Wednesday 12 March 2014

Headstone Down, In The Absence Of Light, Nervous Endings and Spytfyre at The Firehouse 8/3/14

Southampton-based progressive rock band Spytfyre were the first band on, and they certainly did not disappoint. Instantly grabbing the crowd’s attention with their mellow yet powerful music, they were able to set a high standard of music for the other bands to compete with. Spytfyre’s live performance proved that they are an extremely versatile band: singer Peter Aubrey’s vocals worked well with both fast-paced and slower songs. Their performance of ‘Cry of the Innocent’ worked well with the tone of the concert as it related well with the charity message of the evening. Despite stepping in at the last minute, they managed to keep the crowd entertained and happy.

Hardcore/metal band Nervous Endings made a huge impact with the audience the second that they burst onto stage: their bass-heavy and fast-paced songs instantly made the crowd go crazy. Their energetic and intense performance demonstrated that metal music is still alive and kicking in the South Coast.  Performing songs such as ‘Larcenists in Authority’ and ‘No Lesser Evil’ from their recently released EP, ‘Heavyweight’, it’s easy to see why they are quickly gaining fans across the UK. They certainly made a huge impression on everyone who attended The Firehouse and it’s highly unlikely that this will be the last you hear of them.

The penultimate band, In The Absence Of Light, provided the crowd with incredibly catchy songs and heavy screaming vocals. They interacted with the crowd well, taking full advantage of the intimate venue. Forming in 2007, the Swindon-based metal band have previously toured with Malefice, Exit Ten and Trigger The Bloodshed. The fast-paced thrash-like riffs and impressive guitar solos had the crowd hanging off their every move. The amount of energy put into their live performance was easy to see, and their sound matched their efforts.

Headstone Down are one of the most exciting metal bands in the South, and their performance definitely proved this. The crowd instantly took a shine to them, starting to mosh the exact second that the heavy guitar riffs started. Lead singer Robin Evans impressed Southampton with his aggressive and hard-hitting vocals, putting pure energy into every scream and growl. Keeping with the charity vibe of the evening, they offered
to donate money to charity if a member of the audience came up on stage and head-banged with them, which they did. Headstone Down also proved their professionalism: before the last song there were some technical difficulties, and instead of an awkward silence bassist Joss played a funky bass-line to keep the crowd entertained. Despite their wild and frenzied playing style, they managed to sound both tight and well-rehearsed, proving exactly why they were chosen to headline this impressive metal-filled show.

As well as it being a fantastic evening showcasing musical talent, it was also a successful night for charity. With a staggering £305 being raised for Warchild, the proceeds of this concert will go towards transforming the lives of tens of thousands of children. Tonight was proof that metal music and concert-goers can help to change the world.

Check out Spytfyre here: https://www.facebook.com/spytfyreband 
Check out Nervous Endings here: https://www.facebook.com/NERVOUSENDINGSUK 
Check out In The Absence Of Light here: https://www.facebook.com/ITAOL 
Check out Headstone Down here: https://www.facebook.com/Headstonedown 

Jamie Lenman Interview

Before he went on stage for his set Independent Venue Week, I was lucky enough to chat with Jamie Lenman about the transition from band to solo work, what has inspired his recent change of musical direction and what his plans are for this year. 



Julia: What made you want to get involved with Independent Venue week?
Jamie: Dominique. She runs this venue and she runs my heart, as she says. Or actually it may have been Lydia, her sister. Both of them run this venue and I’ve known them for a very long time. They said to come on down so I said ‘no probs!’ But of course I love independent venues and I love The Boileroom. Would I love The Boileroom if I didn't know Dominique and Lydia? Probably not quite as much, although it’s a great place to come, it means a lot to know the people that run it and there are always happy faces here. So I suppose that chimes with the whole deal, it’s all about people, isn’t it.

