The Deep: Premonition of success

I guess you all are aware of who Tony Coldham is otherwise you have got here by some strange ocassion. The singer is curently very busy recording a new EP with his band The Deep but he kindly took the time to answer my numerous and detailed questions about his eventful career with Minas Tirith, Deep Machine, Airrace and more. 

Tony, let’s begin with the question about your early influences in music. Do you remember that moment when the music hooked you up? Was there some certain point when you said “That’s it! That’s what I wanna do for the rest of my life!”?

I don’t think there was any one defining moment when I felt that way. It was more of a gradual thing for me. I started singing in a band when I was at school with some of my school friends. We performed a couple of street-party gigs for the Queen’s Silver Jubilee celebrations in 1977 and did a gig in the school one evening, and the school hall we played in was filled-to-capacity. We played pop and light-rock covers mostly, except we also played “Stairway to Heaven”. It was my first taste of performing live to an audience. It was exhilarating, but I also found it to be nerve-racking. I suffered with stage fright for many years, actually, until quite recently.

Around that time I began to realise I liked hard rock and started buying albums by Zeppelin, Sabbath and Purple, as well as bands like Yes and Pink Floyd. I saw Zeppelin at Knebworth in 1979, and for quite a while I wanted to be Robert Plant (laughs). A real pivotal moment for me, I suppose, was when I bought the Rainbow Rising album and first heard Ronnie James Dio. I thought he had a remarkable and highly original voice. He was a major influence on my vocal style, and I think he may possibly have been the most influential rock/metal vocalist ever. I also got into bands like Judas Priest, Whitesnake, Thin Lizzy and especially UFO. I tend to like high-energy, emotionally-charged music that has great melody. Michael Schenker has always been a big musical influence for me.

There have been a lot of vocalists I’ve admired: Plant, Gillan, Coverdale, Glenn Hughes, Graham Bonnet, Joe-Lynn Turner, Gary Barden, Lou Gramm… too many to mention. I think it’s important to listen to lots of different people, you learn different things from each of them. For instance, Dio very much influenced my voice projection and enunciation, whilst Bobby Kimball made me think more about groove and vocal riffs, runs and trills. Somewhere along the way, you find yourself. It’s like there’s a composite or collage of all your influences coming together to make a final image, that when you step back a certain distance, you can see is clearly a picture of you.

Did you attend the gig in Music Machine where Iron Maiden, Samson and Angel Witch played? Was it really that hot as people tend to think these days?

No, I didn’t go to that venue. I used to watch most of those bands playing at the Ruskin Arms in East London, near where I live. The Ruskin was a major part of my life back then. I’d made a huge number of friends there because we all went there most nights of the week. It was like a big family. Most of my closest friends today are people I met back then. I couldn’t tell you how many bands I saw there over the years, hundreds. I saw Maiden there and Angel Witch, who were just awesome.

I’m still trying to understand what caused that new wave of British heavy metal. Was it your response to punk invasion? What is your point of view on this matter?

At the time, I probably wouldn’t have been able to tell you how or why it was happening. But being swept up in it was very exciting. Suddenly the music I loved was no longer an underground phenomenon. Many rock and metal bands were now getting into the British singles charts, not just the album charts like they had always done before. Essentially, it became mainstream. The music had a new raw, edginess to it. It was often pacey and powerful, but melodic. Looking back now, I realise that, indeed, the whole punk thing that had happened in the UK a couple of years before really played an important part in the rise of NWOBHM. Punk was about rebellion and the shock factor and very much pushed against the establishment. It was quite extreme. But it opened the door for the underground rock scene that had existed for a couple of decades up until that point. In comparison, I suppose, this new rock evolution was now much more tolerable to the older generation than punk had been, and it also gave a new generation their own brand of music and help define their identity. They were no longer ‘rockers’, they were ‘Heavy Metal’ (a term I first heard a punk used to describe his music and himself). Another important factor was that this music was very accessible. It was seen as something created by working-class people from somewhat humble or modest backgrounds. Often with no formal musical training, they were writing and performing their own original material and playing at local venues. These NWOBHM bands developed a loyal fanbase. As they grew more successful, I suppose it was perceived as a rag-to-riches story to some extent. More than ever, ordinary people, the fans, felt they were part of that success and subsequently felt a particularly close bond to those bands.

