The combination of original guitarist Cameron Dean's diverse and intricate guitar riffs along with the powerhouse combination of Julia Ruzicka's bass lines were the perfect backdrop to Turner's often upfront and outspoken views on UK politics and society as a whole.
They released two full length records, firstly 'A Song To Ruin' in 2003 to critical acclaim. The band went into a brief hiatus after losing Dean on guitar to be replaced by friend of the band Tom Fowler who at the time was also playing twin-bass punk monoliths Palehorse with drummer Ben Dawson. After two years from the first album the band returned with what was their second and final LP 'Harmony No Harmony' in 2005.
The second album did not garner as much acclaim from the public as before, perhaps because of changing tastes and perhaps due to the change in sound that the band had taken. It was still Million Dead but to some it was different. If asked about the drop in show sizes and attention any member of the band would tell you it galvanised them into accepting and relishing the prospect of being a working punk band once more, without the hype and expectations of success that had been lavished on them before (and which they themselves had fallen prey to believing).
Shortly after the release of the album the band decided to throw in the towel due to personal grievances within the band. Frank Turner started to more heavily pursue his solo efforts consisting of alternative folk pieces far removed from what Million Dead had set out to be in sound (though not necessarily in spirit). Julia Ruzicka and Tom Fowler moved from London to Brighton to start another band together and Ben Dawson continued with Palehorse and joined the Hardcore Punk band Armed Response Unit, the experimental bands Mothlite and Queen of Swords and is working on a metal project with Derya Nagle from The Safety Fire. He has also been working as a session and live drummer for many other artists including, most recently The Big Pink on their single 'Stop The World.'
The band released a deluxe edition of 'A Song to Ruin' in 2009 which comprised of the album plus five bonus tracks and a DVD including Cameron Dean's last show, the band's last ever London show and all their promotional videos.
Frank Turner's solo projects projected him onto heights of touring as support for Green Day and playing the UK and Europe festivals. In 2012 what many believe to be the return to his roots he formed Mongol Horde with Ben Dawson who have a similar sound to Million Dead.
The band comprised of;
Frank Turner - Vocals.
Julia Ruzicka - Bass.
Ben Dawson - Drums.
Cameron Dean - Guitar (2000-04)
Tom Fowler - Guitar (2004-05)
Current projects;
Frank Turner is now a solo musician -
(www.myspace.com/frankturner)
Lead singer for Mongol Horde (with Ben Dawson on drums)
Ben Dawson now plays drums for -
Pale Horse (www.myspace.com/thispalehorse)
Armed Response Unit (www.myspace.com/thearmedresponseunit)
Mothlite (www.myspace.com/mothlite)
Queen of Swords (www.myspace.com/queenofswordssound)
Mongol Horde (with Frank Turner on vocals)
Julia Ruzicka has played bass for Future of the Left since 2010. In the autumn of 2016 she released a solo album as this becomes us.
Julia Ruzicka & Tom Fowler have now formed -
The Quiet Kill (www.myspace.com/thequietkill)
It's a Shit Business
Million Dead Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
It's lacquered kareoke with a healthy cocaine habit and a make-up department.
Why call it composition?
It's kids entertainment with a coterie
of groupie yes-men pushing 'issues' on the easily bemused.
And I wouldn't call it aesthetic or call it poetic,
Not even pathetic,
Industry apothecaries are poring over gaping wounds in my lower abdomen.
They're cutting out the liver unaware of what it does.
Can i make a confession?
After the operation I am certainly not satisfied with my listening options.
There's something moving but the pulse is dead.
Someone's speaking but the crowd has left.
It's so well-packaged and over-sold,
But still so tiring, still so cold.
There's something moving but the pulse is dead.
Someone's speaking but the crowd has left.
And every teenage afternoon spent rifling racks in record stores in search of gold,
And every compilation tape rerun until it broke on rusted walkman heads,
And every single special song it only took two listens through to learn the words
Were hours cherished and lessons learned.
But you're the kids in the playground pulling hair
and pointing fingers because your parents couldn't spoil you with self-esteem.
It's in the look in the eyes,
You are a dog in the hay,
But we are kicking you out a single beat at a time.
The song "It's a Shit Business" by Million Dead explores the music industry and its manipulation of young artists into producing meaningless, marketable content. The lyrics criticize the commercialization of music by comparing it to "lacquered karaoke," with the added pressure of substance abuse and superficial beauty standards. The use of the term "composition" is also criticized, as it implies a certain level of artistic merit, whereas the reality is that it is more concerned with entertaining the easily manipulated audience.
The second half of the song is a personal reflection on the aftermath of being a part of the industry. The singer compares the invasive surgery of the industry to cut out their creativity and individuality, leaving them with unsatisfactory listening options. The metaphor of "something moving but the pulse is dead" highlights the empty, lifeless nature of the music being produced. The concluding verses express a nostalgia for the days of discovering special songs and albums through hours of searching at record stores. The singer contrasts this with the current state of the industry where artists are treated as commodities and fame is more important than creative expression. The final lines convey a sense of defiance against the industry's oppression and a refusal to compromise artistic integrity.
Line by Line Meaning
Why call it an artform?
Questioning the validity of referring to the music industry as an artform in the traditional sense.
It's lacquered kareoke with a healthy cocaine habit and a make-up department.
Describing the superficial and drug-fueled nature of the music industry.
Why call it composition?
Questioning the use of the term composition to describe the formulaic and predictable nature of popular music.
It's kids entertainment with a coterie of groupie yes-men pushing 'issues' on the easily bemused.
Suggesting that popular music is designed more for mass appeal than artistic merit, with entourage members promoting shallow political messages.
And I wouldn't call it aesthetic or call it poetic, Not even pathetic, Might call it a spade.
Rejecting any notion of artistic value in popular music and instead likening it to something blunt and practical.
Industry apothecaries are poring over gaping wounds in my lower abdomen.
Metaphor for the invasive and exploitative nature of the music industry on artists, reducing them to mere commodities.
They're cutting out the liver unaware of what it does.
Further highlighting the disregard for the well-being and creativity of artists, who are often reduced to being vessels for commercial output.
Can i make a confession?
Rhetorically asking for permission to express a feeling or thought.
After the operation I am certainly not satisfied with my listening options.
Expressing dissatisfaction with the limited options available to listeners as a result of the music industry's narrow focus on commercial success.
There's something moving but the pulse is dead.
Acknowledging a sense of emptiness or lack of vitality in popular music despite its apparent popularity.
Someone's speaking but the crowd has left.
Commenting on the superficiality of modern music audiences, who are easily swayed by trends and fads.
It's so well-packaged and over-sold, But still so tiring, still so cold.
Despite the commercial polish of popular music, it is often devoid of genuine emotion or artistic inspiration.
And every teenage afternoon spent rifling racks in record stores in search of gold, And every compilation tape rerun until it broke on rusted walkman heads, And every single special song it only took two listens through to learn the words Were hours cherished and lessons learned.
Nostalgically recalling the time spent appreciating and discovering good music in the pre-Internet era.
But you're the kids in the playground pulling hair and pointing fingers because your parents couldn't spoil you with self-esteem.
Critiquing the entitlement and narcissism of certain individuals who criticize popular music without appreciation for the cultural context and economic factors that lead to its production.
It's in the look in the eyes, You are a dog in the hay, But we are kicking you out a single beat at a time.
Making a defiant statement of artistic independence and refusal to bow down to commercial pressures, making music on their terms and at their own pace.
Contributed by Oliver C. Suggest a correction in the comments below.