‘The Unassisted’ @The_Unassisted – Their story

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This story is written for the faithful ……The Unassisted Army..

In the early spring of 2013 whilst browsing twitter, I noticed tweets about a song that seemed to be getting a lot of great comments. These tweets were often accompanied by an obscure hashtag. It was #HDH. The band responsible for #HDH were a Manchester based band called-

……..’The Unassisted’…..

This is a brief story of the band…

#HDH or ‘Hands Dance Hands’ to give it its full and still obscure title was, as it turns out, one of the first tracks to be released by the newly formed three piece band, that consisted of Jason Hughes – lead vocals and lead guitar, Mark Beese – Bass guitar and Chris Bertenshaw – Drums. There was something about the band name that made me wonder! Why ‘The Unassisted’ ?

Introducing ‘Jason Hughes’


Jason- “I named the band ‘The Unassisted’ because I wanted to start a band that didn’t need a manager or any help to get off the ground. Just wanted to say ‘fuck you’ to the whole system and show you don’t need anyone to big you up or push your stuff. If it’s good enough, people will do that for you for free.”

This first track ‘Hands Dance Hands’ was the work of a creative mind that had been frustrated artistically as the guitarist in the band ‘The Lizzies’, who themselves had touched on commercial success. Yet alas, like so many other bands, just missed out on the big time. How that must feel, and what impact it has on its band members I can only imagine. But it was a catalyst for Jason Hughes. He was out, free and able to create his music, without compromise and without lots of interference from management or other song-writers. Completely unassisted. Jason was born in Bangor North Wales but grew up in Anglesey where he worked as a baker for the family business. He worked as a baker for 6 years before getting a job in Information Technology. Working in IT, Jason moved to Manchester in the late 2000’s and in his words has “unfortunately been doing it ever since”.
When I clicked on one of the many ‘SoundCloud’ links that were being posted about #HDH the first thing I noticed were the amount of comments it had received. This tune had connected with people. The original version that was on SoundCloud at that time had no build up to the song. It was straight in. Immediate. And if memory serves me right, I thought I’d missed the beginning. But no, it just thuds straight into this wonderful hook of deep resonating guitar and drums, with a whining stripped back guitar solo that sounded like an injured animal. I loved it immediately.
Jason’s lyrics and vocals were dark and menacing upon first listen, but had a powerful clear message of positivity that led into a playful ‘Ian Curtis’ like vocal delivery, with a chorus that was an upbeat vociferous driven attack on your ears. This tune totally ‘got into your head’ and played havoc with the hairs on the back of your arms and neck. Towards the end of the track a wonderful keyboard/organ section gave #HDH a kind of retro, really cool vibe. This lingered right the way through to the end of the song, which ended just as abruptly and shockingly as it had started. I got it! I understood why! It seemed that everyone was talking about #HDH.

Jason – “
Hands Dance Hands was written after my Dad died. The song is about living your life. Don’t sit there and wither away. Get up and enjoy your life. Obviously I’ve gone for the whole ‘spend it with someone you love, and enjoy it!”

So hold hands hands hands as you dance dance dance in stereo, as two, not alone as in ‘mono’ but in ‘stereo’ You know you’ll go, but you’ll never know! You know you wanna, but the whole fun of it is not knowing where you’ll end up, or what will happen. I think a lot of people don’t get the point of my songs ha, but who cares? It’s not for them.”

Introducing ‘Chris Bertenshaw’


About the time of #HDH being written, Jason had been looking to form his own band to play this new music, and had advertised on ‘join my band.com’ for a drummer.

Jason – “Some proper weirdos on there, and plenty of time wasters.”