Lee Slater (gtr), Tony Coldham (vox), Mark Stuart (drms), Kevin Browne (bass)...
Mark Venables (keys) not visible in this shot

How did you get the gig in Minas Tirith? Didn’t you feel betrayed when your bandmates joined Paul Di’Anno in Lone Wolf?

It was around February 1981 and I’d been in a band with some friends. However, it wasn’t a serious band and was never likely to get out of the rehearsal studio. I really wanted to do things properly, so I started looking in the music press at adverts for singers and I saw Minas Tirith, a local band, were advertising. I went along to an audition and got the job. After a few weeks of rehearsals, they booked our first gig at the Ruskin Arms. I was terrified and didn’t perform too well. As time went by, however, things got better.

Minas Tirith was quite popular and usually had a good crowd. I know that ex-Maiden vocalist, Paul Di’Anno, came to see some of our gigs. I think I’d been with the band about a year when I found out that Mark Venables, our keyboard player, was leaving us and that he would be joining Paul Di’Anno in a new band, which eventually became Lone Wolf and then Di’Anno. A short-while later it transpired that Kevin Browne, our bassist, was also joining Di’Anno. Eventually, Di’Anno ended up with everyone except me (laughs). I was really down about it. I felt no animosity to my former band-mates, it was an opportunity they couldn’t ignore. However, I felt that Paul Di’Anno had destroyed my world.

NOTE: You can read the interview with Mark Venables about Minas Tirith and Di'Anno here.

In 1982 you joined Deep Machine. Was Bob Hooker still in the band at that point? Would you agree that with you and Paul Smith Deep Machine was completely different band comparing to their early stuff?

For a few months after the demise of Minas Tirith, I was trying to network and put something together. I auditioned for a couple of bands, but didn’t like them. Then one day, I got a phone call from Bob Hooker, guitarist with another local metal band called Deep Machine. They were looking for a vocalist. I loved that band, they were a lot heavier than Tirith and more to my liking musically. I know there were line-up problems and I remember that Kevin Heybourne of Angel Witch had joined at one point and that they had been calling themselves Kevin Heybourne’s Deep Machine for a while. However, I didn’t hear anything further from Bob.

I auditioned for a band called Burn. Guitarist, Tony Harris, was very influenced by Schenker, UFO and MSG and a bit by Maiden. He was also doing the lead vocals, but they were looking for a lead singer. I agreed to join them and even jumped on stage at the end of one of their gigs to do a cover of MSG’s “Ready To Rock”. But the very next day, the other Deep Machine guitarist, John Wiggins, called to ask if I still interested in auditioning. I went along and it was great. Bob Hooker had left the band, so I never got to play alongside him. There was me, John, bassist Andy Wrighton and a drummer they were trying out, who they decided not to keep. I agreed to join them instead. I called Tony to explain I wouldn’t be joining Burn after all. I mentioned that Deep Machine were looking for a second guitarist and Tony quickly said ‘I’ll join!’. We just got the ball rolling and then, out of the blue, John left to join another band… Paul Di’Anno’s Lone Wolf! I felt like Di’Anno was a curse on my life at that point.

Eventually, we got drummer Steve Kingsley and guitarist Paul Smith on board to complete the line-up. We started off just learning the Deep Machine set, but quickly started writing new songs. It soon became apparent that me and Tony Harris had a fantastic rapport and could write really good songs together. But this new material was quite different from the original Deep Machine songs. We felt it was much stronger and had great potential. Although the original material was heavy and quite dramatic, it had limitations. For instance, the lead vocal melodies simply following the guitar riffs and chords, especially on choruses. Our melodies didn’t do that. The vocal lines complimented the guitar parts rather than copy them. So, the songs were more interesting and sounded more professional. We also used three-part harmonies in places. Song arrangement and structure was much more developed. Both our guitarists were much more capable musicians and so their playing and their solos were a much higher standard. Also, both myself and Tony could write good lyrics and we wrote in a more sophisticated manner. Unlike our predecessors, we would never have written a song with a title like “Kamikaze Lover”. In a short time we totally transformed Deep Machine and we were forging ahead in Europe. It was a shame we couldn’t find a manager to help us keep it all together.

