with, it’s her choice to do it, although if she is doing it she probably should stop tweeting links to those “Don’t Work For Free” website/flowcharts/videos. Plus she really needs to stop going on about U2 and KISS. IN CAPITAL LETTERS. ALL THE TIME.

  10. Everett True February 16, 2011 at 5:14 pm

    Apologies, Crystle. The tag was removed some time ago (before you left that comment, weirdly). QLD’s aspiring young music critics can rest easy that someone with your high standards of accuracy is working for Faster Louder now.

    And they can also rest easy that if any such practices as Sophie refers to still exist then you are ideally placed as Faster Louder’s QLD editor to help stamp them out.

    Please let me know if there’s any way I can help at all.

  11. Elmo February 16, 2011 at 5:28 pm

    Just going to jump in here and say that when it comes to music writing now, it’s really about what opportunities you can create for yourself from the assignments you catch. That’s how I’ve always looked at it, in any case.

    I would say that almost all writers have their bread and butter work, and then their passion projects outside of that. You have to realise that if you write about music, for a job, you have got it pretty damn sweet. To expect to be paid for your passion project is somewhat of an arrogant assumption. So choose your battles about what kind of free work you will do. I think that if you haven’t ever written something sheerly for the love of it, just to communicate an idea, then you are doing it for the wrong reasons.

    No one should sign up for sub-par rates from somewhere like Fairfax, however.

    I no longer make a living writing about music, so for me now, it’s only ever covering something that I really get a buzz from doing. I have written for years for FL, and while I can’t condone their business model (and they are far from the only publication that uses that model, HUFFINGTON POST), or their lack of editing, the trade has always achieved the right balance for me – I get the assignments I enjoy, I have almost total control over the output, and it remains mine, to do with whatever I choose. Hell, one thing I did there years ago ended up in a completely different incarnation years later, and was linked to by the New York Times.

    So while in an ideal world, everyone who cares about their craft would be paid fairly for the years of dedication they have put into it, it’s sadly no longer the 1970s and no one is Joan Didion living in Malibu writing for the New York Review of Books while “doing a rewrite on a picture” on the side to make ends meet. Unfortunately.


  12. Crystle Fleper February 16, 2011 at 5:49 pm

    Thanks Everett. I’ve enjoyed reading your edits of the same comment.

  13. Chris Familton February 16, 2011 at 5:49 pm

    Having an outlet for writers to ‘get their foot in the door’ is a great thing as it allows aspiring journalists to get their head around interview techniques, form and style and sites like FL, The Dwarf etc serve that purpose. It seems they are the stepping stone to the other sites like M&N where an eloquent voice and discernable opinion is more appreciated and validated by reader comments and dollars. Street press kind of does the same thing in terms of remuneration though there is little in the way of feedback or connection to the reader that the online form gives.
    I’ve written over 80 interviews and reviews for FL and used it as an opportunity to develop my writing. For serious writers it is a stepping stone, it can’t be anything else. FL is an internship and there will always be dozens of writers and photographers willing to work for free. By the same token the vast majority of those contributors will also fall by the wayside leaving the more talented (stubborn?) writers to fill the paying jobs.
    Agreed – If FL can afford to pay writers they should but the bar should be raised in terms of the content management.

  14. Everett True February 16, 2011 at 5:57 pm

    Fair play, Crystle! I was going to add more sarcasm… but no. I assume you are also going to enjoy taking the opportunity to refute or agree with some of Sophie’s claims about Faster Louder? I am very happy to offer you that chance. Seriously. A discussion is not a discussion if it’s one-sided.

    And, of course, you’re quite right. I shouldn’t edit my own stuff online!

  15. Chris Familton February 16, 2011 at 6:29 pm

    ‘the trade has always achieved the right balance for me – I get the assignments I enjoy, I have almost total control over the output, and it remains mine, to do with whatever I choose.’
    – Elmo makes a great point, FL does allow you to indulge in stuff you love – FL gave me the chance to interview the likes of Jarvis Cocker, John Cale, Buzzcocks and Wilco. There is no pressure to cover music you don’t want to write about – unlike a staff writer – if that is what you want as a music critic.
    Make it work in your own best interest…

  16. Sophie February 16, 2011 at 6:32 pm

    Sorry Crystle. I think you were my editor for maybe a month or two when I was contributing. This isn’t an attack on any of the people who were my editors when I was contributing. You were all underpaid, overworked and underresourced. I’ve added an addendum to my post.