Julia: How did your shows in December go?
Jamie: Yes, I think they were a success! They all sold very well, so from that perspective I think they were good. I always find it quite difficult playing live, including tonight, so I couldn’t say that they were a wonderful experience for me. What was wonderful was to connect with the audience, to connect with the people that come along. Whether that was on stage and we all sang a bit of a song together, that was brilliant, those are my favourite bits, or whether it was afterwards, going to say hello and shaking everyone’s hands and signing things if they wanted to. So that part of it was great, yes. In terms of connecting with people and making sure the venues weren't empty it was a success, yeah.

Julia: Do you think it’s harder to go onstage on your own rather than with a band?
Jamie: Yes! Yes!

Julia: What are you favourite and least favourite things about touring?
Jamie: My favourite things about touring… Well, I’ll tell you what used to be my favourite thing about touring. The short answer to that is what I sort of just said about meeting people. I used to particularly like in the old days when I was touring with my old band (Reuben), we’d go around and we wouldn't have anywhere to stay and we couldn't afford (to stay at a) Travelodge. So before the last song I’d always say ‘This is our last song, can we please stay at someone’s house?’ And that was the best bit! And we’d meet these people, and every night someone, even if they only had like a garage that we could sleep in, which let me tell you happened! We’d meet someone that would say ‘Just come back to mine!’ and they’d always
have a cup of tea and we’d make those friends. Some of those friends lasted. I’m still in touch with some of those people. Some of them I never spoke to again, but some of them have become real friends and that was my favourite bit about touring. My least favourite bit about touring is losing my voice. Voice problems, it’s a real pressure. If a guitar string breaks you can but another string on, or if your guitar snaps in half you can borrow someone else’s, but you can’t borrow anyone else’s voice. You can’t fix a string on your voice; you can’t fix a vocal cord. So every time I tour that’s a real worry. That’s my least favourite bit, yeah.

Julia: What made you want to become a singer?
Jamie: Freddie Mercury! Freddie Mercury made me want to become a singer, and Brian May. I wanted to be a combination of Freddie Mercury and Brian May, which I think I’ve achieved, in terms of guitar prowess and fantastic mustache! It’s not quite as good as Freddie’s, but those two, yeah. I mean I dug all my parent’s music: I dug The Searchers and I dug The Beatles. But it was really Queen that made the first meaningful impression and I’ve looked towards that ever since.

Julia: How would you describe your musical style to someone that hasn’t heard it before?
Jamie: I would say it is intelligent, yet aggressive guitar music. I think that’s all you can say. And more recently, on this latest album, with sort of a folk leaning to it. But it’s still intelligent, aggressive and guitar. Those are the three main points.

Julia: Is there anything in particular that made you want to try doing folk music?
Jamie: No, it was an accumulative thing. I mean, often young folks don’t go towards folk so much because I think folk is a lot about looking to the past and it’s about keeping certain traditions alive, which you’re not really concerned with when you’re young. Well certainly I wasn’t. You’re concerned with what’s new, and then as you get older… How old am I? (Jamie asks his wife how old he is) Thirty one? I’m not that old. But I think as you go on you start to appreciate tradition and the importance of tradition more and the things you can learn from the past. So slowly but surely an appreciation of folk crept up on me. Frank Turner, who is a good friend of mine, he has always had an ear for folk and so I got a lot of it through him. It just generally sort of seemed to happen and at the same time a lot of my friends were starting to listen to bits of jazz. I’ve always had a love for jazz, actually, but then that sort of bled into folk. And when you see where jazz comes from, from the blues, it all sort of just creeps up on you really. It will creep up on you, you watch out! You’ll be playing a washboard before too long!

Julia: What should people expect from a live show from you? 
Jamie: Fun, honesty… Just those two, those are the only things I can promise. That you will have fun and that I’ll be honest about it. I can’t even say I’ll sing on tune, I can’t say I’ll sing what you like, but I will try my best to make sure that everyone has a good time. Including me, you know, I’m going to try and enjoy it.