Deep Machine 1982: Tony Coldham, Tony Harris, Steve Kingsley, a Dutch fan, Paul Smith, Andy Wrighton

Both Minas Tirith and Deep Machine were regulars in Ruskin Arms. What is your favourite story about the place? And what about Neal Kay’s Bandwagon, Cart & Horses or Prince of Wales? 

As I said earlier, I seldom went to the other venues really, I didn’t need to I suppose. I used to see a lot of Neal Kay because he was a regular at the Ruskin and it was a highlight of our Saturday nights to head-bang to his Heavy Metal disco. We had lots of fun experiences and great times at the Ruskin. One of my best memories were the first couple of gigs that our line-up of Deep Machine did there. I have rarely seen such a large crowd at that venue. You could not move an inch. Everyone knew that this new line-up was something special and EVERYONE turned up to watch. There were people spilling out into the street. The only time I ever saw anything like that there was when Iron Maiden returned to play a thankyou gig, when they had Di’Anno with them, and later when they did a warm-up gig with Bruce Dickenson. I remember quite a few gigs we did there when I looked out at the audience and could see Steve Harris and other members of Maiden in the crowd watching us. That was a real thrill.

I’m a bit confused about your last name as you were also known as Tony Smith. Why was that?

Ah, that just a sad story of family life to be honest. My birth name was Anthony Coldham. My mum divorced and remarried and my step-father legally adopted me at that time, so my name was changed to Tony Smith. It stayed that way for most of my life. However, me and my step-father never got on well and the relationship basically got worse with time. When he died, I decided I didn’t want to carry his name forward and decided to revert back to my birth name. So, the name change wasn’t just an attempt to have a new trendy stage-name (laughs).

Tell me everything you can remember about the recording of the ’82 demo which consisted of “Night-Stalker” and “Saga”. Where was it recorded? Did it take long to record it?

Well, the new line-up of Deep Machine had been together for 4 weeks and we had been rehearsing a couple of new songs we’d written. We decided to make a demo. I’m still amazed today at how fast that band worked. Remember, we all had day jobs and only rehearsed a couple of times each week. There was a recording studio near to where Tony Harris lived called Scarf Studios. I’d rehearsed with Minas Tirith there a few times, so I knew of the rehearsal facilities. I hated that you had to carry equipment up a steep and narrow set of stairs that were on the outside of the building. In winter the steps were icy and treacherous. It could be windy and you sometimes got soaked by rain. In those days, all our equipment seemed to weigh a ton. However, once inside it had great rehearsal rooms.

Scarf had 4-track recording on a reel-to-reel. I think we recorded drums, bass and rhythm guitars and bounced them down together onto one track, solos on a second track, lead vocals on a third with backing vocals on the last. I believe we did the whole thing in a few hours. You simply wouldn’t record like that now. The recording process today has come a long way and the expectations are for a much higher standard end-product. If you listen to a copy of the demo now, you can hear that the bass had gone slightly out of tune by the time we played and recorded the second song, “Saga”. But hey, every small band at that time were doing demos in a similar way. We couldn’t afford to press it as vinyl, which is such a shame, because it was on cassette tape, which wasn’t ideal.  However, the demo was received very well and copies can be found even now.

Why did you record only these two tracks and not “The Rider”, “Premonition” or “Spell-bound” which later appeared on The Deep album? By the way, were these songs recorded or was it you and Paul who remember these songs that well and were able to record them in 2015?

For some reason we were in a real rush back then. If we’d waited a few more weeks we could have had more songs on the demo, probably “Premonition” and “Spell-bound”. I think “The Rider” was written a little while after anyway. Some of these songs were recorded very roughly years later by me and Tony when we were in another band called Strutt. Both Paul Smith and Mick Feleppa had been members in Strutt at different times. Therefore, both Paul and Mick knew those songs really well. In fact, when we first jammed with Mick in 2013 to see if he would join The Deep, “The Rider” was the first song he played with us. He played it perfectly and his solo was great. We actually have that session on film somewhere.

In 1982 you played with Deep Machine in the famous club Dynamo, in Holland. How did you manage to get this gig and what are you best memories about that trip?