Worsley born and bred Salford boy Chris Bertenshaw a fireman by profession answered Jason’s advertisement and they arranged to meet up. Chris started playing music at primary school from the recorder to the French Horn reaching Grade 5. But secretly wanted to play the drums, making a little kit in his bedroom out of empty quality street tins. His Mum paid for drum lessons and he got his first drum kit when he went to Walkden High School (previously known as Birch Road), a 4 piece Pearl kit; blue pearlescent colour which he eventually sold to a mate to buy a 5 piece Premier Elite kit in Golden Sun wrap (which looked like gold crepe paper). He has since found out how valuable and rare this is. He stopped playing after college then picked up sticks again about 5 years ago when he was asked to join a 2 piece band ‘Piston Funk Machine’ (which is where he met Mark). The band fell apart after about a year due to ‘musical differences’.

Jason – “I was half expecting to end up jamming on my own that day. But luckily Chris showed up.”

Chris – “Before I met Jason I’d only ever e-mailed him. Never even spoken to him! So, I had no idea what to expect. But it was immediately apparent that he wasn’t like the majority of ‘I want to start my own band’ musicians. He wasn’t a wannabe frontman control freak, he wasn’t up his own arse, he wasn’t a moody guitarist with a shed load of issues. He was a normal bloke. I liked him. He had no intention of ‘taking over the world’, he just wanted to make good music, to play to people who wanted to hear us, and to enjoy what we did.”

Jason- “We clicked straight away. I knew we’d make good music as we just kinda jammed and it worked.”

Chris and Jason hit it off, and in Chris, Jason had found the perfect drummer for The Unassisted. Superb timing and ability to play intricate drum sections without overdoing drum fills. Chris’s disciplined un-flashy drumming got him the gig. As it happens, Chris was able to supply more than just his drumming for ‘The Unassisted’. And that ‘more’ came in the shape of a rather tall Bass player named ‘Mark Beese’.

Introducing ‘Mark Beese’



Chris had known Mark for around 5 years and considered him an excellent musician. Mark had grown up away from the UK as his father was a power station commissioner. And so the Beese family had travelled the world. They lived in the United Arab Emirates for a couple of years, then in Italy for just over 2 years, Malaysia for around 3 years, (when Mark got his first guitar) before returning to the UK and settling in Manchester, where Mark would attend Marple Hall School. Mark had a few guitar lessons at school, but he is mostly self taught. At 19 years of age, Mark was training as a pilot, (which sadly came to an end due to the extreme high cost to maintain the IR and hours, also the jobs were not available). All the while he was developing himself as a musician. At this point let me make it clear that Mark isn’t only a Bass player. He is actually a highly accomplished guitar player. However, although lead guitar duties were covered by Jason, Chris talked Mark into coming along to a meeting to see what he thought of Jason’s tunes. And whether they would gel.
Ultimately the three got together and ‘The Unassisted’ as a proper band were officially formed.

Mark- “The sounds that Jason came up with were unusual and cool. It’s fair to say I wasn’t keen on the deep voice, but I saw huge amounts of potential and wanted to do something differently, so I picked up the bass for for this new project!”

This early incarnation of the newly formed band practiced in a cramped studio with fabric hanging from the walls to help with acoustics, apparently it didn’t smell too good in there either.

Chris- “EXR studios in Manchester was your standard shit hole practice place made out of an old mill. The walls were either solid brick or paper thin plaster board. Always covered in some sort of fabric with the ground covered in carpet you’d last seen at your grans. First thing I always did was plan how to get out, just in case anything went tits up. The drum kits they hired were shocking!”

Jason- “Proper fucking dive. How they charge to use that place is beyond me!”

Mark- “EXR studio was downright nasty… Damp, dark, smelly, dirty. Rotten carpet and décor from that of a nasty bedsit. A perfect environment for a band coming together? Erm.. Maybe not.. But we’re still here!”

This grimy practice room did however produce one of the first video recordings of #HDH. I recall seeing it, and I have to say, it worked! Ok, the keyboard part was absent, but it worked! The video is still probably available in ‘The Unassisted’ vaults somewhere on YouTube. Anyway, not long after this Chris arranged for the band to practice at the Fire Station when their conference room wasn’t being used. This was the beginning of a very fruitful song writing era for the band, one that got the tag The #FireStationSessions by the many fans on twitter.
With a clutch of new songs and a live set that now contained the likes of ‘Back to Bass’ ‘Everything’ ‘You’ll get by’ ‘Get on the floor’ and ‘Swear to him’ the band decided that they were ready to perform live. So in mid 2013 ‘The Unassisted’ performed their introductory gig at ‘Carson’s Bar’ in Middleton, Manchester.
‘The Unassisted’ had taken their first tentative steps as a gigging band.