  17. Andrew Ramadge February 16, 2011 at 6:42 pm

    Dear SuperFurry,

    I totally liked the intro to your Cat Power story.

    Don’t listen to Jerry.


  18. Everett True February 16, 2011 at 6:57 pm

    go on. give SuperFurry a job Andy.

  19. Erica Dingeman February 16, 2011 at 7:11 pm

    Even though I look like Hannah Montana and I don’t know how to spell, my blog is far from stupid. I am sexy, hott and get all my designer shit for free because i write the drivel that I do every week. I even get paid at Fingerpaint for doing the same shit. It’s so cool being a grown up, cos I get to guzzle wine in a hotel room with my macbook pro (check out my pics) I promise to post more pics very soon (there are only about 250 pics of me posted so far) sorry fans. check out my hott and extremely popular blog: chesterly.wordpress.com/ – or tweet me at EricaDingeman, hey even FaceBook me and tell me how sexy I am

  20. Dan February 16, 2011 at 10:52 pm

    Wait, so you guys write stories about blog-whinging now? Good to know, I’ll have to write a whinge on my blog so you guys can interview me…

  21. chuck February 17, 2011 at 5:24 am

    free shit roks!

  22. angelic February 17, 2011 at 12:02 pm

    your all self obsessed critic fuckwits anyway whats the difference…

  23. Darragh February 17, 2011 at 3:53 pm

    Well, Angelic, I guess envy is the price us writer’s pay for understanding the difference between your and you’re.

  24. Matt February 17, 2011 at 4:26 pm

    Writer’s, hey, Darragh?

  25. Darragh February 18, 2011 at 8:51 am

    Matt – You know that always happens to me. That’s why I make such a terrible internet troll, I always undermine my own attempts at insult. I’d blame dyslexia, but I don’t have it 🙁

  26. digger February 18, 2011 at 9:30 am

    Darradgh – ah yes, covering up with what you think is a witty comeback, however, if no one had brought it to your attention, you would never have known – this is the quality of writers we have in Brisbane – you & Chevy T.

    Matt – you’re a first class douche. Just putting that out there. You have got to get some new material and learn how to plagiarise so your writing is actually interesting.

    If only the comb over boy could be here – he has an outstanding website – it’s just a page that links straight to his Facebook page….mmm, his artists must love that. It’s little wonder no one outside of Brisbane has heard of them.
    he then gets Douche to write reviews and they replay everything on Facebook as though they are both discovering it for the first time and surely it will be the next big thing.
    POINT is, most writers in Brisbane stick to one format – Facebook. They can’t even use Twitter effectively and have no idea about any other form of social media. They have no networking skills outside of their drinking buddies and facebook updates. More often than not their drinking buddies are the very people who are their editors and don’t mind that their publication is being laughed at – ever notice it’s the same people advertising in street press here in Brisbane. It’s the same bands, same topics, same venues, same bad comb overs, same bullshit, week in, week out.

    Look, in the end, there are some amazing music critics out there, sadly not many live in Brisbane.
    There are some pretty poor excuses for “street” press also – perhaps if you stepped out of the internet world (of Brisbane – i.e. your Facebook friends) and actually got your hands on the works of top writers who contribute to, oh I don’t know, maybe Rolling Stones, instead of wasting your time listening to the boring as bat shit “reviews” in Time Off, then you would know what real writing is about and this “music” scene would be a tad more exciting.

    Most of these writers leave a Facebook status of who they’re reviewing anyway, so there’s another incentive not to read the actual magazine and the magazine obviously don’t give a flying fuck as they let it go.