Julia: Creating an album with many different musical styles is quite ambitious, but you’ve managed to make it work. Why do you think this is? 
Jamie: Well thanks very much for that verdict on it! I dunno, I suppose it helps if you have a distinctive voice,
a tone to your voice, which I think I do. I wouldn’t say it’s like a great tone, to me I sound like a bit of a potato! If you do have that, if you put on a record and you can hear it’s me singing, I can hear it if someone is playing in another room. It just cuts through. So I think if you’ve got something like that to tie it together then that has it nailed a bit, I think that’s part of it. Other than that I couldn’t really say. It was all produced by the same people, so it has sort of got a sound that reaches across the two discs. But I think the only thing that is constant is my voice, so I think that must go some way to making it seem cohesive.

Julia: What would you say is your favourite style of music to write?
Jamie: Well, really what I like to write is the sort of riff-melody-riff thing that I was doing in Reuben. I don’t know what you’d call that, people call it post-hardcore? I don’t know what you’d call it. What would you call it, like big riff and then big chorus? Is it post-hardcore? Rock. I like writing rock.

Julia: What would you say is your favourite song that you have written and why?
Jamie: My favourite song that I have written… I think it’s probably a song on my latest record. I hate it when people say that, because it’s always like ‘Oh my new one is the best’. My favourite, it’s called ‘I Ain’t Your Boy’ and I just thought that it was the most successful in terms of trying to get my feelings across. I was feeling some big things and these days when I write I do try and put that into the music and get it across and I feel like I succeeded. I quite like the structure; it’s quite tidy, from a musical perspective, but also from an emotional perspective. I think it managed to get across my feelings. And every time I sing it, and when I sing it tonight I guarantee I feel all the feelings are fresh and I’ve managed to bottle that. I’ve only done it a couple of times, so I’m quite proud to have managed that.
Julia: My boyfriend is going to be so happy that you’re playing that song!
Jamie: Oh is he? Who’s your boyfriend? Not in like a ‘who’s your boyfriend’ way.
Julia: He’s doing photography tonight; he has got this huge flash-head so you’ll probably see him.
Jamie: Cool! Great stuff.
(It is worth noting that during the concert, Jamie actually dedicated this song to my boyfriend in front of the whole crowd. Yet more proof of how lovely he is!)

Julia: What do you write first: the lyrics or the tune?
Jamie: I always write the tune first. I know people that have journals and jotters and notebooks full of lyrics and that has always seemed a bit weird to me. I never wrote poems when I was little, well when I was a kid. It’s always the music first. You sing any old bollocks over the top like ‘I want a car!’ just because ‘I want a car!’ fits and then you think ‘Do I want a car?’ And then you sort of think no I don’t, so then you write a
song about how you don’t want a car! Or if you do then you write a song about what car you want. Do you see what I mean? It sort of evolves out of gibberish and I hope somewhere in the process I decide what I want to sing and I sort of mould it around that. So it’s always the music first.

Julia: Is it hard to find enough time to focus both on music and illustration or do you think it balances quite well? 
Jamie: It’s really hard! Well it’s not hard to find the time; I’m quite good at allocating time, it is hard making it fit. So today even, the reason I’ve had to come so late and we’ve rescheduled the interview (thank you very much), is because I had so much illustration work on. I was literally drawing when we went out the door, so it’s hard to make it fit but I know what I’m doing. It’s only possible because I’m able to allocate different bits of time.

Julia: As you've had experience in music, illustration and filming, is there anything that you have really wanted to experience but haven’t had the chance to? 
Jamie: Yeah, like a lot of musicians I’d quite like to do a bit of acting, but I sort of have a sneaky suspicion that I’m not very good at it or I wouldn't be. I think if you look at the videos I've made for my own songs, that’s as close as I've ever got to acting and they’re pretty bad! Even singing my own lyrics, I can’t do that convincingly. So I don’t think it’s probably for me. Also, it’s quite arrogant for musicians or non-actors to say ‘I might sort of dabble in acting’, because although it does sound like fun and it does sound like the sort of thing that you can dip into, real actors have trained for decades and I do feel their pain when real actors would hear someone say ‘Oh, I may do a bit of acting!’ and you think ‘For fuck’s sake, I’m trained!’ So it’s probably best to leave it to the actors. But as long as I add that caveat that I realise it is hard work, I would like to try my hand at acting. But I acknowledge that it’s an arrogant thing to say.