Chris- “Our first gig was brilliant! At a live music venue in the middle of nowhere. The 3 of us were having a nervous pint at the bar laughing about how we were being followed on twitter by someone called ‘Lee’ Fezzer70 from Stoke and how weird it would be if he came to see us. Next thing is, two blokes walk in, order drinks at the bar next to us, and then I hear the unmistakable accent asking us “Are you the lads in the band The Unassisted?”

Mark- “The Carsons Bar gig was very funny. Lee turned up which was amazing. I was very impressed by this! His Dad came too. The gig was ok, but something wasn’t quite right. I discovered that nearly the whole gig, my bass E-string was actually in D# (Flat) so sounded dreadful! It all came together for #HDH.”

Chris- “It didn’t matter how good or bad we were as it was our first gig. Yeah we made a few mistakes, but no one noticed as they were all masked by Mark and his bass. Knowing Lee had made the effort to come and see us play, and was the first to see us live was amazing.”

Jason- “Would have been great had Mark tuned his bass properly.”

‘The Unassisted’ began a series of dates following Carson’s Bar that took them to many of the well patronised music venues across Manchester and some nearby festivals. Sometimes playing to a full house, sometimes just a handful of people.

Many who attended were huge fans of the band who would make the effort to come out and see them play. The band had the beginnings of a strong and loyal fan base. Yet again, their twitter fans, who were by and large meeting face to face at the gigs now, blessed them with another hashtag. If you loved the band and the music, you were entitled to become one of the ever increasing #UnassistedArmy. Seemingly on a crest of a wave, with song plays and interviews on cult radio shows such as ‘The Music Files’ with Daz Earl on Salford City Radio, and the cool Canadian DJ Dr Bones show, the band increased both their repertoire of music and fan base.

With this exciting buzz about the band, and their confidence as a live band growing, plus a song book getting to bursting point, with new tracks like ‘Machine Gun’ and ‘Alone’. The Unassisted began to consider putting tracks down properly in a recording studio. With another track ‘Revolution’ born of the #FireStationSessions they began to look at the possibilities of recording their first EP. It wasn’t decided at this point, but ‘Revolution’ was to become the title track of the first EP from The Unassisted…

‘A Revolution Begins’

The Unassisted cover

Artwork by ‘Gav Lee’

The Unassisted never really needed to ‘raise’ money for the recording of the ‘Revolution’ EP, but decided to apply for a Kickstarter promotion. This was largely to include the fans in the record making process as much as possible.

Jason- “It wasn’t to get funding. Just to show that we had a fan base and that they wanted to be part of the EP. And it totally worked.”

Chris- “We wanted people to be part of the recording. Part of us. For us all to enjoy what we did and what we were doing as opposed to us making a recording and then forcing it on them and telling them to like it.”

Courtesy of @TrustFox

Courtesy of @TrustFox


Courtesy of @TrustFox

Courtesy of @TrustFox

Courtesy of @TrustFox

An amount of £750 was the target to achieve the project, and the band asked many of their supporters to send in videos to support their Kickstarter project. At the same time they began recording video snippets of various surreal and humorous moments all designed to encourage pledges and keep everyone updated with the project.
The Kickstarter project instantly got off to a great start with almost £400 pledged within hours of the project’s launch. The band continued to make their video snippets, and gigged, and wrote new material, but a nugget of disillusionment had rudely gate crashed ‘The Unassisted’ party.
Despite all of the social media support, be it twitter, Facebook, bandcamp, blogs or any other of the many outlets to promote music, they noticed that ‘that support’ didn’t always sell tickets for gigs. They also noticed that views of their Kickstarter promotional video clips were only getting infrequent views, and more concerning, the Kickstarter pledges had slowed down.