    Matt O’ what ever his name is, is one such person.
    Wouldn’t know how to keep things professional. Is always whinging about who he has to review and makes a first class fool out of himself in the process….Must admit tho, I keep him and comb over boy on my list of friends just to amuse myself.

  27. Darragh February 18, 2011 at 12:40 pm

    Digger, I laugh because in your own attempt at a comeback to admonish me, you misspell my name as well as the title of Rolling Stone, you commit the same crime as me.

    You seem unhappy. Perhaps if you left Brisbane, you’d be happier, Digger. I suggest chartering a boat to international waters where legality of euthanasia is questionable.

  28. Matt February 18, 2011 at 1:40 pm

    Thanks for the feedback, Digger. I’ll bear it in mind in my future endeavours. Hope you have a nice day 🙂

  29. Matt February 18, 2011 at 2:05 pm

    Seriously, though, if you are so intent on trolling me and Ben – you should really put in a touch more effort. This, combined with that Howard Peel facebook account, is just really transparent. I mean, have you only just been connected to the internet recently? There’s a craft to this kind of work, man.

  30. digger loves matt February 18, 2011 at 2:59 pm

    You are all happy little vegimites. Put your pants on and back to what ever it is you actually do – I can feel a Facebook status coming on – that’s where all your best work is done:-)
    Keep up the good work lads. You guys rock this city.

  31. Sophie February 18, 2011 at 7:09 pm

    Dear Digger,
    What is this, I don’t even.

  32. chuck February 19, 2011 at 7:06 am

    I is gunNa invent me one of them social media thingies with inbuildt social skills and inbuildt spellcheeck and grammar czek undt give it out 4 free!

  33. ed February 21, 2011 at 1:07 pm

    Found a lovely bunch of people discussing this topic:


  34. Darragh Murray February 21, 2011 at 2:29 pm

    I read that forum. Mostly uninformed unintelligible babble.

  35. potrm February 24, 2011 at 4:32 pm

    Alexa ranks FasterLouder as 1,670 in popularity in Australia. In an era of booming online advertising revenue I fail to see how it doesn’t have the resources to pay contributors, even paltry amounts. Like it or not, the contributor publishing model generally lines the pockets of the office jocks while the kids who go to the gigs and write the pieces get sweet nothing. You can look under the bonnet a little bit here to see what I mean: http://www.fasterlouder.com.au/about#advertise

    My advice to kids today is to avoid these kinds of online publishers unless you have a real reason to put yourself through a work-for-vibes experience. Get a team together and DIY. You’ll save yourself a lot of BS.

    (Time for a disclaimer: I used to be a rock writer for Brisbane street press. It allowed me to indulge my passions for a few years but I got jack of it once I found out how much I could get paid writing the exact same copy for a metro newspaper. Close to ten times the amount!)

  36. SuperFurry April 14, 2011 at 9:33 pm

    Obviously I’m very late to this particular party, but given my work has been cited as everything that’s wrong with Fasterlouder I wanted to have my say.

    The opening paragraph for the Cat Power piece was in no way intended to include some trivial comment on what she was wearing. The point of the ‘very tight jeans’ remark was to underline the fact she was nervous i.e. as demonstrated by her repeatedly trying to shove her hands in her pockets (which were having none of it).

    Concede that I could have stopped at ‘unyielding pockets’ but including superfluous detail is not the same as saying blah, blah didn’t Cat Power look lovely blah blah blah.

    Fair enough, you think the review is rubbish but please don’t accuse me of having nothing more interesting to say than what Cat Power was wearing.

    Thank you

  37. Everett True April 14, 2011 at 9:38 pm

    Actually, on reflection, there were far better examples of heinous writing we could have used – so apologies for that. I was just grabbing the first one that came to hand, kind of to prove a point.

  38. SuperFurry April 15, 2011 at 12:09 pm

    Thanks. I’ll be sure to file under ‘dammed by faint praise’ and ignore the irony of a hastily picked piece being quoted in a blog about poor journalistic standards.