Julia: What advice would you give to any aspiring musicians?
Jamie: The thing is, the advice that you are often given, it stays true, so this is going to sound like a cliché, but like try as much as you can to be yourself. I spent a lot of time, and I think a lot of other people do spend a lot of time trying to imitate what they’ve heard. And to a certain extend you can’t really help that. But I can certainly remember certain songs that I was like ‘Oh great, that sounds just like Weezer!’ When really I should have been trying to concentrate on what I want I was. It does take a lot of time to work out what you are, but when you discover what that is, follow that and don’t use the crutches of other stuff. Don’t pretend. That’s the advice that I would give to any person doing anything, not even in terms of doing art. I would just say don’t pretend, just be honest. So you can be honest in illustration, you can be honest in roadwork. Do you know what I mean? Just be honest is the best way to be, and certainly in music. I think it’s very, very important to be honest with your audience and with yourself. God, I sound like Buddha! Well, I look like Buddha!

Julia: Do you have much planned for this year?
Jamie: For this year? Yeah, I've got a lot planned! Illustration wise I’m going to do five more books, so that is going to take up most of my time. But then we are playing quite a few festivals, so that is going to take up a lot of time. Who knows, we talked about whether we were going to do another tour, we’re going to have to see. As I say, I find it difficult to play live. A few books, a few shows, trying to take it easy but failing. Yeah.


Listen to the interview here: https://soundcloud.com/juliaconopo/jamie-lenman-interview 
Check out Jamie Lenman here: https://www.facebook.com/jamielenman
Photographs by Rob Campion Photography: https://www.facebook.com/RobCampionPhotography


CeCe, Natalie Ross and Jamie Lenman at The Boileroom Guildford (Independent Venue Week) 31/1/14

Independent Venue Week is a series of concerts which bring together music fans from around the UK to celebrate unique and independent venues. When many small concert venues are at risk of closure, it’s a fantastic idea to celebrate independent venues and everything that they do for the music scene.

Nineteen-year-old CeCe was first to grace the stage at The Boileroom, silencing the crowd with her delicate and unique voice. Combined with her melodic guitar playing, she performed an intimate and intriguing set with left the audience begging for more. Her performance of ‘Little Bit Longer’ was raw and passionate,
matching the lyrics perfectly. Her cover of Chris Isaak’s ‘Wicked Game’ allowed the audience to get involved, and there is no doubt that CeCe gained many more fans tonight.

Describing her style as ‘1940s/50s inspire quirky pop’, Natalie Ross provided a set full of upbeat sing-along tracks and powerful vocals. Her charismatic interactions with the audience allowed the crowd to feel comfortable enough to sing and
dance along with the vintage-style song. ‘Holes In My Tights’ was a definite crowd-favourite and proved that there is nothing wrong with happy-go-lucky songs. Natalie’s cover of ‘Cry Me A River’ was both smooth and unique, bringing an updated sound to a classic song. If you haven’t heard any of her music before, listen to ‘Walking through the Streets of Our Love’ and you will discover how infectiously catchy her music is – you’ll be hooked!


After recently releasing his first solo album, ‘Muscle Memory’, Jamie Lenman proved tonight that he was back with a bang. He commended the first two acts, warning the audience that he only had two fun songs and that the rest are just about his feelings. Opening with ‘Shotgun House’, it was instantly obvious that even without his backing band Jamie was able to perform an unforgettable set. The crowd went crazy over recent single ‘Pretty Please’, with the audience sounding even louder than Jamie. Performing other new songs, such as ‘I Ain’t Your
Boy’ and ‘Little Lives’, he proved that his music sounds even more unique and enjoyable live. Jamie’s wife also joined him on stage, and their melodic voices harmonised perfectly together. Ending their set with a cover of ‘Jack of Diamonds’, a traditional folk song, Jamie and his wife provided the audience with an incredibly diverse and enjoyable show.


