Tags: saltercane

Ever since Salter Cane recorded the songs on Deep Black Water I’ve been itching to play them live. At our album launch gig last Friday, I finally got my chance.

It felt soooo good! It helped that we had the best on-stage sound ever (note to the bands of Brighton, Leon at the Hope and Ruin is fantastic at doing the sound). The band were tight, the songs sounded great live, and I had an absolute blast.

I made a playlist of songs to be played in between bands. It set the tone nicely. As well as some obvious touchstones like 16 Horsepower and Joy Division, I made sure to include some local bands we’re fond of, like The Equitorial Group, Mudlow, Patients, and The Roebucks.

Mark your calendars: Friday, 20th June — that’s when Salter Cane will be launching Deep Black Water at the The Hope And Ruin in Brighton

I can’t wait to get back on stage with the band! These songs sound great on the new album but I can guarantee that they’re going to absolutely rock when we play them live.

Support will be provided by our good friends Dreamytime Escorts, featuring former members of Caramel Jack. They’ve also got a new EP on the way.

Doors are at 8pm.

I’m really, really excited about this. It’s been far too long since Salter Cane were last bringing the noise live on stage. I hope to see you there!

This Saturday, April 12th, is Record Store Day. To mark the occasion, Salter Cane will be playing a stripped-down set at Union Music Store in Lewes. That’s the place that Jamie used to run, so it has a special place in our hearts.

Liza Lo will be playing at midday.

Salter Cane are on at 1pm.

If you’re in the neighbourbood, please swing by! We’re really looking forward to playing a mix of some old songs and some brand new songs from our brand new album.

With the release of a new Salter Cane album I figured it was high time to update the design of the band’s website.

Here’s the old version for reference. As you can see, there’s a connection there in some of the design language. Even so, I decided to start completely from scratch.

I opened up a text editor and started writing HTML by hand. Same for the CSS. No templates. No build tools. No pipeline. Nothing. It was a blast!

And lest you think that sounds like a wasteful way of working, I pretty much had the website done in half a day.

Partly that’s because you can do so much with so little in CSS these days. Custom properties for colours, spacing, and fluid typography (thanks to Utopia). Logical properties. View transitions. None of this takes much time at all.

Because I was using custom properties, it was a breeze to add a dark mode with prefers-color-scheme. I think I might like the dark version more than the default.

The final stylesheet is pretty short. I didn’t bother with any resets. Browsers are pretty consistent with their default styles nowadays. As long as you’ve got some sensible settings on your body element, the cascade will take care of a lot.

There’s one little CSS trick I think is pretty clever…

The background image is this image. As you can see, it’s a rectangle that’s wider than it is tall. But the web pages are rectangles that are taller than they are wide.

So how I should I position the background image? Centred? Anchored to the top? Anchored to the bottom?

If you open up the website in Chrome (or Safari Technical Preview), you’ll see that the background image is anchored to the top. But if you scroll down you’ll see that the background image is now anchored to the bottom. The background position has changed somehow.

This isn’t just on the home page. On any page, no matter how tall it is, the background image is anchored to the top when the top of the document is in the viewport, and it’s anchored to the bottom when you reach the bottom of the document.

In the past, this kind of thing might’ve been possible with some clever JavaScript that measured the height of the document and updated the background position every time a scroll event is triggered.

But I didn’t need any JavaScript. This is a scroll-driven animation made with just a few lines of CSS.

@keyframes parallax {
    from {
        background-position: top center;
    }
    to {
        background-position: bottom center;
    }
}
@media (prefers-reduced-motion: no-preference) {
        html {
            animation: parallax auto ease;
            animation-timeline: scroll();
        }
    }
}

This works as a nice bit of progressive enhancement: by default the background image stays anchored to the top of the viewport, which is fine.

Once the site was ready, I spent a bit more time sweating some details, like the responsive images on the home page.

But the biggest performance challenge wasn’t something I had direct control over. There’s a Spotify embed on the home page. Ain’t no party like a third party.

I could put loading="lazy" on the iframe but in this case, it’s pretty close to the top of document so it’s still going to start loading at the same time as some of my first-party assets.

I decided to try a little JavaScript library called “lazysizes”. Normally this would ring alarm bells for me: solving a problem with third-party code by adding …more third-party code. But in this case, it really did the trick. The library is loading asynchronously (so it doesn’t interfere with the more important assets) and only then does it start populating the iframe.