This appears to be a common phenomenon, and not just with bands. What The Unassisted were witnessing now was the carefree “we really love you, this is a great idea, we’ll support you” Flipping to the ‘hang on, does it require more than just a ‘like’ ‘favourite’ or retweet?” attitude that appears to permeate this particular medium. I stress that this isn’t everyone on social media. Indeed there are many brilliant supportive people who use social media to find musicians, artists etc, and talk to them and purchase music, art, poetry, tickets, books, T-shirts, badges and these people help to create our future legends. It’s all about proper support.

Courtesy of @TrustFox

Courtesy of @TrustFox


Courtesy of @TrustFox

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Chris- “Social media is both brilliant in that you have access and can contact pretty much everyone and interact with them, and at the same time a frustratingly lonely place. A shining beacon of laziness and falseness. Its so big you’ve got very little chance to make a mark unless you’re big yourself or you know influential people who give you a helping hand. Only a few people seek out and appreciate anything new and try to share it with others. The majority only like what the know, and they only know what people tell them to like. You’re a rubber dinghy floating down shit rapids, everyone is happy swimming around in shit ignoring you until they realise everyone is jumping on and then they cant jump on fast enough.”

Mark- “Social media… What is there to say? No matter what you say, or how many people you tell about something, there is crazy amounts of apathy, false promises and people saying one thing and doing something else. Being in a band is good for people if there is something they can get out of it, and to me it seems just quality music and live performance on its own is not enough any more. I hear people saying ‘I went to that gig or I was there for that EP launch in the 90’s for Oasis, Blur, Charlatans or The Verve’ etc, but the music scene has moved on now. In 2015 its now super cool to go to festivals and stadium gigs, but the music appears to come a close second. For me, I noticed social media at play. Festival goers brag about attending with friends and tweet and share on facebook that they’re going to this festival or that festival.. But WHAT ABOUT THE MUSIC??? These festivals are promoted by by music labels who are after new ways of making money as live streaming and downloads have stripped them of their profits. This has affected attendance at smaller gigs of relatively unknown bands. Bands like ourselves are facing a constant uphill battle as record labels use social media to boost their artists credentials at the detriment of bands like ourselves who aren’t being heard over all this social media traffic. If we ever did get a break, we would be selling tickets for gigs left right and centre, but almost certainly, all those people who read our social media posts would want an exclusive ticket as it would be ‘cool’ to come to a gig of a band ‘they supported’ and then they could tweet or post it on facebook that they’re going… But… what about the music??? We have some great fans who love our music. I just want the music to be important. Not the kudos of attendance.”

Jason- “Social media is shit. It’s just marketed as a great platform to get noticed, but its the same old bullshit as always. Pay for views. Pay for listens. Pay for comments. Pay for followers. Who needs that? If you want false followers and folk who tell you they’ll come to a gig and not show, then social media is for you. Personally it can go and get fucked for all I care! If people like your music and want to come to a show then they will.”

Slightly deflated, the band quietly ceased making the video clips to support Kickstarter and concentrated on gigs and writing. The Kickstarter fund moved on steadily and it was clear that the target would be achieved. In the end The Unassisted fans took the pledges to over £820. The ‘Revolution’ EP as it had now been officially named was ready for recording!
Around this time, late 2013, four significant things happened for the band.
Firstly, they un-expectantly signed up with a management company, ‘GWS management’.

Secondly they chose ‘Project 9 studio’ in which to record ‘Revolution’.

Thirdly, they were invited to their first gig in London. A collaboration with Nessi Holt’s ‘Carpa Camenia live’ and some London musicians.

Fourthly, Jason set up his ‘Bands on Bands’ blog, showcasing only bands/musicians who he truly believed, were doing something differently musically.

