THERE are some bands who tell you that recording their album was tough – that there were some late nights, maybe even a falling out among the group.

Perhaps, they will liken their tales to that of Metallica or Fleetwood Mac where the animus in the band only served to push songwriting limits and help to craft a masterpiece.

Well, it's unlikely they have had to go through what Mason Hill have endured the past four or five years in getting Against The Wall ready for release.

The Glasgow five-piece, hailed as one of the brightest lights of the new wave of classic rock, have truly been through the ringer since 2016. Back then they put out an enjoyable EP that was well-received, while they worked steadily on new material for what would be their debut album.

Things were clicking for the quintet – they were securing impressive support slots and building a solid fan base across the country and down south. Interest was growing; indeed, expectation was rising. Surely, the album was on the way.

"Things didn't quite go to plan – as is always the case with us," guitarist James Bird reflects in a voice that suggests that he would be in complete despair about the band's journey, had he not learned to laugh at the ridiculousness of it all.

The tale of Mason Hill's debut album will forever be a bit of a parody – no band would have expected to have to ride the crest of so many obstacles; just about everything that could go wrong seemed to strike, one after the other.

A couple of years ago, the band looked ready to release. The album was written, and it was even recorded. Finally, they would have the full-length record that their hype and fanbase now demanded.

But a protracted dispute with their label took hold. Against the Wall, Mk.1, appeared to be dead in the water. And with no label, Mason Hill was facing uncertain times and there were concerns that those who had backed the back through their formative years were becoming frustrated at the lack of new material.

Bird tells The Weekender: "This has all been happening over the course of about five years. Honestly, some of the things that have happened, just to get to this point… It's like Spinal Tap, it really is.

"We always had some people coming to see us play, but it seemed with such a delay that a lot started to turn off. I think, and there's nothing we can really do about this, but I think the opinion started to form that, perhaps, we were lazy, and we were choosing not to do an album. That was difficult for us to hear.

"And it just isn't the case; there were some legal things at play preventing us and there was a lot of silly nonsense going on that a young band should never have to deal with. There has been so much drama with it all – at one point we weren't even sure if we could even legally be a band anymore."

The guitarist continues: "We were signed to label, we had an album recorded and we were preparing to release. Things went a little bit… different. And we didn't stay with that label. So, we went from having an album with a label, to having no label at all. So, we decided just to create a new album."

The band – which also features singer Scott Taylor, drummer Craig McFetridge, guitarist Marc Montgomery and bassist Matthew Ward – had to take on some added financial constraints as they looked to go it alone, once again.

However, together they were in no shape to fund a full-length album and they turned to their loyal followers for support. Last year, they launched a crowdfunder to secure the money to get the album recorded – or, rather, re-recorded.

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"We were quite apprehensive about it," Bird adds. "We were asking people – who have already paid to come to see us at gigs – for more money.

"Most people involved in music will tell you: Unless you are some big artist, the money generated by bands doesn't really go into the pockets of the musicians…It all gets put back into the band. We don't take wages or anything, and we just needed that helping hand to make the album."

Nevertheless, the Kickstarter was a rousing success in the end. They had been looking for around £8,000 but were left completely blown away by the backing they received.

Bird continues: "We hit the target in less than a day, and over the weekend people just carried on and in the end we were able to raise up to £15,000-£16,000. So, that's covered everything: recording, distribution, design, videos and promos.

"So, after all the years going by, we found ourselves at this really important moment of Kickstarter going out and having amazing people there who, thank god, helped us fund it."

Their troubles seemed to be behind then. After those tempestuous few years of battling to complete and release the album looked to be coming to a sweet conclusion as they checked into Riverside in Glasgow to lay down the record.

But, as the Mason Hill saga turns out, nothing is as easy as it seems.

"So, we start recording and everything is perfect. In the background, we had a fella in New York, Brian, who was working with us on it. The plan was to send the raw recordings from Glasgow over to New York for him to do the rest of it. Boom. Done.

"But, again, things didn't quite go to plan," he adds. "We get to the end of recording, send it to New York and he finds that there are damaged vocal recordings. What he was saying was that the entire vocal recordings had to be re-done – lead and backing. So that's three or four full days of recording.

"It's possible the average person might not have noticed, but there was a chance that it might come out a little wonky. And after all that's happened and all the time that has passed, we were just like: 'Awww, Jesus Christ'.