Photographs by Rob Campion Photography: https://www.facebook.com/RobCampionPhotography 
Check out CeCe here: https://www.facebook.com/CeCeMusicOfficial 
Check out Natalie Ross here: https://www.facebook.com/pages/Natalie-Ross/ 
Check out Jamie Lenman here: https://www.facebook.com/jamielenman 

New Artist Profile – Eddie Eisinger

With a world obsessed with pop stars and the latest X-Factor winners, it’s often easy to forget about those musicians who work hard to create songs that won’t be listened to by thousands of people on YouTube. Despite being seen as a ‘bedroom producer’, Eddie Eisinger doesn’t create tacky club remixes: his musical style is extremely versatile and includes (but is not limited to) rock, ambient and even soundtracks for video games.

So who is Eddie? He’s a twenty-year-old student at Southampton Solent University, studying Sound for Film, Television and Games. His musical background started when he was very young: he started playing the harmonica aged six, started singing lessons aged twelve and started playing guitar since he was fifteen. He is also able to play piano and violin, enabling him to experiment widely with the music that he can create. Inspired by great artists such as Robert Plant, Paul McCartney and Tony Iommi, his specialism lies within the classic rock genre.

Previously Eddie has been in three bands: an unnamed pop-punk band, a metal/rock band called Acedia and a rock cover band called Marmotta. When asked about why he left all three of his previous bands, Eddie had this to say: “Too much drama. I can honestly say I have never been in a band where there haven’t been arguments between the rhythm section (bass and drums) and the lead section (vocals and guitar), because they are always at it. I have never been in a band that never had those two sides arguing, and I probably never will. I don’t like working in an unfriendly atmosphere.”

With such negative experiences in bands, it’s no wonder that Eddie has since decided to focus more on the production side of music. Using many different editing programmes he is able to compose and create music for all purposes.  He was inspired by learning about how to create music on his own: “I thought ‘what do I need a band for?’ I do miss being on stage, but I enjoy creating a song from nothing then hearing the final product.”

Now specialising in creating music for films and games, Eddie hopes that one day people who require music for a project will instantly think of him. When asked about how he would cope with fortune and fame, his response was that he will ‘dance around like an old western prospector that has just found gold. Then possibly die of a massive overdose at 27.’

Check out Eddie's SoundCloud: https://soundcloud.com/eddie-eisinger 

2013: A Year In Music

When you think of the musical fads from this year, one particular incident may stick out in your mind: twerking. After Miley Cyrus’ awful performance at the MTV Video Music Awards, the word has now even been put in the online Oxford Dictionary. If that isn’t enough to make you want to weep for humanity, it gets even worse…

‘Blurred Lines’ by Robin Thicke has been one of the most popular songs this year, managing to achieve number one in the charts in fourteen countries. Despite the controversy surrounding the song, Thicke has stated in an interview that it’s a feminist movement (because “I'll give you something big enough to tear your ass in two,” really empowers women…) ‘Blurred Lines’ has been banned by over twenty student unions across the UK due to fears that it promotes rape.

Original Iron Maiden drummer Clive Burr died of Multiple Sclerosis complications, founding member of Slayer Jeff Hanneman died of liver failure and Deftones bassist Chi Cheng died of a cardiac arrest after being in a coma for four years. The only good thing to come from the deaths of these legendary artists was that it brought the metal community even closer together.

However, it’s not all doom and gloom. Canadian progressive metal band Protest The Hero were able to hit back at money-stealing record companies by creating a crowd-funded album. Using website ‘IndieGoGo’, Protest The Hero were able to allow fans to donate money to create their album ‘Volition’ without needing to involve a record company. Needless to say, they reached their $125,000 goal in thirty hours and the total amount raised was almost triple this. By giving their fans exclusive perks too they were able to make them feel involved in the bands’ creative process.