‘Studious work’

Courtesy of @TrustFox

Courtesy of @TrustFox

By the end of 2013, The Unassisted were in the studio laying down the tracks for the ‘Revolution’ EP. Out of their portfolio of tunes, five were chosen to make it onto the record; Revolution, Everything, Hands Dance Hands, Back to Bass and Alone. There was also a hidden unnamed acoustic track on the end of the EP that used a guitar that was one of the Kickstarter band goodies for one of the pledgers.
This was the first time that the band had recorded together in a studio, the first time that Jason had recorded vocals in a studio, and the first time that they had allowed anyone other than themselves to have an influence on ‘The Unassisted’ sound.


Courtesy of @TrustFiox


Courtesy of @TrustFox


Courtesy of @TrustFox

Chris- “The time spent recording at Project 9 was spot on. The majority of each tune was well rehearsed, some was made up there and then, but each part that was recorded fitted perfectly. Even Nidge (TrustFox), Lee and the Yeti’s stamping! It was the editing that was the frustrating part as we were doing it remotely through ‘Whatsapp’! We each had our own areas that we wanted tweaking that were getting lost in each others ‘tweaks needed’ messages. The finished EP wasn’t completely as I was hoping. But it’s still a top EP that I’m well proud of.”

Jason– “It was fun, but I don’t feel like our real sound is captured on that EP. Not knocking Project 9, just think we needed more time to record and listen and experiment. You can’t do 5 tracks in 3 days and expect a banging record. I do love the EP though. It’s our first record and a benchmark, so it’s always going to be special for me.”

Mark- “The EP sounded great, but we had actually no clear direction. Looking back we should have made songs on the EP at radio edit length. Also, the band is really relaxed, possibly too much, and safe to say this could upset fans… I hope not!”


Courtesy of @TrustFox

Work on the EP progressed, and the art work for the cover was agreed. They chose to use the unique work of Anglesey artist ‘Gav Lee’ a striking visual masterpiece that oozed a specialness and polish usually reserved for large signed established bands. ‘Revolution’ was taking shape very nicely.


Courtesy of @TrustFox


Courtesy of @TrustFox


Courtesy of @TrustFox

Jason- “The artwork is amazing! My pal Gav Lee is so talented, and he always delivers. Watch out for our next record as he’ll be doing some more for that!”

By early April, ‘Revolution’ was in the bag. Details started to filter out that a launch party for the EP was afoot. Whilst extremely busy with all things ‘Revolution’ the band found themselves traveling southbound to ‘The Enterprise’, a music venue in Camden, London. On the same bill that night were; The Knievel Dead, who helped to organise the gig, Joe Ressington, the Hate Notes, No One Sun and The Unassisted.

I was at this gig and it was a fantastic night. Sadly the Hate Notes were un-expectantly down to one member, the lead singer. He stoically fought on against technical issues and the obvious difficulties in trying to perform a set that was built around a band, or in this case a duo, but other than this small glitch, all performances were of a very high calibre. Each band delivering blistering performances! The most polished performance I had to give to ‘No One Sun’ who were very, very slick and tight. But ‘The Unassisted’ managed to do something magical that night. They were fired up, hungry for it, and in Jason’s case, a little bit tipsy, but my God were they good! Everyone felt it in that venue, and the ladies in the room couldn’t help but take to their feet and dance to their tunes. For me. They stole the show.

Mark- “Camden gig was amazing! Couldn’t hear my bass… Sound engineer was quirky. Enjoyed it!”

Chris- “The Camden gig was above ‘The Enterprise’ pub in a smallish room with an eccentric old boy on the mixing desk who probably knew what he was doing 30 years ago. The gig was everything I’d wanted out of being in a band. A proper laugh from the minute we set off on Friday till the Sunday night when we got home. Every song we smashed. We had hot chicks dancing in front of us, and we got to see The Knievel Dead who were brilliant. We then celebrated by getting leathered and dancing in the doorway of the pub. For me, the most amazing part was that people thought so much of us as a band that they’d took time off work and travelled to watch us play. Brilliant!”