This made a huge difference. The core web vitals went from being abysmal to being perfect.

I’m pretty pleased with how the new website turned out.

Back in July 2023 I went into the studio along with the rest of Salter Cane.

We had been practicing a whole lot of new songs for over a year beforehand. Now we were ready to record them.

We went in with a shared approach. We were going to record everything live. We were going to prioritise the feeling of a particular take over technical accuracy. And we weren’t going to listen back to every take—that can really eat into the available time and energy.

This approach served us really well. We had an incredibly productive couple of days in the studio collaborating with Jake Rousham, who we had worked with on our previous album. We ended up recording eleven songs.

After that burst of activity, we took our time with the next steps. Chris recorded additional vocals for any songs that needed them. Then the process of mixing everything could start.

After that came the mastering. We hired Jon Sevink—fiddler with the Levellers. He did a fantastic job—the difference was quite remarkable!

We decided to keep two songs in reserve to have a nine-song album that feels just the right length.

The album is called Deep Black Water. It’s available now from all the usual digital outlets:

• Bandcamp
• Spotify
• Apple Music UK
• Apple Music US
• Amazon UK
• Amazon US

We decided not to make any CDs. We might make a vinyl version if enough people want it.

I really, really like how the album turned out. These are strong songs and I think we did them justice.

I hope you’ll like it too.

I’ve been immersing myself in musical activities recently.

Two weeks ago I was in the studio with Salter Cane. In three days, we managed to record eleven(!) songs! Not bad. We recorded everything live, treating the vocals as guide vocals. We’ve still got some overdubbing to do but we’re very happy with the productivity.

Being in a recording studio for days is intense. It’s an all-consuming activity that leaves you drained. And it’s not just the playing that’s exhausting—listening can be surprisingly hard work.

For those three days, I was pretty much offline.

Then the week after that, I was in Belfast all week for the trad festival. I’ve written up a report over on The Session. It was excellent! But again, it was all-consuming. Classes in the morning and sessions for the rest of the day.

I don’t post anything here in my journal for those two weeks. I didn’t read through my RSS subscriptions. I was quite offline.

I say “quite” offline, because the week after next I’m going to be really offline.

Remember when I took an ocean liner across the Atlantic four years ago? Well, to celebrate a milestone birthday for Jessica we’re going to do it again!

I’m really looking forward to it. And I feel like the recent musical immersions have been like training for the main event in the tournament of being completely cut off from the internet.

Jamie Freeman passed away yesterday.

I first met Jamie as a fellow web-nerd way back in the early 2000s when I was freelancing here in Brighton. I did a lot of work with him and his design studio, Message. Andy was working there too. It’s kind of where the seeds of Clearleft were planted.

I remember one day telling them about a development with Salter Cane. Our drummer, Catherine, was moving to Australia so we were going to have to start searching for someone new.

“I play drums”, said Jamie.

I remember thinking, “No, you don’t; you play guitar.” But I thought “What the heck”, and invited him along to a band practice.

Well, it turns that not only could he play drums, he was really good! Jamie was in the band.

It’s funny, I kept referring to Jamie as “our new drummer”, but he actually ended up being the drummer that was with Salter Cane the longest.

Band practices. Concerts. Studio recordings. We were a team for years. You can hear Jamie’s excellent drumming on our album Sorrow. You can also his drumming (and brilliant backing vocals) on an album of covers we recorded. He was such a solid drummer—he made the whole band sound tighter.

But as brilliant as Jamie was behind a drumkit, his heart was at the front of the stage. He left Salter Cane to front The Jamie Freeman Agreement full-time. I loved going to see that band and watching them get better and better. Jonathan has written lovingly about his time with the band.

After that, Jamie continued to follow his dreams as a solo performer, travelling to Nashville, and collaborating with loads of other talented people. Everyone loved Jamie.

This year started with the shocking news that he had inoperable cancer—a brain tumor. Everyone sent him all their love (we recorded a little video from the Salter Cane practice room—as his condition worsened, video worked better than writing). But somehow I didn’t quite believe that this day would come when Jamie was no longer with us. I mean, the thought was ridiculous: Jamie, the vegetarian tea-totaller …with cancer? Nah.

I think I’m still in denial.

The last time I had the joy of playing music with Jamie was also the last time that Salter Cane played a gig. Jamie came back for a one-off gig at the start of 2020 (before the world shut down). It was joyous. It felt so good to rock out with him.