It came about because a writer for Holland’s Aardschok magazine was in the UK when Deep Machine was doing a gig at the Carlisle Pub in Hastings on the south coast of England. This guy knew of the band because of its connection with Kevin Heybourne and was curious about this new line-up. Well, let’s just say he was extremely impressed. He wrote the most amazing review of the gig and that generated a lot of interest in Holland. Some months later we got the call from Mike van Rijswijk, the owner of Aardschok, and were invited to play at the Dynamo. I remember we all travelled across with the guy we used to hire the PA from in the UK, Paul Vincent, in his Ford Luton van. We drove quite a way with the shutter door open and some of us sat on the edge with our legs dangling outside. We were waving to the other motorists behind us. They must have thought we were crazy.

When we met up with Mike, we were late and had to rush off with him to the venue to set up for the sound check. During the soundcheck we were aware that there were already people outside. Suddenly, there was a loud bang at the far end of the venue. The doors had given way because of the amount of people pushing up against them. We could not believe how many people rushed into the hall and up to the stage where we were sound-checking. The venue was completely filled and we still had at least two hours to go until showtime.

It was an incredible gig for us. From the moment we struck the first chord of the first song until the last note in our set, the audience never stopped head-banging. The crowd were brilliant and it spurred us on to play even better. When we got to the end of the set, some members of the audience rushed the stage. We didn’t have a clue what was happening and I remember getting quite nervous. They started to grab at our belts and guitar straps and anything they could take as a memento of the gig.

What were some other significant shows you played with Deep Machine?

There were a lot, and I’ve forgotten many of the shows over the years. We did three dates in Holland and they were all great. We actually supported Paul Di’Anno’s Lone Wolf at the Marquee in London the day after we played that gig at the Dynamo. That was surreal for me.

Deep Machine were formed in the late 70’s and played the same club circuit as Iron Maiden did but never managed to secure a deal or become big in those days. Why was that in your opinion? Was it because the music or was it all because poor management?

We never had management and did everything ourselves. With hindsight, I would say our approach was flawed. We should have put a lot more effort into finding a manager and then trying to approach labels. A good manager would have given us stability and helped us to deal with some of the clashes of ego that eventually split the band apart. I think our music and our live performances were our strength. It was an incredible band for its time and it’s a real tragedy that it didn’t get a record deal.

Ocean: Steve Bensusan (gtr), Chris Bolan (bass), Tony Coldham (vox),
Fred Ball (drms), Rudi Riviere (gtr)

After Deep Machine you had a project with Rudi Riviere from Dragonfly. What type of the music did you play and who else was in that band? Do you still have any recordings of that project?

It was a very short-lived project that recorded a couple of songs and did one gig. We used the name Ocean for the gig. Joining me and Rudi was bassist Chris Bolan, and two guys I’m still friends with to this day, guitarist Steve Bensusan and drummer Fred Ball. The music was a bit disjointed and lacked a clear direction. It was immediately after the gig that I quit the band. Coincidentally, the bass guitarist with the band that supported us that day was Phil Reeve, who is The Deep’s bass player now. It’s a small world as they say.

You also spent some years in Strutt. Unfortunately I couldn’t find any info about the band. Tell me please about this part of your career. Judging by the songs “You Take My Breath Away” which was recorded for “Premonition” in 2015 the band was awesome!

Well thank you! A few months after Deep Machine split up, Tony Harris started to put a band together. He invited Paul Smith to join him and they soon had a complete line-up and were busy writing songs. However, they weren’t happy with their vocalist and Paul knew I had just quit Ocean. Paul had played me some recordings from their rehearsals and I really liked their songs. Back then there was a lot of friction between me and Tony and we hadn’t spoken since Deep Machine had split. Paul Smith coaxed me to come along and have a chat with Tony to try to bury the hatchet. I think everyone knew that really it was about getting me down to the rehearsals with the prospect of me joining the band. It worked. I met drummer Steve Jones and the bassist, Lee Powis I had met previously when he was in Burn with Tony. It was a good band, but the early material was actually too commercial and very pop-rock.

Strutt (1983): Tony Harris, Steve Jones (drms), Lee Powis (bass),
Tony Coldham, Paul Smith

I was in that band for 5 years and there were several line-ups. In fact, Mick Feleppa joined Strutt when Paul Smith left. The musical direction evolved with time and the band became quite heavy in the end. There were numerous demos recorded over the years and I am still fond of quite a few of the songs we played. “Turn Me Loose”, “Out Of Touch” and “You Take My Breath Away” were three that we ended up recording with The Deep. The band eventually split up in 1988 when Tony sort of gave up for a while. He was having a lot of personal problems then.