Jason- “Shit sound, shit sound engineer. I only liked The Knievel Dead, but yeah, what a cracking night that was haha. And yeah I was pissed, and so what, we’re a fucking rock and roll band and thats how we’re supposed to roll. Not turn up in our Sunday best and be polite to everyone. If people have a problem with that they shouldn’t be at our shows!”

GWS management were there to see the band perform that night.With only days to the ‘Revolution’ launch gig, they must have been blown away by this performance, and ready to pull out all the stops to make it run smoothly for the band.

Assisting the Unassisted

‘Band Management’, I’m no expert in this area, however I keenly observe how band managers promote and direct their musicians. Some are very successful and canny about promotion, using great visuals and creating a buzz about specific gigs, and, importantly, dealing with the general smooth running of things like single/EP/album launches etc. ‘The Unassisted’ had before them a huge undertaking. To package the ‘Revolution’ EP, to settle on a launch gig date and venue, and to arrange the delivery of all the Kickstarter pledges gifts (many of which were overseas). Then to promote the hell out of the gig, and EP. I saw the #Unassistedarmy promote the gig and EP, and I saw the band promote the gig and EP. And I saw GWS management promote it too, but to my mind not quite enough.

Was there an uneasy juxtaposition between a Band who were ‘Unassisted’ relying on a management company to promote them and ultimately their new EP? Was there a slight confusion of just who was doing what at this stage?

Jason- “GWS Management was meant to show that we had management. Unfortunately we didn’t see eye to eye, and me personally, I didn’t see the point of it!”

Chris- “I saw GWS as a bit of an experiment… A management company to act as a figure head / focal point. Todd had come to see us play at ‘Retro Bar’, saw our potential and wanted to try and help us along. So we had nothing to lose, however the benefits of being under GWS weren’t as big as we were hoping.”

Mark- “GWS Management I wasn’t sure about, so just went with what the other boys wanted.. Todd was a funny guy. I don’t think he understood the complexity of promoting a band, or fully understood the band dynamic – see previous ‘laid back’ comments.”

Revolution live

EP revolution launch Unassisted Manchester

‘Revolution’ EP Launch photograph by ForgottenBee

Mid April came and ‘The Unassisted’ had secured a great venue for the EP launch, ‘Sound Control’ in Manchester. Not in the usual ‘Northern Quarter’ district of Manchester that tends to be the go-to place for live music. But close to a very convenient pub where the band hung out chatting to fans as they arrived for the gig. Regardless of my earlier promotion concerns, the ‘Revolution’ EP launch gig was a complete sell out.  And what an event it was to be. That gig had a great atmosphere. The venue was packed, everyone was in great spirits, Project 9 studio guys turned out for the show and ‘Unassisted’ fans from all over the UK beat a path to Manchester to see ‘The Unassisted’ LIVE.

However, to close observers, it quickly became apparent that the band weren’t happy. Mark Beese was noticeably agitated, complaining throughout the set to Jason about something, and obviously unhappy with his monitor.

Mark- “I was agitated as Jason was annihilated and the sound was fucking terrible. The set went well and the attendance was so amazing… But, by the end of the gig, the sound engineer had fucked around with the volumes that much that I was unable to hear Chris or myself at all… All I could hear was vocals and electric guitar. Oh, and I blew my boutique Ashdown bass amp up as I had to max out the volume just to hear what I was playing. And the linked Orange amp also tripped and was scrap. Safe to say I couldn’t hear what I was playing at all. I was pissed off as that cost me a lot of money to replace all the valves. And the Orange amp was damaged beyond repair. I’ve got an Orange AD200 head and 600W MarkBass cab now. NEVER AGAIN.. We all play a touch louder now.”

Jason- “Well for me it was a cluster fuck… no one got an EP we did a shit set and the place sucked … but still had a cracking night!”

Despite this, a largely jubilant crowd savoured every moment of the ‘Revolution’ gig. The band completed their set and the audience erupted into applause, shouts and whistles. To all intents and purpose, ‘Revolution’ had a successful launch. But tensions within the band and with GWS management were just about to come to the surface, and not long after the EP launch ‘The Unassisted’ and GWS management went their separate ways. And the band went into a time of quiet reflection.