Jamie was always so full of enthusiasm for other people, whether that was his fellow musicians or his family members. He had great stories from his time on tour with his brother Tim’s band, Frazier Chorus. And he was so, so proud of everything his brother Martin has done. It was so horrible when their sister died. I can’t imagine what they must be going through now, losing another sibling.

Like I said, I still can’t quite believe that Jamie has gone. I know that I’m really going to miss him.

I’m sending all my love and my deepest sympathies to Jamie’s family.

Fuck cancer.

I spent Friday morning in band practice with Salter Cane. It was productive. We’ve got some new songs that are coming together nicely. We’re still short a drummer though, so if you know anyone in Brighton who might be interested, let me know.

As we were packing up, we could here the band next door. They were really good. Just the kind of alt-country rock that would go nicely with Salter Cane.

On the way out, Jessica asked at the front desk who that band was. They’re called The Roebucks.

When I got home I Ducked, Ducked and Went to find out more information. There’s a Bandcamp page with one song. Good stuff. I also found their Facebook page. That’s where I saw this little tidbit:

Hello, we are supporting @seapowerband at @chalk_venue on the 30th of October. Hope you can make it!

Wait, that’s this very weekend! And I love Sea Power (formerly British Sea Power—they changed their name, which was a move that only annoyed the very people who’s worldviews prompted the name change in the first place). How did I not know about this gig? And how are there tickets still available?

And that’s how I came to spend my Sunday evening rocking out to two great bands.

The three-part almost nine-hour long documentary Get Back is quite fascinating.

First of all, the fact that all this footage exists is remarkable. It’s as if Disney had announced that they’d found the footage for a film shot between Star Wars and The Empire Strikes Back.

Still, does this treasure trove really warrant the daunting length of this new Beatles documentary? As Terence puts it:

There are two problems with this Peter Jackson documentary. The first is that it is far too long - are casual fans really going to sit through 9 hours of a band bickering? The second problem is that it is far too short! Beatles obsessives (like me) could happily drink in a hundred hours of this stuff.

In some ways, watching Get Back is liking watching one of those Andy Warhol art projects where he just pointed a camera at someone for 24 hours. It’s simultaneously boring and yet oddly mesmerising.

What struck myself and Jessica watching Get Back was how much it was like our experience of playing with Salter Cane. I’m not saying Salter Cane are like The Beatles. I’m saying that The Beatles are like Salter Cane and every other band on the planet when it comes to how the sausage gets made. The same kind of highs. The same kind of lows. And above all, the same kind of tedium. Spending hours and hours in a practice room or a recording studio is simultaneously exciting and dull. This documentary captures that perfectly.

I suppose Peter Jackson could’ve made a three-part fly-on-the-wall documentary series about any band and I would’ve found it equally interesting. But this is The Beatles and that means there’s a whole mythology that comes along for the ride. So, yes, it’s like watching paint dry, but on the other hand, it’s paint painted by The Beatles.

What I liked about Get Back is that it demystified the band. The revelation for me was really understanding that this was just four lads from Liverpool making music together. And I know I shouldn’t be surprised by that—the Beatles themselves spent years insisting they were just four lads from Liverpool making music together, but, y’know …it’s The Beatles!

There’s a scene in the Danny Boyle film Yesterday where the main character plays Let It Be for the first time in a world where The Beatles have never existed. It’s one of the few funny parts of the film. It’s funny because to everyone else it’s just some new song but we, the audience, know that it’s not just some new song…

Christ, this is Let It Be! You’re the first people on Earth to hear this song! This is like watching Da Vinci paint the Mona Lisa right in front of your bloody eyes!

But truth is even more amusing than fiction. In the first episode of Get Back, we get to see when Paul starts noodling on the piano playing Let It Be for the first time. It’s a momentous occasion and the reaction from everyone around him is …complete indifference. People are chatting, discussing a set design that will never get built, and generally ignoring the nascent song being played. I laughed out loud.

There’s another moment when George brings in the song he wrote the night before, I Me Mine. He plays it while John and Yoko waltz around. It’s in 3/4 time and it’s minor key. I turned to Jessica and said “That’s the most Salter Cane sounding one.” Then, I swear at that moment, after George has stopped playing that song, he plays a brief little riff on the guitar that sounded exactly like a Salter Cane song we’re working on right now. Myself and Jessica turned to each other and said, “What was that‽”

Funnily enough, when we told this to Chris, the singer in Salter Cane, he mentioned how that was the scene that had stood out to him as well, but not for that riff (he hadn’t noticed the similarity). For him, it was about how George had brought just a scrap of a song. Chris realised it was the kind of scrap that he would come up with, but then discard, thinking there’s not enough there. So maybe there’s a lesson here about sharing those scraps.