You also mentioned that you played with Airrace for a while. Did it last long and did you record anything with this band?

I was with Airrace in 1986. Mark Venables and Kevin Browne from Minas Tirith had joined and band leader, guitarist Laurie Mansworth, was looking for a vocalist. They got me down for an audition and I was offered the job. We were rehearsing the stuff from the first album. I remember Laurie was really happy with it and kept saying this line-up sounded exactly the same as the previous one. Problems started occurring when Laurie was writing the new material. He set the vocal melody lines really high, much higher than on the first album. We recorded a couple of demos. It was difficult for me and I developed throat problems. My confidence plummeted and I became very disheartened. After a few months I told Laurie I didn’t feel I could go on and it was mutually agreed that I should leave.

Ironically, they got another singer in, and had to bring all the melody lines down on the new songs because they were too high for him. Some of the songs from that time eventually ended up on the second Airrace album.

The Rodford Files (early 90s): Tony Coldham, Paul Smith

You and Paul had a project called The Rodford Files and the songs of this project are awesome. Why didn’t you release them properly? Do you have plans to do so or do you want to use these songs for your future releases with The Deep?

With hindsight, we should have kept recording together until we had a complete album’s worth of material for The Rodford Аiles. Then we should have taken it to record companies and/or management. But, we made the mistake of trying to put a band together first. We stopped recording to do that and wasted many months rehearsing only to find that the band fell apart in the end. When we were considering songs for The Deep’s debut album, we talked about the songs me and Paul did back then. But, we felt that they would not necessarily work well with the Deep Machine songs we wanted to do. There was one song, however, that had never been recorded by us, which did end up on the album, “Cold-hearted”.

I’m not sure if we’d end up re-recording any of those songs for a future The Deep album. However, I wouldn’t completely rule it out.

 Who came up with the idea to resurrect that ’82 line-up of Deep Machine? Do you feel you had some unfinished business?

Most of us had lost touch over the years. It was when we all managed to finally track each other down that we got together for a drink. Tony Harris, sadly, couldn’t make it. But later, we got together again for a second drink with Tony as well. We just had the best time, swapping stories and sharing memories. Someone suggested we get together in a rehearsal studio and jam the old songs. We were all keen to give it a go. Wow… it was incredible when we did. Although thirty years had passed, it was like we’d only played together the day before. It was so good that it convinced us all to reform the band. I think everyone felt that our line-up of Deep Machine should be heard again. Because Bob Hooker was gigging with a new line-up of Deep Machine, we had to come up with a different name. I suggested The Deep. Sadly, both Tony and Andy couldn’t stay with the band in the end.

The album “Premonition” was released by the band which is insane! I can’t believe there was no label interested in putting out such a cool album. Did you try to get a deal or was it your own decision to do everything independently?

Thank you!  We approached a label and there was interest for a while. We were already paying for the recording ourselves and were primarily looking for a distribution deal. However, we’d pretty much finished recording and were mixing the tracks when the label essentially told us they didn’t like the production and dropped us. I think they made a mistake and should have at least waited to hear the finished product. They had no money invested, so there was no risk to them whatsoever. Months later, I sent them the actual finished album. They were surprised at how different it sounded from the original mix they had heard.

Why did Steve Kingsley and Tony Harris leave the band?

Tony has been ill for a number of years and reached the point where he could no longer play guitar. It’s a desperate shame, because he is one of the most talented musicians and songwriters I have ever worked with. Steve decided to leave because he wanted to start his own business and needed to devote more time to that project.

Mick Feleppa who took the position of Tony is your longtime friend and was in Strutt if I’m correct, but how did you find Fraser Powell who is a way younger than the others?

Actually, I’d completely lost touch with Mick since the mid-1980s. It was pure luck that I discovered that a mutual friend had his details, and he was able to put us in touch. Before that, I’d tried many times to try to trace him. It was amazing to see Mick after all that time. Fraser is the son of Mick’s wife, Lynne. He’s a lovely young man with an amazing talent. It was heart-breaking when he decided to move away and had to leave the band. It was terrific having his fresh perspective on things when we were writing and rehearsing the new material.