    On a boo hoo, bruised ego note. I’ve followed you since year dot, bought Careless Talk and Plan B religiously. Citing my review for those purposes lost me a night’s sleep and was the equivalent of Christopher Robin turning to Pooh and telling that fat, sack of useless stuffed shit to stop following him around. You’re not in the business minding people’s feelings, but it doesn’t hurt to take more care. Fair enough if I deserved it. But I didn’t.

    Which kinda leads me to Sophie’s blog. Totally agree with the desperate need most of us FL contributors have for some constructive feedback and guidance. There are more than a handful who take their writing seriously and undergo the usual heartache when compiling a review. It certainly takes me on average 4-5 hours and most of those are spent pulling my hair out and/or deliberating over the merits of this sentence or that. Clearly the FL editors don’t have the time, but given M&N is the ‘sister’ site maybe some of their more experienced writers could mentor some of the better writers. Not necessarily including myself in that group, but I certainly would appreciate ANY constructive feedback/steer. There are plenty of professional writers who are happy to slate FL’s contributors but disinterested in lending any of them a helping hand.

    That said, I do wonder if anyone actually reads FL or if people espouse a ‘perception is reality’ view. There are shoddy pieces but there is a good bank of writers who always produce material worth reading. Doubtful Sounds, GingaNinga, Lusky101, Daniel Herborn for example, are all talented writers who contribute enough to make visiting the site worthwhile.

    As for the rather melodramatic apology Sophie makes. I don’t get why she’s sorry, unless she’s written reviews where she dealt the band in question a disservice. As someone pointed out elsewhere, a press pass isn’t given as an altruistic gesture to the Music Writer’s Charity. It’s an opportunity to get some bloody publicity. As long as I’m fair and can support my viewpoint, I have no qualms in taking a free ticket.

    Finally (because I’m boring myself now), the model that FL employs isn’t on par with a sweatshop making 4 year olds work a 15-hour day for a few grains of rice. As Chris mentioned, the writers get to pick and choose, are given some fantastic opportunities and are under less pressure re timeframes and deadlines. FL writers enjoy a huge amount of freedom with their writing. It’s much more of a two-way street than Sophie has portrayed. Fair enough if it wasn’t for her, but the notion of ‘regret’ really is over-the-top.

  39. Everett True April 15, 2011 at 12:15 pm

    Dude, your line about ” the equivalent of Christopher Robin turning to Pooh and telling that fat, sack of useless stuffed shit to stop following him around” made me laugh out loud. Consider my apology well and truly cemented, and if you ever fancy writing something for CB – we don’t pay either, mind! – I’d be very interested to read it.

  40. Nicky May 3, 2011 at 5:31 pm

    I write for FasterLouder and I agree with the fact that not being paid does suck, but it’s a way for us to start our writing portfolios. I don’t know what the other State Editors are like but Sharyn Romano, the Perth one, is very good at editing and giving you feedback. She will even say “didn’t have to edit much of this” which is great to know as a writer that my articles are improving. One of my very first articles was edited a lot (granted it wasn’t the greatest – and I can see that now), but she even emailed me with why it was and how to improve. This generalisation is not correct, maybe just for the QLD editor. Plus, I read some articles on there that shit on any of the paid street press.

  41. Pingback: Digital Citizens – Social media and the music industry who are mildly embracing it - eri on the interweb

  42. Gary Stafford August 24, 2012 at 7:39 pm

    Do once again I see another writer working for free, stating they get to only cover the shows they want to cover.

    And there in.lies the problem with free press, there is nothing for the writer to get angry about, the writer is not showing be they are willing to expand their musical horizons.

    Go out there and review some bands you don’t like, tell us why you doubt like them. Tells us why you hate em, flame them util your red in the face, then we will see some street press with something to say for a change instead of blah blah blah drone drone drone.

    See its easy to be angry even I can do it, on fact I have done it, I love slagging of shit bands, people should be warned about shit bands not just told about good bands..

  43. Boo November 24, 2016 at 7:18 pm

    Ha! Well this in annoying – I’m in the process of researching the viability of starting a website of a similar style to F/L before they abandoned the local scene and plastered ads everywhere. I’ve found nothing but bad things about shooting/writing for non paying music sites.

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