Watching Get Back, I was trying to figure out if it was so fascinating to me and Jessica (and Chris) because we’re in a band. Would it resonate with other people?

The answer, it turns out, is yes, very much so. Everyone’s been sharing that clip of Paul coming up with the beginnings of the song Get Back. The general reaction is one of breathless wonder. But as Chris said, “How did you think songs happened?” His reaction was more like “yup, accurate.”

Inevitably, there are people mining the documentary for lessons in creativity, design, and leadership. There are already Medium think-pieces and newsletters analysing the processes on display. I guarantee you that there will be multiple conference talks at UX events over the next few years that will include footage from Get Back.

I understand how you could watch this documentary and take away the lesson that these were musical geniuses forging remarkable works of cultural importance. But that’s not what I took from it. I came away from it thinking they’re just a band who wrote and recorded some songs. Weirdly, that made me appreciate The Beatles even more. And it made me appreciate all the other bands and all the other songs out there.

I had a double-whammy of a stress dream during the week.

I dreamt I was at a conference where I was supposed to be speaking, but I wasn’t prepared, and I wasn’t where I was supposed to be when I was supposed to be there. Worse, my band were supposed to be playing a gig on the other side of town at the same time. Not only was I panicking about getting myself and my musical equipment to the venue on time, I was also freaking out because I couldn’t remember any of the songs.

You don’t have to be Sigmund freaking Freud to figure out the meanings behind these kinds of dreams. But usually these kind of stress dreams are triggered by some upcoming event like, say, oh, I don’t know, speaking at a conference or playing a gig.

I felt really resentful when I woke up from this dream in a panic in the middle of the night. Instead of being a topical nightmare, I basically had the equivalent of one of those dreams where you’re back at school and it’s the day of the exam and you haven’t prepared. But! When, as an adult, you awake from that dream, you have that glorious moment of remembering “Wait! I’m not in school anymore! Hallelujah!” Whereas with my double-booked stress dream, I got all the stress of the nightmare, plus the waking realisation that “Ah, shit. There are no more conferences. Or gigs.”

I miss them.

Mind you, there is talk of re-entering the practice room at some point in the near future. Playing gigs is still a long way off, but at least I could play music with other people.

Actually, I got to play music with other people this weekend. The music wasn’t Salter Cane, it was traditional Irish music. We gathered in a park, and played together while still keeping our distance. Jessica has written about it in her latest journal entry:

It wasn’t quite a session, but it was the next best thing, and it was certainly the best we’re going to get for some time. And next week, weather permitting, we’ll go back and do it again. The cautious return of something vaguely resembling “normality”, buoying us through the hot days of a very strange summer.

No chance of travelling to speak at a conference though. On the plus side, my carbon footprint has never been lighter.

Online conferences continue. They’re not the same, but they can still be really worthwhile in their own way.

I’ll be speaking at An Event Apart: Front-end Focus on Monday, August 17th (and I’m very excited to see Ire’s talk). I’ll be banging on about design principles for the web:

Designing and developing on the web can feel like a never-ending crusade against the unknown. Design principles are one way of unifying your team to better fight this battle. But as well as the design principles specific to your product or service, there are core principles underpinning the very fabric of the World Wide Web itself. Together, we’ll dive into applying these design principles to build websites that are resilient, performant, accessible, and beautiful.

Tickets are $350 but I can get you a discount. Use the code AEAJER to get $50 off.

I wonder if I’ll have online-appropriate stress dreams in the next week? “My internet is down!”, “I got the date and time wrong!”, “I’m not wearing any trousers!”

Actually, that’s pretty much just my waking life these days.

20/20 Visions Review - Brighton Source

Here’s a write-up (with great photos) from the truly excellent gig that Salter Cane headlined on Saturday night.

The high praise for all the bands is not hyperbole—I was blown away by how good they all were!

The Real Music Club presents Salter Cane, The Equatorial Group, The Organ Grinder’s Monkey Saturday 28th Apr 2018 | The Brunswick

Mark your calendars, Brightonians: one week from tomorrow, on Saturdaay, April 28th, come and see my band Salter Cane playing in The Brunswick.