Jason continued to dedicate a lot of his time to the brilliant Bands on Bands blog, spinning it out as a podcast featuring only bands and artists that successfully passed his strict quality control. He went on to promote his first Bands on Bands live event securing the acclaimed Derry musician GRIM for the line up. But slowly the light of ‘The Unassisted’ began to dim.
Disillusioned with social media and with personal circumstances pressing each band member, The Unassisted, without fanfare or fuss, retreated from their online fans and social media with this statement.


Chris- “It was decided I’d write the ‘social media hiatus’ status as Jason would probably have been slightly more blunt about it.”

Jason- “For me, the hiatus statement was a compromise. Me personally, I’d delete all our social media pages as of yesterday. I don’t like the falsehood of social media, it’s not my cup of tea. But the boys see a point, and we reside in a democracy unfortunately, so we kept them haha. I’m not in this for people telling me they like my music anymore. I did enjoy it at the beginning and was overwhelmed by the feedback I got. When we started gigging and like 6 people would turn up it all just felt false. So from now on I don’t care who tells me they like us or that they’ll come to show. I’ll only have the time of day for folks that come to shows and/or buy our music. Everyone else can go back to watching they’re retweet counts and masturbating over how many ‘friends’ they have.”

Courtesy of @TrustFox

Courtesy of @TrustFox

Courtesy of @TrustFox

Courtesy of @TrustFox

Phoenix from the flames

This could have been the end for The Unassisted. But Jason began song writing again, and released some onto SoundCloud, just rough idea’s that he was having at first. However, encouragement from those that took the time to listen got his creative juices flowing again. Songs like; ‘Sitting Pretty’, ‘Live Ur Lie’, ‘Heal it’, ‘Give it all’, ‘Lonely’, and very recently ‘Start’, emerged and a feel good factor returned. Maybe fans spied a flicker of light? Then, out of the blue an unexpected tweet from the band:

“Just to let the faithful know we’re back on it next week and we’re gonna set the unsigned scene alight with some new tunes”.

A two fingered display of apathy to those who settle for average music and those who talk the talk, but don’t walk the walk. And a confident salute of ‘we’re back’ to the faithful #UnassistedArmy! The Unassisted are ‘rock and roll’ in the very essence of the meaning. Jason is never afraid to say what he believes, particularly when it comes to music.

And that energy and honesty is so refreshing. And isn’t that what we really want from our bands? Quality, proper music, and a bit of attitude. Give the band a listen, no other band makes this sound.

It could well be time again to let your Hands Dance Hands to their music. Turn up the lights…. This is…. ‘The Unassisted’….. They’re back!

Mark- “I wrote the excerpt at the end….. it’s how I feel… Bands like ourselves make quality creative music that tries to be different with each song we write. But this falls on deaf ears at times, yet professional music writers, write music that is virtually similar, uncreative music, sounding similar to every other band you might hear on capital or commercial radio stations.They employ double hooks and super catchy lyrics that follow a very similar pattern or beat that is then promoted onto the radio by record labels (pay per play – like advertising), they then use social media to promote festivals and stadium gigs (where ticket prices are super high and the record label gets paid) and the cycle continues. It’s not really fair but that’s the way it is I guess…”









:Taken from The Unassisted Revolution ep:

The Unassisted Back Cover




‘Revolution’ EP physical copy available to buy contact directly through Facebook/Twitter.

Twitter – @The_Unassisted 

Website – www.theunassisted.co.uk

FaceBook – https://www.facebook.com/TheUnassisted

BandCamp – http://unassisted.bandcamp.com/

SoundCloud – https://soundcloud.com/unassisted

itunes – https://itunes.apple.com/us/album/revolution-ep/id862593897

Photography with big thanks to Trust a Fox Photography – www.trustafoxphotography.com – @TrustFox – https://www.facebook.com/TrustAFoxPhotography


2 responses to “‘The Unassisted’ @The_Unassisted – Their story

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