The Deep live in France (as recorded on the EP): Paul Smith, Tony Coldham, Fraser Powell (drms), Phil Reeve (bass), Mick Feleppa (gtr)

As far as I’m aware you contribute ideas to the songs — riffs, harmonies and melodies. Isn’t it hard to explain how you want a song to sound not being a guitar player?

I can play guitar to an extent, but not well enough to demonstrate to the guys the ideas I have in my head. I mostly sing out everything and the guys pick up on it. Paul and I have worked together for many years and he’s brilliant at interpreting what I’m trying to show him. Plus, I’ve probably got better at explaining things as well. The best thing, and the thing I enjoy most, is when we’ve got a collection of good ideas and they all slot into place. "Cold-hearted" was like that. Paul had a great guitar part that became the verse and I had a chorus that I’d been working on that just fitted perfectly. Then between us, we fleshed it out into the final version.

The band is working on the new EP, so can you say a couple of words about it? How many songs will be on it? Did you again use some old ideas or are the songs all new?

There are four studio tracks and, as a special bonus, there are four tracks that were recorded live at the British Steel Festival in Fisme, France by Laurent (Bill) Bocquet. It was the first time we’d played in France and it was a terrific show. We’d love to go back again one day. The four live songs are all from our debut album, Premonition. Two of the studio songs we have been playing live for a couple of years. One of them was based upon a song we wrote with Tony Harris when we were in Strutt.  But it’s been changed a lot and is hardly recognisable. The other two are brand new. We’re really pleased with how it is all sounding.

By the way, have your approach to songwriting changed with years? Isn’t there a risk that your new stuff will sound completely different to the older songs?

We were really surprised at how fresh and relevant the older material sounded when we started to play it again. I think that was a testament to the strength of the song-writing at the time. Where needed, we re-worked the parts that sounded dated. The recent revival of interest in music from that time also helped us a lot, because people could hear our music’s authenticity and they appreciated it.

In terms of our new stuff, we are still able to write in a way that’s sympathetic to the earlier stuff, so that there’s not a huge departure in styles. People should notice an evolution In the music when they move from listening to “Premonition” to listening to the EP: “Watching You”. There’s a natural transition. 

Do you still stay in touch with Bob Hooker? Is he fine with the fact that you record and perform some stuff of Deep Machine?

Not at all. He seems to have dropped out of the music scene completely, as he did back in the 1980s when he quit Deep Machine. We’ve only ever performed and recorded the songs that we wrote from that time. We’ve never played anything Bob, or his line-up, wrote. Sadly, despite my efforts to get along with Bob, he could never accept The Deep existed and was quite insecure about the whole thing. He’d even make unnecessary remarks in interviews about us. I really wanted both bands to gig together so the fans could hear all the songs from that time. He wouldn’t do it.  

Don’t you want to use Deep Machine moniker again considering the fact that Bob Hooker’s band is inactive?

No, I have no interest in using that name again, nor have any of the guys in the band. For us, that is now a completely different entity and we’ve worked so hard to build the name of The Deep. I actually never liked the name Deep Machine (laughs). The Deep is a name you can do a lot with conceptually. Think of the different interpretations you can have of the meaning of the name. For example, you could do so much with album cover designs based on the name.  It’s a lot more open… you can do much more with it.

Tytan: Andy Thompson (keys), Seth Markes (drms), Tony Coldham, 
Dave Strange (gtr), Kevin Riddles (bass)

Why did you quit Tytan? Did you feel that it was about a time to concentrate on your own band?

That was a really tough decision to make, but I had to do it for the sake of both bands. It was becoming increasingly apparent that both Tytan and The Deep would be recording their albums in 2019 and, what with trying to gig with both bands as well, especially trying to promote both albums, it would have been too much for me. Also, I think everyone would agree, I’m a bit more of a metalhead than the guys in Tytan (laughs). It was better that I quit Tytan at a time when there was a reasonable gap in the tour dates, so the guys could find a new vocalist and write the new material with that person’s voice in mind. It was heart-breaking to leave because we got on so very well and they are a fantastic bunch of guys. I will always treasure those memories and I hope we will all be friends for life. Yes, Mr Frodo will miss them terribly.

A few words of wisdom for the readers!

I think one of the most important things I could say is please, please, please go and support those live bands playing original music. The artists and venues need that support or there is a real risk of emerging talent being lost and of venues closing. Thank you!  

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The Deep's official website - http://www.thedeepband.co.uk