We will rock you …in the most miserablist way possible.

(Also, The Equatorial Group sound pretty great.)

Salter Cane

I somehow missed this when it published last year—a profile of my band Salter Cane.

Salter Cane can be labeled ”gothic country”, ”melancountria”, “country noir”, ”folk noir” and ”alt-country darkmeisters”.

I’m about to have a crazy few days that will see me bouncing between Brighton and Amsterdam.

It starts tomorrow. I’m flying to Amsterdam in the morning and speaking at this Icons event in the afternoon about digital preservation and long-term thinking.

Then, the next morning, I’ll be opening up the inaugural HTML Special which is a new addition the CSS Day conference. Each talk on Thursday will cover one HTML element. I am honoured to speaking about the A element. Here’s the talk description:

The world exploded into a whirling network of kinships, where everything pointed to everything else, everything explained everything else…

Enquire within upon everything.

I’ve been working all out to get this talk done and I finally wrapped it up today. Right now, I feel pretty happy with it, but I bet I’ll change that opinion in the next 48 hours. I’m pretty sure that this will be one of those talks that people will either love or hate, kind of like my 2008 dConstruct talk, The System Of The World.

After CSS Day, I’ll be heading back to Brighton on Saturday, June 18th to play a Salter Cane gig in The Greys pub. If you’re around, you should definitely come along—not only is it free, but there will be some excellent support courtesy of Jon London, and Lucas and King.

Then, the next morning, I’ll be speaking at DrupalCamp Brighton, opening up day two of the event. I won’t be able to stick around long afterwards though, because I need to skidaddle to the airport to go back to Amsterdam!

Google are having their Progressive Web App Dev Summit there on Monday on Tuesday. I’ll be moderating a panel on the second day, so I’ll need to pay close attention to all the talks. I’ll be grilling representatives from Google, Samsung, Opera, Microsoft, and Mozilla. Considering my recent rants about some very bad decisions on the part of Google’s Chrome team, it’s very brave of them to ask me to be there, much less moderate a panel in public.

You can still register for the event, by the way. Like the Salter Cane gig, it’s free. But if you can’t make it along, I’d still like to know what you think I should be asking the panelists about.

Got a burning question for browser/device makers? Write it down, post it somewhere on the web with a link back to this post, and then send me a web mention (there’s a form for you to paste in the URL at the bottom of this post).

Salter Cane, The Self Help Group, Thursday 31st March - Brighton Source

Salter Cane play a dark, melancholic folk-rock, full of doom and darkness, murder and mayhem.

If that sounds like your idea of a fun time, come along to the Latest Music Bar in Brighton next Thursday.

It was another beautiful day in Sussex and the other Clearlefties made full use of it by going on a cross-country hike culminating with a well-earned beer’n’food stop in a pub.

I couldn’t join them though because I had band practice: three hours of hammering out Salter Cane songs. This time though, the hammering was a touch lighter. We’ve got a gig in The Greys pub coming up on Saturday, July 11th—come along!—and it’s not the most spacious of venues (to put it mildly) so we tried practicing a bit quieter than we normally would.

Still sounded great.

Today was a Salter Cane practice day. It was a good one. We tried throwing some old songs at our new drummer, Emily. They stuck surprisingly well. Anomie, Long Gone, John Hope …they all sounded pretty damn good. To be honest, Emily was probably playing them better than the rest of us.

It was an energetic band practice so by the time I got home, I was really tired. I kicked back and relaxed with the latest copy of Spaceflight magazine from the British Interplanetary Society.

Then I went outside and watched the International Space Station fly over my house.

I had band practice with Salter Cane today. It’s been ages since the last rehearsal. Our drummer, Emily, has been recovering from surgery on her foot, hence the hiatus.

I was sure that this practice would be a hard slog. Not only had we not played together for a long time, but we’re trying out a new rehearsal space too. Sure enough, there were plenty of technical difficulties that arose from trying to get things working in the new space. But I was pleasantly surprised by how the songs sounded. We were pretty tight. One might even say we rocked.

Salter Cane: Sorrow by rozeink on deviantART

Wow …somebody has a tattoo of Salter Cane cover artwork.

Salter Cane — Anomie - YouTube

We played at the bottom of the art-deco staircase in Bexhill’s De La Warr Pavilion. Sounds pretty good, if I do say so myself.