Festival attendance also boomed this year: fans realised that rather than paying £50 to see a couple of bands, they could pay under £200 and see hundreds of bands across a few days. Reading Festival even managed to sell out of tickets months before the actual event. If that isn't enough to make you keep a glimmer of hope for the music industry, then internet trolls actually getting extreme metal band Dying Fetus announced for Download Festival 2014 might. Organiser Andy Copping managed to add the band to next years’ line up after a flurry of ‘why not Dying Fetus’ comments stormed social networking websites.

Who knows what state the music industry will be in next year, but one thing is for sure: the internet has the ability to both ruin and help music around the world. 

Manic Street Preachers Artist Biography

With eleven albums over twenty four years, Manic Street Preachers are one of the most prominent bands ever to emerge from the alternative rock genre. Forming in Blackwood, a small town in South Wales in 1989, their impact both musically and culturally has been huge: inspiring a generation to engage themselves into the political and social scene around them, as well as rebelling against society’s expectations. Manic Street Preachers arrival into the music scene was at a time where grunge and house music was dominating the airwaves, but their unique and overwhelming presence enabled them to be successful and gain an almost cult-like following.

Described by music journalist John Doran as "antagonising nearly everyone they came across with their fiercely anti-fashion stance", it’s no secret that the Manic Street Preachers aren't the most approachable band in the world. However, their truthful and blunt lyrics have reached out to generations of music fans. The lyrical context of one of their most popular songs, ‘If You Tolerate This Your Children Will Be Next’, is about the Spanish Civil War; hardly something that you’d expect to become number one in 1998. Their unpredictability and raw passion are some of Manic Street Preacher’s most unique factors and due to this it would be almost impossible to compare them to another band.

Wherever rock music is concerned there’s always controversy: something that the Manic Street Preachers aren’t shy of. The angst-filled Welsh rockers have no problem addressing their strong and sometimes almost offensive opinions on anything from pop music to world politics. Described by NME as ‘generation terrorists’, Manic Street Preachers were able to cause uproar for the BBC in 1994 by getting a staggering 26,435 complaints about lead singer James wearing an IRA-style balaclava on Top of the Pops, which was also repeated at Glastonbury the same year. It also goes without saying that Richey Edward’s disappearance in 1995 is something which to this day still mystifies both fans and music lovers around the world.

Despite the controversial issues surrounding them, Manic Street Preachers have a loyal and dedicated fan base, so much so that they have just announced an eleven date UK tour for 2014. Even though they aren't gaining the media coverage that they used to in the nineties, Manic Street Preachers will continue to sell-out arenas and headline festivals until they disband and their contribution to the rock music scene will never be forgotten.

Sky Ferreira ‘Night Time, My Time’ Album Review


If the saying ‘there’s no such thing as bad press’ is true, then Sky Ferreira could easily write a book about her life filled with scandals, despite only being twenty-one. Forming only part of that history is her recent run-in with the law alongside her boyfriend for drug possession. So does synth-pop’s new wild-child actually have any time to record music alongside her rock-and-roll lifestyle? The answer is yes, which has resulted in ‘Night Time, My Time’.

Opening with a track that sounds reminiscent of something a scene-kid would have as their Myspace song, ‘Boys’ gives you a clear insight into what Sky Ferreira is all about: heavy synth-based songs fused with ambient vocals. The sickly-sweet vibe of the album is enough to make any metal-head gag, but what can you expect from someone who has been referred to as ‘Britney-meets-teen Lolita’?

Sky’s music could be seen as self-reflective: “I blame myself for my reputation,” proves that she knows exactly what she’s doing to gain media attention: good or bad.

When translated into English, ‘Omanko’ means vagina. Yes, she has sang a song about Japan and vaginas. The less said about that, the better.

Final track ‘Night Time, My Time’ demonstrates the album’s slow descent into insanity; there is no happy-go-lucky vibe here, just overwhelming and intensifying noises full of disparity.

Whether she’s just a young blonde girl desperately seeking fame or an artistic mastermind for our generation, one thing is for sure: Sky Ferreira isn't one to keep quiet about what’s running through her mind.