"The options were that we either send Scott to New York to do it again or continue on without our man in New York because he wasn't really happy to work with faulty recordings. So, we sent Scott out to New York. But when little snippets were being sent back, it was night and day – we were blown away by it."

Surely then, after dealing with another issue, the band would finally be able to wrap things up.

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"Then Covid-19 hit," the guitarist recalls. "It really started kicking off; the airports were closing, and we worried Scott wouldn't be able to get back. He managed to get back and literally the next day everything closed down.

"So, we had Scott back and about a week later the album was sent to us and everything sounds great and everything is rosy.

"But then some complications arose, as it always does with us. Long story short, we were no longer working with Brian. So, we had an album, but no one to mix it."

Band managers were able to step in and get Chris Sheldon – known for works with Foo Fighters, Feeder, Biffy Clyro and others – to come in at the last minute to take over.

Bird says: "After all this commotion and all this drama to get this album ready to be mixed, we are still left with this complication. It, sort of, sounds like we're the problem, but I promise you we did nothing. But something always goes wrong, and it usually involves money at some point – lawyers, agreements.

"We've finally got it done," he concludes with a deep sigh of relief. "It's not quite the way we expected, but the results are, in our opinion, better than we could have hoped for.

"I hope we can just build on this properly now. A band can only do so much without an album – we've literally been existing off word of mouth for so long. People would be asking where they could buy our album, and would be stuck saying: 'Well, nowhere'.

"The only we had was this EP from 2016 – by the way those songs were written when I was about 16-17. I know that people can get bored of bands who don't put anything out, so we're grateful that we still have people interested."

Bird's tone changes quite notably when he talks of things to come, as opposed to the previous couple of years. He beams as he talks about the finished album – one that has survived label disputes, near-financial ruin, a crowdfunder, a second recording, damaged tracks, covid-19 and a last-minute dash to find an engineer to then finish it.

If it were easy, then everyone would do it. If it were this hard, no one would even bother.

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Still, the guitarist has nothing but enthusiasm for the next chapter. Mason Hill showcased many of the songs a year ago at a sold-out show in Glasgow's King Tut's. It was a fine show to be sure, with the new material proving popular.

"Every song on the album is very catchy," Bird says "It's all about melody. I'll always try and put a really cool riff on the track, at least I'll think it's cool. For people coming to the gigs, I want them to hear the groove in there.

"But on top of that we have a really great singer and we have some great melody. For a new band, it's important for people to just remember your song. You can have the best riff ever, but if the singer opens their mouth and there's no melody… For us, we try to focus on that as best we can."

Against the Wall has been slated for release early in the new year when, hopefully, fate will have tired of conspiring against the band. A tour is likely, but for Bird the wait to finally get the album out for everyone to hear will be overwhelming.

He says: "I drove down to Whitby a couple of months ago and I had the CD on in the car. And that was the first time I had properly listened to it, because I'd only ever really had it on my phone or my demo versions.

"But I listened to the real finished and mastered album for the first time on that drive and I was just super proud – I truly can't wait for people to hear it."

WATCH: Mason Hill - Against The Wall
 

Memorable riffs from James Bird:
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If you ever want to annoy a guitarist, wait until the end of an interview and ask them to name five of their favourite riffs. They will not forgive you.

Mason Hill's James Bird has already delivered a handful of crackers (with the promise of more to come) but it's clear his influence comes from anywhere he can find these days.

Classic rock, grunge, hard rock, southern rock and metal – all are catered for.

While the following list is not exactly a ranked list of his favourites, they have each played a part in his development as a songwriter.

Welcome to the Jungle – Guns 'n' Roses: I always thought the main riff was pretty cool. It's also the verse and that's pretty hard to do – to make a riff that is interesting enough that you can put singing on top of as well.

Iron Maiden – The Trooper: I have always liked a bit of 80s metal – Iron Maiden and everything else that went with. Basically, when I was a kid, if it didn't have a solo in it, then it was s***. The Trooper is cool, that one stands out.

AC/DC – Back in Black: This was one of the first songs I can remember playing along with as a backing track. So that's got to be in there.

Lamb of God – Fake Messiah: That riff is incredibly hard to play and I've always respected that riff. I always get blown away by Lamb of God – they always impress me, so

Black Stone Cherry – Blame it on the Boom Boom: Although this is not my favourite Black Stone Cherry song, but as soon as you hear it for the first time you know who it is. I've always had massive respect for any band that can start a song and within a few seconds you know who it is.